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#12154 Lucio-Fulci
Lucio Fulci, born in Rome in 1927, remains as controversial in death as he was in life. A gifted craftsman with a sharp tongue and a wicked sense of dark humor, Fulci achieved some measure of notoriety for his gore epics of the late 1970s and early 1980s, but respect was long in coming.Abandoning his early career as a med student, Fulci entered the film industry as a screenwriter and assistant director, working alongside such directors as Steno and Riccardo Freda. Granted his debut feature in 1959, with a seldom seen comedy called Zlodzieje (1959) (The Thieves), Fulci quickly established himself as a prolific craftsman adept at musicals, comedies and westerns.In 1968, Fulci made his first mystery thriller, Una sullaltra (1969), and its success was sufficient to garner the backing for his pet project Beatrice Cenci (1969). Based on a true story, the film details the trial of a young woman accused of murdering her sexually abusive father amid fear and superstition in 16th Century Italy. A scathing commentary on church and state, the film was the first to give voice to its directors passionate hatred of the Catholic Church. Predictably, the film was misunderstood, and Fulcis career was thrown into jeopardy. Deciding it would be best to leave his political feelings on the back burner, Fulci pressed on with a series of slickly commercial ventures.In 1971 and 1972, Fulci re-established himself in the thriller arena, directing two excellent giallos: the haunting Una lucertola con la pelle di donna (1971) and the disturbing Nie torturuj kaczuszki (1972). The former, with its vivid hallucinations involving murderous hippies and vivisected canines, and the latter, with its psychotic religious zealots and brutal child killings, were -- to say the least -- controversial. In particular, Nie torturuj kaczuszki (1972), despite a huge box-office success, painted too graphic a portrait of perverted Catholicism, and Fulcis career was derailed... some would say, permanently. Blacklisted (albeit briefly) and despised in his homeland, Fulci at least found work in television and with the adventure genre with two financially successful Jack London White Fang adventure movies in 1973 and 1974 which were Zanna Bianca, and Il ritorno di Zanna Bianca. Also during the mid and late 1970s, Fulci also directed two Spaghetti Westerns; I quattro dellapocalisse (1975) and Sella dargento (1978), (Silver Saddle) and another giallo; Siedem czarnych nut (1977), as well as a few sex-comedies which include the political spoof Lubieznik (1972) (aka: The Eroticist), and the vampire spoof Il cav. Costante Nicosia demoniaco, ovvero: Dracula in Brianza (1975) (aka: Young Dracula), and the violent Mafia crime-drama Luca il contrabbandiere (1980).In 1979, Fulcis film making career hit another high point with him breaking into the international market with Zombi 2 (1979), an in-name-only sequel to George A. Romeros Swit zywych trupów (1978), which had been released in Italy as Zombi. With its flamboyant imagery, graphic gore and moody atmospherics, the film established Fulci as a gore director par excellence. It was a role he accepted, but with some reservations.Over the next three years, Fulci plied his trade with finesse and flair, rivaling even the popularity of his opponent Dario Argento, with such sanguine classics as Miasto zywej smierci (1980) and Siedem bram piekiel (1981). Frequently derided as sheer sensationalism, these films, as well as the reviled Nowojorski rozpruwacz (1982) are actually intelligently crafted, with sound commentaries on everything from American life to religion. High on vivid imagery and pure cinematic style, Fulcis films from this period of the early 1980s represent some of his most popular work in America and abroad, even if they do pale in comparison to his 1972 masterpiece and personal favorite Nie torturuj kaczuszki (1972) (an impossible act to follow, as it happens).In the mid-1980s, at the peak of his most prolific period, Fulci became beset with personal problems and worsening health. Much of his work from the mid-1980s onward is disappointing, to say the least, but flashes of his brilliance can be seen in works like Murderock - Uccide a passo di danza (1984) and Il miele del diavolo (1986). Un gatto nel cervello (1990), one of Fulcis last works, remains one of his most original. Though strapped by budgetary restraints and marred by mediocre photography, the film is wickedly subversive and comical. With Fulci playing the lead role (as more or less himself, no less -- a harried horror director who fears that his obsession with sex and violence is a sign of mental disease), Fulci also proves to be an endearing and competent actor (he also has cameos in many of his films, frequently as a detective or doctor figure).By the 1990s, Fulci went on a hiatus with film making for further health and personal reasons as the Italian cinema market went into a further decline. While in pre-production for the Dario Argento-produced M.D.C. - Maschera di cera (1997), Lucio Fulci passed away at his home on March 13, 1996 at the age of 68. A serious diabetic most of his adult life, he inexplicably forgot to take his insulin before retiring to bed; some consider his death a suicide, others consider it an accident, but his many fans all consider it to be a tragedy. Whether one considers him to be a hack or a genius, theres no denying that he was unique.. Date of Birth, 17June 1927,Rome, Lazio, Italy ,Date of Death, 13March 1996,Rome, Lazio, Italy (diabetes-related illness) ,Nicknames, The Godfather Of GoreThe Spaghetti Splatter King ,Height, 58(1.73m)
