Posts Tagged With: Zombies

Hate Island… Bruno Mattei’s ISLAND OF THE LIVING DEAD Reviewed.

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DVD. Region 1. Intervision (Severin). Unrated.

Former crud film cohort Claudio Fragasso having struck out for relative respectability with the likes of the Palermo-Milano movies, the indefatigable Bruno Mattei hitched his star to those of producer Gianni Paolucci and writer Antonio Tentori (a duo which would resurface to discouraging effect in 2012 on Argento’s Dracula In 3-D). The first fruits of their partnership, 2006’s  The Jail: A Women’s Hell is a predictably wild and thoroughly non-PC WIP effort, but things took a quantum leap into the cinematic trashosphere with a brace of zombie flicks that Mattei would shoot back-to-back (possibly simultaneously) in 2006… Island Of The Living Dead and Zombies: The Beginning, fitting titles to close out the illustrious CV and indeed, life of the last pasta splatter man standing.

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IOTLD (which borrows its name from the working title of what would become Fulci’s Zombie Flesh Eaters) kicks off with an 18th Century prologue, in which conquistadores and priests are attempting to bury plague victims in a cave (or is it a church?) on a Caribbean island, hindered by the fact that native voodoo rites are returning many of them from the dead as flesh-eating zombies, which necessitates the pre-titles sequence of Fulci’s seminal flick being replayed no less than three times. While the zombies are tucking into those priests, the conquistadores emerge only to discover that their town has been torched (conspicuously rendered by stock footage) and adding insult to injury, they are attacked by (what were the odds on this?) a passing band of vampire pirates (just in case you can’t spot where that idea came from, IOTLD is a “La Perla Nera Production”)…. some days you just wish you hadn’t bothered getting out of bed, right?

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In “the present day”, a down-on-their-luck team of treasure hunters happen upon this unchartered island, which just appears out of the fog. Lucky for them, the pirates’ treasure is still stashed here. Not so luckily, the place is still crawling with zombies (possibly also vampires and / or pirates, though things now move along at such an incomprehensible lick, it’s difficult to tell). Captain Kirk (!) played by Ronald Russo, refuses his crew’s pleas to radio for help (you keep thinking that he’s going to be outed as some kind of zombie sympathiser in a boffo plot twist, but it never happens… he just made a stupid decision for no apparent reason) and when most of the crew leave for a reccy of the island, zombies invade the boat and the engineer blows it up by pushing the red button apparently installed to do precisely that (like the levers in an old Universal flicks that could always be relied on to level Baron Frankenstein’s castle, when required.)

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Mark (played by astonishing George Galloway looky-likey Gary King Roberts), an obvious Night Of The Living Dead enthusiast, teases Sharon (Yvette Yson) that the first zombie they see (in a jungle graveyard) is “coming to get her” and of course it is. Tao (Miguel Franco) piles into the deadster with his best kung fu moves but the result is a predictable Shaolin 0, Voodoo 1. Sprinkled amid the regular anthropophagous attacks via which our happy treasure hunters are gradually whittled down, there’s the discovery of treasure chests and dusty grimoires which add to the ever proliferating theories competing with each other to explain wtf happened on the island, the novel spectacle of a zombie’s arm being regenerated after it’s been shot off, a throwaway reference to Olga Karlatos’ eye popping demise in Zombie Flesh Eaters, casks of wine which contains maggots and which makes those foolish enough to drink it hallucinate vividly (e.g. a reworking of the bar tender scene from The Shining)… there’s the Dawn Of The Dead-patented conceit, already recycled in Zombie Creeping Flesh, whereby reckless showboating when surrounded by ravenous zombies only gets you eaten and, in lieu of ZCF’s “soft shoe shuffle in a tutu” non-sequitur, treasure hunting Snoopy (Jim Gaines) is waylaid by a seductive flamenco dancing zombie… or is she a vampire? Dunno, give up… throw in a spot of The Fog, a reminder of Mrs Bates in her swivel chair and there you have it.

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After the remaining hallucinating crew members have all killed each other, sole survivor Sharon puts out to sea in a home-made raft but is declared DOA by the helicopter medics who recover her… only she isn’t, the final shot revealing her to be a zombie or a vampire pirate or fuck-knows-what. Of course all of that (plus any remaining scraps of sanity) fly out of the window as the story picks up in Mattei’s perversely titled Zombies: The Beginning. Those seeking further enlightenment (but destined for deeper confusion) should click here… and may God have mercy on your soul!

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Severin’s Carl Daft assures me that Island Of The Living Dead and Zombies: The Beginning have been gutted and recut by producer Paolucci into an “all new” motion picture experience. The mind fair boggles…

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A Warning To The Pure Of Heart… AN AMERICAN WEREWOLF IN LONDON On Arrow BD.

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BD. Arrow. Region B. 18.

Just a couple of weeks or so into 2020 and I’m happy as a pig in shit (Mrs F just suggested that I also look and smell rather like one… thanks, I love you too Darling!) Following hot on the heels of the beautiful new Shameless edition of Fulci’s The Beyond, Arrow’s 4K restoration of An American Werewolf In London (1981) revives further vivid memories of a time, something like 40 years ago, when life wasn’t running too smoothly for Yours Truly but, guided by Starburst magazine (the fantasy film fanatic’s bible in those days) I was able to take regular solace down at our local fleapit, catching the original theatrical runs of such classics as The Evil Dead, The Thing, Tenebrae, Phantasm, Blade Runner and Paul Schrader’s Cat People remake, not to mention any amount of seminal slasher flicks, an unstoppable flood of ferocious Fulci fare and… last but by no means least… the item under consideration here.

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John Landis was on a proper roll at this point (for a while there, my interest in his work rivalled my obsession with Dario Argento’s), AAWIL coming after Kentucky Fried Movie (1977), Animal House (1978) and The Blues Brothers (1980). Having attained pre-eminence as a director of Comedies, Landis now leavened the mix by indulging his fondness for the Horror genre, with such impressive results that countless subsequent British films (American Werewolf is sort of a British film… the final beneficiary of the Eady Levy, no less) have mixed the two genres… to generally woeful effect (though every so often there’s a welcome exception to the rule). Despite Horror and Comedy being proverbially two sides of the same coin, spinning them into a coherent movie is no mean feat. Landis not only managed the right blend of scary and funny, he also balanced elements of eroticism and yep, romance plus high octane action set pieces to supremely satisfying effect. Brilliant stuff…

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… and yet, in the absence of a review copy, I’ve been studiously avoiding Arrow’s recent Blu-ray edition, following my adverse reactions to previous Universal DVD and Blu-ray releases of this film. For all the past promotional puff of Universal’s contemporary featurettes (included among the plentiful extras here), how could they possibly think they were doing justice to one of my cherished movie memories with those grainy travesties? And was there any realistic hope of the Arrow job looking any better? Doesn’t 4K just automatically exacerbate any such pixillated imperfections? (City Of The Living Dead, I’m looking at you!) Well, Santa having slipped a copy into my stocking while I wasn’t looking (what, you think I’ve got nothing better to do all day than sit around looking at stockings? Depends who’s wearing them…) its gratifying to be able to report that this new restoration from the original camera negative, supervised by Landis himself, finally looks and sounds (in blood-curdling 5.1) every bit as splendid as it always should have. To think I hesitated… (what a schmuck!)

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Here’s why Griffin Dunne didn’t get the red puffa jacket…

2fed2fa912e1355ab1ccf4b7be5802cc.jpgMuch of the cocky genius of Rick Baker’s masterful FX work (so good they invented an Oscar for him to win and never bettered… many have tried, but only Baker’s protege Rob Bottin came remotely close) was that it stood up to brightly lit scrutiny and now you can watch it unfold under optimal conditions in the comfort of your own lair… ditto the sublime spectacle of Jenny Agutter, at her career loveliest, as the nurse (Alex Price) for whom doomed protagonist David Kessler (David Naughton) takes an understandable turn.

