30 Fulci Blvd – A Lucio Fulci Primer
by Laurent Hasson
Something cool is happening in the UK. Arrow Video is preparing to release Lucio Fulci’s The Beyond this month on blu-ray. Being a Fulci fan, I am kicking, screaming and swearing about when we’ll see that in the US. Last year saw The New York Ripper and City Of The Living Dead released on the format, which was not too shabby. But I, for one, just want more, and it doesn’t matter that I have many of his films on DVD already.
When it comes to Fulci, I had only seen a few of his films many years ago as a teen, growing up in France in the 80’s. I would suppose that anyone who has had any contact with Fulci saw the same bag of films. It’s not until a faithful summer in 2009, between June 11th and August 17th, that I saw every single film of his that I could track. In total, I found thirty of them, and only then was I really able to appreciate the expanse of this man’s work, extending well beyond the Horror genre. In total, he directed fifty-six movies: salacious comedies, top of the line gialli, historical dramas, horror and westerns. Some of them are truly masterpieces, while others are real lemons. But even those are interesting to watch at least once, for the stories, and for the craft that obviously went in each of the films he made, even the less successful ones.
So, I figured why not share what I learned with a greater audience? Many people say they love Lucio Fulci because of a handful of horror classics they saw, but how many really understand his whole body of work? In this article, I am going to tell you a bit of what I think of each of those films I watched, and perhaps, make you buy or rent some of them.
When I searched around, I first went to Lucio Fulci’s page on NetFlix, and ticked off every single film there that was available. Then, I went on Amazon.com and found a few more there to buy. Then I went on Lucio Fulci’s page on IMDB and one by one, I tried to research every single other film of his I hadn’t found already. I came up with a few more as Torrents and downloads on seedy FTP sites. I was determined. Those thirty films were really all I could find, anywhere. As of today, ten of them are no longer available on NetFlix, and no new net film was made available commercially. Sad.
So let’s get started with the most famous ones. These likely require no introductions for readers of these pages. If you do, stop reading right now, get the films and watch them before coming back. Go now!
Zombi 2 (1979) was marketed as a sequel to George Romero’s Dawn Of The Living Dead, which was called Zombie in Europe. Fulci made a “sequel” to one of the best horror films of all times that stood on its own: it’s different and innovative in its own right. It has typical Italian features: it’s dreamy, visually cool, and it has an amazing soundtrack from renowned composer Fabio Frizzi (who composed the score for 6 other of Fulci’s films). Plus it has some really cool gore, great cinematography and a couple of iconic sequences that seal this film as a classic: who can forget Zombies arriving in New York City, or a Zombie fighting off a Shark to death, underwater?
City Of The Living Dead (1980) is another classic for the fans. The gore is strong, and Zombies are always a good thing. 
The film is another Italian standard, with a great score (Frizzi again), dreamy sequences, and an attention to visual details that is undeniable. The signature “blood from eyes” effect is very creepy and a must see for all fans.
The Beyond (1981) is, in the eye of many, Fulci’s horror masterpiece. Combining mind blowing cinematography, art direction, sound design, very creative horror scenes, and a fantastic soundtrack (from Frizzi again), Fulci conjures up the best he has ever put together. This is an unforgettable nightmare that is sure to enrapture you. Make sure to bring your wife or girlfriend to watch it too. When face-melting acid hits the screen, or when tarantulas make a feast of a poor soul, you are sure to get a reaction.
The New York Ripper (1982) came out one year after The Beyond and is arguably Fulci’s most visceral horror film with effects that will make you cringe and a documentary-class look at seedy New York City of that period, with Time Square in all its decadent grandeur. Fulci captures the vice of the city perfectly, and mixes it with hyper violent giallo-style murder scenes that caused a lot of reactions back then. This film labeled Fulci as a misogynist because of how women were portrayed in this film and its ultra-violent scenes. Nevertheless, this is an absolute must see for horror fans. This is horror the way it should be – controversial, pushing all sorts of buttons in society.
However famous or amazing those films were, Fulci was not immune to a few rotten lemons from time to time. Very tight schedules, tiny budgets and an unfortunate loss of creativity towards the end of his career, all conspired to engender several films that you can easily pass on, unless you are a completist, an ultra fan, or a nut like me.
Four Of The Apocalypse (1975) is a spaghetti western that is not even average. There are bloody battles and cool outfits, but it’s very slow, disconnected, and aimless. Black Cat, The (1981) and House By The Cemetery (1981) are badly made and boring in spite of having been produced around the same time as Fulci’s two horror masterpieces, Ripper and Beyond. Fulci could go from 0 to 60 in the span of two movies. He also often capitalized on someone else’s commercial success by copying movies. Conquest (1983) is a crappy fantasy film that walked in Conan’s trail. There is a bare-breasted goddess with a golden mask, but frankly, not worth 90 minutes of your life. The same goes for New Gladiators (1984), which followed in the footsteps of Mad Max. The post-apocalyptic genre was ripped off a billion times, and Italians in particular loved the genre, creating dozens of such films taking place in New York City (taking off from Escape From New York too).
