4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films is all about letting the visuals do the talking.
Today is the birthday of the Italian film director, Lucio Fulci! In honor of the big day, here are 4 shots from 4 films!
This October, I’m going to be doing something a little bit different with my contribution to 4 Shots From 4 Films. I’m going to be taking a little chronological tour of the history of horror cinema, moving from decade to decade.
20 years ago today, the great Italian director Lucio Fulci passed away in Rome. In the years following his death, Fulci has somehow managed to be both one of the most influential and one of the most underappreciated directors of all time. This edition of 4 Shots From 4 Films is dedicated to Fulci’s memory and his legacy.
(We’ve dedicated two editions of 4 Shots From 4 Films to Fulci in the past. Take a look at them here and here. Fortunately, Fulci was one of the most visually inventive directors of all time. Even the lesser, low-budget films that he made towards the end of his career can be counted on to offer up at least one memorably surreal shot.)
4 Shots From 4 Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films is all about letting the visuals do the talking.
4 Shots From 4 Films
The City of The Living Dead (1980, directed by Lucio Fulci)
The Beyond (1981, dir by Lucio Fulci)
The House By The Cemetery (1981, directed by Lucio Fulci)
Yesterday, I was excited to see Arleigh launch a new feature here at the site. With 4 Shots From 4 Films, the TSL contributors will be sharing favorite shorts from some of their favorite scenes. As opposed to doing our usual review or recap, this feature will let the image do the talking. Hopefully, some readers will be inspired to track down and watch, if they haven’t already, some of the films that we end up featuring.
At the very least, it’s a great way for us all to express our love for the cinematic art form.
Yesterday was also the birthday of the late, great Lucio Fulci. My first entry in 4 Shots From 4 Films highlights some of the maestro‘s finest work.
The good thing about AMC’s The Walking Dead is that it puts zombies on the forefront of the public’s cultural consciousness. They’ve become the monster that still remains scary. The show has also allowed for new fans of the genre to seek out other classic zombie films and stories that they wouldn’t have bothered to check out if it hadn’t been for this show. One such classic zombie film would be another of Lucio Fulci’s gorefests from the early 80’s. It is a film which also has my latest “Scenes I Love” and one that continues this month’s horror theme.
Lucio Fulci’s The Beyond (aka Seven Doors of Death) has one of my favorite scenes in horror. It wouldn’t be too much of a stretch to say that I love pretty much everything Fulci has done and each of those films always have several memorable scenes that would imprint themselves on fans. My favorite scene from The Beyond has to be when the film’s two protagonists (played by regular Fulci actors in Catriona McColl and David Warbeck) find themselves under siege by zombies in a hospital. Warbeck’s character tries to fend them off with his trusty six-shooter, but seems to have forgotten to read the memo about shooting them in the head.
Every miss lessens their chance and when the creepy little red-haired girl suddenly makes her appearance as she attacks McColl’s Liza then the payoff in the scene finally happens. It looks like Warbeck’s character suddenly remembered what will kill them undead and decides to test it out on the little red-haired girl. To say that this scene was shocking when seen by a 9 year-old boy would be an understatement. I think even now that soon to turn 38 years of age young boy would still react with utter shock at this scene.
For my first horror review of October, I want to tell you about a movie that was directed by one of my favorite Italian filmmakers, Lucio Fulci. That movie is the unjustly neglected Gato nero, or the Black Cat.
