In this episode, we talk about the Italian Godfather of Gore, Lucio Fulci. But while everyone has seen his films like Zombie (1979) and City of the Living Dead (1980), we thought we’d discuss a few of his lesser-known films, such as Don’t Torture a Duckling (1972), The Psychic (1977), and House of Clocks (1989). So, you can either click below, go to Discover the Horror’s website, or find it on whatever platform you listen to podcasts. And once you’re done listening, let us know what you think? Thoughts? Comments? Got any suggestions for future shows? Let us know!
Webster University Film Series is putting the spotlight on one of our favorite directors, Lucio Fulci, and one that I honestly think is still underrated outside of the horror fans. And now is your chance to learn why!
Every Thursday in April one of Fulci films will host a live discussion about the film. The idea is to watch the film at some point before the event, then join them to hear a different speaker each week discuss the specific title. The selections for April Fulcis are: Continue reading
Next Wednesday, the 17th, is Lucio Fulci’s birthday. He would have been 93 years old. Any young gorehound perusing the video store aisles in the ’80s knew Fulci’s work, even if they didn’t know his name. Granted, it didn’t help when some of his titles had a more American sounding name (such as Louis Fuller) listed as the director. But we knew his movies. Titles such as Zombie (1979), Gates of Hell (1980), House by the Cemetery (1982), or even New York Ripper (1982), these four titles were pretty easy to find in most video stores. Sure, you might come across a copy of Seven Doors of Death, but that one wasn’t as common, not to mention cut to hell. But as we all learned more and more about this guy, we learned and sought out more and more of his titles which weren’t as easy to come by, looking on the grey market to fill those needs. Continue reading
House by the Cemetery (1981)
Directed by Lucio Fulci
Starring Catriona MacColl, Paolo Malco, Ania Pieroni, Giovanni Frezza, Silvia Collatina, Dagmar Lassander, Giovanni De Nava, Daniela Doria, Carlo De Mejo
The films that Lucio Fulci directed in the late ’70s and early ’80s made him a god to horror/gore fans. In the early days of VHS tapes, these films were always ones you’d rent over and over again. While he was already a successful filmmaker, directing films in just about every genre, once Zombie (1979) came out, followed over the next three years by City of the Living Dead (1980), The Black Cat (1981), The Beyond (1981), and House by the Cemetery (1981), New York Ripper (1982), he simply could do no wrong. And I still think that statement holds up today as well, since at least four of those titles still are considered classics today. And now, thanks to Blue Underground, we get a brand-spanking new 4K scan, along with second disc of extras, AND the complete soundtrack on CD, this is one release that is well worth double or triple dipping on. Continue reading
Italian Gothic Horror Films, 1980-1989
Published by McFarland, 2019. 232 pages.
By Roberto Curti
Being that this is the 3rd book in the series by Curti involving the gothic horror films of Italy, this latest one, covering the ’80s, it’s sort of a nice little walk down memory lane for me. The ’80s is when I started to become aware of these films. With the boom of VHS tapes, the horror section was filled with these flicks from Italy, promising (and usually delivering) the bloody and gory goods to us eager viewers. So getting to read several pages on some of my favorites, namely the ones from Argento, Bava, Fulci, and Soavi, there is plenty to be learned here.
Not only will you get to read about some of your favorite classic Italian horror flicks like Argento’s Inferno (1980) or Fulci’s City of the Living Dead (1980), The Beyond and House by the Cemetery (both 1981), as well as Claudio Fragasso’s Monster Dog (1985) and Luigi Cozzi’s Paganini Horror (1989), you will get so much insight and information that I bet you’re going to want to re-watch some of these if you haven’t seen them in a while. You’ll learn maybe why Monster Dog turned out like it did, which could make you give it (and Fragasso) a little more credit. Maybe. Continue reading
I was just commenting the other day that either I have missed them or the number of our genre stars that we’ve been losing has been much lower than previous years. And then we lose Stelvio Cipriani last week, and now there are two more.