Throughout the late 80’s, Fulci created one bad film after another. Sodoma’s Ghost (1988) is a ultra low-budget film where a bunch of teenagers at a villa are haunted by Nazi ghosts. The film suffers from a very low budget, and the interesting premise is never realized. Zombie 3 (1988) is an unnecessary sequel to the great Zombi 2 and proof that the same man can make two movies based on the same story line, and reach vastly different levels of quality. 
Sweet House Of Horrors (1989) may have been ambitious with a multi-faceted story of two parents who come back from the grave to protect their children, but with seemingly no budget and a single weekend to shoot, erratic editing, mediocre cinematography and poor effects come crashing down on the parade. Cat In The Brain (1990) is a unique film in Fulci’s catalog in that the master also plays the central role in this story of a film director stalked by a serial killer who copycats his film’s gory scenes. The problem is that this is 80% rehashed footage from previous films, re-edited together, cheaply. Voices From Beyond (1990) is again based on an interesting premise where a man comes back from the grave to help his daughter solve his murder. This time, because it was made for TV, it is significantly toned down, and the production value is low.
Next, I want to talk a bit about his mid-tier films. There are plenty of movies he made on a shoe-string budget that were quite interesting, or films that were overall well made, but just lacked spark. Some films were mediocre, some were good but under-executed.
Massacre Time (1966) is a spaghetti western, the kind Italy produced by the dozens every year during the 60’s and 70’s. It’s gritty, violent, well scored, but overall, it lacks the energy and polish of the better films of the genre. Fulci’s fans will recognize his bloody style as there is more blood and gore than your typical western of the time. 
Psychic, The (1977) is as far as I can tell Lucio Fulci’s first horror film proper. Jennifer O’Neil has visions that lead her to a corpse of a young woman buried in a wall of the house she just moved in. The average film is slow-paced and light in gore and horror in general, but many fans consider it a moody classic European fare. Manhattan Baby (1982) is a lesser effort from the master filmed at the same time as the much superior Ripper. I guess Fulci thought he might as well make two films since he was in the City. Baby is not a classic, but it does have its charms: it is beautifully filmed, features an amazing score from Frizzi, and looks at Manhattan from inside luscious homes and apartments. Heavily inspired by Rosemary’s Baby and The Exorcist, the film overall was well done, but lacked energy. Aenigma (1987) is a clear shot at Dario Argento’s Phenomena. There was definitely some rivalry between the two men, and Fulci was pretty unapologetic about his copying works of others. The two films are similar in plot, and the look-alike poster reinforced the connection. The film is not bad, but not great either, and it’s the last decent movie Fulci made. 
Demonia (1990) is Fulci’s last “normal budget” film. A group of archeologists unearth the tombs of evil nuns who had been killed off 500 years ago, and of course, mayhem ensues. The film has some really cool visuals, but overall, it is still definitely mid-tier and a bit messy. Touch Of Death (1988) is my favorite of Fulci’s mid-tier movies. Plagued by a very low budget the film is still very interesting, lifted by a powerful performance of the main character, a middle-aged cannibal gigolo. Touch of Death has enough kinks and gore to satisfy the fan, and a touch of cynicism and satire that is particular to Fulci’s style. Calling this a very dark comedy is not a stretch. House Of Clocks (1989) is a high-concept story from Fulci that unfortunately didn’t get nearly enough time and budget to make it a good film. This doesn’t prevent it from being interesting. Three robbers break into a villa but fall prey to creepy owners who can manipulate time. The film is very creative overall. Finally, Door Into Silence (1991) shows you that hell could be much like a nightmare that never goes anywhere, incessantly repeating itself with outcomes that frustrate. This movie shows the Lynchian side of Fulci, someone who can weave together a dream-like mood that blends incoherence and mastery. But in the end, the film is too repetitive to make it truly interesting.
Finally, the best is left for the end. These are some really cool movies. Some of those can even be called arguably Fulci’s best of the best. If you think of yourself as a Fulci fan, you must find and watch those. Some are hard to find and rare, but do try.
Maniacs, The (1964) is an anthology of comic sketches portraying the vices and manias of the Italian people. At times hilarious, sometimes tender and sweet, always farcical and satirical, this film covers many of the stereotypes one can have about the Italians. Crazy behind wheels, as sex-crazed as the French, Catholic to the extreme, everything goes. The timing is always perfect, the direction is lean and effective, and I am sure you’ll remember several of those little vignettes long after the credits have rolled, and for any Fulci fan, this is a singular entry in his repertoire that is a must see.
Beatrice Cenci (1969) is a historical drama that starts showing Fulci as a sharp critic of Italian society, which will fully bloom in several other films of his. Here, he recounts the real sixteenth-century story of Beatrice Cenci who was raped repeatedly by her father till the day where she couldn’t take it anymore and killed him. What followed was a vicious incarceration by the local powers, and fully blessed by the Church, her torture and eventually her death as a witch. The film is not graphic, so if that’s what you are after, move on. Instead, it looks at the politics orchestrated by the nobility and the Church, at the detriment of women.