In The Black Cat (loosely — and I do mean loosely — based on Edgar Allan Poe’s short story), the great David Warbeck plays a detective who is sent to a small English village to investigate a series of mysterious deaths. Corpses are turning up covered in scratches. A man crashes his car after a black cat suddenly shows up in the passenger’s seat. A young couple is found dead in a locked-up boathouse. Evidence suggests that the killer entered through a small air vent. No human could fit through that vent but…how about a cat? Warbeck enlists the aid of a visiting American photographer (Mimsy Farmer) to investigate the crimes and he soon comes across a half-crazed medium (Patrick Magee) who just happens to own an adorable, if ill-tempered, black cat…
Fulci is well-known for directing such seminal (and gory) horror films as Zombi 2 and The Beyond trilogy. The Black Cat was made during the same period of time as his more infamous films but it has never received as much attention. Perhaps that’s because The Black Cat almost doesn’t feel like a Fulci film. The gore is played down, the plot is coherent and (for a Fulci film) surprisingly linear, and the film even has a playful sense of humor to it. Indeed, this often feels more like a minor, if entertaining, Hammer film than a Fulci film. However, visually, this film is clearly the work of Lucio Fulci. With his constantly prowling camera following isolated characters through dark streets and passageways, Fulci manages to make a small English village feel just as menacing as the dying Caribbean island from Zombi 2. For all the attention given to Fulci as a “master of gore,” the true strength of his best films came from Fulci’s ability to create a palpable atmosphere of dread. Fulci used gore as a tool but not as a crutch and if The Black Cat is a minor Fulci film, it’s still a film that proves that he was a far better director than even many of his fans give him credit for.
The Black Cat is surprisingly well-acted by a cast that’s made up of an appealing combination of Fulci regulars and English B-movie veterans. I read an old interview in which Warbeck complained that he felt his performance here was “boring,” but actually he was the perfect lead for this type of film, likable and with enough of a sense of humor to keep you watching. Al Cliver may not be a household name but he and his blonde mustache seemed to show up in just about every movie Fulci made and he shows up here as well. This time, he’s playing a local English constable and he’s no more believable here than he was playing a scientist in The Beyond or a boat captain in Zombi 2. Still, any true Fulci fan will always be happy to see Cliver show up in a Fulci film because — much like familiar but bland wall paper — he lets us know that we’re home. Patrick Magee is probably best known for his over-the-top performance as Mr. Alexander in A Clockwork Orange. Magee goes just as much over-the-top here but, just as in A Clockwork Orange, Magee’s performance fits in perfectly with the film he’s appearing in. Much as Stanley Kubrick contrasted Magee’s performance with Malcolm McDowell’s more subtle work, Fulci contrasts Magee’s theatrical approach with the more relaxed performances of Warbeck and Farmer. Did I just compare Lucio Fulci to Stanley Kubrick? Yes, I did and I stand by it.
However, the real star of this film is the black cat. Trust me, this black cat (or black cats as I imagine several were used) is both adorable and blood-thirsty. I still say that our cat Doc is the cutest black cat in the world but this film’s murderous feline comes in a very close second.
Hi there! It’s Saturday morning — are you still with us? If you’re not, don’t worry. You have all day to get raptured. Until then, here’s the second part of this weekend’s edition of Lisa Marie’s Favorite Grindhouse and Exploitation Trailers.
Seeing as this could very well be the last things that I ever post or that you ever read pre-Rapture, there’s no way I can’t start things out without including this trailer for Jean Rollin’s unique, twisted, and very French vampire fairy tale, Requiem for a Vampire. One thing to note here is that when this film was released in the U.S., the American distributor felt the need to emphasize that the two girls were virgins and even went so far as to retitle the film Caged Virgins. However, the original French print of this film makes no reference to whether or not the girls are virgins and, despite all that happens to them in the film, the girls themselves are never presented as being helpless. Whenever I feel the need to explain the difference between American culture and French culture, this is one of the examples I always cite.
8 ) Kenner (1969)
Jim Brown is Kenner! And that’s about all I really know about this film. Well, that and small bundles of heroin are worth millions…
9) The Three Dimensions of Greta (1973)
I was recently reading about 3-D Sex and Zen: Extreme Ecstasy, a movie from Hong Kong that is apparently setting box office records because it’s being advertised as the first 3-D pornographic film. And, as the linked article shows, a lot of people are reporting that claim as fact. And they’re wrong. 3-D Sex and Zen might be the first recent 3-D porn film but it’s hardly the first. There was a spate of 3-D porn films in the mid-70s and one of my favorite trailers (which I can’t post here because 1) it’s too explict and 2) I can’t remember the title of the film) features a stereotypical, curly-haired, guy with a mustache type of porno actor going, “Soon, my giant schlong with be hanging right over the head of that redhead in the 3rd seat in the backrow.” And of course, I was all like, “Oh my God, can he see me through the screen!?” Anyway, the 3 Dimensions of Greta was a part of this wave. This is another one of those trailers that will probably be yanked off YouTube in a few more days (assuming there isn’t a Rapture first).