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From a sexy nurse in American Werewolf to a nun in Call The Midwife… pah!

… and of course there’s a woodshedload of extras for you to wallow in, some of them familiar from previous editions. David Naughton and Griffin Dunne’s audio commentary is a treasure trove of amusing anecdotes and reminiscences while Paul Davis, who authored the comprehensive guide Beware The Moon takes an appropriately “soup to nuts” approach. Davis beats Naughton and Dunne hands down for Landis impersonations and also contributes the feature length doc version of his book. Further documentaries, cast and crew interviews and featurettes (several of them dating back to the film’s release) reinforce each other in a compelling narrative of AAWIL’s Universal antecedents, its genesis in Landis’s encounter of supernatural beliefs while working as a runner on Kelly’s Heroes (1970) in Yugoslavia, his struggle to get it green lit, the simultaneous, synergetic emergence of The Howling by Joe Dante (one of the many luminaries interviewed here), its brilliant realisation, cult kudos / critical mauling and subsequent rehabilitation.

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It would have been nice to see wider acknowledgment of cinematic lycanthropy outside of the mainstream tradition (e.g. the Iberian exploits of Mr Naschy, above) though of course the werewolf is the only member of  the classic Monster pantheon whose rulebook is copped neither from some literary source (like Frankenstein, Dracula, The Mummy et al) nor, contrary to popular belief, from ethnic folklore, rather from an earlier (Universal) film, George Waggner’s The Wolf Man (1941), whose Jewish writer Curt Siodmak fled Nazi Germany and had harrowing personal experience of reasonable looking people transforming into wild beasts overnight.

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In the video essay I Think He’s a Jew: The Werewolf’s Secret, Jon Spira labours a point that even the dimmest viewer must surely have got after the “nightmare within a nightmare” home invasion sequence, if not long before, i.e. that this film is an allegory of precarious Jewish consciousness in the second half of the 20th Century. Indeed it is, but Spira lays it on a bit too thick when he interprets Anne-Marie Davies’s line “I think he’s a Jew” as signifying her character’s barely concealed anti-semitism. By Spiro’s contention, Agutter’s Alex should have responded: “Why does it matter?”, but in the context of the nurses’ attempts to establish the origins of the mysterious patient, it’s by no means an inadmissible observation. And if Nurse Gallagher does have an ulterior motivation, is it really beyond the realms of possibility, in a film directed by the man previously responsible for Animal House, that it was the lascivious one to sneak a peek at a fit young guy’s dick? I would also suggest that if somebody as obviously smart as Landis wanted to personify privileged WASP bigotry, he’d have chosen a more appropriate avatar for it than a red haired nurse named Gallagher! Familiar with the expression “No Dogs, No Blacks, No Irish”, Jon?

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There’s  much discussion of the pre-CGI miracles wrought by Baker, of course (with fascinating “making of” and unused footage, plus SFX artist Dan Martin and Tim Lawes of The Prop Store drooling over precious props and costumes from the film. Out takes include the amusing (unfortunately soundless) encounter between Landis and the See You Next Wednesday cast (Linzi Drew and co). You get the original (and now somewhat cack handed looking) theatrical trailer plus teaser and TV spots, also a gallery of over 200 images and the option to display this one on your shelf sporting either original or new Graham Humphreys art work.

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It was great to see our old mucker Pete Atkins waxing eloquent about werewolf lore in one of the docs (I quoted one of his best lines earlier, for those of you paying attention), whereas David Naughton seems to have undergone an even scarier transformation that the one suffered by his character in the film, now bearing an uncomfortable resemblance to David Cameron! In a sadly ironic sidebar, during one of the contemporary promotional featurettes, while talking about running the three ring Piccadilly Circus climax to the film, Landis comments that “no movie is worth hurting somebody for”. Now there’s a line that came back to haunt him.

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“What A Time To Be Alive!” ANNA AND THE APOCALYPSE Reviewed…

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BD. Second Sight. Region Free. 15

We’re not renowned for our Christmas spirit here at The House Of Freudstein. As a matter of fact, we’re irredeemable hard core Grinches. It would take more than some soppy Xmas flick to put a smile on our faces since that messy business with the Petersons… and as for the Boyles? Don’t even go there (“No Bob… not inside!”) Rom-coms? Musicals? All things uplifting? Fuck ’em… and we reserve a special place in our bloody basement for Johnny come lately zombie movies! Yeah, you can make money out of any old tat now by bunging a few living deadsters into it… but where were you people in 1981?

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The auspices were not remotely favourable, then, but bugger me backwards with a candy cane if John McPhail’s gory zombie rom-com musical Anna And The Apocalypse (2017) didn’t win our hearts when opening Nottingham’s Mayhem Film Festival in October 2018. Mr McPhail even attended to introduce it, slag off Netflix and tell us what stand up people we were for still turning out to watch films on the big screen. Flattery will get you everywhere, mate…

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Plot is pretty much wot it says on the tin: schoolgirl Anna (the incandescent Ella Hunt, above) and her school friends / adversaries / would be lovers make a song and dance about their relationship issues and express their commonplace hopes, dreams and fears against the back drop of an unfolding zombie virus meltdown. It’s a saga of human persistence against the odds or a statement of futility, depending on whether you’re the kind of person who considers your glass of egg nog half empty or half full. In fact, while you weren’t looking, somebody slipped something bitter sweet into your  Advocaat… consider that a public health Warnink.

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McPhail does a stand up job taking on a project that was intended for its wrtier, the late Ryan McHenry (to whom AATA is lovingly dedicated), being as it is an expansion of his original 2011 short Zombie Musical. It helped that McPhail got (no disrespect intended to the original participants) a much better OST (some real ear worms here from Roddy Hart and Tommy Reilly) and cast. Special mention for Sarah Swire who plays Steph (the mislocated nerd who ultimately saves the day… or part of it, anyhows) and also choreographed the whole shebang. Paul Kaye essays one of those teachers most of us have suffered (if you never did, lucky you), the kind of guy who takes out the sour frustrations of his own miserable life on the kids he’s supposed to be nurturing and here finds an appropriate canvas on which to fully reveal his true hateful colours.

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The axing of Kaye’s duet with Mark Benton, plus the transformation of an an animated title sequence into an animated credits sequence largely account for the two different cuts of AATA, both of which are present and correct on this double disc set. You also get that original short. McPhail, co-writer Alan McDonald and composers Roddy Hart and Tommy Reilly chip in with an audio commentary and there’s assorted “making of” / “behind the scenes” / “at the Edinburgh festival” (lummy, was Ms Hunt aware of just how wispy her outfit was before stepping out in this bit?) which is so “feel good” that it nearly tips over into the sort of wholesome tweeness that the film itself lampoons. Nearly, but not quite.

What a time, indeed, to be alive. Or what passes for it…

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“Rod Munch, Eh Boys?” Marilyn Chambers Is Insatiable In David Cronenberg’s RABID…

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Never the Rose without the prick…

… but not for sperm… nor even a squirt of Ivory Snow. In her one “legit” feature credit, the hard core hussy (whose opportunistic “more bang for your buck” casting as  protagonist Rose pays off in a far stronger performance than anybody would probably have expected… her Porno pedigree, furthermore, adds retrospective resonance to any notion of Rabid as an AIDS jeremiad) is out for blood after a life-saving radical skin graft leaves her with a biomechanoidal syringe in her armpit… what were the odds on that? (*) Well, she is in a David Cronenberg film… and anybody who’s watched more than a couple of episodes of Dr Pimple Popper could have warned her about going under the knife at an institution rejoicing in the name of… The Keloid Clinic(!)

