Tag Archives: Italian horror

Really Awful Movies: Ep 203 – The Psychic



Lucio Fulci’s The Psychic, while not nearly as gory as the canonical Fulci films, nonetheless bears some of the same trademark weirdness, and features…of course…a creepy house.

And in this house…bones are found!

We have a murder mystery on our hands, and blood is on someone’s hands…but whose? The house is owned by Francesco Ducci…and the bones are that of a young woman. Mr. Ducci is a womanizer, once dated the deceased, and that alone is enough to cast suspicions his way.

His sister Gloria, and wife Virginia (the titular Psychic) have to clear his name. And really, all they have to go on are some visions…clues that come to Virginia in a dreamlike state…

It’s these visions which, while not accurate, are accurate enough to get the plot rolling. There’s another married womanizer who dated the deceased, and was seen with her some time before she went missing. Is it him?

The Psychic, also known as Seven Notes in Black, and Murder to the Tune of Seven Black Notes, was filmed two years before Fulci blew our collective minds with his awesome, Zombi 2.

But you needn’t be a Fulci die-hard to appreciate the oddball film that is The Psychic.

Tune in as we discuss the film, and remember, subscribe to the Really Awful Movies Podcast!


Really Awful Movies: Ep 195 – Don’t Torture a Duckling



Don’t Torture a Duckling (in mellifluous Italian: Non si sevizia un paperino) is a 1972 Italian giallo film directed by Lucio Fulci, starring Tomas Milian, Florinda Bolkan, and Barbara Bouchet. It is notable within Fulci’s filmography as it is one of the first in which he began using violent icky gore effects, something Fulci would continue to do in his later films, most notably Zombi 2The Beyond and City of the Living Dead. The soundtrack was composed by Riz Ortolani and features vocals by Italian pop stylist Ornella Vanoni.

Don’t Torture a Duckling focuses on a series of child murders that occur in a small, fictitious town in Southern Italy. Naturally, there are red herrings aplenty, and true to form, a journalist poking his nose around where it doesn’t belong. While there are some similarities with giallo films stylistically, this one tends to eschew some of the genre tropes, including urban center settings.

There is a boundless array of weirdness, and some really odd choices for set-pieces. It’s interesting to note just how varied Fulci’s work was before he set aside his other genre work and began to focus full-bore on horror.