O Estripador de Nova York

An elderly man is walking his dog one afternoon, he decides to throw a piece of wood and have his canine companion fetch, but when the dog brings back not a piece of wood, but a human hand the owner is reasonably perturbed. Thus begins Lucio Fulci's most notorious film "The New York Ripper", the most misogynistic film this side of William Lustig's "Maniac". Police detective Fred Williams (Jack Hedley) is after one sicko who cuts pretty women up in the cruelest fashion. The killer's Donald Duck voice is ludicrous and annoying, but the rampant nudity, over the top gore, red-herrings and the ultra-sleazy atmosphere make up for that in spades. It doesn't hurt that this is tightly scripted and nicely filmed either. This would be the last film in the second (and starting with "Lizard in a Woman's Skin" best) era of his three part career. The last and worst part would start with his next film "Manhattan Baby"

My Grade: B

Anchor Bay DVD Extras: Uncut version; Theatrical trailer and Lucio Fulci bio

Lt. Fred Williams a new york cop is investigating a number of disturbing killings where the women are to say the least butchered. His first clue is that the killer speaks like Donald Duck, and soon the killer is calling and taunting Williams, so he calls in the help of a local Professor of Psychology to help profile the killer. There are plenty of gruesome killings and seedy set pieces to keep any sleaze fan happy ie.A Latino *beep* a woman with his foot, the same woman masturbating in a live sex porno theatre and taping it to pleasure her husband with later,a girl being butchered with a razor blade ripping open her face right down through her eyeball…pretty gruesome….but wholly enjoyable as only Fulci can do. The dubbed dialogue is poor at times but it didn't take away from my enjoyment…a real video nasty

Lo Squartatore di New York/New York Ripper(1982) outraged many horror filmgoers with its brutal uncompromising depiction of violence towards women. One of the most controversial giallos to come out of Italy. Released ten years after Don't Torture a Duckling(1972) which was also controversial for different reasons. Lucio Fulci has filmed vicious scenes of violence before but New York Ripper takes the cake in violent imagery. As brutal as giallos like Giallo a Venezia(1979) and The Killer is Still Among Us(1986). What makes the violent scenes for some tough to digest are the intense physical emotions of the murderer when killing his victims.

Gives new meaning to the term hardcore horror. Some of the most brutal depiction of hardcore horror I have witnessed in a horror film. Many of the film's contents have many similarities with Maniac(1980) which gained controversy for identical reasons. Daring approach by Fulci in making the hardcore horror moments both powerful and ugly. The director had guts in doing a giallo with an extremely unpleasant subject matter. Misunderstood Lucio Fulci film that is one of his finest horror films.

An aspect that either humored, shocked, or upset many people was the mock duck voice used by the murderer. I find that the duck voice of the killer adds to his menacing and sick presence. The duck voice of the murderer was a reference by the director to his earlier 1970s giallo, Don't Torture a Duckling(1972). A reference that is lost among some horror film enthusiasts. Capped what would be Lucio Fulci's second and final prosperous artistic period of his film career. The director's sole horror film with erotic overtones that adds to the controversial style of this pic.

Grim and relentless portrayal of human nature and its darkest aspects. The bleak nature of New York Ripper(1982) makes Lucio Fulci's gothic films look happy go lucky. Explodes with lots of anger and resentment that gives it a depressing feel. Dipped deep in nihilistic waters with the depressing portrayal of human behavior. The subplot involving the disabled little girl is uncomfortably sad. One film that has its plot full of anger and resentment is Abel Ferrara's Ms. 45(1981).

New York Ripper(1982) is filled with some of the director's usual quirks and visual trademarks. Fulci's direction pushes the limit in scenes of sadistic violence. Sometimes part of the story seems to come from the gut of the controversial filmmaker. Direction does have some negative aspects but the negatives are few and far between. The direction of Lucio Fulci for New York Ripper(1982) is not as flashy or flamboyant as Dario Argento's direction of Tenebre(1982)(except in a few moments). He does get the job done with competence and craftsman experience.