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Behind The Green Door

Those on the receiving end of lil’ Armpit Elmer’s attentions develop a rabies-like condition that converts them into drooling zombies and compels them to chow down on the nearest (even if that also happens to be their dearest) human being. Soon Montreal is under martial law, as the search for this epidemic’s “Typhoid Mary” / Patient Zero intensifies. “I’m still me…” she protests to appalled boyfriend Hart (Frank Moore) when he finds her draining the life juices from best friend Mindy (Susan Roman): “I’m still Rose!” Well, she kind of is and kind of isn’t, in an ongoing tradition of Cronenberg antiheroes and heroines that probably reaches its zenith with Jeff Goldblum’s Seth Brundle in The Fly (1986).

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Cronenberg is a director of rare intelligence who hasn’t always managed to parlay the musings of his superfine mind into coherent and compelling films… and I’m happy to concede that a film doesn’t necessarily have to be coherent to be compelling. Shivers (1975) and Rabid (1977) adhere closely and usefully to the Romero formula of interweaving personal and societal apocalypse. Thereafter he spread his narrative wings, with mixed results. I’m as mesmerised as anybody by the magnificent metastasising mess of a movie that is Videodrome (1983) but was somewhat less than enthralled when Cronenberg attempted to push his preoccupations into the bleak hinterlands and interzones of Ballard and Burroughs. As for his attempt to write his own “Ballard type” novel Consumed… well,  it’s a sizeable literary misfire to which I won’t be returning any time soon. I will though definitely be watching 101’s restoration of Rabid again. Cronenberg’s sophomore feature looks (with minimal distracting grain) and sounds mighty fresh here and there are further rich pickings to be found among the extras on the second disc of this limited edition set (some of them collated from previous releases).

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Can’t comment on the limited edition booklet containing essays by Alex Morris and Greg Dunning because we hacks never get that stuff.  I did appreciate Xavier Mendik and Phillip Escott’s documentary about Cinepix And The Birth of the Canadian Horror Film (its actual title is much longer), in which most of the surviving significant players explain their part in the Tax Shelter Era, covering the likes of Cannibal Girls (1973) and Death Weekend (1976… goodness me, they had beautiful storyboards on that one!) along with the Cronenberg titles that provoked such outrage in the Canadian chambers of Parliament. Along the way, we non-Canucks  learn just how closely Cronenberg’s vision of martial law in Montreal mirrors a genuine and major political crisis that had recently played out. There are interviews with (obviously) Cronenberg (predictably thought provoking stuff), Susan (“Mindy”) Roman (an engaging lady, now mainly making her living as a voice over artist) and amusing ones with co-producers Ivan Reitman and Don Carmody. You get the obligatory trailer, of course and an hour long TV doc in which many of Cronenberg’s leading players have their say on the man and his vision. One of the more interesting asides concerns Cronenberg appearing on the first morning of shooting Rabid and announcing his intention to tear up the script and start making Dead Ringers instead!

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Struggling to get my review of this edition into print within touching distance of its release date, I haven’t yet had the chance to take in ant of its commentary tracks, of which there are no less than four(!), courtesy of Cronenberg himself, William Beard (author of The Artist As Monster: The Cinema Of David Cronenberg), Jill C. Nelson (author of Golden Goddesses: 25 Legendary Women Of Classic Erotic Cinema, 1968-1985) and Chambers’ Personal Appearances Manager Ken Leicht and finally, the co-directors of the 2019 Rabid remake, Jen & Sylvia Soska. I’m not, generally speaking, a big fan of remakes and have heard mixed word on this one, but who knows, perhaps when I’ve heard their comments on the original I’ll be more inclined to give the Soska sisters’ revamp a look? If so, you’ll be the first to know…

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Behind the green fridge door…

(*) Antonio Margheriti and Dardano Sacchetti certainly found Rabid’s central plot premise appealing enough, as a cursory glance at Cannibal Apocalypse (1980) will testify.

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The Gates Of Delirium… Fulci’s CITY OF THE LIVING DEAD on 4k.

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Ol’ Purple Eyes is back…

BD. Arrow. Region B. 18.

City Of The Living Dead (1980), initiating Lucio Fulci’s celebrated “Gates Of Hell trilogy”, was only his second Horror film and clearly evidences the crash course in H.P. Lovecraft recommended to him by co-writer Dardanno Sachetti after their collaboration on that unexpected international box office champ, Zombie Flesh Eaters (1979).

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Evil New England clergyman Father Thomas (Fabrizio Jovine) hangs himself in a Dunwich cemetery, thereby opening the very Gates of Hell (the initial manifestation of which is a bunch of grungey zombies clawing their way out of their graves). All of this is witnessed by psychic Mary Woodhouse (Catriona MacColl) during a drug crazed seance in New York City, resulting in convulsions and her apparent death. Presiding medium The Great Theresa (Adelaide Asti), an authority on The Book Of Enoch, warns the investigating cops that “at this very precise moment, in some other distant place, horrendously awful things are happening… things that would shatter your imagination!” 

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After Mary’s been rescued from living internment by bibulous hack reporter Peter Bell (Christopher George), they set off for Dunwich, intent on closing those Gates Of Hell before All Saints Day, when Hell’s dominion over the Earth will be irreversibly completed. Hooking up with Dunwich psychiatrist Gerry (Carlo De Mejo) and his patient Sandra (Janet Agren), they learn that Theresa wasn’t bullshitting about those “horrendously awful” things, principle among which are the gruesome demises of genre icons Daniela Doria (who vomits up her entire gastro-intestinal tract), Michele Soavi (skull ripped off) and (as misunderstood vagrant sex-case Bob) John Morghen, who gets treated to an impromptu spot of amateur brain surgery by a red neck vigilante. Penetrating the bowels of Dunwich cemetery (and indeed of Father Thomas himself), the surviving protagonists Mary and Gerry save the day… or do they? Your guess is as good as mine, on the strength of COTLD’s proverbially baffling conclusion.

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This film has already appeared in so many editions (several from Arrow alone) that the above synopsis is probably superfluous, though one entertains the hope that it might galvanise some new viewer, in some other distant place, into connecting with the imaginationshattering milieu of Lucio Fulci, much as Alan Jones’ accounts of these films in Starburst magazine galvanised Your Truly, oh so many years ago. What’s important these days, I guess, with each successive reissue, is the quality of both the film transfer and any supplementary materials. Subjecting the negative of a 1980 film to 4k scanning, while shedding further, er, light on the subtleties of DP Sergio Salavati’s handiwork, is arguably an upgrade too far in terms of ramping up screen grain... you pays your twenty quid and you takes your choice. Sound wise, we’re offered the usual language alternatives and a 5.1 option… Arrow’s previous steel box edition offered 7.1 but I’m not certain that my home set up (nor those of most people) extracted any discernible benefit from that anyway… suffice to say Fabio Frizzi’s celebrated score fair throbs from the speakers this time out.

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The pizza girl’s here…

It’s the sheer breadth and depth of its extras that ultimately promote this City Of The Living Dead from a debatable purchase to an indispensable one. You’ll already be familiar with some of those… audio commentaries from Catriona MacColl and John Morghen (the latter moderated by Calum Waddell) and Waddell’s video interview with Carlo De Mejo… from previous editions. The disc is creaking with a veritable cemetery load of cracking new stuff, though… Stephen Thrower’s take on these films is always worth listening to and here he challenges the received wisdom that Fulci couldn’t get a gig after the success of Zombie Flesh Eaters (what’s indisputable is that producer Fabrizio De Angelis was slow to see the possibilities and continued to think small even after he did reconvene with Fulci). For once Thrower’s presentation, as diligently researched and passionately felt as ever, takes a back seat, given the wealth of primary sources testifying on this set. Among the most compelling is a lengthy new interview with Dardano Sacchetti, in which the irascible writer pursues his familiar theme of De Angelis’ short-sightedness while throwing out all manner of interesting insights re what was going on behind the scenes. Never one to hold back on his opinions, it would seem that Signor Sacchetti is not the biggest fan of Catriona MacColl. 

