Posts Tagged With: Mondo Macabro

Dizzy Blondes… VERTIGO Goes Go-Go In Lucio Fulci’s PERVERSION STORY.

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BD. Region Free. Mondo Macabro. Unrated.

By 1969 Lucio Fulci, the self-proclaimed “terrorist of the genres”, had compiled a solid track record of domestic box office success with every filone he ever waded into… youthsploitation pictures, comedies, caper movies, spaghetti westerns… it was inevitable that he would be given the opportunity to try his hand in the newly faddish field of giallo. His maiden entry in the thriller stakes, with Una Sull’Altra (“One On Top Of The Other” aka Perversion Story… the original Italian title resonating far more cleverly with what actually goes on in the film) preceded the model that Mario Bava had been refining since The Evil Eye (1963) and Blood And Black Lace (1964) hitting critical mass with Dario Argento’s international crossover hit The Bird With The Crystal Plumage (1970). Before that smasheroo prompted descriptions of Argento as “The Italian Hitchcock”, Fulci was fusing the bonkbusting formula of Romolo Guerrieri and Umberto Lenzi‘s Carroll Bakerthons with his own take on The Master’s Vertigo (1958), with a few noirish clichés (e.g. waiting on a gubernatorial reprieve in the condemned cell) thrown in a for good measure).

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Ah, The Jacey. Subsequently an evangelical church, then knocked down to build a shopping mall.

Jean Sorel had starred in Guerrieri’s template-setting The Sweet Body Of Deborah (1968) and would take the male lead in such subsequent variations on that theme as Umberto Lenzi’s A Quiet Place To Kill (1970) and José María Forqué’s The Fox With The Velvet Tail (1971). His bland, masculine good looks will inevitably tempt viewers of these films into suspecting that he’s got to be up to something nefarious although sometimes, of course, there’s a double bluff going on and there really is nothing more than an ineffectual numpty lurking beneath that smooth exterior.

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In Perversion Story Sorel plays Dr George Dumurrier (a subliminal Hitchcock nod in itself), director of the San Francisco clinic that takes his name. Ever the opportunist,  George has got more of an eye for the bottom line than the Hippocratic oath and wastes no opportunity to hype the clinic with such gimmicks as announcing heart transplants that he’s in no position to deliver. In the process he pisses off his sensible brother / junior partner Henry (Alberto De Mendoza) no end and his neglectful careerism and indiscrete affair with Jane (Elsa Martinelli) alienate his sickly wife Susan (Marisa Mell). When a mix up between her asthma medication and sedatives lead to Susan’s death, the discovery of a life insurance policy with George as her beneficiary looks bad enough … but things take an even more sinister turn with the discovery of Monica Weston, an “exotic dancer” who’s a dead ringer for Susan. George and Jane’s investigations into the ever-deepening mystery lead him further and further down a dark path which will terminate in the gas chamber at Alcatraz…

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Perversion Story proves that Fulci hadn’t been wasting his time since assisting Steno in the early ’50s (including on the first Italian features to be shot in colour) and directing nearly 25 of his own pictures in the meantime. Throughout this one he alternates spacious panoramas of San Francisco in automative action with claustrophobic, geometric compositions and deep focus shots that testify to his visual imagination and the technical virtuosity of DP Alejandro Ulloa and camera operator Giovanni Bergamini.

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Ditto the periodic eruptions of split screen work. Coincidentally, round about the time Fulci was making Perversion Story, Martin Scorsese was splitting Michael Wadleigh’s Woodstock (released 1970) into panels and Brian De Palma (for whom split screen and depth focus would become part of his directorial signature) was incorporating more of the same into Dionysus In ’69 (another 1970 release). As for the sex scenes apparently shot from inside red satin sheets…

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All of this distracts admirably from Perversion Story’s many glaring narrative failings (on which more in a moment…)

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Perversion Story represents the first occasion during which Lucio Fulci was let loose on American locations and the film fair crackles with his love of that country’s cinema and of America itself. To the appropriately beatnik jazz stylings of Riz Ortolani’s overheated OST, Fulci presents a visual paean to Neal Cassady’s vision of the USA as cars, girls and an endless road… although of course the road comes to an end on the West Coast and had already run out for Cassady, dead at 41 by 1968. The beatnik / hippy scene was also dead on its feet by the time Fulci arrived in San Francisco, with straight tourists trying to snatch a fleeting sniff of its remains in seedy “swinging” establishments like the one wherein Monica plies her exotic trade.

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Frustrated fuddy-duddies would also rub up against happening hep cats, again with discouraging results, in Fulci’s next giallo, the following year’s Lizard In A Woman’s Skin (click the link for a discussion of the impressive job Mondo Macabro already did on that title). The Summer of Love is over and the world belongs to suited’n’booted bastards like George Dumurrier. He’d like to think so, anyway, but as the man says: “If the finger print matches, it’s the gas chamber for you, Doc!”

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The go-to edition of Perversion Story prior to this one was Severin’s 2007 DVD release (now out of print) which came with a nice bonus CD of Ortolani’s score. Mondo Macabro’s Blu-ray provides a predictable step up in image quality (unimpaired by any significant grain gain) and clocks in ten minutes longer but if you’re hoping for any clarification of the film’s wayward plotting… well, don’t hold your breath (unless of course you’re reading this in a gas chamber, in which case by all means hold your breath!) I do love Perversion Story but every time I rewatch it, I become more aware of how little sense is made by its storyline (concocted by Fulci, Roberto Gianviti and Jose Luis Martinez Molla, though the latter is conceivably billed merely to fill co-production quotas). Yes, I know that Vertigo itself  seriously stretches credibility at certain points but “far-fetched” barely begins to do justice to Fulci’s film. Not only does it beggar belief that Mell’s character could set up such an elaborate parallel life for herself (I’ve got no qualms about dropping “spoilers” here, I mean we’ve already established that PS is a Vertigo variant)… indeed, that she could carry off two such fabrications (“Susan Dumurrier” is ultimately revealed to be as ersatz a construction as “Monica Weston”) but it’s difficult to see what she might ever have gained from the arduous effort that must have gone into creating Monica. Surely, having framed George for the killing of Susan, she should have just disappeared into a discreet and anonymous alias (though of course in that event, Fulci would have had significantly less of a saga to unfold and we the viewers, considerably less eye candy to contemplate).

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A likely story…

Fittingly for a Hitchcock pastiche, Fulci himself pops up in probably the most substantial of his early cameos, as a forensic scientist, looking well fed but thinning a bit on top (though what he’s got has been teased into impressive quiffage of which even Adriano Celentano might have been proud). After a couple of minutes presenting slides of handwriting that seem to push George even closer to his appointment at Alcatraz, Fulci signs off with: “I’ll be next door, writing up my report”, though in fact he hangs around, badgering some laboratory underlings at the back of the shot for another minute or so, old ham that he is.

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No bonus CD here but there’s the now mandatory overview from Beyond Terror author Steven Thrower, who’s always worth listening to, plus interviews with Elsa Martinelli and Jean Sorel, who just seems to look more distinguished with every passing year and here remembers Fulci more as a collaborator and family friend than via the usual recitation of flakey behaviour. You also get a trailer, which points out that death chamber attendants and technicians actually appear in the film, as they do (but can’t resisit gilding the lily by claiming that they were hot from a recent execution) and a truly wild reel of excerpts from current and upcoming Mondo Macabro releases.

This looks like being the definitive presentation of Perversion Story for quite some time to come.

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You might think she’s crazy, but Marisa Mell wants you to lick her decals off, baby…

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