Una sull'altra (aka Perversion Story of naked corpses) - IFE 1969 - Director: Lucio Fulci - Camera: Alejandro Ulloa - Production: Edmondo Amati, Maurizio Amati (. Empire Films; Productions Jacques Roitfeld, Coop Trébol Films) - Edited by: Ornella Micheli - Written by: Lucio Fulci (also story), Roberto Gianviti (also story), José Luis Martinez Molla - Music: Riz Ortolani - Starring: Jean Sorel (Dr. Geroge Dumurrier), Marisa Mell (Susan Dumurrier / Monica Weston), Elsa Martinelli (Jane), Alberto de Mendoza (Henry Dumurrier), John Ireland (Inspector Forest), Lucio Fulci (graphologist) Others - FSK: 16, not free holiday - Length: 99 min. - Italy premiere: 08.15.1969, German premiere: 09/24/1971
Lucio Fulci was at home in all genres. Born in 1927 in Rome director made by the late 1950s until his death in 1997, over 50 films. Among them were so down to earth, honest works such as the Heinz Ruehmann comedy Operazione San Pietro (The Adventures of the Cardinal Braun, 1967), Spaghetti Westerns such as the sound of revenge Western Tempo di Massacro (Django - His hymn-book was the Colt, 1966) and to live the almost delirious I Quattro dell'apocalisse (damn - damned to die; 1975), the effect retrospectively as the last breath of the ghost genre in Europe. Added are more likely a peasant-proletarian audience oriented genre parodies with the in Italy most popular comedy couple Ciccio Ingrassia and Franco Franchi, such as the films of the agent "002", not just the James Bond series, but the wave of "Eurospy" Thriller ridiculed and Adventure Films by Jack London, thrillers, end movies and gangster movies. And, of course, the bloody horror films, for which the director is well known outside of Italy best. Although these films show Fulcis sure sense of atmosphere (no matter how miserable dog act, the actors and how the special effects are cheap). They frighten but also back hardly a hideous, but they offer it within the offensive pointing gesture: In L'Aldila (ghost town of the Dead, 1981), Fulcis perhaps the most beautiful horror film, the Dietmar Dath with The salt-white eyes (2005 ) pays homage proved, were allowed to tear tear the most most incredible plastic spiders in film history a human tongue (!) and a hapless eyes (!), in Paura nella città the morti viventi (A zombie hanging on the bell rope , 1980) is a protagonist like their own vomit Intestines, which dramatically was rather pointless, but presented as a circus attraction in itself had its own value.
Fulci was foremost genre director, a filmmaker, his films for the audience and did not for the critics. And as he not infrequently the public in the second-and third-class movie theaters had in mind, he sought to deliver the thrills by which they should require, thus particularly Sex and Crime and kiss kiss, bang bang . With the decline of the terza visione cinemas late 70s, the increase in average ticket prices and the consequent disappearance of a certain style of popular and genre cinema in Italy, was transformed in the time interval between the reception of Fulcis films. Today it is - not only in Italy - some academics among his fans. And some of his films are well worth to be seen again.
sull'altra Una (1967), published by the U.S. under the label "Severin" a good DVD edition is, is one of those films and has one of the lesser known works of the director. This is perhaps because he is neither Western nor horror film and something so seemingly falls from the oeuvre of the Maestro. Most likely to be the film as a hybrid of the time in Italy as popular "movie sexy" and Gialli call, but without having bloody murders in the style of Dario Argento or Sergio Martino's come up. The title already promises racy and could be translated as "One to the Other." The (current) U.S. distribution title is even less subtle: He immediately announced a "Perversion Story" which appeared in Germany Una sull'altra under the speculative Dada-called "naked at nothing". The plot is quite simple: The marriage of a wealthy doctor Dumurrier George (Jean Sorel) with the ailing Susan (Marisa Mell) is at a low point. When Susan dies under mysterious circumstances, the notoriously unfaithful husband quickly gets under suspicion. After the death of his wife, George can be in the red light district of San Francisco and learns to drive a stripper to know that his late wife out of a face is cut. occur as further evidence to suggest that George murdered his wife, he is sentenced to death. At the last moment of his accident to the rescue ...
What Una sull'altra now very attractive, makes are his Mannerist, extremely exaggerated and often startling Stilismen that explicitly do not want the service of a realistic and credible cinematic storytelling. Fulci shall send a large number explicitly anti-naturalistic camera angles. There is the "impossible" view of the camera from a refrigerator would be out on the protagonists, an irritatingly artificial moment, as it is well established in American cinema with films like the first Blood Simple (1984) by the Coen brothers. In another scene the camera looks out from actually the floor of an apartment on the figures go up, so an embedded in the floor of the studio glass. In another sequence, a couple is filmed in the act by a delicate fabric. Again and again distorting wide-angle, the vertical lines at the edge of the field of view, the action is often filmed through mirrors, fast zooms directed against established visual conventions used and used subjective attitudes which are sometimes filmed with a handheld camera. An autopsy sequence Fulci realized by means of split screen, with decorative frames in each glass flask and Destillierutensilien draped in which liquids boil in all the colors of the rainbow. Time and again, images strictly divided into two levels of equal size, with a close-up in the one and a half shots in the other half. Some use Fulci and his cinematographer Alejandro Ulloa of how Orson Welles and Gregg Toland in Citizen Kane (1941) ground lenses. The hierarchical images, externalized power relationships that prove to be but often deceptive. At the end of the film then there is a fairly conventional resolution, where the tragic and unjustly sentenced to death for adulterers is, ironically, by avenging a crime of passion. But even here Fulci manages sustainable irritation: Our hero disappears just before the end of the film completely from the film. The last time we see George after he has entered the gas chamber. That he has survived, we learn only from the radio. The undermines, well, "happy ending" of the film and irritated sustainable: The protagonist may not be dead, but his total absence has yet clearly against the conventionality of the resolution. In a way, the unfaithful husband, at least in the cinematic space with the step has died in the gas chamber.
fact is not nearly as Una sull'altra low-brow as one might initially assume. In particular, cross-references brings Fulci film with an almost post-modern self-consciousness. There are some references to Michelangelo Antonioni Blow up (1966), when the mistress of the hero, a photographer, the studio sex pictures in pop art style to be made and how blase Photographer David Hemmings seduces a model at a photo shoot. From Hitchcock's universe is of course condemned the innocent hero, who himself remains ambivalent long. The covers on famous of Hitchcock's classics are particularly striking, obviously Handlungsort in San Francisco and the hallucinatory daydream splitter assembly, in which appears to the protagonist having sex with the doppelganger of his wife's pale, supposedly dead wife bier. If one drafted by something acting sex scenes, the rather tame lesbian seduction sequence with sadomasochistic Undertones and visits to strip clubs from is obvious that Fulci has actually shot a Italianized sexploitation version of Vertigo (1958).
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