Italian Gothic Horror Films (1980-1989)

by Roberto Curti

  faces turn into weird grimaces and the image of

  lected by the critics. They were light efforts, either

  the kid running toward the camera suddenly

  starring Franchi & Ingrassia or belonging to the sexy

  slows down, freezes and cracks into a thousand

  thread (Una sull’altra) or the Italian thriller (Non si

  pieces, accompanied by Mary’s screams and the

  sevizia un paperino).

  ominous sound of thunder. Black screen, end

  With Paura nella città dei morti viventi, Fulci

  credits. This abrupt closure—decided at the

  seemingly wants us to forgive his earlier slips into

  eleventh hour in post- production, upon the sug-

  bad taste, vulgarity and an often- inattentive routine.

  gestion of the editor, Vincenzo Tomassi, who

  He has made a movie which, although not recom-

  noticed a sudden change of expression on De

  mended for easily impressionable viewers, is the sign

  Mejo and MacColl’s face near the end of the

  of a reached expressive maturity… . The story has an

  take—is both infuriating and chilling, as it ar-

  engrossing pace. It is a succession of events that pro-

  bitrarily denies any trace of a happy ending.

  gressively create a nightmarish atmosphere, and

  Such a final act of annihilation and an anarchic

  Fulci, like a great puppeteer, pulls the strings, at times

  even allowing himself some figurative preciousness.

  stab at conventions is perfectly in tune with

  His film ends up becoming a true grand guignol spec-

  Fulci’s approach to cinema, which he self-

  tacle, with the bloody and gruesome scenes typical

  described as being a “terrorist of genres… . I’m

  of the genre.8

  working inside the genre, but every now and

  then I ignite a bomb that attempts to make the

  It was a sign the director was starting to earn crit-

  genre explode.”6 Which is exactly the case here.

  ical recognition in his home country that went

  Paura nella città dei morti viventi was re-

  beyond the usual bias toward horror films. Soon

  leased in Italy with a predictable V.M.8 rating,

  the younger critics, such as Claudio Carabba,

  to somewhat disappointing box- office grosses

  would openly praise his work, giving way to a

  of slightly less than a billion lire, despite a mem-

  gradual critical reevaluation.

  orable press campaign: the ads featured a laugh-

  The film was distributed theatrically all

  able gimmick worthy of William Castle, a warn-

  over Europe, including the Netherlands, Spain,9

  ing by a “Prof. Sven Cuzak,” primary of the “III

  Portugal and West Germany. The German

  Cardiology Clinic at Houston University”: “…

  edit was sensibly shorter, as the distribution

  and therefore I discourage the vision of the film

  company Alemannia/Arabella removed about

  Paura nella città dei morti viventi to subjects suf-

  ten minutes of expository and dialogues scenes

  fering of cardiocirculatory imbalances: the

  to make the story faster, although the violent

  0 1980: Paura scenes were left uncut. It was a huge box- office

  it featured several patently fake interviews

  hit. On the other hand, the U.K. theatrical ver-

  (among the interviewees were 6-year-old kids

  sion, passed by the BBFC on December 0, 98,

  reciting lines they had obviously memorized,

  was cut by one minute by the distributor Eagle

  such as “If nobody is decapitated, a movie is

  Films, to remove the drill sequence.20 In Great

  boring”), interspersed with gory footage from

  Britain, the film (and its director) found one of

  horror films—including titles such as Mother’s

  its staunchest defenders, Starburst’s Alan Jones,

  Day (980, Charles Kaufman) and Mangiati

  who praised its “claustrophobic atmosphere full

  vivi!—commented by a teacher who warned her

  of menace” and called Fulci “a master of … ma-

  students’ parents of the impending danger rep-

  nipulation… . At this stage in the game his talent

  resented by horror videotapes. Some of the most

  cannot be called merely accidental.”2 Film and

  violent scenes in Fulci’s film were included.

