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Don’t be set aside off by the curious title (although it is a rather typical giallo title), this is Fulci in high-gear. If there is one movie in Fulci’s great filmography that truly proves him as a talented and respectable director, this would be it. It’s got it all (well, almost) : a sizable legend that transcends typical giallo trappings (such as close-ups of a shining knife and many nubile female victims), tremendous casting and acting/writing (heck, even the dubbing isn’t TOO unpleasant) and terrific atmosphere. And best of all, Fulci doesn’t go overboard with the gore and violence (like he so gleefully did in such films as “The Beyond”) . Yep, when the gore and violence shows up, it’s grand more great and emotionally wrenching, because Fulci paints some improbable characters fine of our sympathy. Contrary to approved opinion, this film has a surprising amount of heart and warmth for a Fulci film. The memoir is also huge. It concerns a runt, backwards Italian village shattered by a trio of savage child murders. Fulci uses this storyline as a springboard for social commentary concerning the devestating effects of crime on a sensitive and simple-minded populace. There really are very few fake notes of characterization in the film, and the motivations of the characters ring right (so unlike typical giallo cinema) . Fulci’s fascination and obssession of the depraved and brutality that mankind is pleasant of is powerful more compellingly portrayed here than in any other of his films. Another facet of the film that boosts this past many other Fulci outings is the terrific cinematography (courtesy of Sergio D’Offizi) and sure-footed direction by Fulci. Fulci’s direction is a breath of recent air compared to static and sluggishly filmed American mysteries, as his mobile camera always keeps one’s interest and dazzles the look, even in the most mundane of scenes. The cinematography also brings the village to life, exposing its natural splendor and its grimy poverty, creating a living, breathing world. If there are any factors that detract from one’s enjoyment of the film (and that hold it from five stars) it would be the sometimes tiring, pacing. While Fulci keeps things sharp with his swift camera hand, nevertheless the dwelling can ride, no doubt due to the myriad of position twists (another familiar giallo trait) . Also, the film is less an assault on the senses as Fulci’s panic films, and it works in a slower, dreamier map, which may turn some viewers off who are expecting a blood drenched giallo, Fulci style. No, this is a film that doesn’t consume the easy plan out (in it’s characters or in it’s plotting) by assaulting the viewer with non-stop gore and violence, and this is why it is one of Fulci’s most accomplished efforts. Here we gape Fulci in top manufacture as a director who is able to weave a unusual and controversial legend with style and audacity. Highly recommended.

Lucio Fulci’s Don’t Torture A Duckling is a pleasant tiny giallo. It features a haunting come by, splendid cinematography, a intriguing storyline about the abolish of young boys. As the body count increases so do the number of leads and red herrings. A valid limited film with a enormous sense of atmosphere. There is a distinguished scene, one of such brutality but it remains integral to the set. Overall I’d give this film 5/5, the films transfer onto DVD is quite intellectual with hardly any problems, there were only a few hairs and scratches visible for a very short period of time. The transfer looks pleasing, you can hardly absorb the film is so aged. The sound was heavenly on the disc, the film has a huge music get. The film has no extras but who cares, when a film is this noble I don’t give a damn about extras. Check this film out if you like marvelous slay mysteries or are a fan of Italian giallo films. This film doesn’t rely on the heavy gore techniques that Fulci would spend later in his career. Instead the film concentrates on it’s characters and the atmosphere. Highly Recommended.

I’d also recommend Fulci’s A Lizard in a Woman’s Skin.
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