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“Oui, whatever…”

MacColl herself is duly interviewed, sounding a lot more French than I remember from my own encounter with her (then again that was nearly 25 years ago and she’s spent the intervening quarter Century living in Paris)… interesting  to hear that when she wasn’t being buried alive and showered with maggots, Catriona was required to dub and scream over multiple takes of the same shots, prior to the definitive editorial decisions being taken. 

Camera operator Roberto Forges Davanzati talks, among other things, about the difficulties of making sunny Savannah, Georgia look like an autumnal New England location, neatly illustrated by his private “behind the scenes” 8mm footage, for which he also supplies an audio commentary. Production designer Massimo Antonello Geleng also talks about “the Savannah problem” and his own difficulties breaking the ice with Fulci, after having been parachuted in by producers Medusa over the director’s original pick, Massimo Lentini. Fulci’s misgivings were predictably assuaged by Geleng’s amazing work on this picture.

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Cinematographer Sergio Salvati clearly loved Fulci but acknowledges and regrets the director’s sadistic treatment of some of his actresses… also his overuse of the zoom lens. As an unexpected bonus, Salvati supplies some fascinating incidental revelations about how The Beyond’s stunning denouement was contrived, against all the odds, in the face of producer De Angelis’s constant budget cutting.

Giovanni Lombardo Radice / John Morghen (these days sporting a beard of Biblical proportions) reiterates that he never had any problems with Fulci but confesses that he’s never been able to watch Daniela Doria’death scene all the way throughGino “Bombardon” De Rossi talks us through that and several other of his gory FX tours de force for City Of The Living Dead et al. He also mentions the prank played on Fulci, referenced by several of the participants in these featurettes, by which maggots were placed in the ol’ goremeister’s pipe. De Rossi initially got the blame for this, but turns out the culprit was actually Christopher George, who obviously figured that one good maggotty turn deserved another.

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Father and son acting team Venantino and Luca (“Jon Jon”) Venantini recall their experiences on the picture, which have become somewhat sanitised in the telling, compared to the version they offered in Mike Baronas’ documentary Paura: Lucio Fulci Remembered. Venantino, clearly still very much a character in his late ’80s, now resembles an over-baked spud. Luca’s obvious love and concern for his dad make for touching viewing. There’s also a previously unseen interview with Fulci’s go-to OST man Fabio Frizzi, who suggests that Fulci’s personal sufferings made him a person of substance.

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Fulci fan boy Andy (Ghost Stories) Nyman, though obviously not a member of the inner circle, recounts his encounters with Giannetto De Rossi and Richard Johnson in appropriately enthusiastic style and the ubiquitous Kat Ellinger contributes another of these here video essays, concerning Fulci and his seminal role in the busy Italian zombie cycle.

Among the more predictable extras are the alternative US “Gates of Hell” credits sequence and assorted trailers and radio spots. The extensive image gallery features over 150 stills, posters and other ephemera from the FAB Press and Mike Siegel archives. You also get reversible sleeve options (choose between Charles Hamm and pals in all their original glory and newly commissioned artwork by Wes Benscoter), a double-sided fold-out poster and 6 lobby card reproductions. As usual we HOF drones haven’t set eyes on that stuff yet, nor the limited edition 60-page booklet featuring new writing by Travis Crawford and Roberto Curti, an archival interview with Fulci and contemporary reviews.

Just make sure you grab your copy before All Saints Day, or there’ll be Hell to pay…

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Where Is Thy Sting? ZOMBI 4 On Severin Blu-Ray.

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BD/CD. Severin. Region Free. Unrated.

“If you want to open the door to Hell today, these four words you must say…”

“Why are you stopping at the best part?”

The Fulci / Mattei / Fragasso Zombi 3 (1988), recently reviewed in these pages, wasn’t the only Latin living dead epic laying claim to that title… Andrea Bianchi’s astonishing Burial Ground / Zombi Terror / Nights Of Terror (1981) got there first and Jorge Grau’s even more prodigiously multi-titled Living Dead At The Manchester Morgue (1974) was at one point, via some inscrutable worm hole in the space / time continuum, deemed to be a sequel to a George Romero film made five years after it. Romero was presumably happy enough with his own “Dead” series and anyway, Dawn Of The Dead co-producer Dario Argento’s attempts to quell the flow of ersatz sequels fell at the first legal hurdle, with Lucio Fulci’s Zombi 2 (1979). Thereafter Fulci’s participation in the Guadenzi-produced Zombi 3 granted that film and its successors some kind of “official bootleg series” imprimatur, right up to Claudio Lattanzi’s Killing Birds (1987) being rechristened Zombi 5. Thankfully, we’re not concerned with the last-named clinker this time out, turning our attention instead to Fragasso’s Zombi 4, originally released (in 1989 according to IMDB, though this is disputed) as After Death (“Oltre La Morte”).

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For this one Fragasso, again masquerading as “Clyde Anderson”, was back in the Philippines with a specific brief to come up with something that might recoup the losses that producer Franco Guadenzi had sustained on Zombi 3. Already disenchanted with his experiences on that one and 1980’s Zombie Creeping Flesh / Virus (which he had conceived as a reworking of Dante’s Divine Comedy, only for it to turn out more like a feature-length, gored-up episode of The Goon Show), he was desperate to finally put his stamp on the zombie genre but inevitably came up against the usual under-resourcing (with only acrobatic Filipino extras and psychotropic banana liqueur in plentiful supply). His access to cameras (and indeed, DP Luigi Ciccarese) was restricted to night time because Bruno Mattei was using them to shoot one of his Strike Commando movies during the daylight hours. History predictably promptly repeated itself and Fragasso concluded principal photography with a Zombi 4 that was, like its predecessor, significantly short of feature length.

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The sore thumb prologue that was subsequently shot on an Elios studio soundstage is successful at bumping up the film’s running length to respectable proportions, less so at explaining WTF is going on and why. It involves a team of Western cancer specialists (naturally turned out in military fatigues and armed to the teeth) confronting a voodoo priest who has just conducted a black magic ritual that climaxed with his wife being sucked down into to Hell. The boffins are here to provide a rationalist, humanitarian alternative to such superstitious practices, so naturally their enlightened response is to blow the voodoo dude away with blazing machine guns. He’s already threatened to “persecute you after my death… I’ll come looking for you, to feed on your intestines!” and he wastes no time making good on his promise. His wife also pops back up from Hell, made up exactly like one of Lamberto Bava’s Demons and spitting green goo with great gusto… clear so far?

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If this outlandish, spastically directed introduction suggests that Fragasso had gone native, imbibing the heady influence of Philippine and Indonesian indigenous horror product (H Tjut Djali’s Mystics in Bali from 1981 springs to mind), as soon as every cemetery on the island has disgorged hordes of shrouded, bloodthirsty zombies the subsequent narrative settles into a series of more familiar tropes… “The dead will feed on the living”… “It’s not Tommy, he’s one of them, now”… all present and correct. We get the zombies warded off with a wall of fire, the crazed military man who loses it and jumps into the midst of the living dead, the little blonde girl who survives the opening massacre…with the novel twist that this one doesn’t turn up in the jungle twenty years later as the glamorous queen of the tribe that has adopted her: this one turns up (in the passable form of Candice Daly) twenty years later, returning to the jungle to discover what happened to mom and dad. Why she’s accompanied by a couple of Miami Vice refugees and a boatload of Vietnam vets-turned-mercenaries (including the immortal Nick Nicholson from Apocalypse Now and Platoon, looking like Al Cliver’s less couth kid brother) is something that larger brains than mine are going to have to figure out… ditto, why gay porn icon Jeff Stryker (billed here, marginally more believably, as Chuck Peyton) is wandering around equally aimlessly in the jungle with Massimo Vanni and some bird.

