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Here in the States, we associate Halloween with the colors orange and black. Naturally, in the haunted house biz, we tend to ramp up the horror quota by adding several gallons of splattered red. But since many of the holiday’s customs spring from Italy, let’s head there and focus on the color yellow—“giallo,” in the native tongue—for this 366 Halloween. It’s more apt than one might suspect. While both van Gogh and Gauguin utilized yellow to convey a pacifistic warmth, they also used it to convey sheer horror. Leave it to the Romans to stylishly hone in on the visceral symbology of the pigment and craft an entire genre around it.
I’ll start our giallo Halloween with Black Belly of the Tarantula (1971, directed by Paolo Cavara), which features three Bond girls: Claudine Auger (Thunderball), Barbara Bouchet (Casino Royale), and Barbara Bach (The Spy Who Loved Me). The plot is about a serial killer who dips his weapon of choice in tarantula venom and pursues the ladies, all of whom can be seen in various stages of undress. Despite it’s paper-thin misogyny, Cavara composes with stylish precision. It is paced well and a grisly enough affair to satisfy genre geeks (let’s just say that the antagonist mimics the black wasp). Composer Ennio Morricone lends a helping hand, as he always does. It’s one his wackiest scores, which is saying a lot.
Tarantula is a virtual smorgasbord of giallo clichés: primary colors, rubber gloved killers, knife-wielding POV, subtle-as-a-pair-of-brass-knuckles eroticism, animal motifs a la Bird with the Crystal Plumage, intense chase scenes, razor sharp cinematography, big windows, modish apartments and spas. This makes it something of a starter kit for newcomers, although it is hardly the best giallo. In fact, it’s kind of like the Airport or Towering Inferno of giallo (we’re in for the treat of seeing celebs get whacked… in this case, the celebs being Bond girls).
I have never subscribed to the cult of Lucio Fulci. He is grossly overrated by his fanatical following, but still he has a few bright spots in his oeuvre. We have already covered A Lizard in a Woman’s Skin, so let’s go with Don’t Torture a Duckling (1972) instead. Together, they are probably his two strongest early films.
Duckling is only marginally giallo, although Fulci’s worshipers swear it is one, so we’ll go with that. Fulci’s trademark misogyny is on hand here, and while there’s no denying its repugnance, there’s also no denying he was aesthetically skilled in displaying it—as he was in mocking the pedestaled traditions within Catholicism and expressing his loathing for its perversions and hypocrisies. These themes are full-blown in this murder mystery that begins with a series of brutal child murders. The bourgeoisie Catholic locals blame the societal misfits, including town whore Barbara Bouchet and voodoo priestess Florinda Bolkan—who is erroneously blamed, tortured, and savagely butchered by the ignorant male vigilante swine. But lo and behold, when there’s pedophilia and murder involved, it leads right back to the patriarchy.
Don’t Torture a Duckling was a box office and critical success, but it cost Fulci much, and he was more or less blacklisted for years for criticizing the Church. This is a film that could not be made today, and although it is not as well-known as the director’s later, more surreal efforts, it’s beautifully horrific and has something to say. Fulci says his piece with a level of subtlety that would be appropriate for Ken Russell.