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Lucio Fulci – an unrecognized classic

Lucio (Lucio), born at Rome on 7 Jun 1927. His career began in the 50s, debuted Fulci writer cheap comedies and an assistant Director (though in this role he visited only three times, and then only at the beginning of career). From 1952 to 1959 sold seven screenplays that were made into films. In 1962 he himself trusted to implement your own scripts on the screen. Moreover, in the first directorial project (1959) Fulci was opened by a young talent Adriano Celentano. As recognized by Lucio himself, to change the profession of the screenwriter to the Director of his forced marriage to “miss I need money”, because Directors are paid more than writers. However, soon this marriage is not just disappointed him, and internally burned for years, until the last few days leaving him to love the whole world only two dogs and daughters.

In 1966 Fulci’s leaving the Comedy genre and creates his first spaghetti Western “the massacre” (Tempo di massacro), starring a young Franco Nero. Already here was clear his thought on the fact that “violence is Italian art!”.

Andrey Iskanov:

Imagine a young Franco Nero in the lead role, a lot of blood, shooting, and finally, an excellent final between two of the main characters on a dilapidated bridge, over a patio, ending again with the blood falling down by the body and sadistic villain in a white suit and a cloud of disturbed them, such as of white doves.

In 1969, Fulci takes the most dear to his heart the picture of “Beatrice cenci”, based on real facts. It was a tough story of crime and punishment during the Inquisition, something that looks like a series about Angelica. And in this, his first (albeit a very big stretch), the movie horror movie makeup is still completely absent, and the Director tries to show not only the pain and blood, but to say his word about love. Horror picture refers rather arbitrary, due to the presence in the film, some violence (compared to the later films of Fulci, it’s not there at all). In the same year created the film “One instead of the other” (Una sull’altra, eng. One on Top of the Other), sometimes called the first Giallo, Fulci, although here the horror elements are almost there, it’s more of a cross between a detective drama.

In 1972 at the initiative of the Americans interested in the young Italian Directors, Fulci takes his only film in the United States – “White Fang”, with Franco Nero in the title role. The film adaptation of the works of Jack London has been so successful that Fulci gave the money for the sequel. And then Lucio was disappointed with their overseas partners – the blood had a few more than you have to for family viewing. And though “the Return of White Fang” (1974) took place, the road Fulci to a large cinema has been permanently closed. And with Franco Nero he never met on the set…

But we are more interested in the previous – 1971. That was when I had a full-fledged phenomenon Lucio Fulci in the horror arena. He released a Giallo called “Lizard in a woman’s appearance” (Una Lucertola con la pelle di donna, eng. A Lizard in a Woman’s Skin), which immediately earned the respect of fans of the genre, and notoriety. The movie was pretty good, with a very powerful sense of nonsense. In addition, it was a scene that was shown agonizing crippled dog, created specially for the film the future father of Another, king Kong, Alien and etc. Carlo Rambaldi. But at the time, Fulci had to prove in court that the dogs were artificial. He faces two years in prison despite the fact that in reality he was very fond of dogs. Luckily for him, the court was Rambaldi himself, taking with him one of those faux dogs, and with the help of its built-in air chambers and air ducts demonstrated how this dummy was breathing in front of the camera. Fulci was acquitted, but was never shown in his films the violence against animals. Even if it is artificial.

His next Giallo – “do Not torment duckling” (Non si sevizia un paperino, eng. Don’t Torture the Duckling) became his first masterpiece. This is one of the best films of Fulci, which will appeal even to those horror fans that are not happy with the later works of the Director. “Do Not torment duckling” remains one of the most obscure of his works: only the most hardcore fans remember about this film. Unlike later films, this contains only one scene of shocking violence. But this climactic scene is much more than violence for the sake of violence, it is full of feelings and emotions, manifest the characters.

In 1975, Lucio is releasing two films, the horror Comedy “Dracula in the provinces” (Cav. Costante Nicosia demoniaco ovvero Dracula in brianza, eng. Dracula in the Provinces) and the Western “Four of the Apocalypse” (Quattro Dell apocalisse). Next year he is filming his latest Comedy, and then tying with this genre (the last Western Sella d’argento – he took off in 1978), almost entirely concentrated on “fantastic cinema” (to this genre Fulci ranked most of his films, although of course we know from traditional fiction, he was very distant).

1977 – the year of the creation of the third, and last Giallo, “Seven notes in the dark” (7 note in nero), but this movie was weaker than the previous work of Fulci, and after he finds his niche in the bloody movies about zombies became one of the idols. Later Lucio will return to the style of the Giallo in a few “fantastic Giallo”, but the traditional representatives of the genre will be avoided.

