Manhattan Baby (1982)

Manhattan Baby marks the end of an era, which was Lucio Fulci’s most prolific filmmaking period that included classics such as Zombie (1979), The Gates of Hell (1980), The Beyond (1981), and The House by the Cemetery (1981). This isn’t to say these were Fulci’s best films; they were just some of the most commercially successful, not to mention big hits with the general horror audience. 

With Fulci being synonymous with gore, zombies, and various sorts of gateways to hell, viewer expectations of Manhattan Baby were probably different than what they got, as it abandons the gothic, supernatural zombie film altogether. It was scriptwriter Dardano Sacchetti’s attempt at moving away from what he considered conventional horror, to try and close up the gates of hell and open new gates of time and space. Although there are obvious influences from The Exorcist (1973) and The Awakening (1980) (and surprising similarities to Poltergeist which came out the same year), Sacchetti wanted to create something different, and for the most part he succeeded.

City of the Living Dead / The Gates of Hell (1980)

City of the Living Dead is part of a high point in Lucio Fulci’s career that would make him synonymous with gore, zombies, and splatter and also cause him to be more generally regarded as a horror director, despite having worked in numerous other film genres. Being the first film in what has become known as The Gates of Hell trilogy, which also includes The Beyond (1981) and House by the Cemetery (1981), City feels a little rough around the edges, a step down from the previous Zombi 2 (1979) but at the same time a stepping stone or prototype to The Beyond, a film that masterfully embodies a dreadful but surreal atmospheric ascetic that I like to call nightmarish horror, which abandons logic to create a sense that anything can happen, usually something bad involving the eyes.

While there is an interesting Lovecraftian story (co-written by Fulci and Dardano Sacchetti) and plenty of dialogue and characters to fill it, City feels a bit like a compendium of gore scenes and set pieces, most of which exemplify Fulci in top form. It has its flaws and issues, yet it’s one of those films where you can talk just as much about what’s wrong with it as you can about what’s right with it, and what’s right is pleasing enough to supersede what’s wrong.

Despite having a dodgy narrative, a few silly moments, and somewhat shallow characters, who have grown on me with time, such as Bob (Giovanni Lombardo Radice), the film is quite a macabre experience that has become known for its top-notch ambiance and gore FX (by Gino De Rossi), as well as succeeding as a horror film overall. It’s like a product of low quality that nonetheless continually hits the sweet spot throughout its runtime so that you just can’t help loving it. It’s almost the masterpiece The Beyond is.

Zombie / Zombi 2 (1979)

I used to not be able to stomach gory zombie films very well. Despite being excited and thoroughly fascinated after watching zombie films in my youth, I suffered from a loss of appetite for a while. Anytime I was trying to eat, my brain would be like “you know what’s a good movie? Dawn of the Dead (1978),” and images from the scene with zombies eating in the cellar would pop into my mind, and I would be turned off to eating meat or anything savory for that matter. Sweets or French fries were fine, but my mind just would not cease to relate the taste and consistency of anything else, especially if it was slimy, to what it was the zombies were chomping on. I was disgusted by zombie carnage but still thought it was so cool.

The zombie film that grossed me out the most, which is really saying something, was Lucio Fulci’s Zombie. As a kid, I used to hate looking at the VHS cover with the iconic, rotting, worm eyed, conquistador zombie (Ottaviano Dell'Acqua). I wasn’t scared; I was repulsed. Being a growing boy on the verge of puberty, I didn’t think it wise to be turned off to protein, either. And so, the tape just sat on my movie shelf, after only being watched once, collecting dust, never to be touched again for quite some time.

Needless to say, I eventually overcame this sort of appetite-loss problem and no longer felt sick after watching zombie films. I don’t know if it is enhanced mental discipline or desensitization, but I can now eat pizza while watching movies like Zombie and Burial Ground without getting nauseous.

Anyone who may have read my article for The Beyond during last year’s gore-a-thon may recall that I wasn’t a fan of Zombie for a while. It took seeing The Beyond for me to re-evaluate what was my negative stand on Zombie. I was guilty of hoping for another Dawn of the Dead, ignorantly overlooking every one of the film’s strengths.

