horrors risen from the grave to devour the liv-
effect achieved by building a rudimentary
ing.”9 In his in- depth review of the film in the
Steadicam surrogate as the production couldn’t
same issue, future film director Christophe Gans
afford hiring one: a sort of a wooden suitcase
praised it with much more conviction than he
with the camera placed inside it.
reserved to L’aldilà. Calling Black Cat a “very de-
Black Cat recalls Fulci’s previous works in
vious and camouflaged” remake of Paura nella
many ways. The cemetery scenes and the overall
città dei morti viventi, Gans described it as “an
description of the village suggest the grim mood
exercise in style, revealing of the director’s fa-
of Paura nella città dei morti viventi, while the
vorite techniques. The pleasure we can take in
sequence in which Jill is attacked by bats echoes
this spectacle, a true visual feast, is therefore all
Una lucertola con la pelle di donna, and the one
on the surface as the director’s proceedings are
in which Ferguson (Bruno Corazzari) falls to his
exacerbated by the reference to Edgar A. Poe.”
death onto some construction spikes recalls
In discussing Fulci’s visual choices, the French
Gabriele Ferzetti’s deadly fall in the church scene
critic pointed out the use of crane shots, noting
in Sette note in nero. Fulci had already paid hom-
how “fear grasps the characters with the speed
age to one of Poe’s most perturbing themes—
of a soaring camera, a Damocles’ sword suddenly
imprisonment and premature burial—in the
brandished on their heads. Whereas American
977 film; and he had also offered a stunning
directors insist on making the crane movement
variation on the theme in one of Paura nella città
the coarse representation of a release and, even
dei morti viventi’s most memorable scenes. The
more, of a “happy end,” Fulci infuses this mania
climax, with Gorley destroying the wall behind
with a malevolent dimension.”20
which Jill has been buried alive with a pickaxe,
Years later, however, Fulci himself dis-
is a combination of both earlier films, with the
missed the result as “a weak film, except for
camera zooming alternatively on the pickaxe
Donaggio’s music, even though it’s got very good
and on Miles’ face.
actors… . We all failed with The Black Cat, even
This time, however, the director didn’t re-
Argento.”2 His next directorial job would see
sort to delirious over- the-top gore. According
the director teaming again with Fabrizio De An-
to Proietti, “he understood that if he put offal in
gelis’ Fulvia Film with the outstanding …E tu
the movie he would ruin it,” but perhaps it was
vivrai nel terrore! L’aldilà.
also Sbarigia who wanted to avoid a V.M.8 rat-
ing. In fact, Black Cat (Gatto nero)—the full Ital-
Notes
ian title included “the title’s contextual and faith-
ful translation into Italian,” as requested by the
1. Romagnoli, L’occhio del testimone, 2.
law—was passed with a V.M.4 rating after a
2. For an analysis of D’Anza’s mini- series, see Curti,
Italian Gothic Horror Films, 1970–1979, 224–22.
small cut (3,80 meters) in the scene where the
3. Albiero and Cacciatore, Il terrorista dei generi, 26.
dead lovers’ rotten bodies are found covered
4. Robert Schlockoff, “Entretien avec Lucio Fulci,”
with rats in the refrigerating cell, and premiered
L’Écran fantastique #22, January 982, .
in Italy on August 4th, in a venue in Jesolo
5. Variety, June 4, 980, quoted in Stephen Thrower,
Beyond Terror. The Films of Lucio Fulci (Godalming,
(Venice). The critics were rather kind with it,
Surrey: FAB Press, [999] 206), 22.
perhaps more because of the lack of gory ex-
6. Albiero and Cacciatore report different dates, from
cesses than for the Poe connection,8 but Italian
August to early October 980 (Albiero and Cacciatore,
box- office grosses were below expectations,
Il terrorista dei generi, 267), while Stephen Thrower reports
barely over 430 million lire. Foreign sales were
the starting date as August 4 (Thrower, Beyond Terror,
220). The film was reported as finished by Variety on Oc-
satisfying, though, resulting in theatrical releases
tober , 980.
in several European countries (Netherlands,
7. Schlokoff, “Entretien avec Lucio Fulci” (982), 0.
Norway, France, England) and overseas.
