Murderock - Uccide a passo di danza

One of Lucio Fulci's "gentler" films, MURDER ROCK is not very popular among gore fans (largely because of the lack of eye gougings and disembowellments), but it has much to recommend. The story deals with a maniac who is killing the girls at a dance school in New York -- together, a cop and a psychiatrist track the maniac down. Keith Emerson contributes a dated, but enjoyable, soundtrack, and cinematographer Giuseppe Pinori makes fine use of half-lighting, a la Mario Bava's SEI DONNE PER L'ASSASSINO. Fulci cameos as an agent. Recommended for Italian horror buffs. *** out of ****

Lucio Fulci's foray into the world of competitive dance represents both a curious departure from his signature gore-soaked horror films and a surprisingly effective entry into the giallo tradition. Set against the backdrop of New York's cutthroat dance scene, this 1984 thriller combines the director's visual flair with Keith Emerson's pulsating synthesizer score to create an atmosphere that oscillates between sleazy exploitation and genuine suspense. While the film occasionally stumbles under the weight of its own ambitious concept, it delivers enough memorable sequences and stylistic flourishes to satisfy both Fulci devotees and giallo enthusiasts seeking something slightly different from the usual formula.

The Arts for Living Center provides the perfect setting for Fulci's exploration of artistic ambition turned deadly, where the pursuit of perfection becomes literally fatal. The director demonstrates his understanding of the dance world's inherent drama, using the rehearsal studio as a pressure cooker where jealousy and competition simmer beneath the surface of artistic collaboration. The cinematography captures the graceful movements of the dancers while maintaining an underlying sense of menace, particularly during the elaborate dance sequences that serve as both showcase and potential hunting ground for the mysterious killer.

Olga Karlatos delivers a commanding performance as Candice Norman, the academy's demanding director whose determination to solve the murders drives the narrative forward. Her portrayal balances authority with vulnerability, creating a character who feels genuinely invested in protecting her students while grappling with her own secrets. Ray Lovelock brings his characteristic intensity to the role of George, the enigmatic male model whose involvement in the investigation raises as many questions as it answers. Their chemistry provides the film with its emotional center, though their relationship development feels somewhat rushed given the constraints of the murder mystery format.

The film's most distinctive element lies in its unique fusion of dance choreography with traditional giallo elements. The killer's method of piercing victims' hearts with a hatpin creates a disturbing parallel between artistic precision and murderous intent. Fulci stages these murder sequences with his trademark attention to visceral detail, though he exercises more restraint than in his supernatural horror films. The dance sequences themselves are impressively choreographed and photographed, capturing the athleticism and artistry of professional dance without ever feeling like mere padding.

The investigation unfolds through familiar giallo conventions, yet the dance academy setting provides fresh opportunities for red herrings and misdirection. The competitive atmosphere naturally breeds suspicion among the performers, making virtually every character a potential suspect. Fulci wisely allows the mystery to develop organically through character interactions rather than relying solely on exposition, though some plot developments feel contrived when examined closely. The revelation of the killer's identity and motivation provides adequate closure, even if it doesn't achieve the psychological complexity of the genre's finest entries.

Keith Emerson's electronic score deserves particular praise for its ability to enhance both the dance sequences and the suspenseful moments without overwhelming either. The music captures the era's fascination with synthesizer-driven soundtracks while serving the story's dramatic needs. The production design effectively transforms New York locations into a believable world of artistic ambition and hidden dangers, though some interior scenes feel slightly cramped by budgetary limitations.

Lucio Fulci is one of the best and most underrated directors in history. Though not all of his films were great, at least 7 of this films should be in any horror anthology. This film is hard to find, though it was released here in Argentina. In the beginning I thought this was gonna be Flashdance - The Return, but ends up being a clever thriller. The killer's method is original, and the resolution quite surprising. Not one of Fulci's best, but a very good film indeed. Score: 8.

Murder Rock is one of Lucio Fulci's lesser known films. It was released in the wake of a series of exceptionally violent movies directed by the great man. This one is considerably tamer and not one of his better received critically. It may very well be because it's less intense that it isn't amongst his most popular, I think it's only fair to say that is part of the reason. It's possibly the most blatant attempt by Fulci at making a mainstream movie. He decided to combine the popular horror sub-genre of the time – the slasher – with the 80's fad for fitness. This was the era of Flashdance and Fame, and lycra clad people seemed to be everywhere. I guess it was only a matter of time before a slasher variant on this theme emerged. In keeping with trying to appeal to a wider demographic this one is a relatively bloodless affair as well. It's possible that by trying to appeal to too many people, Murder Rock ended up pleasing fewer.

The story is about a series of murders committed around a dance school in New York. It's one of many early 80's efforts that Fulci set in America. In keeping with its Italian giallo roots though, there is a strong emphasis on the whodunit aspect. This ensures that the story retains a bit of interest and the audience is engaged throughout. There are some moments of giallo weirdness too which always helps such as the recurring dream that the female protagonist has about a sinister stranger trying to kill her. While Keith Emerson is on hand too with an appropriately cheesy soundtrack. It isn't exactly of the standard of the score he did for Dario Argento's Inferno but it does the job. Overall, this is an entertaining movie. A little light-weight perhaps but fun all the same.

After the death of a highly regarded female dancer at New York's Artistic Dance Centre, the eyes turn to each other, as they learn that they are competing for only three spots that could see them living their dreams. Their dance teacher Candice Norman pushes them to the brink to achieve that goal, due to an accident that crushed her chance. Lt. Borges gets the case, and soon other well-regarded dance students are following the same fate of a hat-pin in the heart. Is joyously, and ambition becoming part of it, but Candice starts believing it's the man in her dreams George Webb, who she eventually meets, that might have something to do with the killings.

Oh didn't the flash dance era hit hard! With a clunky, overwrought soundtrack like this you just get that tingling sensation to join in with the dance routines. For some reason I got Blondie's groovy "Danceaway" stuck my head, when watching it. Constantly it was playing on a loop! Okay the cheesiness of the times really does shine through, but I thought it was a fair effort. It can drag and labour on from time to time, but director Lucio Fulci visually counter-punches those weak spots with raucous masterstrokes of suspense, mood and a slight touch of malevolence. Around this time his was at his peak of displaying gore and splatter to the extreme, but on this occasion his holding back quite a bit to basic deaths involving the unique, but repetitive hat pin to the heart. However the bare flesh is still evident, and there's a sexually arousing dance number or two. The surprisingly well executed use of the camera, lighting and the setting to the lead up to the deaths were far more effective. Fulci stylishly milks his artistic merit with some inspired images. To bad its brought undone by its second rate script with silly reasoning's and contrived developments. It's a trashy and unusual mix of dance and Giallo, but it could've been more twisted than the monotonous and goofy treatment it got. Other than a diverting grizzled, cynic cop performance by Cosimo Cinieri (with such great lines "… school full of S.O.B"), the rest of the lead acting is quite bland (Olga Karlato and Ray Lovelock) and the hilariously hideous dubbing didn't help. Claudio Cassinelli had his amusing moments. I guess the lovely looking girls are just there to pout at the camera and look good. The eclectically flashy music score by Keith Emerson is true to the era and fashionably stylised.

Interestingly watchable novelty that's well-directed, but the material doesn't really rise for the occasion, as it succumbs to unintentional silliness.