Each week, Halloween Horror Marathon does some themed posts. We wrap up the work week with the films of Lucio Fulci. We call them Fulci Fridays, and for those, we team up with Liam O’Donnell of Cinepunx. This week, we look at A Lizard in a Woman’s Skin. Nick When this was released, Dario Argento had put out The Bird with the Crystal Plumage the year before. Given that film’s massive success both within Italy and abroad, it’s difficult to see Lucio Fulci’s A Lizard in a Woman’s Skin as anything other than other than a response to Argento’s movie (or, rather more cynically, a cash-in). Additionally, A Lizard in a Woman’s Skin also came out just a week after Argento’s The Cat o’ Nine Tales, meaning that within the span of one scant year, three of the most influential gialli would be released. Argento is obviously more well-known for giallo, while Fulci can be said to have released maybe two -- this, and Don’t Torture A Duckling. However, upon revisiting this and Don’t Torture A Duckling, it’s interesting to notice that while Fulci’s always been a fan of lingering, loving shots of gorgeous naked women, the stylishly gory violence which became one of giallo’s hallmarks is fairly absent from his work in that genre. That’s an ironic thing to notice, especially given the grotesquery which would later become Fulci’s signature. I found that revisiting this, it’s impressive to note that Fulci nails pretty much all of the rest of the giallo trademarks: hallucinatory visions,sexual intrigue, and an overly-complicated plot with more twists and turns than a mountain highway. It looks gorgeous, unsurprisingly, and it’s quite impressive to see how Fulci took all the elements that Mario Bava and Argento set down, and twisted them just enough to make it a little more his. Maybe it’s the addition of the screaming mad hippies, but something about this just feels a little sleazier than your standard giallo. Am I imposing my pre-existing knowledge of Fulci on A Lizard in a Woman’s Skin, or do you also notice a patina of oiliness on this flick? Liam Yes, there is something very grimey and awful to this movie, which by the way I totally loved. I have to dispute your facts though, I would say Fulci has four gialli. One on Top of the Other and Beatrice Cenci would both count, I think. Unfortunately, I haven’t actually SEEN these films, let alone his supernatural thriller, The Psychic, so what do I know? I can only say that compared to some other Gialli, A Lizard in a Woman’s Skin is somehow more sanitary and more cruel. There is something about the filming which gets at a more gritty reality some of the more stylized gialli I have seen. Of course, this might be because of the horribly realistic dog operation scene. This was the first time a special effects supervisor had to appear in court to prove that his effects were not real. The judiciary was convinced that Fulci had filmed real dogs being operated on. His special effects man had to bring in his effects to show that they had not, in fact, filmed eviscerated dogs. This detail is, of course, just one element of the film, and is no surprise in a Fulci feature. Relative to other Gialli though, despite this falsified dog murder, this film is bloodless. So why this feeling afterward of being so dirty? To me, it is the way that the film’s answer is so obvious the entire film, and yet it makes so many efforts to obscure it in the most seedy of ways. This, when you get to the end, is about blackmail and murder. Along the way though we have mental illness, drugs, hippies, suspicions thrown every which way, and even suicide. This is perhaps the worst detail. It doesn’t help that every red herring in the movie plays off some of our worst assumptions as an audience, or that in between each character is morally suspect in some way. No, it is that the murderer not only faked their own mental distress so cynically, but even allowed their father to take the blame and commit suicide. It is all so calculated, so mean, it makes what is otherwise a relaxed film seem more corrupt. Granted, there is the other issue, which I also felt in Don’t Torture a Duckling. Do you feel like this film is further evidence of Fulci’s mixed relations to women on screen? Granted, there are a few examples of females who are not TOTALLY awful, but are the women in this movie particularly vile or am I just being overly sensitive? Nick No, you’re pretty much on-point, here. By the film’s end, you’ve seen Julia calling Carol’s husband to threaten him with extortion over her affair with Carol -- while Carol sits right next to her! -- along with Carol faking her illness, and Carol’s stepdaughter Joan also seeming to be involved in some nefarious business. Most women are either vile or out of it or pretending to be out of it -- they’re either conspiratorial evil witches or idiots. Plus, every death in this film is that of a woman, with the exception of Carol’s father, who dies by his own hand. It’s like Fulci is just wanting to show that, no matter what you do as a woman, something fucking terrible will happen. It’s awful, because there’s not even the patronistic trope of one pure woman against whom all others are judged and found wanting. They’re ALL awful. What makes it worse is that they just seem to be nothing but that: women who are bad, period, full stop. It’s weird: Argento’s Suspiria features a murderous coven of witches, which should theoretically be way worse, because it’s a group of women hiding and conspiring to kill. But somehow, Argento manages to make it seem empowering, because there’s a plot, there’s agency, and there’s something of a purpose behind what the witches are doing. He’s not perfect, but his women exhibit varying degrees