Despised by censors, reviled by proponents of 'subtle' terror, and victim to the political/economical factions of his native film industry, Lucio Fulci was a filmmaker who found beauty in decay, poetry in pain, and salvation in the grotesque. His filmography is an atmospheric elegy of human guilt, desire and terror. If gore was all his often violent and controversial films offered, he may not be remembered with such a degree of fondness. But awe and wonder drenched his terrifying dreamscapes of mortal fear and physical butchery as deeply as misogyny and nihilism. The ugliness of humankind and malevolence of the universe is made strangely attractive in Fulci's most visionary works, from the hard edged elegance of his Gialli (Woman in a Lizard's Skin) to the surrealistic shadow lands between the living and the dead in such macabre masterworks as The Beyond and House by the Cemetery. Never appreciated as much as Mario Bava or celebrated with the intensity of Dario Argento, Fulci injected his own personal tragedies, sense of isolation, and fantastical speculations into his directorial style and choice of themes. His untimely demise due to diabetic complications brought him even more fame -- a biter sweet accomplishment that drew a parallel between him and his muse, H. P. Lovecraft. One is tempted to wonder if this trick of Fate wouldn't have made Fulci smile, embodying the cruel irony of Fate that he so often celebrated in his powerful celluloid visions. Yes, one wonders . . . and this is just the trouble. There has been so much speculation about Fulci's true personality, his shifts of mood, his personal life and private actions, that conjecture becomes futile. While practically every fan of European horror has a treasured rumour regarding the great if erratic director, there is rarely any personal testimony or proof to shape for us a clear, honest picture of Fulci. This has been rectified by fan and historian Mike Baronas, who has released a biography in picture and words regarding some of the most illusive and infamous moments of Fulci's life and career.
Paura: Lucio Fulci Remembered is as informative and unflinching as it is unpretentious, packing an incredible amount of facts and memories about the great man in a format a joy to watch and listen to. Concise and often shocking, the revelations shared here -- many for the first time -- make this disc more than a collection of interviews. The amount of behind the scenes rumours (some squashed, others ignited), the emotion behind the memories, and the diverse areas of film, fandom, and personal biography covered make Paura as much a crash course in Eurohorror history as it is a loving but balanced testimony to Fulci. More about the man than the work itself, this disc fills a gaping hole in several facets of Fulci's personal beliefs, his religious beliefs, and his intimate behaviours and relationships. And it does so with style. Don't expect to see a rude and rowdy E Channel style freak show here, friends. Neither should you expect nothing more than a fan boy's love fest. While this disc was created out of devotion to Fulci's contribution to the genre, and admittedly targeted towards serious Fulci devotees, Mike Baronas keeps blind hero worship out of the questioning process, as do the folks he speaks with. What you get, then, is a factual, sometimes harsh, always intriguing look into a life that has hidden far too long in the shadows. Fulci is revealed warts and all, neither whitewashed or demonized, and comes out looking all the more fascinating, enigmatic, and problematic a human being for it! Baronas should be congratulated for this balance between tribute and professionalism. More importantly, he should be commended for his unobtrusive interviewing style, leaving it for the actors, peers, and friends themselves to speak.
Fulci is perhaps still known most widely for his gleefully excessive gut-muncher Zombie (1979) and the hyper violent unofficial 'trilogy' City Of The Living Dead (1980), The Beyond ( 1981), and House By The Cemetery (1981). A maligned poet who delighted in peeling back layers of reality, social hypocrisy, and the occult, Fulci defied the knee-jerk philosophy of traditional conservative cinema, employing ultra-violent examinations of the surreal to study the chaotic bleakness informing existence. His deeply graphic style, his penchant for exposing the cruelty of man and the violence of life in general, and his rumoured (now acknowledged) temper and rabid dedication to quality on set have all led to a rumour machine that often demonizes Fulci, with the nightmares of his mournful protagonists and gut tearing zombies spilling over into a life speculated to have been filled with personal loss and deep unhappiness. If his death led to a resurgence of interest in his work, it was just as crucial in instigating more rumours. Paura goes straight to the source to uncover the truth. Entertaining? God yes! And at their root they comprise one of the few really useful compendiums of information we have, doing for Fulci the man what critic/author Stephen Thrower did for the films in Beyond Terror.
