A Casa do Cemitério

For an hour i was thinking to myself 'this kid has one of the worst dubs in the history of cinema'. And then that scream happened. Now it's official. It's the worst voice dubbing in movie history. Why on earth someone thought it wise that when a boy of 7/8 screams he sounds like a prime scream queen i'll never know, truly one of the most ridiculous and startling things i've come across.

As for the rest of the movie, there are 3 brutally bloody scenes (one in particular towards the end is rather gross out) which explains why it was a video nasty in it's day. The story tries to set up a little mystery with possible suspects including the nanny and the dad but the choppy editing and scene placement make it hard to believe anything other than the supernatural. Not one of Fulci's best, it's still got enough good moments to warrant at least one viewing.

Quella Villa Accanto al Cimitero/House by the Cemetery(1981) is the first straight forward film for Fulci since Zombie Flesh Eaters(1979). Gets away from the dreamish themematics of his previous two films. Begins with the idea that this could be the third film in the 7 Gates Trilogy. Although not as violent as Zombie Flesh Eaters, The Gates of Hell, or The Beyond, The film does contain some gory set pieces. A bloody haunted house tale that employs the techniques of Lucio Fulci very well. The story builds toward the pessemistic climax.

Quella Villa Accanto al Cimitero's major weakness is the poor dubbing of Bob & Mae. Because they are voiced over by adults, the performances of the two children come out weak. Walter Rizzati performs a main theme that sounds alot like the theme music of Don't Torture a Duckling. One of my favorite film scores from a Fulci picture. Tremendously influenced by the zombie classic, Let Sleeping Corpse Lie(1974). This is one of the few Fulci films from the early 80s that Fabio Frizzi did not work on.

The film crew seems at home since having done many films together. I was impressed by the film when I first saw it. House by the Cemetery is helped out by the presence of Catriona MacColl who gives it professional respectability. One thing that annoyed some people is the scene where the babysitter is cleaning up blood with Mrs. Boyle not reacting to this. This was not done purposely but resulted due to budget restraints and time limitations. The House by the Cemetery(1981) was filmed after the editing of The Beyond(1981).

Dr. Freudstein is another in a line of monsterous villains that follows Father Thomas and Schweik the painter. He is the only zombie in an otherwise non zombie pic. Even though he is not seen for most of the picture, his presence is still sinisterly felt. His name seems to be a mixture of Dr. Frankenstein and Dr. Freud. Dr. Freudstein in my opinion also seems to be inspired by the longevity seeking Dr. Charriere of HP Lovecraft/August Derleth's short story, THE SURVIVOR. Dr. Freudstein is menacing and repulsive.

The set designs are eye popping and fantastic. The interiors of the Freudstein house from the past are stunning. Another example of Fulci using great gothic designs for the film. Part of the film was done in Concord, MA. The antique look of the Freudstein house from the past is something out of a Mario Bava movie. The House by the Cemetery(1981) is made special by the sight of gothic architecture in the small New England town.

Revolves around the relationship between Bob Boyle and the ghost, Mae Freudstein. They can communicate from far away while understanding each other's thoughts. They are the opposite of Mr. and Mrs. Boyle who are limited in looking beyond what is there. Bob Boyle and Mae are competently played by Giovanni Frezza & Silvia Collatina. Bob Boyle ends up in the same position as Liza and John from The Beyond(1981). Mae's role serves the same purpose as a warner that Emily served in The Beyond(1981).

Children play a vital role in Lucio Fulci's top films. In his films, children are the bearers of innocence who are surrounded by a nature of violence. Children are a crucial part in this film because they are the only ones who can sense danger. Dr. Freudstein in my opinion represents the dark half of Norman Boyle. The children in the film are inspired by characters in a Henry James Novella. Its interesting that the doctor lures his victims by crying like a child.