8. David Miller, The Complete Peter Cushing (Rich-
Black Cat was screened in competition at
mond, Surrey: Reynolds & Hearn, 200), 6.
9. Albiero and Cacciatore, Il terrorista dei generi, 267.
the th “Festival international du film fantas-
Other sources suggest a schedule conflict with David Hem-
tique et de science- fiction” in Paris, together
mings’ The Treasure of the Yankee Zephyr (98).
with Quella villa accanto al cimitero, and gained
10. Albiero and Cacciatore, Il terrorista dei generi, 444.
ample coverage in L’Écran fantastique. In the fes-
11. Garofalo and De Lillo, “Il cinema del dubbio. Inter-
vista a Lucio Fulci,” 8.
tival chronicles, Pierre Gires labeled it “a mel-
12. Manlio Gomarasca. “Saprofito. Intervista con Al
lower Fulci which has favorably surprised those
Cliver,” Nocturno Cinema #3, June 997, 8.
who saw him only as the painter of innominable
13. Igor Molino Padovan, Giorgio Navarro and Luca
60 1981: Bollenti Rea, “Dagmar Lassander, il rosso segno della bellezza,”
De Laurentiis, Enzo Nigro; PSe: Roberto Cartocci;
Amarcord #3, May- June 998, 2.
PSeA: Pietro Proietti; ADM: Maurizio Nobili.
14. Kezich, Il nuovissimo millefilm, 60.
Country: Italy. Filmed at the Castle Piccolomini
15. Albiero and Cacciatore, Il terrorista dei generi, 268.
16. Michele Anselmi, “Mostri con l’anima,” L’Unità, May
in Balsorano, and at De Paolis In.Ci.R. Studios
, 982.
(Rome). Running time: 92 minutes (m. 2634).
17. Albiero and Cacciatore, Il terrorista dei generi, 269.
Visa n. 77444 (2.23.98); Rating: all audiences.
18. “Even though it abuses Poe’s name and tells a rather
Release date: 2.30.98 (Italy); Distribution: D.L.F.
different story from the title, the film is not devoid of sug-
gestion. Well- shot, set, photographed and edited with care.”
Domestic gross: approx.76,000,000 lire. Also
a.v. [Aldo Viganò], “Gatto nero e scienziato folle
known as: Qui c’est ce mec? (France), He, Geister!
nell’horror di Fulci da Poe,” La Stampa, June , 98.
/> (West Germany), The Ghost Who Loves Sex
19. Pierre Gires, “Onzième anniversaire du Festival de
(Philippines), Forróvérű kísértet (Hungary).
Paris,” L’Écran fantastique #22, January 982, 4.
Count Giovanni degli Uberti, a nobleman
20. Christophe Gans, “Les deux nouveaux films de
Lucio Fulci,” L’Écran fantastique #2, November 98, 9.
close to financial collapse, inherits a magnificent
21. Garofalo and De Lillo, “Il cinema del dubbio. Inter-
castle from his uncle Ubezio. A Swiss company is
vista a Lucio Fulci,” 8.
