Quäle nie ein Kind zum Scherz

Overall, this is a really good movie (pretty close to great). I actually think that when I revisit this film (as is bound to happen) I'll enjoy it more the next time through. As far as a giallo film, this movie wasn't nearly as much fun as any of Argento's entries, but it did try to do some things that I found innovative and compelling. For my first Fulci film, I was rather impressed, though I can almost say for certain he won't be replacing Argento as one of my favorite horror directors. This movie is a twisty entry into a genre I love, and it's one that I've already recommended to a few people. For our full review of Don't Torture a Duckling visit True Myth Media!

Set in and near a poor working class town in the mountains of rural Italy, it's a story of madness. The landscape may be quite picturesque, but there's madness herein, concealed behind the mask of a person who seems outwardly normal. This person kills little children.

In style and tone this film resembles Dario Argento's famous Italian giallos, those fascinating whodunit horror films, except that Argento's films are much better looking. Still, the visuals in Fulci's "Don't Torture A Duckling" are competent, with some interesting compositions and lighting. Lightning and thunder on a rainy night enhances suspense in one sequence wherein one of the "ducklings" is vulnerably alone.

In one sequence the gore is a bit overdone. But this is no slasher film. A legitimate theme undergirds the story. And that theme is that madness can take many unexpected forms, not just the obvious delusions of people who practice voodoo or black magic.

Plenty of red herrings render the puzzle solution difficult if the viewer doesn't assume an agenda on the part of the director. Don't dismiss someone who might not seem to be a suspect. The twist near the end provides good misdirection. However, in one scene midway through, a line of dialogue could have been added to clarify the relationship between two characters, one of whom is the murderer. The film's finale takes place on a beautiful mountaintop with the wind whistling in the background. We see flashbacks to clues and get insights into the killer's mindset.

I don't care for the film's widescreen projection. But background music is effective, and ranges from jarringly creepy at the beginning to low-key jazz, to indigenous Italian songs. Acting is generally average, though in a couple of cases, it's a bit overdone.

Though not as visually brilliant as Argento's giallos, "Don't Torture A Duckling" nevertheless is a fine film, one that contains a thematic storyline and enough of a whodunit puzzle to interest most viewers who like thrillers and murder mysteries.

Lucio Fulci, later known for his graphic horror films like The Beyond and Zombie, was years earlier a master of the Italian giallo (in the company of Argento and Bava) with films like A Lizard In A Woman's Skin and his masterpiece, Don't Torture A Duckling. This film has all the elements of the Italian mystery/thriller genre known as the giallo, but really pulls the viewers in by having each key character with a skeleton in his/her own closet. This keeps you doing as much detective work as the detectives in the film itself. Who is killing the young boys in town? The young rich woman who is so bored that she sexually taunts the eventual victims, the reporter who likes to tamper with a crime scene to get a better photo shot, the townswoman with a mentally disabled daughter, the local witch, the town idiot....the list goes on, and you have to keep mental notes like a true game to play and solve. The themes in this film are very daring and done with that perfect Italian style in the early 1970s. It is certain that no American studio would have even considered making a film of such strong content, and that is precisely why this is such a satisfying film (despite some unusual accent choices for the dubbing for the English language version -- You'd do yourself a favor by watching it in its original Italian language, as that is how the actors spoke) and will definitely have people discussing its meanings long after viewing it. As the saying goes, they don't make them like this anymore, so get a copy and cherish an important film like this one!

I really enjoyed this film although I have only had a chance to watch it once. It's a great Giallo IMO and just as enjoyable as Fulci's later films. The direction was perhaps a bit rough around the edges but on the whole I thought the film worked really well and the ending was great (a real cliff hanger!). I thought one scene was particularly disturbing when the locals beat the hell out of a poor women while the radio played in the background. The inappropriate music made the images even harder to swallow but also gave the scene an emotional punch uncommon in a Fulci movie. I also felt that the story worked coherently and that the twist at the end was great. Fulci obviously has a rather low opinion of rural Italy's inhabitants because in this film all the villagers are presented as simpletons prone to mass-hysteria who live by their own backward laws (illustrated by the remorseless killing of the women) and religious beliefs.

A journalist (Tomas Milian) and a morally-suspect young woman (Barbara Bouchet) try to solve a series of child killings in a remote southern Italian town that is rife with superstition and distrust of outsiders.

The script was constructed by a handful of writers, including Gianfranco Clerici, who is probably best known for his controversial "Cannibal Holocaust". This film in many ways is also controversial. Children are shown both as murder victims (which is taboo) and as less than innocent. The latter is probably more realistic than the Opie Taylor version of childhood, however. Over the years, the film has also come to be associated with anti-Catholicism and misogyny, though it would be far too simple to accept either of those accusations.

Briefly stated, the accusation of misogyny, at least in this film, is absurd. Yes, Barbara Bouchet is reduced to her unclothed physical form when we first meet her, so there is that. But the most gripping, emotional scene is the death of a woman and the agony drags on, eating deep into viewer's souls. If anyone watches that scene and thinks the intent was to torture a woman (on film) rather than to create sympathy, that point of view is within the viewer, not the creator.

The star names in this one are Barbara Bouchet, perhaps best known up to this point for "Casino Royale" (1967), and Tomas Milian, who took off with Carol Reed's "The Agony and the Ecstasy" (1965). Bouchet has done well for herself, but Milian is the bigger name for fans of cult or genre film. He popped up again and again in spaghetti westerns before finally going mainstream (i.e Hollywood). Milian may be second only to Lee VanCleef in defining the entire genre.

"Duckling" is said to be Lucio Fulci's most personal film, as well as his favorite. It is also one of his better films, and it is a shame that so many others are better known (not that those others are bad movies, mind you). The voodoo, the child murders, the suspense and development of plot... this is a finely crafted film, and is worth watching again and again. While not as outright gory as some of his work or as exploitative (despite the Bouchet scene), this more subtle approach works well.

Interestingly, although the crumbling architecture of Matera as shown in the film is authentic, it has since had a bit of an economic boom thanks to tourism and repeated appearances on film. Known as "the Subterranean City", Matera has been considered a World Heritage Site by UNESCO since 1993 and was declared Italian host of European Capital of Culture for 2019. Those Fulci fans hoping to go location scouting may find that much of it has been revamped.

The 2-disc Blu-ray set from Arrow Video is most likely the last word on "Duckling". We have a new audio commentary by giallo expert Troy Howarth. A new 28-minute video discussion with another giallo expert, author Mikel J. Koven (the creator of he term "vernacular cinema"). A new video essay by critic Kat Ellinger, who addresses the misogyny claims. And extensive interviews with Lucio Fulci, actor Florinda Bolkan, cinematographer Sergio D'Offizi, assistant editor Bruno Micheli and assistant makeup artist Maurizio Trani. It would take half a day or more just to view this material... and you should.