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“It’s not Tommy… he’s one of them now!

There are incidental laughs to be had from an arcane “Book of the Dead” that was clearly knocked up by the props department about two minutes before it appears on screen, and a “Third Gateway to Hell” (ulp!) which is rendered by the budget-scrimping spectacle of several while candles arranged in a circle (dunno about you, but I’m shitting myself…) The film’s pulsating AOR score (which was included in my copy as a bonus disc) is supplied by Al Festa of Fatal Frames infamy and dear old Al could himself conceivably have played a part in Zombi 4’s hysterical “climax”, in which Daly sacrifices herself (apparently by pulling out much of her hair and one of her eyeballs) to stem the rising tide of undead, while Peyton / Stryker is ravished by some voodoo dude’s fist…

Jeff's Action Figure.jpgChuck / Jeff (who apparently secured this role on account of actor-turned-casting director Werner Pochath’s infatuation with him) gets his say in the extras and comes across as a very likeable bloke, still optimistic about getting a mainstream break (“I’m still breathing, I’ve still got a shot!”) Good for him. In the meantime, he poses with his anatomically correct action figure (shown in modestly clothed mode, above) and reflects sadly on the premature death, via homicide, of his co-star Candice Daly. She’s commemorated in her own micro-interview slot and you also get some “making of” footage.

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Severin’s BD transfer looks every bit as good as we’ve come to expect and rounding out the extras, Fragasso and his work / life partner Rossella Drudi argue that screen zombies represent the growing immigrant / refugee underclass (well, maybe…) and – more compellingly – that the “fast moving zombie” furrow that has been so lucratively harvested by The Walking Dead, et al, was originally ploughed by them and Umberto Lenzi… whom they eventually concede did it first, in 1980, with Nightmare City.

In certain markets, Nightmare City has been roped into alternatively numbered “Zombi” sequences along with the likes of Joe D’Amato’s Anthropophagous and Absurd, Marino Girolami’s Zombie Holocaust, Tonino Ricci’s piss-awful Panic, and even Jess Franco’s Virgin Among The Living Dead and Revenge In The House Of Usher….

… and still they keep on coming.

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ZOMBI 3, Death 1… Lucio Fulci Vs The Novichuckle Brothers.

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BD/CD. Severin. Region Free. Unrated.

Few sounds are more welcome, after a gruelling night assisting The Doc down in his basement laboratory, than the resounding thud which accompanies a new batch of Severin Blu-rays arriving in the HOF in-tray. The resulting reviews always proceed along similar lines, too, usually to the effect that although 88 Films have already released an HD edition of the title in question, the Severin job looks significantly better and packs more compelling extras… so it is that those who’ve read my review of 88’s Zombi 3 (all four of you) may well experience a profound sense of deja vu during the synoptical element of that which follows. Prepare once again not to laugh at the gags that fell so flat last time…

Bacteriological weaponry and international espionage supplant Richard Johnson’s perverse medical dabblings in Fulci’s Zombi 2 / Zombie Flesh Eaters (1979) as the root of this particular undead uprising, when a bungled attempt to burgal a canister of “Death 1” leads to bubonic infestation for the thief and everybody else in the hotel where he was staying. The inevitable ABC-suited SWAT Team arrives to shut down the hotel and liquidate all its residents. Another cinematic debt, to Romero’s Day Of The Dead (1985) immediately becomes evident in the ongoing squabble between scientists and the military over how to contain this outbreak. Ignoring the boffin’s advice, the soldiers cremate the first batch of victims and – before you can say Return Of The Living Dead (1985) – a busload of sex-crazed vacationing girls is being buzzed by a flock of zombie seagulls.

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Mattei (left) and Fragasso (right) prepare to baste another turkey (“To me… to you…”)

The increasingly ridiculous narrative unfolds to the Greek chorus accompaniment of “Blue Heart”, a right-on radio DJ whose infuriating, interminable eco-babble provokes one imminent zombie victim to complain: “I like smoking, I take a toke on a joint sometimes and every so often I like to piss on a bush, OK?” As the crisis escalates, Blue Heart’s bulletins are periodically punctuated by lists of emergency hospitals, read out by a guy glorifying in the name of Vince Raven… the same name given to Alice Cooper’s character in Claudio Fragasso’s Monster Dog (1984). Jeez, people rattle off learned theses every time Quentin Tarantino pulls off this kind of shit…

Anyway, “plot” is pretty soon reduced to an ever decreasing number of survivors running around in ever decreasing circles, a succession of run-ins with hyperactive zombies and “decontamination squads” blowing away anything that moves. Of course the “unexpected” shooting of a heroic male lead is duly trotted out… yep, he fell for the oldest trick in the book of the dead! Assorted other “highlights” include the moment when a character with the munchies opens a fridge, only to be attacked by an even hungrier zombie head that flies out at him, on obvious wires, from behind the McCain oven chips. The staging of this magic moment reminds us that when Zombi 3 was originally announced, several years earlier, it had been conceived as a 3-D production.

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No doubt our degenerate readers will also derive much diversion from the Caesarian birth of an undead baby that immediately sets about gnoshing on the midwife who delivered it.

The surviving human characters fly off in a Romero-esque chopper, vowing: “We’re coming back… to win! Otherwise, humanity’s done for!” But the climactic, crowning idiocy is yet to come, riffing on the unforgettable voice-over outro to Zombie Flesh Eaters as Blue Heart is revealed as a badly made up zombie, broadcasting immortal vibes: “New horizons have opened up… this is now the New World, Year Zero, so there’s lots of work to be done. I’ll dedicate the next record to all of the undead across the world…” (“Zombietastic, great mate!”) Cue Stefano Mainetti’s anthemic AOR credits music, seemingly culled from a “Now That’s What I Call Hair Rock!” compilation.

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DJs get BJs?

Desperately attempting to cling onto his fast-slipping Horror maestro laurels, original director Lucio Fulci gave Zombi 3 (1988) his best shot, only to succumb to a triple whammy of deficient pre-production, liver failure and (exacerbating that) the murderous climate of The Philippines, where it was shot. “The producers were very strange people…” he told me at Eurofest 1994: “… I had to escape from there on an aeroplane!” Strange or not, producer Franco Guadenzi panicked when he saw the stump of a movie that Fulci had managed before his abrupt departure. Second unit director Bruno Mattei (who was already directing at least one other movie, simultaneously) and co-writer Claudio Fragasso were pressed into service to shoot additional footage and bring the project up to a respectable running time (without the benefit of any of its lead actors, who had fulfilled their contractual obligations and had no intention of returning). Between the two of them, the Chuckle Brothers of Italian exploitation cinema managed to finish off Zombi 3… in every sense of that term. The first casualty was Bava / Margheriti stalwart Alan Collins (Luciano Pigozzi), who’s credited as “plant director” although all his scenes got lost somewhere in the shuffle.