ready to buy the manor from him for two billion
lire and turn it into a luxury hotel, but there is a
Bollenti spiriti (Hot Spirits)
problem: Giovanni is not the only heir, but he shares
D: Giorgio Capitani. S and SC: Franco
the property with a young nurse named Marta, who
Marotta, Laura Toscano; DOP: Silvano Ippoliti
has been bequeathed 10 percent of it. With the aid
(Technovision, LV- Luciano Vittori); M: Piero
of his lawyer, Vittorio concocts a scheme to have
Umiliani (Ed. Ameuropa International Negritella),
Marta sell him her share thus enabling the sale of
E: Sergio Montanari; ArtD, CO: Ezio Altieri; AD:
the castle. But he finds out that the family manor
Marzio Casa; SS: Lucilla Clementelli; C: Enrico
is inhabited by the ghost of his ancestor Guiscardo,
Sasso; AC: Andrea Sabatello; 2ndAC: Luigi Con-
who died a virgin 300 years earlier, and that Guis-
versi; SP: Roberto Nicosia Vinci; Press attache:
cardo’s soul cannot find peace unless he finally
Naria Rühle; ACO: Tiziana Mancini; APD: Mas-
makes love to a woman. A series of misunderstand-
simo Spano; MU: Giulio Mastrantonio, Pier An-
ing ensue, because Guiscardo is a dead ringer for
tonio Mecacci; Hair: Maria Teresa Corridoni, Pa-
Giovanni, and the two are often mistaken for one
trizia Corridoni; AE: Carlo Bartolucci; 2ndAE:
another. The plot thickens when Giovanni finds out
Carlo D’Alessandro; SO: Claudio Maielli; B:
that his lover, Nicole, is the wife of the Swiss entre-
Stefano Zito; W: Marisa Vivarelli Cherubini,
preneur he is about to meet during a party at the
Bertilla Silvestrini; KG: Renato Cinti, Sergio Profili;
castle. What is more, when he meets the beautiful
ChEl: Marcello Cardarelli; Mix: Danilo Moroni.
Marta, Giovanni falls in love with her…
Cast: Johnny Dorelli [Giorgio Guidi] (Count Gio-
After the commercial success of the amiable
vanni degli Uberti/Guiscardo), Gloria Guida
sophisticated comedies Aragosta a colazione
(Marta Sartori), Alessandro Haber (Dr. Vittorio
(979) and Odio le bionde (980) both starring
Cavalletti Spada LL.D.), Lia Tanzi (Nicole Steiner),
Enrico Montesano, producer Silvio Clementelli
Adriana Russo (Chambermaid), Lory Del Santo
asked scriptwriters Laura Toscano and Franco
(Lilli, the Call Girl), Francesca Romana Coluzzi
Marotta to write another comedy script for di-
(Station Attendant), Geoffrey Copleston (Dr. Eric
rector Giorgio Capitani. Born in 927, Capitani
Steiner), Roberto Della Casa (Antonio, the
had started directing in the 90s: after a handful
Waiter), Giorgio Gobbi (Postman), Corrado Olmi
of tear- jerking melodramas, he soon turned to
(Doctor); uncredited: Bruno Alias (Guest),
comedies, with appreciable results, even though
Erminio Bianchi Fasani (Guest), Angelo Boscariol
his best film was perhaps the grim Western Og-
(Worker), Rossana Canghiari (Guest), Eolo
nuno per sé (a.k.a. The Ruthless Four, 968), writ-
Capritti (Donor), Carlo Cartier (Electrician), En-
ten by Fernando di Leo and starring Van Heflin,
rico Cesaretti (Guest), Raffaele Di Mario (Guest),
Gilbert Roland, Klaus Kinski, and George
Lionello Pio Di Savoia (Giovanni), Tom Felleghy
Hilton. But it was with Aragosta a colazione that
(Donor), Giulio Massimini (Waiter), Vittorio Ri-
the director had shown his skills in the French-
pamonti (Guest), Maria Tedeschi (Amelia Bor-
style pochade based on misunderstandings and
don), Pietro Zardini (Old Station Attendant).
slapstick gags, with a rather different structure
PROD: Silvio Clementelli, Anna Maria Alementelli
than most Italian comedies of the period, less
for Clesi Cinematografica, Italian International
vulgar and relying on pitch- perfect comic timing
Film (Rome); PM: Marcello Crescenzi; PS: Guido
rather than verbal jokes.
