According to the internet, so it must be true, after Dario Argento saw that Italian film auteur Lucio Fulci was in ill-health in the mid 1990s, he decided to throw him a project. Argento and Fulci didn’t get along that well, however, so pre-production stretched on longer than it should have. Then Fulci died, and the project was passed to first-time director Sergio Stivaletti, who had been an established special effects tech for over a decade. The result was The Wax Mask, which was different enough from 1953’s House of Wax to keep Argento and the other producers from being sued.
The film opens on a grisly murder scene in Paris in the year 1900. A man and his wife have been cut to ribbons, with their young daughter a survivor and witness to the brutal crime. Fast forward to Rome a dozen years later and the girl has grown into a woman. Sonia Lafont (Romina Mondello) has arrived in Rome to seek a career as a costume designer. She gets a job at a soon to be opened wax museum run by the mysterious Boris Volkoff (Robert Hossein), who becomes enamored with Sonia at first sight. Continue reading “Lo spettacolo dell'orrore italiano: The Wax Mask, aka M.D.C. – Maschera di cera”
Sometimes, one can tell the objective quality of an Italian horror flick by looking at its title upon release in the old country. Night Killer, from 1990, is a case in point. It was released in Italy with the title Non aprite quella porta 3, which translates as Do Not Open That Door 3, implying that this is the third in a series. The first film to use Do Not Open That Door in Italian theaters was The Texas Chain Saw Massacre. Night Killer is not related to Tobe Hooper’s classic in any way, but producer Franco Gaudenzi hitched his wagon to Hooper’s regardless. If there is one thing I’ve learned from watching all these Italian horror flicks for the Horrorshow, it’s that trademark law must be different in Rome.
…And then there’s Cannibal Ferox. Released a year after Cannibal Holocaust, in 1981, Cannibal Ferox tries to succeed as a film by taking the most exploitative moments of Holocaust, and wrapping footage around them. Writer/director Umberto Lenzi did not seem to realize that what made Cannibal Holocaust a successful movie was not the animal slaughter or the graphic violence. Those are, arguably, essential parts of the package, but Holocaust is indeed a package deal. It succeeds because most aspects of the film are well done, including story, acting, cinematography, music, etc. Without all those things working together, viewers get, well, Cannibal Ferox.