(By the way, why were so many porno films made about girls named Greta? I mean, was that name a turn-on? Were the films of the 70s exclusively made by guys named Hansel? Seriously, boys are weird.)
They’re violent alright! Before the Italian exploitation industry devoted itself to cannibals and zombies, they devoted themselves to ripping off The French Connection and The Godfather. This film from Sergio Martino actually features Don Barzini himself, Richard Conte.
If I didn’t tell you this film was from 1968, you’d guess it just from watching the trailer. The soundtrack was done by George Harrison. Though this film was certainly not designed to be an exploitation film in the way most of the other films featured here were, it definitely is one.
Can you believe I went this long without featuring the trailer for Lucio Fulci’s best known (after Zombi 2) film? Well, I love Fulci, I love this film, and I was waiting for the right occasion to feature this trailer. And the end of the possible end of the world seemed like the right time. Anyway, this is one of those love it or hate it films (and I know that one of our regular readers is not a huge fan of this film but I love him anyway). At his best, director Lucio Fulci made some of the most visually stunning and dramatically incoherent films ever and never was that more apparent than with the Beyond. Out of the film’s cast, Catriona MacColl plays one of the few strong women to ever appear in a Fulci film while David Warbeck (a personal fave of mine) is the perfect hero. My favorite performance in the film (and a lot of this has to do with the fact that she co-starred in one of my favorite movies ever, Beyond the Darkness) is given by Cinzia Monreale, who plays the blind Emily.
And so there you go. If you do get raptured later today, thank you for reading. It’s been a pleasure telling you about the films I love and hopefully, someday, we’ll all meet in the beyond.
And if, as I suspect, there is no rapture today, I look forward to sharing even more.
This week, I’m highlighting trailers from the year 1981. 1981 not only saw the release of Lucio Fulci’s twin classics The Beyond and The House By The Cemetary, it was also the year that my sister Melissa was born. (Happy birthday, Melissa Anne!)
You may notice that, despite citing them above, I did not include the trailer for either one of Fulci’s films in this post. I’m saving them for a future edition. Instead, let’s start with Alien Contamination and end with Christiane F. and see what waits in the middle.
I haven’t seen this film but I’ve read several favorable reviews of it. While the trailer isn’t nearly as graphic as some of the other trailers that I’ve featured in this series, I still like it. With the ominous narrator and all, it has a nice retro feel to it.
I recently ordered this Italian film off of Amazon but I have yet to sit down and watch it. The trailer, for me, is memorable just because it’s a chance to see both Harvey Keitel and Johnny Rotten (who were both quite the sexy beast back in 1981) occupying the same space.
Some people, I know, would disagree with me referring to Christiane F. as being an exploitation film. I’m sure that the film’s award-winning director — Uli Edel — would disagree with me. However, Europe’s art films were often sold as America’s grindhouse movies and, just from anecdotal evidence, that was often the case with Christiane F. Besides, I love this trailer if just for the music alone.
Inferno is Dario Argento’s 1980 sequel to Suspiria. Inferno seems to bring out the extreme reactions in Argentonians — it’s either loved or hated. I happen to love it.
Below is one of the film’s best known sequences, the one where Irene Miracle ends up taking a surreal swim through a basement. To me, this sequence is almost Fulciesque in it’s dream-like approach (punctuated, of course, by one sudden grotesque shock at the end). Lucio Fulci’s The Beyond, which is often compared to Inferno, featured a similarly flooded basement.
Words of warning: This scene lasts 6 and a half minutes. Also, the first few minutes are nearly ruined by Keith Emerson’s bombastic score. Fortunately, once Miracle takes her fateful dive, Mr. Emerson is silenced.
Through the Shattered Lens 