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Given Fulci’s personal and career problems at this point, the track records of the other two (Mattei had already taken “credit” for their collaboration on another living dead travesty, 1980’s Zombie Creeping Flesh, though Fragasso would subsequently astonish the world with Troll 2, 190) and the woeful circumstances of its production, Zombi 3 was never going to emerge as anything other than a riotous (albeit uneven) kick-ass action / splatter fest, on which terms it is unlikely to disappoint yer average Italo-trash fiend. The more anally obsessive among us (e.g. myself), though, have spent more hours than is probably good for us trying to work out who shot what. The generous extras on this disc provide further evidence (if not clarification) on this score. In an amusing 8 minute interview, Mattei insists that “Zombi 3 is Fulci’s movie”  before laying claim to 40% of it, qualified by the observation that “I only worked on it like a doctor visiting a patient”. He now claims authorship of the Blue Heart scenes, which Fragasso has previously (e.g. on 88’s disc) attributed to Fulci. Everyone’s agreed that Fulci shot the scenes of zombies chasing people though a pond and the “speeded-up zombie with a machete” bit, also that the “SWAT guys in ABC suits” material is attributable to Mattei / Fragasso but as for how the dynamic duo divided up that 40% between them… Fragasso says he did all the action / splatter stuff, leaving anything else (presumably constituting the er, less riveting moments of the film) to Mattei. Bruno’s no longer around to argue the toss and Fulci, even before his own demise, probably didn’t give a toss.

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Everybody involved talks respectfully of Fulci (he’s described as “exquisite” more than once). Fragasso (who appears with his wife / script collaborator Rossella Drudi and their scene-stealing cat) claims that Dario Argento wanted him rather than Sergio Stivaletti to direct Wax Mask (1997) after Fulci’s untimely demise and expands in gruelling detail on the health of the ol’ goremeister during the Zombi 3 shoot… apparently he was reduced to pulling out his own teeth and even allegedly subjected himself to that Filipino specialty scam, psychic surgery, which must have involved the unfurling of more phoney guts than a busy day in Giannetto De Rossi’s workshop. GDR, of course, did not participate in Zombi 3 but his replacement Franco Di Girolamo rattles through a whistle-stop tour of splatter FX in his mini featurette. Thesps Marina Loi (“Fulci wasn’t exactly the nicest guy on Earth but in retrospect, he was very funny”) and actor / stunt men troupers Massimo Vanni and Ottaviano Dell’Acqua also get to chip in with their own reminiscences. 

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Stars Deran Sarafian and Beatrice Ring contribute a commentary track that they don’t appear to be taking particularly seriously, then again it’s probably not possible to deliver a po-faced commentary on Zombi 3… have your mates around for a few beers while you’re watching it and you’ll have a great time, guaranteed… crank up the soundtrack CD that came with my copy and bang your heads like Wayne and Garth… “It’s here… It’s here… It’s here… It’s HERE!”

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Mattei (who deems Fulci’s insistence on proper pre-production to have been quaint and kinda “old school”) cheerfully admits that all of his own films have been “bad” (and not in the way that Michael Jackson sang about), challenging his interlocutor: ”It’s not up to me to tell you about Zombi 3… you tell me what you think”. Well Bruno, how long have you got? Oh yeah… not that long, as it happened.

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“It’s A Very Nice Book… Very, Very Interesting!” Stephen Thrower’s Fulci Tome BEYOND TERROR Recast In Truly Epic Proportions

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Blessed is he who approaches in search of knowledge…

Beyond Terror – The Films Of Lucio Fulci by Stephen Thrower. FABPress. H/B. ISBN 9781903254844

Given the dispiriting circumstances of his personal encounter with Lucio Fulci (detailed  for the first time herein), Stephen Thrower’s magnificent Beyond Terror – The Films Of Lucio Fulci emerged as a veritable phoenix from the flames when first published by Fab Press in 2000. Two decades(ish) later, pains-takingly revamped and thoroughly revitalised (“120 new pages… 80,000 words of all new writing!”), it now soars to peaks only previously occupied by Tim Lucas’s Mario Bava meisterwerk All The Colors Of The Dark.

Thrower is a thoughtful and passionate writer (there can’t have been too many reviewers of The House By The Cemetery who concluded their appraisal with a line like: “In a subtle way, the end is just as terrible a trap for Bob as it was for John and Liza in The Beyond; he’s returning forever to a house that can never be home”) so I’m looking forward to acquainting myself over the coming weeks and months with the ways in which his takes on various aspects of Fulciana have evolved. Most obviously, though, the updated version comes with completely new sections and gives a thorough going-over to stuff that was only hinted at, first time out.

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The hugely expanded survey of Fulci’s comedies is very welcome (though for me, personally, there’s more than a trace of “he watched them so I don’t have to” wrapped up in this welcome). Similarly, the new section on Fulci’s sound track composers is impressive stuff, though I believe Keith Emerson’s contribution to Murder-Rock merits more than the dismissive brush off it gets here (these things ultimately boil down to personal taste, of course and I freely admit that my position on this subject has always been – very much – the minority one). While I’m quibbling, I wonder about the relevance of Julian Grainger’s filmographies of all the major players in Fulci’s films – an undeniable feat of scholarship and gluteal fortitude – in the age of IMDB, although no doubt there are those who’ll find use for it. It goes without saying that the revamped BT is stuffed to bursting with more colourful, rare and distressing stills, posters and behind-the-scenes shots than you could comfortably shake an eye-poking stick at.

There’s a mouth-watering round up of (thirty!) Fulci projects that were mooted but never made and Thrower’s access to the BBFC’s archives yields fascinating insights into the thought processes of those tasked with cutting or denying certification to Fulci’s films at a time when such matters were virtually equated with national security. Hm, I wonder which film occasioned them the most consternation…

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It says “Exit”, Alessandra… do not entry!

The addition (to the special edition) of an interview with LF is a nice touch though (to paraphrase Mandy Rice Davies) I would say that, wouldn’t I? Said special edition also comes in a beautiful wraparound reproduction of The Beyond’s Book Of Eibon (which, regrettably, doesn’t burst into flame to the accompaniment of Fabio Frizzi music after you’ve read a couple of particularly portentous passages… no doubt Stephen and Harvey Fenton are working on that for a possible third edition) and with a DVD collection of trailers for 37 of Fulci’s 54 directorial credits. If that’s not enough for you (hard to please, huh?) there’s the option to run them with a commentary track by the author and an accompanying booklet throws up whole new and bewildering vistas of ultra-specialist film studies, detailing the use of alternative trailer takes from the ones that actually made it into the movies and offering glimpses of scenes that were abandoned altogether.

This is film scholarship run wild and we’re all better off for it. Do you wanna buy the book? If not, you’re probably reading the wrong Blog. If so, Save yourself twenty years or more of angstily anticipating some future edition. Get it while you can.

Woe be unto him who acts the tightwad over this…

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Mace liked it so much, he went out and got ink…

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“I Made A Film With George Peppard, you know!” The Extremely Grumpy UMBERTO LENZI Interview

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It was 20 years ago (and then some), in May 1997 that the boy Freudstein interviewed Umberto Lenzi. I’d been avidly anticipating our encounter and surely all those warnings about what a hard-ass he was were, for the most part, hyperbole? Read on and weep…

Signor Lenzi, I was speaking to Sage Stallone and his partner Bob Murawski recently, about their definitive laser disc release of Cannibal Ferox… are you surprised that these films still have a large international cult following, so many years after their release?

In the case of Cannibal Ferox, yes, because for me that one is a very minor movie. I don’t like it so much… in my opinion, I made other movies that were much better. I like Paranoia very much, with Carroll Baker, and also some of the action movies that I made were better movies, like Violent Naples and Roma A Mano Armata… my war movies too, like Contro Quattro Badiere, Il Grande Attaco and La Legione Dei Dannati. For me the cannibal movies are not so important, so I am very surprised, yes, that they have enjoyed international success for all these years.

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Were you surprised to learn that somebody like Tarantino is very familiar with your films?

No, I’m not surprised because I know that before he started directing, he worked in a video store and was a big fan of European movies. So it’s no surprise… in fact, nothing surprises me any more, because the motion picture audience is strange, really strange… but you know the thriller movies I made, yes?

The gialli? Sure I do… I’m very interested in the way that European films, particularly Italian films, have had this unacknowledged influence on American films…

Yes… in the 70’s we had a thriving industry producing thrillers, westerns, cop films and so on, but now the Italian industry is completely dead. Twenty years ago we had good directors like Sergio Leone, Corbucci, many horror directors, and Italian genre pictures were very successful. These days… in my opinion, it’s the emphasis on special effects that has killed the fantasy and the talent of the directors. Three days ago I saw the famous American success The Rock, starring Sean Connery, and I thought it was a very bad movie, because the story was a very stupid, Rambo-like story, with many effects, explosions, crashes… I’d seen it all before. For me there have been only two great American films in recent years, Tarantino’s Reservoir Dogs and Pulp Fiction. I don’t like all these stupid special effects as in Independence Day and Waterworld… these films are just stupid. You remember Make Them Die Slowly?

Cannibal Ferox?

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Cannibal Ferox, yes, it was made with hardly any money, about $100,000 because we shot this movie with a crew of about 10-12 people in the jungle without any resources but with a very important idea in there. The motion picture industry in America right now is effects, effects, effects, and that means money, money, money…

… and the Italian industry cannot compete on financial terms.

Of course, it’s impossible for us to compete.

Do you think that things could improve in the future?

The Italian industry is now finished for action and spectacular movies, because the Italian producers and the directors make only intimate, small stories. Argento can do it, but even for him it’s very difficult. The others have all disappeared…. me, Castellari, Valerii… and Fulci is now dead, of course. Corbucci, too…

I was going to ask you for your memories of Lucio Fulci…

We were friends because we both started off in the 50’s and I was assistant director on a movie with him. He was a good director, made something like a hundred pictures in every genre, but he died a poor man…. very poor.

Another of your former collaborators, Massaccesi, only keeps working by churning out pornos now…

Massaccesi is a very strange person… I’d rather not talk about him, OK?

OK… is it true that early on in your career you worked on an Esther Williams movie?

Yes, Wind In Eden…

That’s something you’ve got in common with Fidel Castro, then!

I started as assistant director to Mr Richard Wilson, he was a very close friend of Orson Welles. He produced Welles’ Macbeth and he was in the cast of Citizen Kane. I was very happy to begin my working life with him. He died last year. All of this happened 40 years ago, of course, when I was in my twenties. Two days ago I watched the film on video with my wife, because it is the first experience of my cinematic life. The film was shot in my home-town…

In Tuscany?

On the Tuscan coast, yes, and I scouted the locations for Mr Wilson.

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You must have had a knack for scouting talent too, because I believe you discovered Ornella Muti…

Yes, when she was only 16 she made her first or maybe her second film appearance in my film…

A Quiet Place To Kill?

Yes, Un Posto Ideale Per Uccidere. It wasn’t a good movie. I made a mistake, because I wanted to make a movie like Easy Rider, a post-1968 movie…

… for the youth market…

… for the youth market, yes, but the producer was saying to me: “Umberto, your film with Carroll Baker, Paranoia, has been a big success in The States, so you must try to repeat the formula”. So by adding the thriller aspect, the movie ended up as a strange mix between Easy Rider and Paranoia, which did not really work.

The movies with Carroll Baker, and other gialli made by your colleagues in Italy have been very influential on the international thriller scene…

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Maybe…

You can see the influence in US blockbusters like Basic Instinct.

Yes, other journalists have claimed that my movies like Paranoia, A Quiet Place To Kill and So Sweet, So Perverse have influenced American movies… maybe, but these three movies starring Carroll Baker – and Spasmo, which I made later – are intelligent exploitations of human craziness, because we have the situation of a protagonist who is not good but is not all bad… the innocent and guilty people are the same, because for me in those movies the important thing was to demonstrate that the human mind is capable of both good and evil, you understand?

Sure. How would you compare and contrast your giallo films with those of say, Dario Argento or Sergio Martino?

Look, these three movies I made with Carroll are crazy, and just a little sexy, with stories about protagonists who are morally ambiguous. They are completely different from the movies of Dario Argento, because Argento is more concerned with serial killers and blood. My movie Sette Orchidee Machiate Di Rosso… I don’t know the English title…

… Seven Bloodstained Orchids.

Yes, that one is nearer to the Argento way of filming, but the sexy thrillers starring Carroll Baker are completely different. Sergio Martino’s films are more similar to my movies, because he worked as production manager on some of mine, and took many ideas from them. After Argento changed the rules of the genre, many producers and directors made movies in his style, with the blood and the serial killers and the strange murders by the figure in black… I made one too, Sette Orchidee , but this is completely different from my earlier films Paranoia, A Quiet Place To Kill and So Sweet, So Perverse…

They are more like psychological thrillers…

Yes, concerning the crazy situation in the human mind.

There’s a power-tool killing in Brian De Palma’s Body Double that many viewers find suspiciously similar to Marisa Mell’s death scene in Sette Orchidee Machiate Di Rosso…

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Maybe, I can’t say because I’m a director rather than a critic. I will say that for me, Brian De Palma is one of the best movie directors in the world. I love his work very much, but in the history of motion pictures, every director has learned something from others, directly or indirectly. I love Hitchcock very much and many times, maybe unintentionally, I show that influence. In many people’s movies we see again the shower scene from Psycho. Maybe indirectly I have taken things from other directors, for example I love very much some directors from the 40’s, like Edgar Ulmer and Robert Siodmak. When I made my final movie with Carroll Baker, Il Coltello Di Ghiaccio / The Dagger Of Ice, I was unconsciously influenced by Siodmak’s film…

The Spiral Staircase…

…The Spiral Staircase, yes, but not intentionally, because the situation is different. Instead of being the victim, Carroll is the murderer.

Another giallo you made was Gatti Rossi In Un Labirinto Di Vetro…

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Yes, in America they called it Eyeball.

It’s quite a confused little film, and I heard that you never actually met the writer and producer, Felix Tussell…

Felix Tussell, yes, but that isn’t so unusual. It was an Italo-Spanish co-production, you know, and in these circumstances you don’t always meet all the people involved in making the picture. That’s another one which was more in the Argento style…

Argento co-wrote your 1969 film Legion Of The Damned, and I gather that he hung around the set and picked up quite a lot from you…

I think so… we worked together for two months, but after it came out I lost touch with him. 20 or 25 years later, I saw him in Rome at Lucio’s funeral. Dario is a big director, a very good director, but he doesn’t love me, I think, because he has never spoken of me in any of his interviews, and although he is a producer of other directors, he has never called me to direct a picture. I don’t know why, because when we met at the funeral he was saying: “Umberto, come here, how are you?” and all of this.

He’s reputedly a very difficult man to get close to.

Maybe… a strange man. But when we met in ‘69 we worked together for two months, he was very young and he loved me, but then we lost contact with each other.

You have this ongoing dispute with Ruggero Deodato over which of you is the originator of the Italian cannibal movie…

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(Animatedly) I don’t want to discuss this foolish dispute, because if you know my movies, it is perfectly clear that I started these films with Nel Paese Del Sesso Selvaggio aka Mondo Cannibale, two years before he made his first cannibal film… and he only got to make that because I refused to do the sequel, Mondo Cannibale 2, so the producers hired Deodato instead. That’s the story… the first cannibal film in the Italian cinema was Nel Paese Del Sesso Selvaggio aka Mondo Cannibale or The Man From Deep River.

Are you aware of the censorship problems with Nel Paese Del Sesso Selvaggio (as Deep River Savages) and Cannibal Ferox in the UK, where they were dubbed “video nasties”?

All I can say is to repeat that for me, these films are not very important, so I have not followed their censorship problems in other countries. Some people have told me of some strange situations abroad, where the films cannot be distributed, but in Italy I have never had any problems with them.

I thought you might be amused to hear that here in the UK, there are crazy politicians and journalists who believe that people were really eaten in these films!