Moved by a burning curiosity to learn who Fulci was beyond his shocking images, Baronas used Paura as a means to dissect the man by going straight to the actors, technicians, FX artists, and directors who worked with him. Organized cleverly into three main sections -- ACCOMPLICES, PEERS, and VICTIMS -- the disc gathers together a surprising variety of people from different walks of life, whom had differing levels of intimacy with Fulci. These range from the famous (George Hilton) to such obscure names as Franco De Gemini, a harmonica player. The Accomplices section offers perhaps the most detailed accounts of Fulci's work and private life, with many of his closer associates quick to point out that the rough, cynical, and rude external mannerisms hid a sensitive and cultured individual leery of pain and betrayal. Effects artists Carol Rambaldi, Giannetto De Rossi, and Gino De Rossi weigh in on Fulci's contradictory passion and gentleness, strength and frailty, with Giannetto and his wife recalling their evening dinners with the director, as well as the injustice of the lukewarm critical acceptance of his work. This section also notable for its coverage of longtime writer Dardano Sacchetti, whose rocky relationship with Fulci is well noted. Surprisingly, Sacchetti recalls Fulci with fondness and compassion, giving a more generous picture of the man than in previous commentaries, where he emphasized his fickleness and controlling personality. Other highlights include a brief segment with Fabio Frizzi, the man behind some of Fulci's most haunting scores, and Sergio Salvati, the director of photography who gave such classics as City of the Living Dead and Zombi such atmospheric intensity.
Mike Baronas hunted down over a hundred of Fulci's contemporaries and associates, armed himself with a question profound in its simplicity: "What is your fondest memory of Lucio Fulci?" The answers are intriguing and heartfelt. Began as a book project, this DVD was conceived by a fan for fans. Paura encompasses a fascinating era in horror cinema with 88 interviews. The subjects themselves are a fear fan's delight, including people who worked with Fulci during the Spaghetti Westerns and Giallo, as well as those who collaborated with him during his 'golden period' of graphic excess. The personalities covered in 'Peers' is a Eurofiend's wet dream, showing some of the most lauded and influential faces in the genre. Lamberto Bava recalls Fulci as a tall bearded man visiting his father in his youth, while Enzo Castellari, always the shrewd opportunist, congratulates himself for giving Fulci his big break by passing up the helm of Zombi. Luigi Cozzi recalls Fulci's success as the catalyst that allowed him to film Alien Contamination and Ruggero Deodato mentions Fulci's reputation for badmouthing his peers. Such notable men as Sergio Martino and Bruno Mattei also weigh in, recalling everything from Fulci's filthy dressing habits to his fondness for smoking a pipe. Throughout these pieces a sense of outrage at Fulci's obscurity is felt, as well as fondness, sadness, and quite a bit of laughter. The 'Victims' section of the disc features such heavyweights as Florinda Bolkan, Al Cliver, and Catriona MacColl, along with less recognizable figures. Hear we hear stories that both reaffirm and squash rumours of Fulci's dominant attitude, often revealing an artistic passion and affection beneath the surface for those very people he most harassed.
This professionally produced and insightful tribute is available in an extremely limited autographed copy which feature the signatures of 50 of EuroHorror's top stars, and this standard edition. The picture quality is primarily clean and well focused. The subjects and their surroundings are captured in startling detail without loosing their edge or feeling of documentation. Sound quality is uniformly good, clean and clear although levels occasionally fluctuate due to changes of location. As extra value each interview is accompanied by stills of key films and photos, and an insert card of Fulci setting in the middle of the highway during filming The Beyond is included in the case. Designed by Sean Harvey with evocative score work by Dave Neabore and Liner Notes by Baronas himself, Paura is a worthwhile addition to your DVD collection. A love letter to Fulci fanatics as well as students of European horror, this is a sterling piece of work.
Review by William P. Simmons
| Released by Paura Productions |
| Region 1 - NTSC |
| Not Rated |
| Extras : |
| see main review |