Fulci & The Beyond

Discussion in 'Euro Horror' started by The Joker, Oct 15, 2003.

  1. The Joker

    The Joker Guest

    Hi all

    I watched the Beyond the other night for the 1st time. I own all 3 Fulci collections

    House By the Cemetery\The Beyond
    Manhattan Baby\The New York Ripper
    City of the Living Dead\Dont Torture a Duckling


    I've only watched the first collection so far but I've already noticed a pattern. Is it just me, or do the characters in Fulci's movies seem unbelievably stupid...

    They say stupid things, act stupid, do stupid things, etc.... maybe Fulci likes them like that. I did like HBTC and the Beyond....but I'm still not sure why. Aside from the creative deaths and massive gore, there wasn't anything spectacular about either one....the story lines are not really different than 1000 other movies. Has anyone else had this same observation....talk to me :)

    The Joker
     
  2. Fistfuck

    Fistfuck Slowest to 2000 posts

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    I particularly never got the fascination with Fulci, though I must admit I´ve seen far too few of his movies to pass final judgement. Aside from Zombie, I find his films remarkably poorly paced and stories nonexistant. I´ve watched The Beyond a handful of times, and still can´t tell you what it´s about, though the spider scene has affected me like noneother. HBTC had some great gore, but beyond that was entirely forgettable.

    If anyone has any suggestions as to Fulci films I should check into I´d like to hear them.
     
  3. dwatts

    dwatts New Member

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    -- Is it just me, or do the characters in Fulci's movies seem unbelievably stupid...--

    You are describing the beauty of Fulci. Yeah - they're stupid. In the Beyond, every single time I watch it, I end up shouting at the end - "SHOOT THEM IN THE HEAD, STOP WASTING BULLETS!!!" It is dumb dumb dumb.

    Ain't it a blast? These are comic book movies. There's as much humor as there is horror - some not intentional (the elevator scene at the end of The Beyond, where he puts the bullet down the barrel of the gun to load it). It's just all good.

    Mind you, he might not be for you. Weird you bought all those without checking first- but really, you made a good buy. Gie them a chance, check your brain at the door :)
     
  4. DVD Connoisseur

    DVD Connoisseur Active Member

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    Of the Fulci movies I've seen (i.e. his most well-known films), I've found them extremely entertaining as they're great to look at, very atmospheric, have excellent soundtracks and enough thrills and chills to keep my attention locked on the screen. Chewing gum for the eyes.

    Don't Torture A Duckling is probably his most mature work and is a very recommended giallo.
     
  5. Gutwrencher

    Gutwrencher Guest

    I'm a huge fan of Fulci...and have many, many titles. but then I love Andy Milligan, Bruno Mattei and Ed Wood...so dont listen to me. The Beyond, City of the Living Dead and Dont Torture Donald Duck are 3 of my fav's.

    A Lizard In a Womans Skin has been delayed over and over....where the hell is it?
     
  6. Paff

    Paff Super Moderator

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    Check out some of his giallos, IF you like giallos. I know not everyone does.

    I've only seen two, NY Ripper and Don't Torture a Duckling (still waiting on Lizard...), and I like 'em a lot more than other Fulci films, 'cause he needs to follow the giallo "rules". I'm slowly warming to Fulci, but I've always found his films wander around a little bit in terms of mood, style, etc. I find that The Beyond is highly overrated. It starts out as a great film about opening the gate to Hell, and parallel worlds, etc. Ends up as a run-of-the-mill Italian zombie flick (and Fulci's own Zombie film has a much better zombie attack at the end).

    But Don't Torture a Duckling is not only entertaining, but there's a thesis behind the entire film (the invasion of big-city culture into a small community), and even some social commentary too. Highly recommended.
     
  7. Mortis

    Mortis GARBAGE DAY!

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    Cheesy movies rule. They would probably suck if they were over-the-top serious.
     