Comparisons can be made between Lucio Fulci's New York Ripper(1982) and Dario Argento's Tenebre(1982). Both films deal with similar motifs and themes on violence towards women. Also, each film are gory uncompromising giallos with striking images. New York Ripper and Tenebre each have a show stopping moment of gory murder. These two films use bold filmmaking techniques. Each changed some of the rules of the giallo genre.

There are many scenes that were controversial but the one that placed New York Ripper in film infamy was the infamous death scene of Daniela Doria. Two years for Daniela Doria after being part of another controversial scene in The Gates of Hell(1980). For a gruesome moment of vile violence it certainly has a excellent build up and pay off. As in Zombie Flesh Eaters(1979) the eye motif becomes a major part of this scene. Daniela Doria has to get kudos for acting in a difficult scene as this one. The merger of the erotic and the violent is what makes this particular scene hard to watch.

There is a small film noir quality within the frame of the story. This is because of the assortment of unsympathetic characters that surround it. The only person that comes close to having any moments of sympathy is Jane. Lt. Williams is an unlikable protagonist who comes out as arrogant and self centered. The character of Lt. Williams seems to be inspired by the close minded Police Detective of Let Sleeping Corpse Lie(1974). Dr. Davis comes out in the film as a narcissist who's too please with his intellect.

What turned off even some of the Lucio Fulci admirers was the realistic look of New York Ripper's violent scenes. Unlike in his gothic films from the same period there is no fantasy subtext to make the violence bearable. Its realistic elements help make New York Ripper(1982) into a courageous effort of fercious horror. The violence depicted towards women is what it is and that's disgusting but at the same time has a certain realism that doesn't make it totally misogynistic. New York Ripper moves away from the comic book feel of Fulci's gothic pictures and into the realism of his early 1970s giallo pictures. Its realistic depiction of violence is the film's biggest strength.

Abel Ferrara made a little ribbing to the title of this film when the killer of Fear City(1985) is once referred to as New York Knifer. Two of the film's writers had worked with Fulci before on Don't Torture a Duckling. Unusually tightly plotted thriller which never clicks in a good flow in some moments. Excellent camera work created by Deep Red(1975) DoP, Luigi Kuveiller. Its not a perfect motion picture but for a bold horror film it certainly delivers the goods.

You can say NEW YORK RIPPER is bad, boring, stupid, crap, worthless, mean spirited, vile, etc. Whatever you can say about NEW YORK RIPPER though, you can't say it's not sleazy. It's over-the-top sleazy and misogynistic. It never shies away from it. Personally speaking, it's sleaze par excellence. The misogynistic aspect bothers me but then 90% of horror films out there are misogynistic, so it's not like I'm not used to it. As for the sleaze aspect, well, if you don't like sleaze, don't watch it. If you're fascinated by sleaze, like me, then this is like the CITIZEN KANE of sleaze. What makes this so different than the majority of truly worthless sleaze out there is that Fulci is honest about the sleaze. Compare this to let's say the recent MURDER SET PIECES, which is very sleazy but almost totally worthless. It's so self-conscious about the fact that it's horrific and sleazy, it just doesn't work. It's not real sleaze. NEW YORK RIPPER is real 42nd Ave sleaze.

What makes NEW YORK RIPPER unique among the plethora of sleazy films made then and today is the way it's filmed. In scope, garish colors, grimy settings, very gloomy and harsh. I love the scenes shot in the subway or around other parts of a depressed NY city. The acting is not really good but the level of acting is what you expect from these kind of films. It's remarkably violent towards women. Truly appalling. But then after the stunningly blunt ending, everything is suddenly redeemed. Though most of the violence is directed towards women, the sleaze centers around women and men, including a couple having live sex in front of an audience, horny thugs, a nymphomaniac housewife who tries to sleep around with any guy, including the thugs and a hunky psycho who is thought to be the killer, and there's a gay character who's the most likable character in the whole film.

I can't say that I like this Fulci flick. NEW YORK RIPPER is not something someone likes per se. It's just too harsh to attach any affection to it. But I'm fascinated about it and that's why I give it an 8. There are very few films that can claim to be something that will never be topped and because of our PC times and depending of what's in store in the near future, it's almost guaranteed that NEW YORK RIPPER will never be topped as far as the sleaze factor is concern.

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.