L'Éventreur de New York

Upon going to all the effort to import this film to my native shores (Australia)I must certainly say that everything i was expecting and more was recieved from this film...(Not that this is positive upon wanting to see the film purely for it's notoriety)

What i was hoping (But not keeping my fingers crossed) was to see a violent,and well made "Giallo" with all the trademark trimmings that give them the artistique upper hand over most American horror films,What i was met with in terms of "more" was an incredibly unsettling film from the depiction of the extreme gore and purely downright cruel actions shown in this film.I can understand now why this film had so much trouble passing Australian Censors (Which believe it or not,are rather lenient).

For a horror fan dedicated to seeing all the nasties around,this certainly topped the list and the NASTIEST film in terms of Physical grue,It oversteps the line from entertainment value just to extreme exploitation...I had to watch a feel good film straight after before going to sleep that night,to flush the images this film provided,and for me,that is making a bold statement.Normally i would expand a little further,but i really wish not to think about this film any further.

Proceed with extreme caution,You have been warned.

When the dog of an old man finds a decomposed hand in New York, the police identifies the victim as the model Ann-Lyne. Lt. Fred Williams (Jack Hedley) is assigned to investigate the crime and is informed by Ann-Lyne's landlady that she had received a phone call from a man that spoke like a duck. While going to Staten Island, the bicycle rider Rosie (Cinzia de Ponti) is stabbed to death in the ferry by a man with duck-like voice. Lt. Williams teams-up with the psychologist Dr. Paul Davis (Paolo Malco) to hunt down the serial-killer. Meanwhile other women are attacked by the murderer. When the beautiful Fay Majors (Almanta Keller) survives the attack of the man, Lt. Williams and Dr. Davis have a lead to be followed but Dr. Davis questions whether the identified man is the killer since he believes the serial-killer has another profile.

"Lo squartatore di New York", a.k.a. "The New York Ripper", is an engaging Italian thriller directed by Lucio Fulci. The plot is interesting, the actresses are sexy, but the conclusion is disappointing. Most of the deaths are brutal and even gruesome as expected by fans of the giallo genre. My vote is seven.

Title (Brazil): "O Estripador de Nova York" ("The New York Ripper")

But I liked it! Obviously not Lucio Fulci´s best ("The Beyond" still holds the top, followed up by "Zombi 2"!), but nevertheless "The New York Ripper" is another gorefest that delights the fans and despairs the censors (Actually this flick is banned in many countries like Australia, the U.K., Germany or Norway...)! Endowed with some nudity (Maybe the sleaziest flick Fulci ever directed...) and elements from Giallo this gem has got some really unforgettable moments: I like the scene when Alexandra Delli Colli (She plays a woman which is permanently on the search for sexual adventures...) gets stimulated by two Latino-boys in a billiard bar and the take where wonderful Zora Kerova ("Cannibal Ferox") was maltreaten by bottle is pretty gut-wrenching! The bloody climax however is when the ripper tortures a prostitute to death with using a razorblade! Really shocking and disturbing!! People who demand a clever story surely will be disappointed, gorehounds however will find a revelation in this! So if you had fun with William Lustig´s "Maniac" (1980) you will also like this effective shocker!!!

The late Italian director Lucio Fulci remains a controversial figure among horror film fans. Some view him merely as a hack exploitation director, who unsuccessfully tried to mimic the ideas and techniques of skilled horror directors such as Dario Argento and George Romero. Others view him as a directorial genius with his own distinctive style. Upon viewing my first Fulci film, THE NEW YORK RIPPER, I am inclined to believe that Fulci has not been given as much credit as he deserves.

THE NEW YORK RIPPER is a good example of an Italian "giallo" film, which blends the graphic gore sequences typically found in "slasher" films with the police investigations typically found in crime dramas. The film's plot is simple: a psychopath who talks like a duck is killing beautiful young women in New York City in vicious ways. Burned-out Lieutenant Fred Williams (Jack Hedley) is assigned to investigate the case, and soon gets taunting calls from the killer. At the same time, the one woman to survive the killer's attack, track star Fay Majors (Almanta Keller), finds that her life remains in peril.

THE NEW YORK RIPPER is unapologetically sleazy. The gore effects are very well done, and will make even the most hardened fans of gore wince at their brutality. There is also plenty of sex, which is quite explicit even by today's standards. In short, THE NEW YORK RIPPER is tasteless. But that doesn't mean it's bad. The film is well paced and there is hardly a dull moment. The murder mystery aspect of the film will keep you guessing until the film's climax. Fulci also delivers stylish direction and the film has some nice atmospheric shots of New York City.

One of the main criticisms of THE NEW YORK RIPPER is that it is brutally misogynistic. On the surface, this appears to be true. The killer's victims are almost all sexually promiscuous young women, who are killed in a brutal, sexual manner. However, in my opinion, the film is not so much anti-woman as it is anti-humanity. Fulci's New York City, much like Martin Scorsese's in TAXI DRIVER, is a seemingly inescapable hell, filled with perverts, sex shows, prostitutes, and "42nd Street gigolos." It should also be noted that the film's one strong and sympathetic character is a woman, Fay Majors.

Also, it is often said that THE NEW YORK RIPPER is Fulci's ripoff of the 1980 film MANIAC (also one of my favorites). This is simply not true: their only similarity is that they concern a psycho killer on the loose in New York City. MANIAC is a character study horror film, while THE NEW YORK RIPPER is a mystery thriller, much like Brian DePalma's DRESSED TO KILL(1980).

Lastly, I must say that the recently released, uncut, widescreen version of THE NEW YORK RIPPER is a major improvement over the old video version. While the dubbing remains shoddy in some parts, this new edition looks beautiful in its widescreen format. Additionally, the old edition chopped up some scenes which contained crucial clues about the killer's identity. With these scenes now intact, the killer's identity is not as totally out of left field as some critics have charged.

*** out of ****

There's not much need to go into detail on the plot. Simply put, The New York Ripper is the story of a mad killer with a penchant for slashing young woman and harassing the police with his duck-like voice. That's really all you need to know.

The New York Ripper is Lucio Fulci's latter day ultra-violent take on the Giallo. When I say ultra-violent, I mean ULTRA-violent. If you're a fan of Fulci-style gore, there's surely something here for you. There's one scene where a girl's eye meets a razor that's particularly nasty and particularly difficult to watch. And, if you're a fan of Fulci-style sleaze, there's surely something here for you also. While I won't go as far as some reviewers and call it pornographic, there are a variety of sexual perversions on display. But it's not all blood and sex. Fulci actually manages to create a few scenes with real tension. There are moments where you know that killer is about to strike, but the anticipation Fulci builds in the audience is quite good.

Unfortunately, there are problems I have with the film. I'll limit this to two examples. First, the resolution of the mystery is a real letdown. The killer's identity is far too easy to guess. Fulci telegraphs the answer form the opening moments of the film. Second, Gialli often ask the viewer to suspend reality to accept various plot points, but the final scenes in The New York Ripper cross the line into ridiculousness and really hurt the overall film. I'm certainly no expert, but I sincerely doubt that all the psychological babble made any real sense to anyone.