  8. dwatts

    dwatts New Member

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    Heh heh - the zombies were added at the request of the producers, to aid with sales, since Fulci was known for Zombies. It was not part of the original film. They work for me, but it's funny to know why they're there.
     
  9. Jimbo

    Jimbo The Bloodstained Shadow

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    Fulci just seems to leave me wanting more in the end.I dont love his work or hate it.I am just kind of in the middle.I cant help but feel that there is just something missing from his work.I think his use of gore is great,But as far a a true story line to the movies i have seen i just cant find much meaning to them.I own the beyond,City of the living dead,zombie,house by the cemetary.I want to try some others but just cant bare to spend the money when i am left with the same old feeling.On a scale from 1-10,I give him a 5.Maybe i am the oddball here but i just like better substance to my movies.
     
  10. dwatts

    dwatts New Member

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    I think The Beyond is WAY deep. When I got around to writing reviews here, I had like five pages in Word for that film alone. Never completed it though. Really, it's an immensely deep film, imho. The others.... not, just fun.
     
  11. rhett

    rhett Administrator

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    I would agree dwatts, THE BEYOND is a very rich film. It reminds me of some of Argento's "art" film (BIRD WITH THE and DEEP RED) where the painting both reveals the secrets and predicts what is to follow all at the same time. THE BEYOND is constructed with such an aloofness, it seems to exist without a linear sort of time. The structure of the film is very much like a painting itself, everything it layed out all at once on a single canvas. The story is insignificant because there isn't one, it is all about the mood and the essence of paintings. Like a painting, the story is what you can discern from the visuals. More than any other Fulci film, the apocalyptic ending seems to have a purpose, rather than just sheer shock effect.

    The only other film of his that I have seen that is worthy of analysis is DON'T TORTURE A DUCKLING. Like Paff said, there is plenty beind said about rural corruption by urban values, and his indictment of religion is also very vocal.

    I've seen 10 or so Fulci films, and I enjoy them all for the gore, sleaze, etc. The only ones I would actively recommend to others would be DUCKLING, THE BEYOND and maybe ZOMBIE. For me, those films work for more reasons than just gore and nudity, they are original and it appears he really has something to say with them. I'm anxious to see LIZARD IN A WOMAN'S SKIN though, I know Jason says it is his best.
     
  12. KR~!

    KR~! The Apocalyptic Kid

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    To dwatts :

    On one hand:
    The people in his horror films are NOT stupid, if you actually think this, then you are so missing the point. For example, there is a reason why they keep forgetting to shoot them in the head. I won't tell you why, but I'll let you figure that out on your own, if you can ;)

    On the other hand:
    That said, the films are so deep that you can enjoy them on many levels, so if you just want to enjoy them on a literal level, then go right ahead. Of course, the movies make no sense whatsoever this way, but hey that's part of the fun as you say right?
     
    Last edited: Oct 16, 2003
  13. zombi3

    zombi3 Pure Evil

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    Actually, that was intentional. David Warbeck was goofing off thinking that those few frames would be cut out. Also, check out Katherine MacColl's reaction just as the elevator door closes.:lol: They talk about that in the commentary, which is definitely worth a listen if you haven't heard it. It's quite funny at times, but also gets quite depressing.
     
  14. dwatts

    dwatts New Member

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    He does shoot some in the head. And some of the characters in Fulci's films are undoubtably stupid. I saw Voice from Beyond just two days ago - plenty of stupid people in that. Manhattan Baby has its share of dopes too.
     
  15. mcchrist

    mcchrist A new breed of pervert!

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    I like the decaying corpse hooked up to the heart monitor :D
     
  16. Gutwrencher

    Gutwrencher Guest

    I dunno....I think todays teens in horror take the cake for ignorance. makes Fulci's people look like educated saints. horrifying thing is....more and more seem to be taking it over into the real world. :lol:
     
  17. FulciZombieFan

    FulciZombieFan New Member

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    "... and you will live in TERROR!"

    Back in the late 1990's there was a small publication called:

    "...and you will live in TERROR!"
    JOHN MARTIN explores THE BEYOND

    The booklet is roughly the size of reader's digest (slightly bigger than a TV guide) and was printed on glossy paper with many b/w pics along with a few in color. All in all in totaled about 67 pages.

    Unfortunately I think this is now very rare. I'm happy that I have more than one copy as I am a huge fan of Lucio Fulci's work with THE BEYOND being my favorite.

    Below are some quotes by Fulci and excepts from this booklet. I hope this will help some of you in understanding this wonderfull movie.

    LUCIO FULCI QUOTE
    "In my next film I wanted to tackle Hell with a more metaphysical elaboration than in CITY OF THE LIVING DEAD" explained Fulci: "my idea was to mount a true hommage to Antonin Artaud ..." (see sidebar) "... thus was born THE BEYOND. My idea was to make an absolute film, containing all the horrors of the world, a film without a story. There's a house, with people, and dead who return from The Beyond ... that's it. There is no logic to be found in it, only a succession of images."

    SIDEBAR ABOUT ANTONIN ARTAUD (1896-1948)
    Born in Marseilles during 1896, this French actor, director, poet and theorist entered the theatre in 1921. he was a member of the Surrealist movement (contributing to "La Revolution Surrealiste") from 1923 until 1927, when he was expelled by Andre Breton. Between 1926 and 1929 he produced performances for the Theatre Alfred Jarry, which he had co-founded with Roger Vitrac and Robert Aron. His collection of essays, "The Theatre And Its Double" (1938), established the principles of The Theatre Of Cruelty, i.e. "to jettison language in favour of symbolic gesture, movement, sound and rhythm, in order to disturb the viewer and impel him to action". The prototype of the tortured artist, he exalted suffering and believed that theatre should be "like a Medieval plague", making stronger those it did not kill. In 1935 Artaud directed his own play "The Cenci", based on Shelley source material (which would also inspire Lucio Fulci's 1969 film BEATRICE CENCI). The production collapsed after only two weeks, Artaud subsequently travelling extensively in Ireland and Mexico before suffering a complete breakdown and spending most of his later years in asylums. "In the search for the absolute and for ecstatic states his speculations carried him to the point of mental derangement" wrote Patrick Waldberg, and Artaud's drug-fuelled decline was starkly recorded in Gerard Mordialliat's recent biopic. He died in Ivry, near Pairs, in 1948.
    Peter Brook's notorious staging of Weiss's Marat/Sade in 1962 is often cited as the paradigm of an "Artaudian" production, but his influence on THE BEYOND cannot be ignored. "THE BEYOND is pure Artaud ... no plot ... a person comes to live in a house that's been built on one of the Seven Gates of Hell ... and that's where the scenario stops", in the words of Fulci: "I studied Artaud originally because he had become a popular name to drop in Italy, though in reality very few people were actually reading him. His influence is evident in much of my work". Fulci was found of quoting such Artaud maxims as "life is always somebody's death" and "a language that stems from signs, from cries, is not a language of words, but a direct impression upon the senses". "In this sentance", Fulci believed: "is contained the whole essence of cinema. Artaud was fundamentally a cinema man rather than one of the theatre. I remember well when I met him, over forty years ago ... he stared at me with those mad eyes ... the years in which I really embraced the ideas of Artaud were the early 80's, when I was working with absolute freedom".

    LUCIO FULCI QUOTE
    "I place the camera so that the audience is complicit in a cinematic crime. They are now past the point of simply being aware of a brutal act - they have become the perpetrators."

    and another quote that might explain Fulci's love of extreme close-ups and use of "eye gore":

    "The eyes are the first thing you have to destroy ... because they have seen too many bad things!"

    SERGIO SALVATI QUOTE - Cinematographer of THE BEYOND and many other Fulci films
    When asked about the opening sequence of the film:
    "Initially, it was to have been filmed in black and white to simplify the whole operation but then I opted for the soft yellow, almost golden filter which blended in well with the torches and the flashes of light and was reflected in the clothes worn by the inquisitors and the burnt lime on the painter's face. What I was trying to recreate was the effect of an old, yellowed photograph, some thing outside time, putting a gap between the present day story and the prologue as though they were two separate films, divided by an infinite arc of time, a long bridge, like the one that takes Sarah to meet Emily, the blind woman ... in the Dimension of the Afterworld. I discarded the usual sepia - the color of memories, since there are no relationships between the characters based on memory, instead, THE BEYOND is a horror film which lies outside time and space".

    LUCIO FULCI QUOTE
    "In Italy we make films based on pure themes, without a plot, and THE BEYOND - like INFERNO - refuses conventions or traditional structers ... people who blame THE BEYOND for its lack of story don't understand that it's a film of images, which must be received without any reflection."

    NEXT UP
    I will be posting a very interesting review of THE BEYOND from this same publication. Anyone who has seen the film should find it VERY interesting ...

    - John "FulciLives" Coleman
     
  18. FulciZombieFan

    FulciZombieFan New Member

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    Let's Get Metaphysical

    Hello again :)

    OK as promised here is a review or critique of the film from the booklet I mentioned in my previous post.

    *** SPOILER ALERT ***
    You might not want to read this if you have not yet seen the film

    This review or critique of the film is entitled "LET'S GET METAPHYSICAL"

    Frequently cited as Lucio Fulci's finest zombie movie and even held up as some kind of ultimate in graphic cinema violence, there is actually so much more than gore to THE BEYOND ... and those zombies turn out to be almost an incidental part of the narrative equation. Pierre Patina in MAD MOVIES #22 identifies Fulci's "fascination for putrefaction" in this film as a mere Macguffin, before proceeding to sabotage his own peice (intended to hail Fulci as a "poet of the macabre") by describing those legions of shabling deadsters as "a mere pretext for Fulci to elaborate a sort of catalogue of atrocious, original deaths, just as Mario Bava had done in his necrophilic manifesto, BAY OF BLOOD". Mais non, Pierre - there's more going on here than eyeballs popping and entrails unravelling ... no less than the creation and fall of man according to Lucio Fulci.

    In his book NIGHTMARE MOVIES, Kim Newman dismisses THE BEYOND in perfunctory fashion, complaining of: "doorways to Hell into which the dumb protagonists blunder and which, in lieu of more imaginative supernatural manifestations, disgorge shambling hordes of flesh-eating zombies". Aside from straightforward factual inaccuracy (at no point do we see zombie eating flesh ... maybe he hadn't actually seen the film when he penned this review, indeed how anyone possibly see THE BEYOND and conclude that it "lacks imaginative supernatural manifestations"?). Newman's cardinal error is his ignorance of the fact that the all-too solid portal through which those zombies eventually traipse, obviously foreshadowed in Michael Winner's THE SENTINEL (1976), can be traced back, through a long artistic and literary tradition to Homer's ODYSSEY (if not earlier). In this respect we can draw a parallel between Fulci and the aforementioned Mario Bava, the Italian horror legend whom he idolised, and who once described himself as "more pagan than Christian, more heretic than Catholic". Fulci told me in 1994: "My most important films are about the intervention of doubt in the mind of a Catholic. They're all terribly pessimistic, becuase I have come to believe that God is a God of suffering" (1)

    NOTES BY John "FulciLives" Coleman
    The (1) represents a footnote. Here is that footnote:
    David Warbeck told me: "When I asked Fulci how he came up with all this horror, y'know electric drills through people's eyeballs and so on, such extremes, so horrendous - he said, "David, life is so much more horrible than anything I could ever come up with.", and I realized that he was absolutely right. Fulci himself has suffered through his own private hell, he went through a bad separation, bad health, the deaths of loved ones ... all of this is common knowledge, so I feel at liberty to talk about it".