 (The Thieves), Fulci quickly established himself as a prolific craftsman adept at musicals, comedies and westerns.In 1968, Fulci made his first mystery thriller, Una sullaltra (1969), and its success was sufficient to garner the backing for his pet project Beatrice Cenci (1969). Based on a true story, the film details the trial of a young woman accused of murdering her sexually abusive father amid fear and superstition in 16th Century Italy. A scathing commentary on church and state, the film was the first to give voice to its directors passionate hatred of the Catholic Church. Predictably, the film was misunderstood, and Fulcis career was thrown into jeopardy. Deciding it would be best to leave his political feelings on the back burner, Fulci pressed on with a series of slickly commercial ventures.In 1971 and 1972, Fulci re-established himself in the thriller arena, directing two excellent giallos: the haunting Una lucertola con la pelle di donna (1971) and the disturbing Nie torturuj kaczuszki (1972). The former, with its vivid hallucinations involving murderous hippies and vivisected canines, and the latter, with its psychotic religious zealots and brutal child killings, were -- to say the least -- controversial. In particular, Nie torturuj kaczuszki (1972), despite a huge box-office success, painted too graphic a portrait of perverted Catholicism, and Fulcis career was derailed... some would say, permanently. Blacklisted (albeit briefly) and despised in his homeland, Fulci at least found work in television and with the adventure genre with two financially successful Jack London White Fang adventure movies in 1973 and 1974 which were Zanna Bianca, and Il ritorno di Zanna Bianca. Also during the mid and late 1970s, Fulci also directed two Spaghetti Westerns; I quattro dellapocalisse (1975) and Sella dargento (1978), (Silver Saddle) and another giallo; Siedem czarnych nut (1977), as well as a few sex-comedies which include the political spoof Lubieznik (1972) (aka: The Eroticist), and the vampire spoof Il cav. Costante Nicosia demoniaco, ovvero: Dracula in Brianza (1975) (aka: Young Dracula), and the violent Mafia crime-drama Luca il contrabbandiere (1980).In 1979, Fulcis film making career hit another high point with him breaking into the international market with Zombi 2 (1979), an in-name-only sequel to George A. Romeros Swit zywych trupów (1978), which had been released in Italy as Zombi. With its flamboyant imagery, graphic gore and moody atmospherics, the film established Fulci as a gore director par excellence. It was a role he accepted, but with some reservations.Over the next three years, Fulci plied his trade with finesse and flair, rivaling even the popularity of his opponent Dario Argento, with such sanguine classics as Miasto zywej smierci (1980) and Siedem bram piekiel (1981). Frequently derided as sheer sensationalism, these films, as well as the reviled Nowojorski rozpruwacz (1982) are actually intelligently crafted, with sound commentaries on everything from American life to religion. High on vivid imagery and pure cinematic style, Fulcis films from this period of the early 1980s represent some of his most popular work in America and abroad, even if they do pale in comparison to his 1972 masterpiece and personal favorite Nie torturuj kaczuszki (1972) (an impossible act to follow, as it happens).In the mid-1980s, at the peak of his most prolific period, Fulci became beset with personal problems and worsening health. Much of his work from the mid-1980s onward is disappointing, to say the least, but flashes of his brilliance can be seen in works like Murderock - Uccide a passo di danza (1984) and Il miele del diavolo (1986). Un gatto nel cervello (1990), one of Fulcis last works, remains one of his most original. Though strapped by budgetary restraints and marred by mediocre photography, the film is wickedly subversive and comical. With Fulci playing the lead role (as more or less himself, no less -- a harried horror director who fears that his obsession with sex and violence is a sign of mental disease), Fulci also proves to be an endearing and competent actor (he also has cameos in many of his films, frequently as a detective or doctor figure).By the 1990s, Fulci went on a hiatus with film making for further health and personal reasons as the Italian cinema market went into a further decline. While in pre-production for the Dario Argento-produced M.D.C. - Maschera di cera (1997), Lucio Fulci passed away at his home on March 13, 1996 at the age of 68. A serious diabetic most of his adult life, he inexplicably forgot to take his insulin before retiring to bed; some consider his death a suicide, others consider it an accident, but his many fans all consider it to be a tragedy. Whether one considers him to be a hack or a genius, theres no denying that he was unique.. Date of Birth, 17June 1927,Rome, Lazio, Italy ,Date of Death, 13March 1996,Rome, Lazio, Italy (diabetes-related illness) ,Nicknames, The Godfather Of GoreThe Spaghetti Splatter King ,Height, 58(1.73m) %23thoughts %23aphorisms %23 %23&image=http://famous.101sharequotes.com/files/photos/Lucio Fulci.jpg
