ing: V.M.4. Release dates: 3.26.988 (Brussels In-
the director’s feature film debut. “There was the
ternational Festival of Fantasy Films), 6.4.992
will to make a genre product, the passion for
(USA—Home video); Distribution: Eagle Home
Gothic stories and the desire to create a product
Video (Italy), Troma (International). Domestic
that was not auteurish, nor classic or ordinary.
gross: not released theatrically. Also known as: Hor-
In fact, I wanted to make a commercial movie.”
ror Queen (U.S.A—Home video), Evil Clutch—
Produced by Marfori with his CSC class-
Die Rückkehr der Dämonen (Germany)
mate Agnese Fontana on a budget of about 00
Note: the song “Evil Clutch,” by Vitali/Mar-
million lire, Il bosco 1 was filmed over the course
fori, is performed by Elisabetta De Palo.
of three weeks, from late August to mid–Sep-
Two lovers, Cindy and Tony, take a trip to
tember 987. The director worked with a crew
the Alps. On the road they help a girl, Arva (ac-
of about 20 and with a cast of five, led by Diego
tually a witch whom we have seen castrating and
Ribon and the Italian- American Coralina
killing her lover), who claims to have been at-
Cataldi Tassoni, the latter a rather popular face
tacked by something horrible at the cemetery.
at that time after her work with Dario Argento
Tony goes to check and has the feeling of being
(Dèmoni 2 … l’incubo continua, Opera and the
1988: Il bosco 1
3
TV program Giallo). On the first week, filming
B.C. In the region, local people still speak a di-
took place on location in the Venetian prealps,
alect, “cimbro,” which retains German words.
in the Lessinia plateau around Asiago before the
Nevertheless, Il bosco 1 tries hard not to
crew moved to Filacciano, in the countryside
look Italian. The form and directing style are
near Rome, for two more weeks of filming in an
blatantly influenced by The Evil Dead and Evil
estate owned by the family of Prince Del Drago.
Dead II (987) to the point of idolatry. The
Il bosco 1 (the number, in the director’s own
Steadicam prowls around the woods at ground
words, is an ironic nod to the plethora of horror
level and fast speed as an evil entity is unleashed,
movie sequels playing in theaters at that time)
and the violence is over- the-top and cartoonish.
has a Gothic core to it. As Marfori stated, “I
Besides the aforementioned “evil clutch,” the
wanted to make a film about mountains and
film sports a fast- moving zombie who amputates
ghosts, in an openly Gothic key, by concocting
a character’s hands with a heavy stone and
a story with a mysterious atmosphere… . I
chases the heroine with a scythe (and later he
wanted to create a style similar to the Hansel
hooks her like a fish by the cheek with a rod!),
and Gretel tale, but in a Gothic version.”2 The
monstrous tree root tentacles coming out of the
story takes place in a handful of milieux—a
ground, a chainsaw- vs-axe showdown, zombies
small hamlet, a cemetery, a dilapidated farm-
drooling multicolored pus and corpses melting
house, a barn (but with a cuckoo clock incon-
like hot wax.
gruously placed on the wall)—and draws from
If this sounds amusing on paper, Marfori’s
the Gothic tradition, with the theme of the two
direction turns out to be an ordeal for the
lovers travelling in a foreign country (and
viewer. Il bosco 1 is conceived and shot with all
getting lost in a remote and inhospitable region),
the enthusiasm of a beginner who hasn’t got a
and with the figure of the female witch.
clue of what moviemaking is about. At less than
The character of Arna is Marfori’s version
90 minutes, it looks and feels like an overinflated
of the evil sorcerers who seduce and destroy the
short film (the horror story Algernoon tells the
weak- minded males, a trope of Italian horror
protagonists, which has no other function than
since its early days. (Let’s put aside for a moment
to pad the running time, consists of excerpts
the fact that actress Elena Cantarone doesn’t
from Gorysand). The systematic use of long
have an ounce of Barbara Steele’s alluring power)
takes and POV shots is monotonous and point-
Under her seductive façade, the witch conceals
less, with Marfori having his cameraman swirl
an ugly appearance, but not just that: in a mind-
around the actors like the invisible presence in
numbing riff on the theme of the “vagina den-
Raimi’s film (as in the cemetery scene) as if it
tata,” a several feet long claw emerges from be-
were enough to create atmosphere: see, for in-
tween her legs and grabs her unfortunate lovers
stance, the expository scene where Cindy, Tony
in the crotch with gruesome effects, thus giving
and Algernoon descend through a small hamlet
the film its English language title Evil Clutch.
and discuss the evil nature of the place.
Such a depiction of sexuality as morbid and
Such an approach predates the film buff,
punitive recalls the past Gothic classics as well,
fanboy mentality which will characterize many
albeit with a distinctly tongue- in-cheek attitude.
Italian indie filmmakers over the next decades,
Another typical Gothic element are the
worried about wearing their influences on their
ruins as containers of a past evil waiting to
sleeve and attempting bravura stunts in a mis-
be unleashed. The character of Algernoon, the
guided conception of what film technique is.
weird horror novelist who warns the protago-
Ditto for the scenes where the camera lingers on
nists about the dangers of the surroundings, is
the gory aftermath to emphasize the make- up
a bizarre sort of savant, who rides around in an
effects, not unlike the many independent U.S.
outmoded motorbike and speaks through a
horror films of the period. The F/X range from
voice device. Most notably, the film takes place
barely competent to overly clumsy, with the
in an Italian setting, the Venetian alps, an ele-
radio- controlled claw standing out, but the sup-
ment which marks—at least ideally—a turning
posedly suspenseful bits are ruined by the am-
point from the many Italian horror movies set
ateurish mise-en-scène. Examples? Tony strug-
abroad, from Fulci’s works to the Dèmoni dip-
gling with the tree root tentacles in a similar way
tych: the dialogue even mentions the Cimbri, a
as Bela Lugosi did with the rubber octopus in
Germanic population who lived in the area and
Ed Wood’s Bri
de of the Monster (9), the
fought the Roman Republic in the 2nd century
scythe- wielding zombie trying not to hit the
4 1988: La casa 3
heroine while chasing her, the final showdown
based on the true story of the killing of a teenage
between Cindy and the zombie.
girl, which was to be “a harsh recreation in the
The handful of characters that populate the
way of the 970s Italian poliziottesco” but was
story are the best indication of Marfori’s approach,
severely changed (and self- censored) in the
and perhaps the proof of Il bosco 1’s none too se-
making. He then made Il ritmo del silenzio
rious intentions. Tassoni is dressed like a
(a.k.a. Port of Crime/Mafia Docks, 993), an Ital-
Madonna lookalike and in the Italian version her
ian/U.S. co- production featuring Rena Niehaus,
character sports a hard- to-swallow American ac-
Traci Lords and Randi Ingerman, and eventually
cent (which is on a par with the bad English spo-
landed on television, where he directed the soap
ken by the characters in the international version),
opera Un posto al sole, as well as several docu-
while the surreal- looking Algernoon, in the di-
mentaries. Marfori’s name resurfaced in recent
rector’s words, looks like “a perfect cross between
years, with the short film The Unfortunate Life
Snoopy and Lieutenant Columbo.”3 The script has
of Georgina Spelvin Chained to a Radiator (20)
them deliver stupid dialogue and behave in an in-
and the featurette Soviet Zombie Invasion (206),
coherent way, with half of the film consisting of
co- financed with Russian festival organizer Vik-
Cindy’s character running away and screaming
tor Bulankin and shot in HD cam in Moscow,
while the Steadicam is chasing her. Commenting
which according to the director’s intentions
on the atrocious, cartoonish acting, Marfori half-
should be the pilot for a horror series.
jokingly mentioned Werner Herzog’s Herz aus glas
In 203 Marfori self- released a special 2th
(976) as an influence of sorts: “They are not sim-
anniversary edition DVD of Il bosco 1. It included
ply actors who act badly … they act weirdly.”
a celebrative feature- length documentary with
The movie had its world premiere on
the director evoking the genesis and the making
March 26, 988, at the 6th Brussels International
of the film, commenting at length over the “most
Festival of Fantastic Films (BIFFF), and on June
famous” scenes, acting as a tour guide for dozens
7th it was screened at Rome’s Fantafestival (on
of fans through the actual locations, signing au-
the same night as Fulci’s Zombi 3). On both oc-
tographs, and overall self- congratulating himself,
casions it was presented with the international
savoring the cult status that his feature film debut
title Evil Clutch. However, it was submitted to
has reached since its release and explaining it as
the Italian rating board only in 990 as Il bosco
follows: “It puts together unblendable things: cul-
1, earning a V.M.4 certificate, and was confined
tured music, comics, trash, the absurd, the
to home video in its country. Marfori claimed
surreal … putting together all these elements was
that for a young filmmaker like him to make a
a heterodox gesture.”
genre movie was an act so outside the box that
the “official” film world ostracized his movie—
NOteS
a delusional view which simply doesn’t consider
the overall crisis of Italian cinema in the late
1. Brando Taccini, Stracult Horror. Guida al meglio (e
980s. But Marfori managed to cut a deal with
al peggio) del cinema horror italiano anni ’80 (Rome: Quin-
tilia Edizioni, 202), 240.
Troma, and Il bosco 1 was picked up and released
2. Ibid., 24.
to home video by Lloyd Kaufman and Michael
3. This and Marfori’s quotes, where not specified oth-
Herz’s label in 992 as Evil Clutch, with the di-
erwise, come from the documentary Il bosco 1–25th An-
rector credited as Andreas Marfori. Reviews
niversary Edition, shot by Brando Taccini.
were scathing: “If you understand any of what’s
4. [not signed], “The Video Eye of Dr. Cyclops,” Fan-
goria #8, November 992, 3. Incidentally, the reviewer
going on in this dubbed flick, you’ve probably
mistakenly believes the name of the zombie (Fango) to be
been drinking what writer/director Andreas
“the ultimate ass- kiss” (Fangoria being usually called Fango
Marfori was,” wrote Fangoria, adding “In all, this
by fans). But in this case, Marfori wasn’t paying a tongue-
movie features a level of tedium and inanity to
in-cheek homage to the popular horror movie magazine:
in Italian, Fango means “mud,” and indeed in the film the
tax even the most diehard gorehound’s pa-
zombie comes out of the mud.
tience.”4 As haphazard and trashy as it was, the
5. Andrea Marfori interviewed, in www. jamovie. it
movie found an international audience, which
(http://www.jamovie.it/intervista-ad-andrea-marfori-il-
ultimately was just what Marfori wanted. “It
regista-del-mitico-il-bosco-/).
has its own independent life, its soul,” he com-
mented about its enduring popularity among
La casa 3—Ghosthouse (Ghosthouse)
horror fans.
D: Umberto Lenzi. S: Umberto Lenzi; Dial:
The director’s next film was Perduta (990),
Sheila Goldberg; SC: Cinthia McGavin; DOP:
1988: La casa 3
Franco Delli Colli (Telecolor, Eastman Kodak);
to investigate and discover a trail of gruesome past
M: Piero Montanari (Ed. Idra Music); E: Rosanna
events. It seems that the key to the mystery is the
Landi; PD, CO: Massimo Lentini; AD: Alexander
malevolent clown doll which Henrietta’s father—
Colby [Massimo Antonello Geleng]; SD: Roberto
a mortician—stole from a dead girl and gave her.
Granieri; MU: Peter Moor [Pietro Tenoglio];
Meanwhile, Valkos is still at large…
Hair: Paula White [Adriana Sforza]; AD: Clay
By the mid- to late-eighties, the Italian
Millicamp [Claudio Lattanzi]; AsstArtD: Rob
genre film industry was winding down. The
Rockett; SE: Dan Maklansky, Robert Gould,
home market would not welcome low- budget
Roland Park; SO: Larry Revene; SOE: Hubrecht
horror films if not in the summer season, where
Nijhuis; AC: Daniel Kalehoff [Daniele Massac-
the lack of major releases would allow them a
cesi]; G: Brian Taitt [Elio Terribili], Mark
niche in the distribution circuit. Independent
Caruso, Sam Winston, Albert Ellis; El: Saul
companies aimed mainly at the foreign markets,
Barry, Jeff Herbert, Bob Siegel; W: Kou Ami; SP:
where their products would sell more easily, ei-
Jeff Hest [Carlo Alberto Cocchi]; AE: Henry
ther to theatrical distribution or more likely to
Robinson [Enrico Grassi]; Generator Operator:
home video.
Silver Murray; SS: Olga Pehar; DialD: Sheila
One of such companies was Aristide Mas-
Goldberg. Cast: Lara Wendel [Daniela Barnes]
saccesi’s Filmirage. Founded in 980, it produced
(Martha), Greg Scott [Greg Rhodes] (Paul
horror, sci- fi, and erotic films, with Massaccesi
Rogers), Kristen Fougerosse (Henriette Baker),
performing various duties, and operated with
Mary Sellers (Susan), Kate Silver (Tina Dalen),
an eye firmly on foreign deals. For several years
Ron Houck (Mark Dalen), Martin Jay (Jim
Filmirage churned out virtually only films di-
Dalen), Willy M. Moon (Pepe), Donald O’Brian
rected by Massaccesi, usually under his alias Joe
[O’Brien] (Valkos), Susan Muller (Mrs. Baker),
D’Amato (one exception was Mino Guerrini’s
Alain Smith (Sam Baker), William J. Devany
comedy Cuando calienta el sol … vamos alla
(Lieutenant), Ralph Morse (Coroner), Robert
playa, where Massaccesi was the director of pho-
Champagne (Mortician), Hernest Mc. Kimnoro
tography). By the mid–980s Filmirage started
(Cemetery Custodian). PROD: Aristide Mas-
producing low- budget horror films directed by
saccesi for Filmirage Production Group
other filmmakers, namely Deran Serafian’s In-
(Rome); PS: Tony Hood; PAss: Mary Noolite,
terzone and Michele Soavi’s Deliria, and it was
John Therrien; ADM: Charles Wallach. Coun-
Massaccesi’s company who picked up the pro-
try: Italy. Filmed in Boston and Cohasset, Mas-
duction of Umberto Lenzi’s first horror film
sachusetts (USA). Running time: 9 minutes (m.
since Incubo sulla città contaminata.
2632). Visa n. 83280 (.23.988); Rating: V.M.4.
Lenzi had written the story in January 987,
Release dates: .988 (France—Avoriaz Fantastic
and immediately found Italian and American
Film Festival), .2.988 (Japan), 6..988
backing. Initially titled Ghosthouse, the project
(France), 8..988 (Italy); Distribution: Gruppo
had to be financed by producer Roberto Di
BEMA. Domestic gross: n.a. Also known as: La
Girolamo, who backed out due to money issues.
Italian Gothic Horror Films (1980-1989) Page 47