Beyond Terror: The Films of Lucio Fulci
Language: English
Pages: 348
ISBN: 1903254841
Format: PDF / Kindle (mobi) / ePub
'Violence is Italian art!'
~ Lucio Fulci
Italy's Master of the Macabre Lucio Fulci is celebrated in this lavishly illustrated in-depth study of his extraordinary films. From horror masterpieces like The Beyond and Zombie Flesh-Eaters to erotic thrillers like One On Top of the Other and A Lizard in a Woman's Skin; from his earliest days as director of manic Italian comedies to his notoriety as purveyor of extreme violence in the terrifying slasher epic The New York Ripper, his whole career is explored.
Supernatural themes and weird logic collide with flesh-ripping gore to breathtaking effect. Bleak horrors are transformed into bloody poetry - Fulci's loving camera technique, and the decayed splendour of his art design, make the films more than just a gross endurance test. Lucio Fulci built up a fanatical following, who at last will have the chance to own this book - five years in the making - which is the ultimate testament to 'The Godfather of Gore'.
Featuring a foreword by Fulci's devoted daughter Antonella, and produced with her blessing and full co-operation. This book is quite simply the last word on Fulci. His whole career is studied in obsessive depth.
Huge supplementary appendices make this volume essential for all serious students of the Italian horror movie scene. Featuring COMPLETE FILMOGRAPHIES for ALL the major actors and actresses ever to appear in Fulci films, the appendices alone are a unique, breathtakingly detailed reference source in their own right.
Without doubt, by far and away the largest collection of Fulci posters, stills, press-books and lobby cards ever seen together in print. We have scoured the Earth to find the most stunning, rare and eye-catching Fulci images. Everything worth seeing is here. This is a truly beautiful book.
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the Italian film-making process, as well as the extent to which the actors are often left to make up their roles as the film is being shot. Warbeck explained the working relations on set: "It's almost telepathic, unlike American or British unionized.films. I can teU the cameraman how to .fiddle with the lens, and I can teU when the lighting 's not right. And they can equally teU me how to get the face right. how to catch the light there or whatever. And if they don't like something they teU me.
exploration of a sewer, complete with plopping wetness and lavatory trickling on the soundtrack. Is there a glancing awareness of the links between anality and death here, perhaps signalled by the character's almost toomacho presence? Scurvy old Martha, whose job seems to involve mopping up the mess that this other dimension oozes all over the place, finds 'Joe' dead or dying. eye-sockets collapsed into bloody gashes after the first of the fllm's numerous eyeball attacks. She swivels him round to
Italian parliament below: During analysis with Father Schirer (Francis Blanche) Puppis' sexual compulsions take yet another turn. 56 character be meant to remind us of another behindthe-camera lurker?). Cut to a psychedelic vision of the Garden of Eden. Lucian assumes a devilish countenance. and Wdes behind a tree encoiled by the Serpent. A giant apple dangles from the tree, but Lucian points to the tree-trunk. Emerging from the folds of bark, as if from giant knotholes, are a host of female
Black Sabbat h (1963). Kill, Baby, Kill! (1966). Danger: DtaboUlt (1968). A Hat chet fo r the Honeymoon (1969) . A Bay of Blood (1971) . Lisa and the Devil (1972) and Sh ock (1977). above: Gianni Garko as the evil husband, willing to inter his wife alive to prevent her from revealing his crimes to the police. below: Locandina. 2 Romola Guerrieri Is the pseudonym of Romola Girolami (born 5th Dec. 1931). one of a dynasty of Italian directors. His brother Marino Girolami (born 1st Feb. 1914) went
at Jeff's shack, Tom is tended to by Mercedes, but a gunman passes the window and kills her. Jeff resolves to join his brother's mission of vengeance. He tells Tom that Scott had his father killed. When Tom responds w ith " our father? ", Jeff snarls, " I said my father". The two men encounter Scott at a remote, tu mbledown shack. Jeff tells Tom the truth that's been hidden f rom him. Scott is Tom's real father; Jeff and Tom are on ly halfbrothers. Scott comes forward and tells Tom it was he w
