THE PSYCHIC

A master of horrific atmosphere that married elegiac beauty with such feelings as awe, suspense, revulsion, and eroticism, Lucio Fulci has been done a disservice by critics and fans who chiefly remember (and revere) him for his gore inspired gut-munchers of the 1980s. While his inspired, surreal, and lyrically inspired dances of violent death and shattered layers of reality are indeed impressive, contributing to the language of horror cinema a distinctive approach never since matched in intensity or visceral effect, Fulci had proved himself a dedicated technician and craftsman long before he filmed a zombie eating flesh. Perhaps hitting his visual stride with his later journeys through the gates of literal Hells, Fulci first captured the imagination through his own distinctive interpretation of thriller and suspense conventions. Not as visually striking as the splatter-ballets of nihilism and wonder found in such films as Zombie, City Of The Living Dead (1980), or The Beyond (1981), Fulci's Giallos are tightly structured and taunt. They also expose an understated artistry not as apparent in the later gore movies. If Fulci's 'Zombie Quartet' continues to win him fans for their atmosphere, ultra violence, and nihilistic vision, his Giallos best represent him as a storyteller proper. Hot on the heels of their release of Perversion Story, Severin Films unearths one of the departed master's more refined narratives of guilt, desire, and mistrust. Cementing his interest in subjective points of view and steadily oppressive atmosphere, this film also hints at Fulci's growing interest in the supernatural. Remarkable for its depth of feeling and fine performances, the narrative unwinds with a measured precision often lacking in his work. With the exception of one technical fault, Severin presents this underrated pinnacle of suspense and psychological horror with unrivalled respect, complete and uncut.

The plot, equal parts Edgar Poe and Giallo formula, combines the motif of the offbeat hero (heroine in this case) seeking to solve a deadly mystery with fetishistic atmosphere and red herrings a plenty. However, Fulci isn't content to simply re-hash the work of Bava or Argento, stamping his own brand of menace, elegance, and psychologically harsh sentiment on the material -- story elements that are refreshed by the director's personal viewpoint and a script that emphasizes realism (albeit with an occult bent). Jennifer O'Neil stars as an unwilling intuitive psychic whose visions of a violent murder at her husband's secluded summer home in the countryside leads to a catabasis of self discovery, betrayal and murder. As she gets closer to the horrible truth of a corpse and some stolen art, she may just find herself closer to her own demise . . . Is the vision torturing her a scene from the bloody past or a warning? Fulci wraps this central mystery in an atmosphere ripe with decay, moral corruption, and the questionable integrity of perception.

When Fulci turned to dark material, his sensitive nature and offbeat way of thinking found a creative outlet. Beatrice Cenci (1968), Perversion Story (1969), and Don't Torture the Duckling all served as testament to the director's obsessions with the conventions of the Giallo. They also took issue with the Italian government, Catholicism, and authority. As surely as stories of sexually repressed killers, vengeful daughters, and double dealing wives met the stylistic and story mechanics of the Italian thriller, Fulci layered his oppressive camera angles and mood drenched action withy intellectually stimulating and emotionally devastating subtext. After finding his reputation attacked by critics who didn't appreciate his sense of irony or artistic leanings -- and even less his daringness to attack the status quo -- Fulci was happy when the opportunity came along to direct Seven Black Notes to Murder. Known as The Psychic in the US (a more blasé title), this remained one of Fulci's more personal and favorite titles. If it was also one of his least successful Giallos, lacking the sensationalized elements that filled his other work of the period, than that can be marked up to audience fickleness rather than diminishing talent, as this crafty and poetically harsh 'who done it?' is a masterful study of human character and complicity. A master of the explosive set-piece, Fulci explores here the highly symbolic act of tearing down walls. This motif, used to its chief dramatic effect in Argento's Deep Red, was also utilized in several other Fulci films, including The Black cat, The Beyond, and to a lesser extent in House by the Cemetery. The image of striking past the surface layers of a room are easy to comprehend (if no less effective) metaphors for the need for characters to tear down or look past the walls of perception, often limiting in their perspective, for a look at the real, often more dangerous 'realities'/truths hiding beneath. Jennifer O'Neill at first appears wooden in her performance but this sense of aloof self interest is organic to the character, so in fact she plays her role quite convincingly. Of chief merit in developing mood is Salvati's technical work, perfectly capturing Fulci's darkening mood.

For the most part, this long overdue release of The Psychic is professional and respectful, showing a devotion to the craft that has became Severin's hallmark Presented completely uncut for the first time ever in the States, the film is featured in a 1.85/16x9 transfer that is absolutely stunning, particularly giving what we've had to contend with in the past. Colors are bold and realistic, picture detail vivid, and very little visual damage is present. Audio is featured in a Mono English soundtrack, and it is here that a problem occurs, marring an otherwise super release. In several scenes the volume has to be cranked up to hear the dialogue. While the track is in no way a complete failure, this low volume and accompanying background noise hissing is a definite distraction. Thankfully, at this time Severin has already announced its intention to fix this audio problem and reissue the DVD at a later date, proving once again acute business sense and integrity. Bravo, Severin!

Extras consist of a rough but enjoyable Theatrical Trailer and an intriguing featurette "Voice From The Black," wherein scripter Dardano Sacchetti, editor Micheli, and set Designer Lentini expound on their memories of, and relationships with, Fulci. Sacchetti, as usual, is the most inflammatory, taking Fulci to task on several issues. If his insights are often agitating they are also the most entertaining, with all three speakers examining the origin and evolution of the picture.

Review by William P. Simmons