1994 ‘Dellamorte Dellamore’ Directed by Michele Soavi
A cemetery man has the unusual problem of the dead rising from the grave. Himself and his assistant must end these creatures' lives again after they are reborn. Everything is going well until "She" comes along and stirs things up a bit.
Rupert Everett François Hadji-Lazaro Anna Falchi Fabiana Formica Mickey Knox Barbara Cupisti Michele Soavi Clive Riche Anton Alexander Alessandro Zamattio Katja Anton Patrizia Punzo Pietro Genuardi Stefano Masciarelli Vito Passeri Renato Donis Claudia Lawrence Francesca Gamba Elio Cesari Maurizio Romoli Maddalena Ischiale Elena Fresco Marijn Koopman
Conchita Airoldi Michèle Ray-Gavras Michele Soavi Gianni Romoli Tilde Corsi Dino Di Dionisio Heinz Bibo
Fonds Eurimages du Conseil de l'Europe Urania Film K.G Productions Audifilm Silvio Berlusconi Communications Bibo Productions Canal+
Of Death And Love, Pelo Amor e pela Morte, Zombie Graveyard, Mi novia es un zombie, Della Morte Dell'Amore, O Homem do Cemitério, О смерти, о любви, Demons '95
Dellamorte Dellamore is the last great Italian horror film. Normally I would save something so heavy for the closing but I just want to make sure people read that fact, if it's the only thing they read in this post, I'll be happy. Starting with Mario Bava's gothic horror films of the 1960s and ending with Michele Soavi's Dellamorte Dellamore, the span of Italian horror cinema did not last very long. The success of Italian horror films can almost be considered a phenomenon, they burst onto the scene and then faded away by the mid-1990s. One theory is because they could no longer compete with other countries, the demand for Italian horror died (probably after the many imposters and lousy…
I prefer calling Michele Soavi’s cinematic art-form masterpiece Dellamorte Dellamore but whatevz letterboxd, be that way 😒
For years now, since I was a teenager in the late 90’s, I’ve had trouble sleeping. Whether due to anxiety, existential dread, teenage angst, or annoying neighbors just being too loud, the slightest sleep disturbance has always woken me up, and kept me that way. Luckily, I’d always have films to fall back on that would help take me away to dreamland, and In those particular moments of insomnia, Dellamorte Dellamore has been there for me. Like heroin, I’d watch it and sink into the velvety pillow of Francesco Dellamorte’s hazy, dark philosophies, causing me to question what’s really important in life, and watch my problems float away on dream clouds like the unimportant metaphors they usually are.
I adore this picture.
It’s a work of art, a swath of style and contradiction. It’s a zombie movie with its own canon. It’s equal parts Lynch and Raimi. It’s foreign to an American like me, yet it’s in English. It’s a love story in a unique triangle. Its ugliest images are some of the most beautiful I’ve seen in a horror film. It’s a buddy film with a parallel universe Curly Howard as the buddy. It’s The Walking Dead-creative-killing 20 years before Dead was born. It’s gothic and simultaneously hip.
“I’d give my life to be dead” - Dellamorte
It is absurd. And it makes perfect sense.
A beautiful, fucked up, pitch black hilarious, heartfelt Romantic Splatter masterpiece. So lo-fi it seems intentional and it’s practically “spaghetti western gunshot SFX” porn. INFERNO, DEAD ALIVE meets TAXI DRIVER...if you can picture that.
I love this film and more people need to discover it.
Daily Horror Scavenger Hunt 7 – January 2019 Day 27: A film featuring Barbara Cupisti.
So this was the challenge that fell on my Birthday and I'm glad I chose this one to celebrate. Not only because it's one that I've been wanting to watch for such a long time, but also because of how unconventional it is. You can't get bored with this movie (well, I couldn't anyway) because even if something was happening onscreen that I wasn't enjoying, it would usually change pretty quickly and also not always make a lot of sense. It kind of feels like a highlight reel from a TV show more than a complete movie, but it works as a movie for me…
death on wings, death by surprise
failing evil from worldly eyes
death that spawns as life succumbs
while death and love, two kindred drums
beat the time till judgment day
an actor in a passion play
without beginning, without end
evermore, amen.
Recuerdo haber visto esta película aproximadamente en el año 1996, tenía yo unos 12 años y por tanto tenía apenas flashes de la cinta y lógicamente no podría apreciarla en todo su esplendor.
Dellamorte Dellamorte, es una batido de película, toda vez que es una mezcla de diferentes estilos cinematográficos y que contra todo pronóstico, funciona. La cinta tiene comedia disparatada, tiene horror grotesco, horror fantasmagórico, horror gótico, cine de zombies, cine erótico y por último, tiene tines de drama filosófico.
Entre sus puntos más altos: diseño de producción, actuaciones, banda sonora y efectos especiales, que aunque se vean realmente falsos, sugiero que es totalmente la intención sindo que el film obedece a acciones durante todo el metraje altamente disparatadas…
John says: Sometime we might have to watch this again. Had an interesting aesthetic.
Reza says: Started out strong then it got weirder and weirder and...
I know this is a well regarded horror film, but as much as I’ve tried I just can’t get into it.
It’s all too strange for me. Nothing in the movie makes any damn sense and all of the characters act as if they’re from another planet. There’s rape and child infatuation and you just nod your head, yep. Maybe that’s the point and the reason people like it, but it’s just not for me.
As for the characters, I don’t care or really like any of them for that matter. Rupert Everett’s character is somewhat interesting, but you still don’t care what happens to him. Gnaghi is just gross. I know we are supposed to see his relationship with…
Gosh I love this movie. So many good jokes.
11/02/18:
This is a delightfully weird movie from Scalvi and Soavi that's reminiscent of the kind of absurd existentialism you'd associate with Beckett.
I doubt very much everything here has A Point in a grander narrative sense. Rather, the movie is a series of vignettes with common themes of the banality of existence. Life and death. Impotence and virility. None of it matters.
There is a lot of Rupert Everett here and it is very nice.
Released about the same time as DEAD ALIVE in America, both were given alternate titles for their releases. Both feature over the top style and gore, both are witty at times, and both seemed to have spawned from EVIL DEAD. And like New Zealand's BRAINDEAD, this one has it's own cult following. Check it out. Check them all out. With the lights off.
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