Wealthy businessman Giorgio Mainardi has died of a stomach hemorrage, but his ghost is not so sure that it was a random misfortune and wants to know the truth. Unfortunately, almost everyone around him is happy to see him gone. Everyone, that is, except for his daughter Rosy, who still feels affection for her father even though they have drifted apart. With her medical student boyfriend, Johnathan, Rosy will try to get to the bottom of her father’s death. —IMDb
Though more often than not working on a strict budget and a short time line, Lucio Fulci ranked among the masters of blood-soaked Italian horror/fantasies and sexy thrillers. Fulci’s zombie films, beginning with Zombi 2 (1979), a loose sequel of George Romero’s Dawn of the Dead (1978), are especially prized by genre aficionados for their shocking violence and graphic gore.
According to Fulci, it was the love of a woman, not a passion for cinema, that led him into filmmaking. He met her while studying medicine and working as a part-time art critic. Their affair was brief for she came from a wealthy family who lost their fortune after the war, and so wanted a man with more income. Following the breakup, Fulci spied a newspaper ad announcing the reopening of the Experimental Film Studios. Thinking a filmmaking career might provide him with an impressive income, Fulci decided to apply. The great director Luchino Visconti, impressed by Fulci’s examination, personally admitted the… read more
A nice find considering Fulci's output from this time period--also a surprising Blu-ray release, considering how many of his classic-era films still don't have proper releases (somebody put the reassembled cut of *Lizard with a Woman's Skin* out on Blu already!). The other stuff I've seen from this late in his career, stuff like *Cat in the Brain* and *Aenigma*, smack of the real-world troubles he was experiencing--
from precipitous cuts in funding to his increasingly poor health. Where *Aenigma* and *Cat in the Brain* seem like botched cut-and-paste jobs, terrible jumbles of other, better movies, *Voices from Beyond* at least comes across with a structure and story that seems complete and deliberate and fairly well executed. Though it doesn't rank with his best films, and I still massively prefer some of his other "later" films like *Murder Rock*, I appreciate the craft that it does accomplish.
I miss some recognizable faces in the cast (Karlatos and Lovelock and Cassinelli make *Murder Rock* imo), but there are still many of Fulci's signature flourishes--repeated dream sequences that both advance the plot with their dream logic and offer a nightmarish counterweight for the real-world story's revenge mechanics; the torturous, stomach-churning gore scenes (both the murder scenes and the way the film charts the deterioration of the father's corpse); and a presentation of human nature that is almost wholly cynical and evil and corrupt. If you temper your expectations going in, and are a Fulci fan already, this one comes as a nice surprise.