Perversion Story (1969) is one of the best gialli around, a masterful Hitchcockian erotic whodunit with more rebounds than a ball at a New York Nicks game. This film is also gorgeous to look at, with cinematography and art direction that is out of this world. This is one of my favorite films from Lucio Fulci because he manages to fully engross you for the entire run-time of the film with absolutely everything: you won’t believe the story, the characters and where it all ends, and it will survive multiple viewings. It’s as complex as it is sexy with undeniably strong echoes of Vertigo. Wrap this beautiful gift with a score from Italian composer Riz Ortolani (from Cannibal Holocaust fame), and this is prime grade fare.
Lizard In A Woman’s Skin (1971) is another giallo, with supernatural overtones, a psychological horror film that is a fan favorite. Whereas Perversion Story was Hitcockian in nature, this film is Lynchian in tone, with plot twists and sequences that will confuse you to no end. Yet, Fulci proves to be a master at entertaining a dream-like world that eventually makes sense during the final denouement. This is again that one thin line between incoherence and mastery that Fulci managed with brilliance. It’s gorgeous, and very well made, plus it features a memorable score by Ennio Morricone that I found myself humming days after I saw the film.
Don’t Torture A Duckling (1972) is one of Fulci’s most interesting films. A bloody giallo with a couple of strangely gory scenes, forecasting the director as a Horror master in the future, this is one of the most socio-conscious works he has ever made. This is his most severe and vitriolic critique of Italian society, dominated by an untouchable clergy. In 1972, almost forty years ago, rampant sexual abuse was nothing new and Fulci summoned the wrath of the church with this film that laid it all bare for us to watch. When the gentle priest also happened to be a child murderer, this was it. This movie caused Fulci a lot of trouble and he was for all practical purpose, black-listed. Since then, he was never quite able to get a strong budget for his films, except those with additional European or American funding.
Eroticist, The (1972) stands in sharp contrast with Duckling in that it’s a brightly colored sex comedy, with lots of beautiful Italian boobs. But the difference stops there. It’s another sharp critique of Italian society that just happens to take hilarious turns one after another. This movie made me laugh so much for its comedy, but also its satire of all the power groups in Italy, from the Army and the Mafia, to the Church, the Press and the Government. The film follows the tribulations of an up and coming senator that has only one problem: he cannot help but grope women who come within reach. Take that Schwarzenegger! This is a pure Italian comedy in the line of the best that was offered throughout the 70’s.
Contraband (1980) is one of the most entertaining mafia films I have seen, and one of Fulci’s best movies. There is plenty of intrigue, loads of action, and a lot of gore effects of all kinds. Fulci once said that “Violence is an Italian art”, and this movie proves it. The script is smart, pitting various factions of the Italian Mafia against one another, old Bosses against young rising stars, and there is even a French gang that enters the picture with a vengeance. Did you know that the word mafia actually comes from “Morte Alla Francia Italia Anela”? It was born out of a resistance movement in the 11th century when Louis XII invaded Sicily. This is a movie not to be missed. Also, to note, another score from Frizzi.
Murder Rock (1984) is a giallo filled with black-gloved hands yielding knives and murdering innocent women. Fulci was undoubtedly trying to copy elements of Dario Argento’s Tenebre, but he set the whole story in an environment straight out of Fame or Flashdance. Young beautiful dancers in classic 80’s workout outfits, with disco and synth-laced 80’s dance music give this film an undeniable charm. If you have seen the music videos for Goldfrapp’s Alive, then you get the idea. I admit I have a strong weakness for this film, though I’d have difficulty arguing that it is a great film. It’s still very good and entertaining.
Fulci was an incredible director with a range that has few equals. He was also controversial through some of the scathing satires he concocted, as well as some of his horror films that pushed buttons in many circles among the high society of the times. Though he has created many lemons I am sure as even those films retain a unique Fulci quality that makes them watchable nevertheless. I can only imagine how frustrating and unsatisfying work may have been for him sometimes, but he has also created several fantastic films, some masterpieces, in areas as diverse as horror (The Beyond, New York Ripper, Zombie 2, Murder Rock), comedies (The Eroticist), and thrillers (Don’t Torture A Duckling, Perversion Story, Lizard In a Woman’s Skin, Contraband). At the end of the day, these are the movies that fans remember most, and to me, these are simply the nine Fulci movies I’d take with me on a deserted island.
But please, this is just my humble opinion, and frankly, I have only seen a bit over half the movies he has made (thirty out of fifty-six). I’d love nothing more out of this article than someone suggesting another masterpiece of his that I didn’t get to see, and pointers on how to get a copy (even if that means getting an import). Also, naturally, I’d love to hear opinions about which movie I trashed that you loved, or which movie I loved that you hated. In the meantime, I am crossing my fingers hoping for more great Fulci films to appear on Blu-Ray.