The Wax Mask / M.D.C. – Maschera di cera (1997)

The last film Lucio Fulci ever worked on, The Wax Mask, was supposed to have been the grand collaboration between Fulci and Dario Argento, had it not been for Fulci’s tragic death some few weeks before filming was to begin. The project came about after Argento had approached Fulci at a 1994 film festival in Rome and suggested they work together on a new film.* This was more of a sympathetic gesture from Argento who had intentions of reviving the spirits of an ailing Fulci in a wheelchair, who, at the time, had not worked on a new film in years.* The two were never the best of friends, as Argento always thought Fulci imitated his filmmaking style (the separate camps weren’t only with the fan base it would seem).*

Differences aside, they mutually agreed upon recreating House of Wax with Fulci directing.* Along with Daniele Stroppa (The House of Clocks), they wrote the script for The Wax Mask, an alternate take on the wax museum myth that doesn’t necessarily feel like a remake of House of Wax (1953), even if it is.*

The Beyond (1981)

I’ve always considered Lucio Fulci’s The Beyond to be the definitive Italian horror experience, and it’s the one I’d recommend most, even over Suspiria, if anyone ever asked me what a real good Italian horror is. No one ever has, though, and most anyone remotely familiar with Italian horror already knows about The Beyond. When I first saw it, this gross, gory but beautifully nightmarish picture had awoken something in me that completely turned my attention to Italian horror, with an unwaning interest, and it changed my previous negative opinion of Fulci’s Zombi 2 into an entirely positive one.

Presently I can’t figure out why, but I had loathed Zombi 2 for quite some time, so when a local theater that specialized in cult and independent cinema advertised a screening of an old Zombie film, Lucio Fulci’s The Beyond, I immediately recognized the director and thought, “oh no, not that guy” (I was severely of the uninitiated at the time). But, since I regularly attended the weekly midnight screenings at this theater, I thought it’d be fun to go and watch this movie in a dark room full of strangers and observe the general response. Despite numerous riffing and laughter from the audience, there was something about the film that entertained and terrified me. Those moments with the grieving widow in the morgue and every time someone went into room 36 were real intense for me, and the scene with the blind ghost girl, Emily, surrounded by the zombies from Hell gave me a nightmare that night. The characteristics of The Beyond reminded me of Zombi 2, in a good way, and the gore, as indicated by the screams and waves of laughter in the audience, was a real crowd pleaser.

Lucio Fulci's The House by the Cemetery (1981)

Oh glorious haunted New England mansion…. A supreme visual brought to life with the sound of Gothic CASTLEVANIA-esque theme music by Walter Rizzati, tombstones, and leafless winter trees. What splendid grandeur and majesty you emit against the daytime sky and how even more beautiful you are at night… What evil cosmic secrets do you hold? How I’d love to see what fate would befall a family that was to all of a sudden move in and inhabit you. What’s that you say? I can? In a film called HOUSE BY THE CEMETERY. 

It’s been blogged about a thousand times and reviewed to death, but I still feel that Lucio Fulci’s HOUSE BY THE CEMETERY deserves all of the love it can get. The film primarily concerns the Boyle family who are played by the likeable Fulci fan favorite Catriona MacColl, who has to be one of the best female screamers ever (consider the intro scream from THE GATES OF HELL), as Lucy, Paolo Malco as Norman, and Giovanni Frezza as little Bob (who it seems was dubbed by a woman, which ends up being just as awkward as it is creepy). These poor souls unknowingly mortgage their lives when they move into a quiet and isolated house in the woods next to a cemetery. The thought of a husband and wife moving into an isolated house with their creepy kid and into a deadly scenario may have THE SHINING written all over it, but the overall ordeal shares no similarities to that film. 

There is a memorable and fairly iconic relation between the son and a nineteenth century ghost girl that haunts the area, named Mae. The encounters between these two kids possess a childlike innocence that blurs the motive for why Mae is contacting Bob from beyond. The end result of their friendship is confusing but so fascinating and endearing that it’s no wonder that former kid actors Giovanni Frezza and Silvia Collatina’s Facebook pages are constantly bombarded with friend requests by loving fans (myself included). We may not know them personally, we may not be actual friends, but we would still like to know how poor Bob is fairing after the traumatic events that transpired in the evil basement of that damned house. And who doesn’t have a desire to express admiration to Mae, the cool Gothic ghost girl, for saving Bob from a fate worse than death in a satisfying heartwarming ending that makes the viewer want to run off and buy Fulci’s other films (me 10 years ago) and ultimately become a hardcore lover of Italian Horror? And what great sports those two are for friending so many fans.