  Filming’s Julian Petley drew a favorable compar-

  Mama, Papa, Zombie triggered a wave of

  ison, calling the film “reminiscent of Tourneur

  seizures against horror videos which marked a

  … in its greater reliance on the power of sug-

  turn of the screw in the history of German film

  gestion, its crepuscular air and its conjuration

  censorship. In the early 980s, the German

  of a nightmarish Other World out of simple

  distributors had had a rather unusual freedom,

  everyday reality.”22 But most critics were not im-

  and such titles as L’aldilà, Maniac and Cannibal

  pressed, to put it mildly, even more so on the

  Ferox were released theatrically uncut, but after

  other side of the Atlantic.

  Mama, Papa, Zombie all this ended abruptly.

  Released in the United States in May 983,

  Fulci’s film was banned and prints of the 983

  Fulci’s film was originally advertised as Twilight

  German Euro Video VHS Ein Zombie hing

  of the Dead but, following a cease and desist

  am Glockenseil (A Zombie Hung on the Bell

  order on the part of United Film Distribution

  Rope)—running 80 minutes and 36 seconds—

  Company, the U.S. theatrical distributor (Motion

  were confiscated by order of the District Court

  Picture Marketing) pulled poster and prints and

  of Munich dated July , 986. An abridged ver-

  released the movie with the title The Gates of

  sion, Ein Toter hing am Glockenseil (A Dead

  Hell. Reviews were generally scathing (“No one

  Body Hung on the Bell Rope), running 7 min-

  with any hope of being entertained should waste

  utes and 40 seconds, was released in 988 on the

  their time or money to see it”23) if not downright

  GM- Vilm label: it was missing complete dia-

  offensive:

  logue sequences and most of the gore (the vomit

  scene was only hinted at, but part of the drilling

  When I want to see a badly dubbed idiotic Italian

  scene was still visible, namely the bit when the

  cheapie, I’ll take Steve Reeves, thanks. I will not—

  drill comes out of the victim’s head). This too

  willingly—take something like The Gates of Hell, a

  was banned and confiscated by order of the Dis-

  badly dubbed, idiotic sleaze fest with nothing to offer

  trict Court of Munich dated May 26, 988. A

  but an abundance of filmed animal innards. The only

  third, slightly more trimmed version, Eine

  interesting aspect is watching the mostly European

  cast try to adjust their Continental cadences to di-

  Leiche hing am Glockenseil (A Corpse Hung on

  rector Lucio Fulci’s
muddled vision of Middle Amer-

  the Bell Rope) also on the GM- Vilm label, came

  ica—sort of a heartland smothered in mozzarella.24

  out in 99 and was banned by order of the Dis-

  trict Court of Munich dated January , 200. A

  In West Germany, Paura nella città dei

  fourth, Ein Kadaver hing am Glockenseil, was fi-

  morti viventi became the target of a notorious

  nally released with an FSK-6 certificate.

  press campaign after the broadcasting in June

  France, as it had happened with Riccardo

  984 of the sensationalist TV reportage Mama,

  Freda and Mario Bava, was the country that em-

  Papa, Zombie—Horror für den Hausgebrauch on

  braced more enthusiastically Fulci as an auteur.

  the channel ZDF. The 4-minute film, directed

  One of the key moments in his career was Paura

  by Claus Bienfait, denounced it as an exemplary

  nella città dei morti viventi’s screening at the 0th

  case of the ultra- violent movies available to mi-

  “Festival international du film fantastique et de

  nors in the home video market: in fact, the Ger-

  science- fiction” in Paris (as Frayeurs),2 where it

  man motion picture rating system, FSK, only

  was given the “Grand Prix du Public” (the au-

  examined theatrical releases, whereas videos

  dience award). Fulci used to recall with great

  could be borrowed virtually by people of all ages.

  pride an episode that happened after the screen-

  Rather than a documentary, Mama, Papa, Zom-

  ing: a girl in a wheelchair approached him from

  bie was closer in concept to a Mondo movie, as

  the audience and thanked him “for the horrors

  1981: L’altro

  

  that you made me experience during the film.

  film in Kill Bill: Vol. 1, when Gogo Yubari (Chiaki Kuriyama)

  They made me feel free. Not like in the outside

  dies crying tears of blood.