1981: Bollenti 6
A vehicle for the popular singer- turned-
great director. He was not what I would call a
actor Johnny Dorelli, Bollenti spiriti relies on a
model, but surely his work as a filmmaker in-
mild supernatural- tinged plot, like other come-
fluenced our choices in the script.”2
dies of the period. The story, which revolves
As for Capitani’s direction, it is very precise
around a haunted castle inherited by a bankrupt
and always at the service of the performers and
nobleman, draws from the typical genre clichés
the gags, with an admirable levity throughout.
and owes a lot to René Clair’s The Ghost Goes
The Corriere della Sera film critic Giovanni
West (93). It is also similar to both C’è un fan-
Grazzini praised the director and suggested
tasma nel mio letto (98) and La casa stregata
an illustrious comparison term: “Choosing as
(982), for it features a ghost with strong sexual
model the American Stanley Donen, Capitani
needs, who is condemned by a secular curse to
pursues honorably his project of helming Italian
wander in the family castle until he mates with
comedies that, for their svelte rhythm and grace-
a living partner. But Guiscardo (Dorelli, in an
ful touch, make paradox pleasant and give levity
amusing wig) is a stuttering, nerdy wimp who
to farce.”3
doesn’t know how to seduce a woman (and,
The director is also aided by Johnny
being dead for 300 years, doesn’t even know
Dorelli’s comedy skills. An accomplished singer,
what panties are).
Dorelli had evolved from his early TV appear-
The theme of the Doppelgänger is also
ances to the movies, first with spoofs such as Ar-
played for laughs, as Guiscardo continuously
rriva Dorellik! (967, Steno), before moving on
takes his descendant Giovanni’s place with hu-
to more committed roles, most notably in Pane
morous results: the sexual innuendoes—such as
e cioccolata (974, Franco Brusati), alongside
when Giovanni mistakes the other heir Marta
Nino Manfredi—where he played an Italian
(Guida) for a hooker he has called in order to
businessman in Switzerland who goes bankrupt
release his ancestor from his pains—are spiced
and commits suicide—and as the ruthless re-
with a moderate number of double- entendres,
porter who investigates a serial killer, only to
and Gloria Guida doesn’t have any nude scenes,
find out a most shocking truth, in Luigi Zampa’s
unlike the sexy Lory Del Santo. The latter, as the
underrated Il mostro (977). Bollenti spirit was
hooker, spends much of her brief screen time
the first movie that paired Dorelli with Gloria
wearing only her panties (which she tells Guis-
Guida, who would soon become his wife: the
cardo she will take off in exchange for “dough”
two actors had met on the stage comedy Accen-
… resulting in yet another misunderstanding).
diamo la lampada (979), and their union would
It all climaxes in a lengthy party scene (which
result in Guida giving up acting after their next
basically reprises those seen in Capitani’s previ-
film together, Sesso e volentieri (982, Dino Risi).
ous comedies scripted by Marotta and Toscano)
The chemistry between the two leads is all too
where all kinds of slapstick ensue before the ex-
evident, and the gorgeous actress has at least one
pected happy ending.
memorable scene when, at a gas station, she is
The result is déjà-vu but nonetheless
given to replay the iconic moment in The Seven
amusing. The breezy script keeps the movie
Year Itch (9) when Marilyn Monroe’s skirt
afloat with misunderstandings galore, and the
is blown upwards. As usual in productions of
typical Gothic setting and elements, complete
the era, product placement is massive and ag-
with trapdoors and secret passages, are em-
gressive: Dorelli smokes Merit cigarettes and
ployed for laughter with pleasant results. As
drinks Amaro Ramazzotti (which he advertised
Toscano explained, “the misunderstandings
on television during that period).
were brought to their extreme consequences,
Bollenti spiriti was a decent box- office
for the ghost, his appearances and disappear-
success, although perhaps not as much as its
ances gave an infinity of possibilities to the
makers expected. It ended up at the 42nd place
story. But in all our stories there is always a re-
among the season’s top- grossers. Capitani’s next
alistic starting point. That is, the protagonist is
film was a bizarre comedy about terrorism, Teste
Italian Gothic Horror Films (1980-1989) Page 18