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▓ █ ▀▓▀[ snakkelfatz ]▀▓▀ ▐████▌▀▓▀ ▐█████▓ ▄ ▄▄█
▒ █ ░ [ Entertainment ] ░ ▓████ ░ ▄█████▓▀ ▀▓▀ █ █
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░ ▒ █ OST-Cemetery Man- █ █ ░
▒ ░ █ █ ▓ ░
▓ ▒ █ Supplier : sfE Date : may-18-2003 █ ▒ ▓
█ ░ █ Ripper : spaun Style : soundtrack █ ░ █
█ ▓ w/ help of : cdex 1.40b/lame Trax : 25 ▓ █
█▄▄ ▒ Bitrate : 192kbps / 44,1kHz / full stereo ▒ ▄▄█
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▒ █ █ [ informations ] █ █ ▒
░ █ █ █ █ ░
█ █ label : Sud Ovest Records █ █
█ █ code : n/a █ █
█ █ █ █
█ █ comments : [About the movie] █ █
█ █ █ █
█ █ Francesco Dellamorte has a bit of a █ █
█ █ problem. He's the live-in watchman at █ █
█ █ Buffalora Cemetery in northern Italy, █ █
█ █ where the corpses are crawling back out █ █
█ █ of their graves after spending a mere █ █
█ █ week or so in the ground. As you can █ █
█ █ imagine, that's something of a nuisance, █ █
█ █ but if he reports it to the authorities, █ █
█ █ he's certain of one thing -- they'll █ █
█ █ shut down the cemetery to investigate, █ █
█ █ and Francesco will be out of a job. █ █
█ █ Since he can't have that happening, he █ █
█ █ keeps a loaded pistol with him, which he █ █
█ █ carries to the door whenever he answers █ █
█ █ a knock. It's usually just one of them █ █
█ █ coming back, and a single bullet blown █ █
█ █ solidly through the head -- where have █ █
█ █ you gone, George Romero? -- takes a █ █
█ █ zombie down easily enough. For a █ █
█ █ misanthrope like Francesco, it's a █ █
█ █ pretty good gig. █ █
█ █ █ █
█ █ Surrounded by death, and with only the █ █
█ █ clumsy and deformed Gnaghi for company, █ █
█ █ Francesco's life is pretty stable until █ █
█ █ he falls for a mourning widow. Anna █ █
█ █ Falchi plays the object of his desire █ █
█ █ (known in the credits as "She"), whom he █ █
█ █ seduces in the Buffalora Ossuary (where █ █
█ █ the bones of the dead are deposited); █ █
█ █ the two indulge their strange affections █ █
█ █ on her poor husband's grave. Naturally, █ █
█ █ the old man comes back. The woman dies █ █
█ █ in her spouse's ensuing fit of jealous █ █
█ █ violence, and Francesco is stricken with █ █
█ █ despair. Naturally, She comes back █ █
█ █ again. And again. █ █
█ █ █ █
█ █ That's only the surface of the █ █
█ █ remarkable Dellamorte Dellamore. You █ █
█ █ might expect even a stylish horror █ █
█ █ director to milk these situations for █ █
█ █ all they're worth, but Michele Soavi █ █
█ █ knows that zombie hijinks have been done █ █
█ █ to death by such precocious directors as █ █
█ █ Sam Raimi and Peter Jackson. █ █
█ █ Accordingly, the movie never stops █ █
█ █ moving, twisting and turning its way to █ █
█ █ an oddly existential climax. The █ █
█ █ scenario, written for the screen by █ █
█ █ Gianni Romoli from a comic book scenario █ █
█ █ by Tiziano Sclavi, concentrates on the █ █
█ █ human characters rather than the █ █
█ █ zombies, and gives as much play to █ █
█ █ turmoil of the spirit as it does to the █ █
█ █ carnage that spills from the body. The █ █
█ █ world of Francesco Dellamorte runs █ █
█ █ parallel to George Romero's zombie █ █
█ █ apocalypse. Like Romero's trilogy, and █ █
█ █ quite unlike many of its imitators, █ █
█ █ Dellamorte Dellamore is a zombie movie █ █
█ █ with character. █ █
█ █ █ █
█ █ I have to wonder what American audiences █ █
█ █ are expecting on the way into this █ █
█ █ picture, given that the normally staid █ █
█ █ October Films has created a mild █ █
█ █ cheeseball of an ad campaign to push the █ █
█ █ film into U.S. theaters. "Zombies, Guns █ █
█ █ and Sex, OH MY!" reads the tagline, █ █
█ █ stripped across poster art that may lead █ █
█ █ audiences to believe that Cemetery Man █ █