  11. Alessandro Tordini, Così nuda così violenta. Enci-

  world.”26 An anecdote which summarizes per-

  clopedia della musica nei mondi neri del cinema italiano

  fectly the director’s concept of the horror film

  (Rome: Arcana, 202), 20.

  as a cathartic shock.

  12. Unlike what some sources state, Gino and Giannetto

  The bi- monthly magazine L’Écran fantas-

  De Rossi and Maurizio Trani did not work on the special

  tique gave ample coverage to the film. A raving

  effects for the film, save for Giannetto De Rossi’s

  uncredited help (he took a cast of Giovanni Lombardo

  one- page review (with stills from Lombardo

  Radice’s head) for the skull- drilling scene.

  Radice’s death scene) called it a “definitive film

  13. Albiero and Cacciatore, Il terrorista dei generi, 27.

  [on zombies] after which it will be useless to re-

  14. John Martin, “Lucio Fulci: L’Edgar Poe du 7ème art,”

  visit the same subject matter, and which ranks

  L’Écran fantastique #49, May 996, 28–34.

  15. Robert Schlockoff, “Entretien avec Lucio Fulci,”

  Lucio Fulci among the best craftsmen of a

  L’Écran fantastique #6, January 98, 20.

  certain branch of the fantastique.”27 On the same

  16. Marcello Garofalo and Antonietta De Lillo, “Il cin-

  issue, the magazine’s editor- in-chief Robert

  ema del dubbio. Intervista a Lucio Fulci,” in Manlio Go-

  Schlockoff conducted a four- page interview

  marasca and Davide Pulici (eds.), L’opera al nero. Il cinema

  with the director, which consecrated him as “the

  di Lucio Fulci. Nocturno Dossier #3, September 2002, 8.

  17. G.Gs. [Giovanna Grassi], “Con gli zombies nella

  new master of horror.” At over 0 years old,

  città sconvolta,” Corriere della Sera, August 2, 980.

  Lucio Fulci had become Italy’s “poet of the

  18. O.G., “Terribili morti resuscitano e uccidono nel

  macabre.”

  grand guignol (con classe) di Fulci,” La Stampa, August 7,

  980.

  N

  19. According to the official ministerial data, it was seen

  otes

  by 8,6 spectators and grossed an amount corresponding

  1. Dardano Sacchetti interviewed, in www. davinotti.

  to 77,06 Euro (http:// infoicaa. mecd. es/ CatalogoICAA/

  com (http://www.davinotti.com/index. php?option=com_

  Peliculas/ Detalle?Pelicula= 80).

  content&task=view&id=70)

  20. The same version was released on video before 984.

  2. Paolo Albiero and Giacomo Cacciatore, Il terrorista

  Subsequently, when it was submitted to the BBFC for a

  dei generi. Tutto il cinema di Lucio Fulci—Seconda edizione

  video certificate, further cuts were made to eliminate

  aggiornata (Palermo: Leima, 20), 2.

  Daniela Doria’s intestinal vomit scene and the brain

  3. Ibid., 24.

  squashing bits, for a total of 2 minutes and 2 seconds. The

  4. Ibid., 27.

  film later passed uncut in 200.

  5. According to the Public Cinematographic Register,

  21. Alan Jones, Starburst #48, 982.

  shooting started on March 24, but the date (reported to

  22. Julian Petley, “City of the Living Dead,” Films and

  the register for bureaucratic purposes) shall likely be post-

  Filming #333, June 982.

  poned by a few weeks.

  23. Dick Fleming, The Daily Times, Salisbury, Maryland,

  6. Michele Romagnoli, L’occhio del testimone (Bologna:

  September , 983.

  Granata Press, 992), 4.

  24. Eleanor Ringel, The Atlanta Constitution, September

  7. Sacchetti interviewed, in www. davinotti. com.

  9, 983.