(Tut-tutting) No… no… look, for me, I think the interest shown in these movies is not about love of motion pictures, rather about cynicism and sadism. I made many good movies… like Il Grand Attaco with Henry Fonda and John Huston, why has nobody ever interviewed me about this movie? Or From Hell To Victory, a very good movie starring George Peppard… but people just keep asking me about Cannibal Ferox and Eaten Alive, two small movies without actors… without anything! It’s very strange…

You consider these minor movies, yet a film like Nel Paese Del Sesso Selvaggio has definitely exerted an influence, shall we say, over big-budgeted American productions like John Boorman’s The Emerald Forest…

Maybe… again I say that a lot of people see each other’s movies – Italian, American -and the influences go backwards and forwards. That’s only normal…

Early in your career you made many costume dramas like Catherine The Great and action / adventure movies like Il Trionfo Di Robin Hood and Zorro Vs Maciste…

Well I was very young, these were my first movies…

 … Sandokan…

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Sandokan is a good movie, it was made for MGM and it was the first Italian adventure movie shot completely in India.

Lamberto Bava recently shot some movies in India…

My movie Sandokan influenced Italian directors so much that thirty years later, they have shot another Sandokan movie in India using the same locations…

You’re talking about the Enzo Castellari picture…

I don’t know, I didn’t see it… why should I be interested when I already did it thirty years ago?

Similarly, La Montagna Di Luce with Richard Harrison…

Did you see this picture?

Yeah, recently on a German satellite channel. It’s like an “Indiana Jones” picture before its time…

Yes, many people have said that to me. For me that is one of my best movies, I love it very, very much. It’s more important than Cannibal Ferox, because we shot it in Indian locations in an ironic style, you understand, like they did twenty years later in Indiana Jones, but without any money for special effects. I remember that we had a crew of about 15 people and we were shooting with many, many difficulties. All the Indian actors were not really actors, but real-life people. It was not so easy in the 60’s to shoot such fantasy pictures in these kind of locations, so I’m very proud of films like La Montagna Di Luce and I Tre Sergenti Del Bengala, my last movie in India…

After that you specialised in spy films for a while, and adaptations of fumetti comic strips like Kriminal…

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Yes, for me Kriminal was an intelligent attempt to mix comic books with motion-pictures, in the same way that Montana Di Luce was action-adventure shot in an ironic context. I have made about 63 movies… I have no time to talk about all my movies… I am tired.

What about a movie you didn’t get to make… The Invisible Man?

I wrote the screenplay for that one but the producer refused to make it because it would have cost a lot. Round about this time another Italian director, Alberto De Martino, made a movie in London called Puma Man, which was a big box-office flop, so then the producer was afraid to finance my movie.

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When you made Black Demons in Brazil, you filmed an actual voodoo ceremony… did this lead to any brushes with the supernatural?

Well maybe, because from then till now only bad things have happened to me! I prefer not to speak about it. Like I say, I am tired… (Abruptly) I’m going now. Please send me a copy of your interview with Tarantino.

Er, OK. It was nice talking to you…

Ciao…

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And that was it. My audience was abruptly terminated and my questions about Lenzi’s Crime Slime epics, among many other aspects of his career, had been prepared in vain. The next time I ran into him, at Manchester’s Festival Of Fantastic Films in October 2013, we got along much better (as the above photo hopefully indicates). It probably helped that I wasn’t there to interview him, though in fact I very much doubt that he remembered our previous interaction. Anyway, he’d just dined with Barbara Bouchet so I suspect that he had rather more pleasant things on his mind.

P.S. As I was posting this interview I heard from friends that Umberto Lenzi, now aged 86, is currently in hospital. I’m sure that all readers and supporters of The House Of Freudstein will join me in wishing him a speedy return to full and feisty good health.

Categories: Interviews | Tags: , , , , , , , , , , , | Leave a comment

People Get Ready… TRAIN TO BUSAN Reviewed

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DVD. R2. StudioCanal. 15.

Just had your top ten favourite zombie movies engraved in stone? Better get your chisel out! Just had ’em tattooed on your back? It’s back to the clinic and a spot of laser treatment for you, then…

During the noughties, when I was writing a regular DVD review column for Dark Side magazine, I was required to spend a lot of time watching J-Horror… K-Horror… all things contemporary Far Eastern had become very popular. Not with me, I have to say. It’s not that these films are badly made or anything (Kiyoshi Kurosawa’s “much anticipated” Creepy struck me as a very slick piece of work when I caught it at last year’s Mayhem Festival in Nottingham, even as it was lulling me off to sleep)… and invariably they piss all over their inevitable, blanded-out Hollywood remakes… it’s just that doomed alt.schoolgirls with sinister stuff coming out of their TV sets don’t particularly do anything for me. Something, though, must have seeped out of my own TV and infiltrated my seminal vesicles at a crucial moment, as young Freudette is just bonkers about this stuff.

Writer / director Sang-ho Yeon’s achievement is to expand K-Horror beyond its accustomed claustrophobic chamber horror confines and into the best episode of the Demons franchise that Dario Argento never produced, in which – after a toxic spill from a biotech installation has reduced much of South Korea’s population to hyperactive flesh-eating ghouls – a trainload of Seoul commuters attempt to make it to the government hold out at Busan.

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No, Mr Yeon (or mister Sang-ho, depending on which Koreanologist you consult) didn’t exactly  burn the midnight oil coming up with an original scenario but it’s the furious inventiveness with which he concocts new scrapes for his characters to overcome that will keep you riveted for the duration of the ride… that, plus the fact that these characters are so well written and performed, you actually care about what’s going to happen to them. Asian film makers are particularly good at this, of course… I still curse Takashi Miike for establishing Ryo Ishibashi’s character as such a likeable guy in Audition (1999) before unleashing that disturbed girl on him.

Seok-woo (Yoo Gong) is the hard-working salary man who’s been neglecting his cute daughter Soo-an (Soo-an Kim) and is trying to make amends by taking her to see her mother (who he’s in the process of divorcing) in Busan. When the biotoxic shit hits the fan he forms an unlikely dynamic duo with taciturn, salt-of-the-Earth tough guy Song-hwa (Dong-seok Ma), who has pregnant wife Seong-kyeong (Yu-mi Jung) in tow.

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In between fighting off zombies they get in a lot of  angsting over the right things to do in terms of family and your fellow man, in stark contrast to both the feral legion of deadites and Yon-suk  (Eui-sung Kim), the selfish corporate big wig who’s not above using innocent dupes to decoy his attempted escape (if you remember Fernando Sancho’s corrupt mayor in Amando De Ossorio’s Return Of The Evil Dead, 1973, you’ll know what kind of a sleazebag we’re talking about here.)

Train To Busan is that rarest of things, a high-octane, suspenseful action movie with a sense of proportion. It’s a violent zombie film that isn’t particularly gory (the spastic zombies are plenty scary looking and blood flows freely as they get stuck into their prey but there’s none of the expected unfurling intestines) and uses its CGI sparingly, to great effect.

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That a zombie movie could be simultaneously so hard-hitting and so subtle is a revelation… I loved the fact. for instance that the transformation of the protagonist’s mother into a zombie is rendered not by visual pyrotechnics but the coarsening of her conversation during a phone call. As for Seok-woo’s climactic scene of redemption… yes, I wept ( I am, after all, “the biggest fucking cry-baby in fandom”!)

Bonus materials comprise a 15 minute “making of” featurette from which one gleans how  harmonious and hard-working the shoot was (“discipline is a vehicle for joy” in the sagacious words of Robert Fripp) and two tasters (trailer and brief excerpt) from Yeon’s prize-winning animated prequel, Seoul Station.

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Undoubtedly Train To Busan will piss all over the inevitable, blanded-out Hollywood remake that’s allegedly (and sadly) in the works.

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Categories: Blu-ray / DVD Reviews | Tags: , | Leave a comment

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