█ █ is actually a cheap horror flick from █ █
█ █ the 50s or 60s. I find it hard to █ █
█ █ believe that this campaign will actually █ █
█ █ attract a discriminating audience, but █ █
█ █ stranger things have happened, and we'll █ █
█ █ just have to see. Rest assured that █ █
█ █ Cemetery Man/Dellamorte Dellamore is a █ █
█ █ confident, creepy little horror film █ █
█ █ with a winning sense of humor, a sure █ █
█ █ feel for outrageous imagery, and a █ █
█ █ healthy mean streak. █ █
█ █ █ █
█ █ As played by Rupert Everett (Ready to █ █
█ █ Wear), Francesco is a misfit and a █ █
█ █ nihilist. (The main character in the █ █
█ █ Dylan Dog comic book series originated █ █
█ █ by Sclavi is based on Everett, and his █ █
█ █ casting here is something of a coup.) █ █
█ █ He's also a remarkable Everyman who █ █
█ █ commands our attention and our sympathy █ █
█ █ as he slouches toward the inevitable. █ █
█ █ Francois Hadji Lazaro's Gnaghi is by █ █
█ █ turns irritating and pathetic. (You may █ █
█ █ have seen Lazaro as the meanest-looking █ █
█ █ cyclops in City of Lost Children.) By █ █
█ █ the time he develops a decidedly █ █
█ █ unhealthy crush on the mayor's daughter █ █
█ █ (and the mayor's daughter's disembodied █ █
█ █ head), Lazaro has invited viewers to █ █
█ █ inhabit his character, and the results █ █
█ █ are unsettling. The relationship is █ █
█ █ consummated at the end of the film, but █ █
█ █ these two are shown early on to be █ █
█ █ classic codependents. Along those lines, █ █
█ █ the movie exhibits a well-developed █ █
█ █ sense of humor that goes a long way █ █
█ █ toward eliciting the viewer's sympathy. █ █
█ █ The characters aren't very pleasant, but █ █
█ █ you start to identify with them in spite █ █
█ █ of yourself. By the time the movie is █ █
█ █ over, their predicament almost seems to █ █
█ █ take on mythic proportions. █ █
█ █ █ █
█ █ Herein seems to lie the problem for many █ █
█ █ American critics, who have been less █ █
█ █ than impressed with what may be a █ █
█ █ vigorous political allegory. I guess I'm █ █
█ █ a little slow, but I didn't understand █ █
█ █ right away that the Italian citizens who █ █
█ █ are zombified -- a disquietingly fascist █ █
█ █ troupe of boy scouts, Buffalora's █ █
█ █ highest ranking incompetent bureaucrat █ █
█ █ -- may represent the dead archetypes of █ █
█ █ Italian society come back to haunt the █ █
█ █ living. Instead, I fell for the grisly █ █
█ █ comedy and the sharp cinematic style, █ █
█ █ which references such influential █ █
█ █ pictures as Vertigo and Once Upon a Time █ █
█ █ in the West (on which Soavi's progenitor █ █
█ █ Dario Argento received a story credit). █ █
█ █ And while that bastion of genre █ █
█ █ reporting, Cinefantastique, had █ █
█ █ decidedly unkind words for the film's █ █
█ █ alleged misogyny, I read it instead as a █ █
█ █ look inside poor Dellamorte's head. █ █
█ █ Francesco, as noted above, is an equal █ █
█ █ opportunity curmudgeon, and if She is █ █
█ █ treated as the most maddening of all the █ █
█ █ characters, it's because she is the █ █
█ █ object of Francesco's most maddening █ █
█ █ obsessions. At the same time, I think █ █
█ █ these critics complain a little too █ █
█ █ much. Stephen Holden, writing in The New █ █
█ █ York Times, criticized the film's █ █
█ █ decision to make Francesco impotent -- █ █
█ █ missing the important joke, which is █ █
█ █ that he's really not impotent at all, █ █
█ █ despite the rumor around town (you have █ █
█ █ to wonder if Holden left partway █ █
█ █ through). █ █
█ █ █ █
█ █ The cemetery itself is a triumph of █ █
█ █ production design, an inhabited world █ █
█ █ with curious nooks and crannies (the █ █
█ █ Ossuary, Gnaghi's cellar in the █ █
█ █ watchman's house). It's also a █ █
█