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Traditionally, "black magic" refers to the use of supernatural powers for "evil" purposes, with its practitioners being shunned or persecuted. So when several young boys mysteriously start turning up dead in a small village in this Lucio Fulci film, it's natural that most of the blame will fall into the hands of the mysterious gypsy who allegedly practices it. But, is she the only one interested in such magic? Is "black magic" actually behind the murders, or is it "nonsense"?
That is the premise of 1972's Don't Torture a Duckling, which follows the events surrounding the murders of several young boys in the small Italian village of Accendura. As the police scrambles in search for the killer, a clever journalist called Martelli (Tomas Milian) follows his own clues on his search for answers.
This was an interesting watch, randomly recommended by a good Twitter friend. It is only my second Fulci film (the other being the 1975 western Four of the Apocalypse) and overall, I can say I enjoyed it. Even though Fulci is more associated with horror, this film is more of a whodunit thriller, as we try to figure out who's behind the murders. There is violence and some gore, but it is more scattered than what one might be lead to expect from his other films.
However, despite an interesting premise, Fulci tries to juggle too many subplots at once. I mean, there's the policemen investigating the murders, there's the journalist, there's a mysterious affluent woman (Barbara Bouchet) that's seeking refuge in the village for some reason, there's the gypsy that practices voodoo and black magic, and there's the affable priest that leads a school/home for boys where most of the victims come from.
During the first half of the film, the plot feels very scattered, and I don't think the characters were integrated effectively into the story. The pace is a bit clumsy, and there is a character that is somewhat problematic, especially by today's standards. For better or worse, the second half was more focused and the overall execution felt more assured. At first glance, the resolution might feel too "twisty" for "twist" purposes, but upon closer examination, I think it makes more sense than one might think.
Grade:
DON'T TORTURE A DUCKLING
(1972, Fulci)
A film that starts with the letters C or D
(1972, Fulci)
A film that starts with the letters C or D
"No one can be killed with black magic, no one! It's nonsense."
Traditionally, "black magic" refers to the use of supernatural powers for "evil" purposes, with its practitioners being shunned or persecuted. So when several young boys mysteriously start turning up dead in a small village in this Lucio Fulci film, it's natural that most of the blame will fall into the hands of the mysterious gypsy who allegedly practices it. But, is she the only one interested in such magic? Is "black magic" actually behind the murders, or is it "nonsense"?
That is the premise of 1972's Don't Torture a Duckling, which follows the events surrounding the murders of several young boys in the small Italian village of Accendura. As the police scrambles in search for the killer, a clever journalist called Martelli (Tomas Milian) follows his own clues on his search for answers.
This was an interesting watch, randomly recommended by a good Twitter friend. It is only my second Fulci film (the other being the 1975 western Four of the Apocalypse) and overall, I can say I enjoyed it. Even though Fulci is more associated with horror, this film is more of a whodunit thriller, as we try to figure out who's behind the murders. There is violence and some gore, but it is more scattered than what one might be lead to expect from his other films.
However, despite an interesting premise, Fulci tries to juggle too many subplots at once. I mean, there's the policemen investigating the murders, there's the journalist, there's a mysterious affluent woman (Barbara Bouchet) that's seeking refuge in the village for some reason, there's the gypsy that practices voodoo and black magic, and there's the affable priest that leads a school/home for boys where most of the victims come from.
During the first half of the film, the plot feels very scattered, and I don't think the characters were integrated effectively into the story. The pace is a bit clumsy, and there is a character that is somewhat problematic, especially by today's standards. For better or worse, the second half was more focused and the overall execution felt more assured. At first glance, the resolution might feel too "twisty" for "twist" purposes, but upon closer examination, I think it makes more sense than one might think.
Grade: