The House by the Cemetery (1981) The New York Ripper (1982) A Lizard in a Woman's Skin (1971) The Psychic (1977) Dizionario del Cinema Italiano Vol. The Beyond (1981) The first two movies on this list could just as easily swap places. This actually has less of a plot than a … sfn error: multiple targets (2×): CITEREFCurti2017 (, sfn error: no target: CITEREFCurtiCurti2013 (, http://trovacinema.repubblica.it/attori-registi/ciccio-ingrassia/185482/, "Atmosfear – 20 Must-see Italian Horror films (1957-1987) PART III", "The Zombification Family Tree: Legacy of the Living Dead", "Grindhouse Releasing Presents '80s Horror Classics Pieces and The Beyond", "Come svaligiammo la Banca d'Italia (1966)", "Una lucertola con la pelle di donna (1971)", "All'onorevole piacciono le donne (1972)", "Murderock uccide a passo di danza (1984)", https://en.wikipedia.org/w/index.php?title=Lucio_Fulci&oldid=1022451394, Wikipedia articles needing page number citations from April 2020, Wikipedia articles with MusicBrainz identifiers, Wikipedia articles with SNAC-ID identifiers, Wikipedia articles with SUDOC identifiers, Wikipedia articles with WORLDCATID identifiers, Wikipedia articles with multiple identifiers, Creative Commons Attribution-ShareAlike License, This page was last edited on 10 May 2021, at 15:56. [25][26] The films were shot outside Rome with a schedule of four weeks each, with The House of Clocks filmed between January 31 and February 25, 1989. It is said that Argento was shocked at how thin and sickly Fulci appeared at their 1994 meeting, and said he felt very sorry for him. [15] Fulci stated that he couldn't get the script changed, which he deemed to be "dreadful", and modified it with his daughter. Abandoning his early career as a med student, Fulci entered ... Tetrovideo announce June 2021 DVD & Blu-ray line-up! However, genre fans appreciated his films as being stylish exercises in extreme gore. Pg.295. Fulci had a Catholic upbringing and always referred to himself as a Catholic. As an adult he was not active in any political "fight" anymore but remained a firm supporter of radical left wing and socialist politics his whole life, according to people close to him. L'aldilà, and Paura nella città dei morti viventi [19] According to Martucci, Fulci "agreed to "present" the movie" as distributors required "a "heavy" name for the sales abroad. Lucio Fulci movie reviews & film summaries | Roger Ebert. [24] The films in the I maestri del thriller series were later released on VHS and DVD as Lucio Fulci presenta by the Forumla Home Video label. [34] The screenplay was entirely reworked by Stivaletti after Fulci's death, so the finished film contains significant changes to Fulci's original screenplay. Reviews. Tributes Ennio Morricone: 1928-2020. Gremese Editore. Toward the end of his life, he had lost his house and was forced to move into a cramped apartment. [23] Fulci did not discuss the film with the director and did not show up at the set of the film. Fantasma Books. [29] His wife's suicide in 1969 had always weighed heavily on him (his wife Marina had killed herself with a gas oven after learning she had inoperable cancer). Walking on crutches with a bandaged foot, he told attendees that he had had no idea his films were so popular outside of his native Italy, as hordes of starstruck gore fans braved blizzard conditions that weekend to meet him. These films contain scenes of extreme violence and adult situations that may … Touch of Death (Italian: Quando Alice ruppe lo specchio) is an direct-to-video Italian horror film directed by Lucio Fulci.The film was developed as part of a series for direct-to video and television films titled I maestri del thriller which had eight other films in the series. [20] Three days after filming Sodoma's Ghost, Fulci began work on Touch of Death which began filming on June 22, 1988. Verified Purchase Directed by Lucio Fulci (Zombi, City of the Living Dead, The Beyond), this film features loads of lame wookie-werewolf fights, some healthy of gore, a good bit of nudity and almost no discernible plot whatsoever. [15] Claudio Fragasso stated that Fulci simplified his screenplay and shot a seventy-minute film which shocked producer Franco Gaudenzi. Lucio Fulci, born in Rome in 1927, remains as controversial in death as he was in life. [11] Despite this, some of his movies (Beatrice Cenci, Don't Torture a Duckling, City of the Living Dead, etc.) [27] Immediately after finishing work on the film, Fulci started work on The Sweet House of Horrors which finished filming in March. Out of these cookies, the cookies that are categorized as necessary are stored on your browser as they are as essential for the working of basic functionalities of the website. Many of Fulci's horror films tend to contain "injury to the eye" sequences, in which a character's eyeball is either pierced or pulled out of its socket, usually in lingering, close-up detail. [18] Fulci was invited by cinematographer Silvano Tessicini in the series as the director had just moved from Rome to Castelnuovo di Porto and was experiencing health problems after returning from the production of Zombi 3. [12], In 1979, he achieved his international breakthrough with Zombi 2, a violent zombie film that was marketed in European territories as a sequel to George Romero's Dawn of the Dead/ Zombi (1978) without permission from Fulci nor Romero. The famed Italian director Steno took Fulci under his wing and allowed him to assist in the making of a number of comedies starring Totò. [8][page needed] He also directed a number of comedies starring the actors Franco and Ciccio. He was already very ill , and I met him to talk to him about the project"[19] While Fulci's health did get better, Martucci stated that "at that time he couldn't even speak, devoured as he was by cirrhosis. City of the Living Dead (1980) – A very close second for me, City of the Living Dead (aka Gates of … #1 is, despite the artwork on the cover and title, this book covers ALL of Fulci's films, including his many comedies, adventure films and westerns. She had earlier eloped to Rome with a lover who later left her to raise their child (Lucio) alone. [30] Fulci biographer Stephen Thrower wrote "....the suicide of his wife in 1969 was followed not long after by the death of a daughter in a road accident." Pg.551. [31] Dario Argento is quoted in one book as saying of Fulci "His life was terrible. [23] Fulci would later use the gory footage of the titles in the series use in his film A Cat in the Brain. Director: Lucio Fulci | Stars: Florinda Bolkan, Barbara Bouchet, Tomas Milian, Irene Papas Votes: 8,098 3. page 202. sfn error: multiple targets (2×): CITEREFHowarth2015 (, Paolo Albiero & Giacomo Cacciatore: "Dalla sinistra di via Veneto alla destra di Steno" (1927-1958). Splintered Visions: Lucio Fulci and his Films. [18] In some films, such as Gianni Martucci's The Red Monks, Fulci is credited as a "special effects supervisor" despite not showing up to set or preparing any special effects for the film. Some of the special effects in A Lizard in a Woman's Skin involving mutilated dogs in a vivisection room were so realistic that Fulci was charged with animal cruelty; the charges were dropped when he produced the artificial canine puppets that were utilized in the film (created by special effects maestro Carlo Rambaldi). Conquest was reviewed by both AllMovie and the Monthly Film Bulletin, who noted the films low budget and derivative nature, while finding the film to be surprisingly entertaining despite its negative aspects. [33], Fulci collaborated with writer Daniele Stroppa to create a screenplay for Argento, and Argento kept trying to get them to increase the violence and gore quotient, against Fulci's wishes strangely. 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