  8. The original story is summarized and discussed in

  25. Other Italian films screened in competition the fes-

  Manlio Gomarasca and Davide Pulici, “La paura

  tival were Apocalypse domani, Contamination, Macabro,

  dell’aldilà,” Nocturno Cinema #, March 202, 66–69.

  and Ugo Tognazzi’s dystopian drama I viaggiatori della

  9. The scene features porn actor Michael Gaunt (born

  sera. Fulci’s Sette note in nero was screened out of compe-

  Michael J. Dattorre) as one of the gravediggers. The other

  tition, together with Argento’s Profondo rosso.

  one is the blond Perry Pirkanen, one of the leads in De-

  26. Romagnoli, L’occhio del testimone, 24.

  odato’s Cannibal Holocaust and Lenzi’s Cannibal Ferox.

  27. Pierre Gires, “Frayeurs,” L’Écran fantastique #6, Jan-

  10. Besides the premature burial scene in Kill Bill: Vol.

  uary 98, 7.

  2, Tarantino included another passing reference to Fulci’s

  1981

  L’altro Inferno (The Other Hell, a.k.a. The

  C.E.M.S.A.); E: Liliana Serra; AD: Maurizio Tan-

  Guardian of Hell)

  fani; MU: Giuseppe Ferranti; Hair: Maria Teresa

  D: Stefan Oblowsky [Bruno Mattei] [and

  Carrera; ACO: Claudio Bissattini; APD: Francesco

  Claudio Fr
agasso, uncredited]. S: Bruno Mattei,

  Raffa; C: Sergio Melaranci; AC: Luca Odevaine;

  Claudio Fragasso; SC: Claudio Fragasso; DOP:

  W: Elda Chinellato; KG: Mario Boccanegra;

  Giuseppe Berardini (LV-Luciano Vittori); M:

  ChEl: Roberto Roberti; SP: Domenico Cat-

  Goblin (Ed. Grandi firme della canzone/Bixio

  tarinich; SO: Paolo Picchi; Mix: Danilo Moroni,

  2 1981: L’altro Luigi Di Fiore. Cast: Franca Stoppi (Mother Vin-had to be a profit on the budget and I suggested

  cenza), Carlo De Mejo (Father Valerio), Francesca

  we invest it in a second movie, which would be

  Carmeno (Elisa), Susan Forget [Susanna Far-

  00% ours. And so, we reinvested the profit on

  getta] (Sister Rosaria), Frank Garfeeld [Franco

  L’altro Inferno. We shot them both in parallel.

  Garofalo] (Boris), Paola Montenero (Sister As-

  When you shoot two movies in one, the saving

  sunta), Sandy Samuel [Daniela Samueli] (Cata-

  is substantial.”

  tonic Nun), Andrew Ray [Andrea Aureli]

  La vera storia della monaca di Monza was

  (Father Inardo); uncredited: Dolores Calò (Nun),

  an erotic retelling of the story of the Nun of

  Tom Felleghy (The Cardinal), Simone Mattioli

  Monza, included in Alessandro Manzoni’s 827

  (Priest), Pupita Lea Scuderoni (Nun). PROD:

  novel I promessi sposi (a.k.a. The Betrothed),

  Arcangelo Picchi for Cinemec Produzione S.r.l.;

  along the lines of the so- called “nunsploitation”

  PS: Silvio Colecchia; PSe: Giovanna Quadrini;

  thread which included such titles as Interno di

  ADM: Pierluigi Tarabusi. Country: Italy. Filmed

  un convento (978, Walerian Borowczyk) and Im-

  at Convento di Santa Priscilla (Rome), Cimitero

  magini di un convento (979, Joe D’Amato [Aris-

  delle Fontanelle (Naples) and Icet De Paolis stu-

  tide Massaccesi]). L’altro Inferno was instead con-

  dios (Milan). Running time: 94 minutes (m.

  ceived and marketed as a rip- off of Inferno, to

  282); theatrical version: 88 minutes. Visa n.

  the point that the title font in the opening credits

  7322 (7.23.980); Rating: V.M.8. Release dates:

  is roughly the same as Argento’s film.

  .22.98 (Italy), 0.2.98 (France), 2.4.98

  Shooting took place at a convent built in

  (UK), .7.983 (Spain), 9.6.98 (USA). Distri-

  the 920s, above the ancient Roman catacombs

  bution: Accord Cinematografica. Domestic gross: