Italian Gothic Horror Films (1980-1989)

by Roberto Curti

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 (206),

  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 203 Marfori self- released a special 2th

  (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, 202), 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.