Directed by: Andrea Bianchi
Starring: Gino Concari, Patrizia Falcone, Silvia Conti
Review by Luis Joaquín González
It’s somewhat ironic that Lucio Fulci supervised this belated entry to the giallo catalogue. Despite being two years his elder, Andrea Bianchi’s work has always made him look like something of a protégé of the notorious craftsman. There are many Fulci trademarks to be found in the works of Bianchi. Most notably the extreme use of gratuitous gore and a taste for barely logical plot points. Over the years many have labeled Fulci as an inept filmmaker that hid his directorial shortcomings behind the talent of his special effects team. But titles like Don’t Torture a Duckling and Zombi 2 have pretty much taken the gust out of that argument. If these critics truly believe that Fulci was an incompetent director, then gawd only knows what they’d make of Bianchi. His most famous movie – the notorious Burial Ground – is great fun if you love blood and guts. But if you judge it on it’s merits as a motion picture, then it fails in just about every department. The acting was diabolical, the direction non-existent and I don’t even think that it was filmed from a script. I hoped that Massacre would keep the gratuitous exploitation edge, but I was also looking for a little more credibility from Bianchi this time around.
Massacre kicks off with a gruesome murder that was re-used by Fulci along with other gore scenes in the bemusing Nightmare Concert. A guy wearing red gloves, shades and a beanie hat is seen cruising along a lengthy stretch of road. He pulls up beside a young woman in a skimpy dress who greets him with the classic line, “Hey cutie wanna make love mmmm!” Unfortunately, ‘making love’ isn’t exactly what this guy had in mind, and he proceeds to chop off the woman’s hand and then decapitate her with an axe. Next up we meet a film crew that are shooting a zombie flick in the area called Dirty Blood. There’s a whole heap of tension on the set because it doesn’t look like any of the employees seem to get along with one another. The lead actress Jennifer (Patrizia Falcone) is dating a Local Police Captain called Walter (Gino Concarni). We soon learn from him that this maniacal killer has already murdered four other victims, and the authorities don’t have a clue to his identity. Things really get nasty after the producer calls in a medium to hold a séance and teach his cast and crew the ways of the supernatural. The circle is broken when an evil spirit invades the sitting and forces the Medium to end the seance. Only hours later an unseen maniac begins slaughtering his way through the cast list one by one. Will any of them survive…?
Surprisingly, Massacre is not as bad as I had initially expected. Silvano Tessicini did a credible job with the photography and the director even managed to build suspense in places. No really. As this is a Bianchi joint, the exploitation is spread thick and fast, and there’s more female nudity than an Electric Blue omnibus. Look out for the scene where a victim flees the marauding killer with only a short skirt covering her modesty! The gory murders reveal a great flair for the macabre from the filmmaker and there’s a body count to rival an Arnold Schwarzenegger machine gun frenzy. You probably won’t solve the twist and turn mystery with ease, plus the boathouse massacre is a tremendous piece of mayhem, which deserves a second look. Massacre also boasts some wacky pre-politically correct dialogue, which will make even the most sinister viewer smile. It’s also worth noting the amount of American stalk and slash clichés that have been incorporated with the more typical native giallo platitudes. At one point a fornicating couple are slaughtered whilst parked in the woods – an indisputable trademark of the USA teen slasher.
But still this is far too bizarrely structured to be anything other than good in a bad way. As was the case with Burial Ground, there’s just too much inadvertent humour to allow this to join the giallo elite. The murders certainly could have benefited with a little more directorial flourish and the musical accompaniment was continuously monotonous to the point of frustration. Bianchi certainly has an eye for a beautiful actress, and he always tries to include everything from lesbian proposals to soft-core pornography. Only problem is that he seems to prioritize acting ability way below bra size. It’s a flaw that’s only too evident from the start.
The net result is a film that will satisfy forgiving fans that aren’t expecting anything along the lines of Tenebrae or even Eyeball. To put it another way, if you could sit through Burial Ground without cringing at the screen then you’ll probably enjoy this.
Final Girl: √