Quella Villa Accanto al Cimitero I feel had a profound influence on Clive Barker's Hellraiser(1987). One example is the monster who needs victims to keep himself alive and fresh. Another example is the architecture designs of Hellraiser(1987). Combines the ideas of HP Lovecraft with Henry James and Ambrose Bierce. Giannetto De Rossi produces some effective special effects for a low budget film. Sergio Salvati is one of the key ingredients to this picture because of his fabulous cinematography and camera placement.

House by the Cemetery(1981) is comparable to Mario Bava's Shock(1977). Both have families who live in a house with a dark past. Both have a child who talks to someone dead. The two films have female characters who are on the verge of total breakdown. House by the Cemetery & Shock contain a downbeat ending. These two rely on atmosphere and colorful set pieces.

There are show stopping highlights in Quella Villa Accanto al Cimitero(1981). One, the murder of the first victim played by Daniela Doria. Two, the murder of Mrs. Gittleson where realistic make up effects are employed. Three, the pix axe scene that is an encore of the "Buried Alive" sequence from City of the Living Dead(1980). The scene where Mae envisions the death of Anne, the babysitter is brilliant. The scene where the camera pans out from a house to a picture of that house is quite good and reminds me of a sequence towards the end of Brazil(1985).

The son of the researcher is a fair haired boy who is frightened repeatedly throughout the film and seems to spend his entire time banging on doors and calling for his mommy. The boy has the single most annoying child's voice ever heard on film and this alone makes him a character who needing killing off in the first minutes.

Not great but made worse by the kid.

A family formed by Norman Boyle (Paolo Malco), wife (Katriona MacColl, Fulci's ordinary) and son (Frezza) move an old mansion in New England outside Boston close a graveyard . Norman advised by professor Muller (secondary role by Lucio Fulci) has to investigate a scientific named Patterson who committed suicide by hanging and killed his lover. There they hire a mysterious babysitter (Anna Pieroni). Early rare deeds begin to happen to them, as they start hearing noises, rare characters and tragic murders. The picture terminates telling some lines by Henry James : ¨ No one will ever know whether children are monsters or monsters are children ¨.

Chilling Italian terror flick full of screams, chills, thrills and lots of blood and gore. Good make-up and special effects make-up by the maestro Gianetto De Rossi. Produced on a tight budget by Fabrizio De Angelis , Fulci's usual producer and occasionally director. Eerie musical score composed and conducted by Walter Rizzati. The motion picture is realized by one of the most controversial filmmakers of terror movies ,Lucio Fulci in his usual style with flaws and gaps but is professionally made because he is a skilled craftsman . Reviewers are divided over booth the morals and talents of Fulci (1927-1996) who sometimes directed under the alias ¨Louis Fuller¨. For some critics many of his movies are cruel and shockingly violent, yet their gory surface often conceals religious, social commentaries or intelligent issues. Whether he should be viewed as a cheap sensationalist or just a genius Fulci has a loyal fan base and undeniably has an important and unique influence on the terror genre , creating great works on a low budget such as proved in ¨The Beyond¨, ¨Manhattan baby¨, ¨Gates of Hell¨, ¨Island of the living dead¨, ¨New York ripper¨ , among them. This gore-feast that tried to disguised itself under many other titles will appeal to Lucio Fulci aficionados.

In some ways, you get a sense Fulci was trying hard to make this more "respectable" than some of his other movies. The camerawork is careful, creating atmosphere as well as a sense of polish. The makeup and gore effects (except for the ridiculous bat scene) are also well-crafted, and the Dr. Freudstein character is fairly creepy to see. Also, there are fewer splatter scenes, and they come more out of the story than any gratuitous attempts to add gore. However, the story (which has shades of THE SHINING) is pretty slow-moving, so after a while you wish Fulci *would* throw in some gratuitous splatter! And like many of Fulci's other movies, a lot of things are simply not explained. (I will admit I got a good laugh at the sudden burst of "explanation" by one character at the end, which comes out of nowhere!) Quite frankly, viewers who have heard about Fulci but not seen any of his other movies will be wondering at the end of the movie why he's received so much fuss. So only for Fulci fans, or people with more than a passing interest in Italian horror movies.