Following the film Fulci was a turning point in his life, so you should talk about it a little more. From late 1978 to 1979, Lucio takes his most famous film “Zombie” (a lot of which indicates that the year was 1980, although in fact it happened a year earlier, in 1979). The film’s budget was small, he’d collected from the money data of three independent filmmakers. A good cast (the sister of the famous American actress MIA Farrow Tisa, a great character actor of European cinema of the ‘ 70s, Richard Johnson and the “almost” star of Italian cinema Olga Karlatos), as well as young Gianetto de Rossi, who created all the special effects of the film. The script was inspired by classic zombie movies, not works of George Romero, as is commonly believed. But by the time the film was going to release, Dario Argento released in Italy slightly redesigned Romero film “dawn of the dead” – titled “Zombie”. So Fulci, which infuriated eternal stay in the shadow of the young Maestro had to do nothing but to produce in Italy your masterpiece under the title “Zombie 2”that was at the time a source of incredible confusion in the circles of fans, comparable only to that of counting a non-existent series “Star wars” in the late ‘ 80s. Here only with “Star wars” is still understood, and fans of zombie movies still can’t understand in this whole mess. After “Zombies 2” was released in the US under its original title, “Zombi” and its sequel, “Zombies 3” – titled “Zombi 2”! The presence of the American version brings even more discord and confusion increases. The film Fulci was so close in spirit and style to the films of Romero, his zombie-film series is naturally perceived as a part of the epic “living dead.” Many fans of the zombie genre I think that “Zombie” is Fulci’s better to consider both the background of “Dawn of the dead”, and not as a continuation. It is worth noting that, as always with Fulci, “Zombie” was done in a creepy tense atmosphere, because the Maestro used to cover steep Italian obscenities of those who did not understand him the first time. However, once shooting was finished, Fulci announced to his team that they just made a classic horror movie and that the movie cannot be successful if it is not done in the atmosphere of strong nervous tension. And he was right – the film has become a classic of the genre. This determined the fate of the Director himself – now he is inextricably linked with zombies and horror.

In 1980 came the two films Fulci – “City of the living dead” and “the Black cat” (Gatto nero), and the next Lucio released the second and third parts of its specific zombie trilogy –“Outside” ( L aldila) and “House on the edge of the cemetery” (Quella villa accanto al cimitero), which in addition to common intonations unites and actress Catriona McColl (giving additional reasons to combine these movies in the trilogy). “Outside,” which is also known as “the Seventh gate of hell” (or just “Gates of hell”) is considered a masterpiece of Fulci, the quintessence of his creativity.

Then Fulci gone for a while from his famous theme of zombies and came back to the creation of a Giallo. In 1982 came the “new Yorski the Ripper” (Squartatore di New York), and “child of Manhattan” (Manhattan Baby), and then a few years, he never removed horror films, and in 1987 released the Enigma (Aenigma). All three of the mentioned movie used the style and characters of Giallo, but transcend the genre because of the strong admixture of mysticism. This is similar to Fulci Argento – he also switched from the classic Giallo to create a mysterious thrillers.

For the time that Lucio was resting from the horrors, he created several paintings in other, related genres. In 1983 on the video was released “Warriors of the year 2072” (Guerrieri Dell anno 2072) – classic post-apocalyptic film. Then, in the same year, is a fantasy adventure Conquest (La Conquista), in 1984 and 1986 detectives “Murderock – dancing death” (Murderock – uccide a passo di danza) , and “devil possession” (Miele del diavolo) , respectively (the names of these ribbons would fit perfectly, and horror films). In 1988, Fulci finally returns to the zombie (the unspeakably happy fans of the genre) and takes the sequel to his film called “Zombi 3” (released as “Zombi 2”). Then there are a couple of horror movies. In 1989, Fulci is actively cooperating with the TV and takes two TV series – “Sweet house of horrors” (Dolce casa degli orrori) and “the clock House” (Casa del tempo). In the early ‘ 90s, he released five films (the last in 1991), on what his career ended. The last years he spent in inaction and oblivion. May 13, 1996, Fulci died from diabetes (or rather, from associated diseases). Not long before his death, Fulci took part in writing the script for the film called”Wax mask”, which he was to direct, but died before filming began.

Lucio Fulci was quite a kind man. His influence on the tradition of horror in the world is very large, but his name remains little known to most. At the same time in a relatively narrow circle of ardent horror fans the name Fulci is undoubtedly a cult. Lucio has developed his own unique style, which is difficult with something confused, and greatly influenced the style of the Italian school of horror. However, his horror movies were always low budget, and he remained on the outskirts of the large film business.

As a Catholic, don’t You believe in Good and Evil?

This may seem strange, but I am more happy than someone like Luis Bunuel who says he is looking for God. I found It in the suffering of others, and my torment is greater than Bunuel. Because I realized that our God is a God of suffering. I envy atheists, they don’t have all these problems.
It is true that all my films are terribly pessimistic. But the humor and tragedy are always attached in one way or another, to be pessimistic. If they emphasize the tragic side of things, it can have a funny effect. Summarizing all the above, cruisetravel so many comedies when I started my film career turns out to be very useful for my real movie. Movie Fantastic.

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