    END FOOTNOTE --- NOW back to the MAIN TEXT ...

    THE BEYOND has been described by its director as "pure anarchy in a religious environment". Indeed the film, like CITY OF THE LIVING DEAD (1980) and THE HOUSE BY THE CEMETERY (1981), is less a sequel to the commercial smash ZOMBIE (1979) than a vehicle for Fulci's introspected agonising over his own perverted Catholicism, in which notions of "the resurrection of the flesh" are taken to their variously logical, absurd and chilling conclusions. Fulci prided himeself on being "a generic terrorist", who re-wrote the rule book of every genre he worked in (i.e., just about all of them). For such an incorrigible iconoclast, it was but a small step from this to recasting the canons of Christianity. So "the book of Eibon" (a manual of Gnostic know-how concieved by the fertile imagination of Lovecraft acolyte Clark Ashton Smith) supplants The Bible, and the consolations of the Twenty-third Psalm are replaced by the altogether less reassuring prospect of "exploring a Sea of Darkness". There are Old Testament-like plagues of spiders, showers of blood and of acid; the appearance of Stigmata; and an alarming practical demonstration of "an eye for an eye" by Joe the plumbing prophet. Crucially, in the place of an omniscient, omnipotent Judeo-Christian Godhead, Fulci sets a crazed demi-urge, feverishly constructing the canvases which, it is ultimately revealed, constitute the bleak universe through which the desperate characters struggle towards their inevitable damnation.

    Zweik the painter (and putative occult adept) is a misunderstoon martyred misfit in the grand Fulci tradition of "Martiara" (Florinda Bolkan) and "Bob" (Giovanni Lombardo Radice), previous redneck victems in DON'T TORTURE A DUCKLING (1972) and CITY OF THE LIVING DEAD respectively. Fulci once famously described the trepanning under gone by Radice's character as "a protest I wanted to launch against a particular type of fascism", and he later elaborated this point to me in the following fashion: "My family has always been against fascism, which is why my grandfather's tomb was desecrated by fascists. I made sure my children were educated against fascism. My film SODOMA'S GHOSTS turned out to be rather prophetic, because now the ghosts of fascism really are back., there are fascists in the Italian government. Those of us who lived through fascism don't want to see it recover its grip on Italy ... Radice's character in CITY OF THE LIVING DEAD was a sort of a 'Forrest Gump' character, who was killed by this girl's father, a typical American redneck bigot, because he disapproved of the strange boy's relationship with his daughter. SODOMA'S GHOSTS has the same theme. The reason I portray violent lynchings in my films is that I detest mob violence ... I am seeking to exorcise it" (witness also the savage mob beatings handed out to Franco Nero in Fulci's MASSACRE TIME (1966) and even Hollywood icon Edward G. Robinson in his OPERATION ST PETER (1967). For Fulci, fascism is just a 20th Century manifestation of the same eternal, monolithic forces of oppression that are manifested in his 1969 film BEATRICE CENCI as "the power of the Popes, during the Middle Ages, to condemn not only your body to the flames, but your soul to eternal damnation in Hell".

    Fast forward from the Middle Ages to 20th Century New Orleans, where of course they know a thing or two about lynching. The ol' black desk clerk in the lobby of the Seven Doors Hotel seems wholly justified in his apprehension (Fulci treats us to repeated close-ups of his eyes rolling in their sockets, but this is no racist depiction: everybody's eyes swivel madly in ultra-close up at some point during THE BEYOND) as the rednecks roll up to torture Zweik. "You damned warlock" they admonish him, before the chain-whipping commences: "Because of you, this town is cursed forever". But their self-righteous religious zeal is just a pretext for pig-headed intolerance of nonconformity, and ironically, it is their own actions that are condemning them to perdition, for in Fulci's scheme of things, The Divine principle is the Creative principle, the preserve of the "outsider", and Original Sin is not the sin of rebellion, but that of soul-destroying conformism, the philistine herd instinct that reduces men to their all-too perishable flesh, staggering around satisfying its base instincts ...

    OK. I need a break. There is a lot more. I'm only about maybe 2/3 done ... well maybe as much as 3/4 done.

    I will finish this as soon as I can.

    Hope you guys and gals enjoy :)

    - John "FulciLives" Coleman
     
  19. FulciZombieFan

    FulciZombieFan New Member

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    LET'S GET METAPHYSICAL - Part 2

    OK here is the rest of the review/critique

    This is great suff don't you think :)

    LET'S GET METAPHYSICAL - PART 2 - CONCLUSION

    Philip K. Dick, whose polymesmeric science-fiction turns on the notion that the reality we percieve is "only apparently real" ("seen through a glass darkly", to paraphase St Paul) expressed - in his collection of essays, "I Hope I Shall Arrive Soon" - the characteristically cooky conviction that the passage of time is an illusion, transcendent reality being forever fixed on Mount Calvary at the moment of The Crucifixion. Similarly in THE BEYOND, the clock stopped forever when Zweik was massacred. The time is always the time and the place is always the place, the same players forever going through the motions of the same eternally repeated drame (a la Antonio Margheriti's DANCE MACABRE from 1964). So - despite Fulci's later protestations that zombies were only belatedly added to the brew, for the benefit of the German market - their presence in fact contributes to the precise symmetry that underpins this most formally elegant of horror films, as the drab grey deadites bumping around the hospital's corridors find their coutnerpart in the pre-titles goon squad (the aforementioned eye-rolling negro from 1927 also turns up as a gurney-pushing orderly in "the present day")

    Whereas in BEATRICE CENCI Fulci had dislocated the viewer's sense of time by means of a Chinese box-type arrangementof flahbacks within flashbacks (audiences apparently responded with cries of 'kill the director', though Quentin Tarantino's deployment of an identical device in PULP FICTION recently met with considerable acclaim), in his zombie films he achieves a more subtle sense of disorientation by juxtaposing two parallel worlds, which touch only tangentially ... most effectively of all, in THE BEYOND one world of appearances (ours) is imprinted upon another one that is somehow "more real" ... a world of ideals, in the Platonic sense. The omnipresence of this other world (that lies beneath and informs our own) is emphasised by such characteristic directional tricks as abrupt focus switches, by the revelation that the hospital and hotel basements are joined (in Peter Nicholls' phrase) "by some quirk of Lovecraftian geometry", by the moment when a character moves out of shot to reveal a corpse filling his outline behind him (a shot reprised in Argento's TENEBRAE shortly afterwards, though to more prosaic "shock" effect) and the scene in which Liza appears only as a reflection in ghost girls Emily's mirror.

    "We blind see things more clearly" the blind girl tells the heroine, and proves that this is no mere metaphorical construct by effortlessly navigating physical obstacles in Liza's world. Emily consistently tries to warn Liza of the very real peril that she is facing but, their perception limited to the material world that they believe they inhabit, the protagonists are doomed. They're literally going to Hell on a rail, their itinerary marked out on the grid-lines of the underworld. The long, straight road that Emily dramatically appears on, the path through the cellar that Martha marks out "especially for Joe", the hospital corridors through which Liza and the Doctor are relentlessly shepherded ... all roads lead to The Beyond ... the charnel hourse ... the Sea of Darkness ... the Door to Silence.

    END

    Now how is THAT for DEEP :)

    Of course the same booklet features the following quote from Fulci on critics:

    "Ignore the critics ... they are a joke and a masturbation"

    FULCI LIVES !!!

    - John "FulciLives" Coleman
     
  20. Vasilis

    Vasilis New Member

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    Damn! This is great stuff :)
     

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