of duality that Fulci’s do not. Honestly, going into The Black Cat, I’m hoping to finally get away from Fulci’s repeated shitty treatment of women. Looking forward, is there anything about that film which seems like it might stray from the director’s well-worn misogynist path? Liam I have two things to say to that. First off, no. I mean not in the sense of violence and some poorly written female characters. I am just not sure Fulci has much space for developing many female characters with any depth or agency. I do want to say though that, while they are not paragons of feminist ideals, I am not sure the women in either The Beyond or The City of the Living Dead are quite as vile or useless as they are in his early gialli. I have also, as we said, not seen all of his work so it is likely there may be some surprising women in those films. I know, I am entirely mansplaining for Fulci. Look, I love many of his movies, and they helped form my imagination around what horror could look and feel like. His aesthetics, more than his sexual politics, have been really important to me. The Black Cat will certainly feature some violence that will be difficult to justify, and I doubt there will be any sort of female heroine with dignity and complexity. Yet, I still want to defend the maestro. The man was an Italian trying to please Italian audiences? Does that have any traction? I guess what it boils down to is I have to understand that not every work of art is going to match my ideological bent. That does not make me wrong, even if not especially in horror films, female characters should at the very least be human. That seems a reasonable thing to expect. That does not mean though I can rampage through the past declaring every horror filmmaker suspect. Still though I am reaching to defend Fulci because I do find him endearing as both a creator and a figure. The reality is that a film like Suspiria, also not a paragon of feminist ideals, somehow manages to feel less awful than some Fulci films. I really just need to own my personal moral suspect nature. I have to admit that, despite feeling worn down by the misogynistic ways that Fulci has portrayed women in these movies, I still tend to like them. Don’t Torture a Duckling was a bit much for me, but I really enjoyed this film. I will likely enjoy The Black Cat, as well. It really isn’t Fulci I have an issue with, it is myself, and my tendency to ignore how often I really do NOT care. Fulci was an Italian film maker in a time when portrayal of women within this industry did follow certain despicable patterns. Here is hoping our next movie has a little less awful in it. There's a very solid version of the film on DVD from Shriek Show, and Death Waltz reissued Morricone's score as a double vinyl LP last year. There's also what looks to be an excellent Blu-ray coming from Mondo Macabro sometime very soon. [embed]https://www.youtube.com/watch?v=wOmQ0TtoBoQ[/embed]
Mondo Macabro's back up and running, and relaunching their line of amazing exploitation DVDs with a couple of Greek exploitation classics. If you order the two of them together, you get one a solid month before it's due out to everyone else.
Greece has been in the headlines a lot recently. Here at Mondo Macabro we support the Greek people and Syriza in their current struggle and wish them all success in the future. We feel it is also time to remind the world that in the 1960s and '70s, Greece had a thriving film industry, turning out comedies, melodramas, musicals – and quite a lot of the sort of films that we at Mondo Macabro love. So, to launch our new line of Greek Cult Cinema releases, we are making a special offer via their online store, for two Grexploitation classics at a special price of $35.00 plus postage. How can you resist? Discover a side of Greek life you didn’t even know existed. The films are: TANGO OF PERVERSION The Tango club is the favorite hangout for a group of swingers who live for nothing but pleasure. Rosita, a beautiful lesbian, seduces Joanna by giving her dope. Stathis, Joanna's sleazy boyfriend catches the two women in bed together and takes his brutal revenge on them, ending in Rosita’s death. All this happens in the house of Joachim, a rich playboy who gets his kicks by secretly filming Stathis having sex with girls from the Tango club. Joachim believes he is impotent, until he makes love to Rosita's dead body. After that, things start to get weird... Sex, drugs, necrophilia, voyeurism and a dose of Greek psychedelia, this film has it all. One of the legendary exploitation films of the early 1970s now makes its US home video debut in a brand new print, complete and uncut. THE WIFE KILLER Penniless playboy Captain Jim is in hock to his rich older wife, Helen. She has even bought him the fancy yacht that now bears his name. But Jim does not want to be Helen’s toy boy any more. He wants to marry his lover, Laura. He pays a psychopathic killer of women to murder Helen so that he will inherit his wife’s millions. But the psycho killer has his own plans. Suspecting Jim will double cross him, he engineers a complex scheme that will give him the upper hand. Very much in the style of the violent and baroque "Giallo" thrillers from 1970s Italy, The Wife Killer is a twisted, shocking and brutal exploration of the devious male psyche. Previously only released to cinemas in a cut version, this is the first official DVD release of the film in the U.S., complete and uncensored.We're excited for these, as you can tell (seriously: when was the last time we ran an unedited press release?). Hop on that pre-order and take a look at what else Mondo Macabro has to offer. I recommend snagging Don't Open 'Til Christmas while you're at it.