The Gosts Of Sodom (“I Fantasmi Di Sodoma”), 1988. Directed by Lucio Fulci. Produced by Antonio Lucidi & Luigi Nannerini. Story by Lucio Fulci. Screenplay by Lucio Fulci & Carlo Alberto Alfieri. Cinematography by Vincenzo Tessicini. Edited by Vincenz Tomassi. Music by Carlo Maria Cordio. SFX by Gino Vagniluca. Starring: Claudio Aliott, Maria Concetta Salieri, Robert Egon, Jessica Moore, Teresa Razzaudi, Sebastian Harrison, Al Cliver (uncredited), Zora Kerova (uncredited), Joseph Alan Johnson (uncredited).
Lamberto Bava was the best of influences… Lamberto Bava was the worst of influences… although his 1985 effort Demons (arguably the Last Great Italian Horror Film) confirmed him as his father’s son, Bava Jr’s Graveyard Disturbance (made just three years later) set the template for a string of anaemic, TV friendly efforts (more Hanna Barbera than Mario Bava) in which gormless yuppie youths confronted lame-assed spooky adversaries in anodyne adventures whose video releases had audiences around the world reaching for the fast forward button while struggling to stay awake.
The Ghosts Of Sodom (which Fulci directed in 1988, virtually simultaneously with the marginally superior Touch Of Death) pinches Demons’ central conceit of cursed celluloid only to put it in the service of “Scooby Doo Vs Third Reich” silliness, resulting in a listless boreathon that makes the likes of Sergio Garrone’s SS Experiment Camp (1976) and Luigi Batzella’s Beast In Heat (1977) look like Marcel Ophüls’ The Sorrow And The Pity (1969).
Towards the end of WWII, a bunch of SS men hole up in a villa and (stop me if you’ve seen something like this before) stave off contemplation of the inevitable by acting out a series of depraved sexual tableaux. Unfortunately the paucity of Fulci’s imagination in this department means that the most depraved thing we witness is Al Cliver shouting at a girl to dance too fast… oh and some bozo trying to pot a snooker ball between a compliant Fraulein’s legs. Before everybody expires from ennui, a stock footage allied bombing raid puts them out of their misery. But the nasty Nazis had the presence of mind to film their tame orgy for posterity…
… and four decades or so later, a campervanload of groovy guys and bitchin’ babes (including Jessica Moore / Lucian Ottaviani from Joe D’Amato’s Eleven Days, Eleven Nights brace) rocks up at the (distinctly unbombed looking) villa to deplete the wine cellar and make out, their libidos inflamed by the photo albums of vintage Nazi porn they discover (“Get a load of these knockers!”) Unwisely, they also crank up the film of that long (and justifiably) forgotten orgy, at which point the villa fills up with Nazi spectres. The flower of Aryan manhood (identified in the credits as “Willy The Nazi” and played by Robert Egon) engages in vanilla S&M shenanigans with the lucky girls.
One of the boys is brow beaten by Nazis into playing Russian roulette for the favours of a sexy female ghost (the uncredited Zora Kerova), only for her breasts to turn to ashes in his hands… doncha just hate it when that happens? Another falls downstairs and dies, his body rapidly degenerating into a pool of pulsating pus…
Mercifully, the Nazi bongo movie reaches the point at which the villa was bombed and the yups find themselves outside, unscathed and remarkably philosophical about the ordeal which they have just undergone…
“That was some adventure!”
“Let’s get the hell out of here!”
“I’m way ahead of you!”
The resurgent Nazi threat is over, for now… but they would have gotten away with it if it hadn’t been for those meddling kids! Just to confuse them further, their dismembered antics would be recycled in another film-within-a-film outing, Fulci’s hysterical A Cat In The Brain aka Nightmare Concert (1990).
Plenty of quality Italian films have examined, in literal or allegorical style, the country’s war-time complicity with Nazism… Antonio Bido’s Watch Me When I kill (1977), Pupi Avati’s The House With Laughing Windows (1976) and any amount of Pier Paolo Pasolini pictures spring to mind. This is certainly not one of them. Fulci’s attempt to reframe Pasolini for the Panino crowd comes up several scooby snacks short of a satisfying picnic, although towards the end you really do start to feel like it’s been going on for 120 days. Looking back on LF’s career nadir hasn’t turned me into a pillar of salt, but I’m struggling to think of anything else I could possibly say in its favour.
Incidentally, Fulci made much of his anti-Nazi credentials (not least when I spoke to him) but anyone who’s watched his interview on the Grindhouse DVD of A Cat In The Brain will have heard him make a pretty reprehensible throwaway crack about The Holocaust… a sorrow and indeed, a pity.