You might not know the name but you have probably heard his music and the unmistakable sound of his harmonica on countless Italian film scores. The plaintive wail of his instrument on Once Upon a Time in the West (1968) was used as a musical motif for Charles Bronson’s avenging angel, who was identified simply as “the man with the harmonica” in Sergio Leone’s landmark film. Yet that nickname really belongs to Franco De Gemini who has brought his distinctive sound from the background to the foreground in more than 800 movie scores in his lifetime. His talent for expressing conflicting emotions through his music in both minimalist and operatic arrangements is this composer’s secret weapon.Continue reading
By the mid-1980s the Italian film industry was in a state of major decline. The glory years of the fifties and sixties were now fondly remembered footnotes in the history of world cinema and even the popular film genres – giallo, poliziotteschi, spaghetti western and horror – were near the end of their heyday. There were still a few determined stragglers such as Tinto Brass with his fetish based erotica (The Key, Miranda, Snack Bar Budapest) and Enzo G. Castellari, who soldiered on with formulaic hybrids like 1990: The Bronx Warriors, Tuareg: The Desert Warrior and Striker. But the horror genre, in particular, was suffering with masters of the macabre Lucio Fulci and Dario Argento trying but failing to top past high water marks like The Beyond (1981) and Suspiria (1977). It was during this downward trend that Gianfranco Giagni made his directorial debut with The Spider Labyrinth (Italian title: Il Nido del Ragno, 1988). Continue reading
If Lucio Fulci had only directed the 1979 cult splatterfest Zombie, he would still warrant more than a footnote in any film history of the horror genre. Obviously inspired by the success of George Romero’s Night of the Living Dead and Dawn of the Dead, Fulci’s cult favorite pushed the zombie film into over-the-top excess with the famous eyeball-splinter scene and an underwater grudge match between a shark and one of the undead.
It also launched a whole new genre in the Italian film industry which included such imitators as Cannibal Apocalypse, Nightmare City and Erotic Nights of the Living Dead (all released in 1980). Fulci went on to further heights (or depths according to his detractors) with such supernatural thriller gross-outs as City of the Living Dead (1980), The Beyond (1981) and The House by the Cemetery (1981). But what most Fulci fans and film buffs tend to overlook is the fact that he was once a director who could occasionally turn out a thought-provoking and artful work of cinema such as his 1969 historical drama, Beatrice Cenci. Continue reading