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Table of contents

LF : I made this film as a tribute to Roger Corman, though he only did a sketch out of the original story in Tales of Terror , while I had to do a feature! What interested me in this story was to comment upon the relationship between a man and a cat. The two characters are identical, even though the cat is to win: for the cat may be cruel, but after all he is only the judge, the conscience of this man. We often try to kill off our bad conscience, to no avail. LF : He is a marvelous actor, but shooting with him was extremely exhausting, as he has a lot of personal problems.

I think Patrick Magee was the perfect choice for a film I wanted to do as an atmosphere film, not as a horror film. Mimsy Farmer, on the contrary, is terrific: she is both a very friendly person and a very good actress for this type of film. LF : No, my idea was to make an absolute film, with all the horrors of our world.

The Sea of Darkness , for instance, is an absolute world, an immobile world where every horizon is similar.

Early years

I think each man chooses his own inner hell, corresponding to his hidden vices. So I am not afraid of Hell, since Hell is already in us. Finally, I realize that Paradise is indescribable. Imagination is much stronger when it is pressed by the terrors of Hell.

LF : No way!

Lucio Fulci. Poetry and Cruelty in the Movies :

I often tried to exorcise my personal Hell to no avail, so now I show it in my films. But, mind you, what is to me the most tragic thing in The House Near the Cemetery is not the people who die, but that little girl who opens for her young friend the gates to the world of the Dead, and saves him from normality i. In fact, those children do not actually die: they just live in another world in which adults have no power. Finally, the most frightening thing is that the house stays there and will receive other visitors. LF : This may seem strange, but I am happier than somebody like Bunuel who says he is looking for God.

For I have realized that God is a God of suffering. It is true that all my films are terribly pessimistic. But humor and tragedy always join, anyway.

In Their Own Words

If they emphasize the tragic side of things, it may have a comical effect. Everything considered, having directed so many comedies when I started my film career turns out to be very useful for my true cinema, the cinema of the Fantastic. Both films, intentionally, have no structure. We tried in Italy to make films based on pure themes, without a plot, and The Beyond , like Inferno , refuses conventions and traditional structures, while there are some threads in my other films: The House is about a monster, The Ripper is an Hitchcockian thriller, City of the Living Dead deals with Evil, Zombi 2 with death and the macabre.

I like The Beyond very much because I think it was an interesting attempt. LF : This is not true: in Amityville, you are confronted with something unknown which terrorizes the tenants, while in The House Near the Cemetery , the secret is eventually given away: you know that the monster is a mosaic of corpses. The spectator may also see the film as a kind of cycle, the events being repetitions of events past. LF : Of course!

For instance in that scene where the two children talk together and understand each other though they are hundreds of yards away from each other. Children do not have the same hang-ups as adults. Like monsters, they have a different wavelength. In The Shining , there was a complicity between a child and an adult — the cook of the Overlook Hotel. But in The House Near the Cemetery , adults are totally unimportant. The Shining has no feeling.

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LF : You mean when Cary Grant gets his girlfriend out of the precipice? Yes, it is. I love to make quotations, and there will be many in connection with Huston or Hitchcock in The Ripper. Much less horror than my previous films, no zombies, but a human killer working in the dark. The setting is deliberately conventional: though I aim at making a new style of thriller, I want to pay a tribute to Hitchcock.

The Ripper is in a way a Hitchcock revisited, a fantastic film with a plot, violence, and sexuality. LF : Yes, for four weeks, and with many difficulties, as we had to confront the unions. We had thought of Boston first, because of the famous Strangler, but New York, a town both monstrous and fascinating, finally seemed a better choice. Placing the Ripper in this town would make him a more fantastic figure.

LF : Beatrice Cenci , which is not a well-known film. It was released in very few countries, had a poor reception, and all the prints have vanished. Note: Wrong! LF : Yes, I have had a project for years, but I have never been able to get it off the ground. I want to call it Roman Black ; it is a study in power. A new survey of the Fall of the Roman Empire in the form of a thriller. But of course I might have to shoot a totally different film right now. LF : I ruined my life for it.

I have no family, no wife, only daughters. All women left me because I never stop thinking of my job. My only two hobbies are my dogs and my sailing boat. Work is very important to me.

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Sure, Fulci had already directed a staggering 22 films and Rambaldi had done some notable effects work, but neither men had established the reputations that would eventually make them famous. Fulci is afterall best known for brutal films such as Zombi 2 , so it was fun to see him shift gears in this Jack London-based spaghetti western. Those of you who are familiar with London should, however, not confuse this movie with the cute Disney films.

He did this by painting over their mediocrity with blood and guts in a aesthetically stylish manner. Although he is best remembered for directing a handful of cult-classics in the horror genre such as Zombi 2 and The Beyond , he did make three Spaghetti Westerns: Massacre Time , Four of the Apocalypse , and Silver Saddle The best of these westerns is Four of the Apocalypse.

The awkward one-liners, the overzealous laughing, the odd musical score, the unexpected philosophizing, the obvious emulation of Easy Rider —it all helps establish and maintain this hard-to-describe mood.


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Less surprising are the depths to which Italian comedy would stoop: most offendable groups are catered for. Fulci was no stranger to comedy, this film coming just three years after the better-known The Eroticist and in typical fashion fills the film with rather more than the traditional low-level laughs, with crude nods at Marxism Nicosia literally sucking the blood of his employees and an actually quite effective take on the familiar vampire film traits.

This awesome film has all the key ingredients that are necessary for a classic zombie epic.

Lucio Fulci - Poetry and cruelty in the movies

First, there are zombies and plenty of them. Second, there is plenty of gore, which is very well placed. Fulci was a master of gore, he used, but never abused it in Zombie. The eyeball-puncturing scene is a classic. Third, there are plenty of exploding heads.

These zombies are slow moving and easy to kill, but they seem to be everywhere. And, finally man is made to pay for messing with mother nature.

Zombie movies always seem to deal in some way with the apocalypse. These are the things that not only make Zombie good, but great on the corpse scale. Best of. Tisa Farrow and a group of vacationing tourists travel to an island where they find a doctor Richard Johnson who is attempting to cure a condition that reanimates the dead.