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 (The Thieves), Fulci quickly established himself as a prolific craftsman adept at musicals, comedies and westerns.In 1968, Fulci made his first mystery thriller, Una sullaltra (1969), and its success was sufficient to garner the backing for his pet project Beatrice Cenci (1969). Based on a true story, the film details the trial of a young woman accused of murdering her sexually abusive father amid fear and superstition in 16th Century Italy. A scathing commentary on church and state, the film was the first to give voice to its directors passionate hatred of the Catholic Church. Predictably, the film was misunderstood, and Fulcis career was thrown into jeopardy. Deciding it would be best to leave his political feelings on the back burner, Fulci pressed on with a series of slickly commercial ventures.In 1971 and 1972, Fulci re-established himself in the thriller arena, directing two excellent giallos: the haunting Una lucertola con la pelle di donna (1971) and the disturbing Nie torturuj kaczuszki (1972). The former, with its vivid hallucinations involving murderous hippies and vivisected canines, and the latter, with its psychotic religious zealots and brutal child killings, were -- to say the least -- controversial. In particular, Nie torturuj kaczuszki (1972), despite a huge box-office success, painted too graphic a portrait of perverted Catholicism, and Fulcis career was derailed... some would say, permanently. Blacklisted (albeit briefly) and despised in his homeland, Fulci at least found work in television and with the adventure genre with two financially successful Jack London White Fang adventure movies in 1973 and 1974 which were Zanna Bianca, and Il ritorno di Zanna Bianca. Also during the mid and late 1970s, Fulci also directed two Spaghetti Westerns; I quattro dellapocalisse (1975) and Sella dargento (1978), (Silver Saddle) and another giallo; Siedem czarnych nut (1977), as well as a few sex-comedies which include the political spoof Lubieznik (1972) (aka: The Eroticist), and the vampire spoof Il cav. Costante Nicosia demoniaco, ovvero: Dracula in Brianza (1975) (aka: Young Dracula), and the violent Mafia crime-drama Luca il contrabbandiere (1980).In 1979, Fulcis film making career hit another high point with him breaking into the international market with Zombi 2 (1979), an in-name-only sequel to George A. Romeros Swit zywych trupów (1978), which had been released in Italy as Zombi. With its flamboyant imagery, graphic gore and moody atmospherics, the film established Fulci as a gore director par excellence. It was a role he accepted, but with some reservations.Over the next three years, Fulci plied his trade with finesse and flair, rivaling even the popularity of his opponent Dario Argento, with such sanguine classics as Miasto zywej smierci (1980) and Siedem bram piekiel (1981). Frequently derided as sheer sensationalism, these films, as well as the reviled Nowojorski rozpruwacz (1982) are actually intelligently crafted, with sound commentaries on everything from American life to religion. High on vivid imagery and pure cinematic style, Fulcis films from this period of the early 1980s represent some of his most popular work in America and abroad, even if they do pale in comparison to his 1972 masterpiece and personal favorite Nie torturuj kaczuszki (1972) (an impossible act to follow, as it happens).In the mid-1980s, at the peak of his most prolific period, Fulci became beset with personal problems and worsening health. Much of his work from the mid-1980s onward is disappointing, to say the least, but flashes of his brilliance can be seen in works like Murderock - Uccide a passo di danza (1984) and Il miele del diavolo (1986). Un gatto nel cervello (1990), one of Fulcis last works, remains one of his most original. Though strapped by budgetary restraints and marred by mediocre photography, the film is wickedly subversive and comical. With Fulci playing the lead role (as more or less himself, no less -- a harried horror director who fears that his obsession with sex and violence is a sign of mental disease), Fulci also proves to be an endearing and competent actor (he also has cameos in many of his films, frequently as a detective or doctor figure).By the 1990s, Fulci went on a hiatus with film making for further health and personal reasons as the Italian cinema market went into a further decline. While in pre-production for the Dario Argento-produced M.D.C. - Maschera di cera (1997), Lucio Fulci passed away at his home on March 13, 1996 at the age of 68. A serious diabetic most of his adult life, he inexplicably forgot to take his insulin before retiring to bed; some consider his death a suicide, others consider it an accident, but his many fans all consider it to be a tragedy. Whether one considers him to be a hack or a genius, theres no denying that he was unique.. Date of Birth, 17June 1927,Rome, Lazio, Italy ,Date of Death, 13March 1996,Rome, Lazio, Italy (diabetes-related illness) ,Nicknames, The Godfather Of GoreThe Spaghetti Splatter King ,Height, 58(1.73m) &p[url]=http://famous.101sharequotes.com/en/quote/lucio-fulci-lucio_fulci_born_in_rome_in_192-12154&p[images][0]=http://famous.101sharequotes.com/files/photos/Lucio Fulci.jpg
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