Beatrice Cenci

Considered by cult Italian director Lucio Fulci to be one of his best films, I think few would disagree with his opinion. Filmed at Castello Odescalchi, Bracciano in Lazio on a very modest budget, Fulci utilises his location to full effect in creating a sense of time and place (the latter days of the Italian Reformation circa 1599). Big budget producer Dino De Laurentiis was considering his own version of this true story of patricide at the time but Fulci’s effort hit the screen first, in November 1969, and De Laurentiis subsequently seemed to lose interest in his project. The story of Beatrice Cenci (played here by the gorgeous American actress Adrienne Larussa – Mrs. Steven Seagal for a time) is not so well known outside of Italy and Spain which perhaps explains its alternate commercial titles for non-Latin countries; “Die Nackte und der Kardinal” (Germany), “Liens d’amour et de sang” (France) and “Conspiracy of Torture” (USA/UK). Fulci and his writers had a great deal of contemporary documentary evidence available with which to craft a screenplay – not to mention Corrado Ricci’s definitive two volume academic reference work written during the 1920s. Maestro Fulci keeps pretty close to the facts, only veering off in connection with the character of Olympio (a great performance from the redoubtable Tomas Milian), a castle steward whom we are never quite sure if he is nothing more than Beatrice’s dupe rather than her lover. I’ve never seen a poor quality print of this movie yet and this 2K release doesn’t disappoint. Viewers unfamiliar with the story be warned; Fulci follows a non-linear retelling which can be quite confusing well into the film. A linear recut wouldn't detract from the undoubted quality of the film. This is the fourth Italian filmed version of the story; two Silent flics appeared in 1911 and 1926 and a 1941 sound version was put out in the days of Mussolini. Riccardo Freda produced a lush Cinemascope and Technicolor version in 1956 (English speaking prints once again felt a commercial need to retitle it as, “Castle of the Banned Lovers”). Unlike Fulci's movie, Freda's is a very high drama affair, loose with the facts and with a hyper-orchestral Franco Mannino score. More in the Hollywood tradition than Cinecitta.

I'm a big fan of Lucio Fulci's horror and thriller work, but have never seen this historical epic before. I was not disappointed. This epic story of an Italian family and the brutality of the Catholic church is typical Fulci, with excellent sets and costumes, great performances and stylish cinematography. The characters are well done as well, in particular Beatrice, who rather coldly uses people to get what she wants! The story moves back and forth in time a little bit too often (And sometimes confusingly) but that's a minor criticism. This is a must-see for Fulci fans, though, and probably requires multiple viewings.

Very good

Disappointingly I have bought the 88 reissue twice and both times it will not play on my otherwise very reliable indeed blu ray player

Beatrice Cenci (1969) is an early masterwork from Fulci about the trial and tribulations of the Cenci family, which revolves around a monstrous father and his unfortunate family set in 1600. As in a later giallo, Duckling, Fulci has his sights set on the Catholic church and he does not hold back. The set pieces and overall design of this film are impressive and immersive; one can almost feel the icy grip of the target institution's hypocrisy! The mood is dark and oppressive right from the start.Acting is great with a handsome Milian turning in a nice subtle performance, tending to act with eyes and voice; Wilson is also great as the evil father. Beautiful framing, generally excellent cinematography, with grim faces dripping sweat and covered in boils punctuate much of the film. I have to say this is probably one of Fulci's most sumptuously shot films and here he favours using the method of particular actors' faces in sharp contrast with a somewhat removed background lending an eerie feeling of displacement. The feel of horror and apprehension lurking around each corner obviously appealed to the director and he manipulates the audience dexterously. Fucli's palette is that of a master Renaissance painter with wonderful shades and colours. You feel like he really enjoyed making this one, as the attention to detail shows.Think Borowczyk's Blanche meets Last Cannibal World, Cenci shares much with Deodato's ability to conjure some truly visceral and shocking scenes of blood letting. People are maimed by dogs and then finished off with a dagger, foreshadowing later gothic tropes, nasty torture scenes including red hot irons and being broken on wheel are highlights!Despite some of the brutal scenes, there is also a tenderness toward the feminine, which can be witnessed in more detail in a film Fulci made in the same year, Perversion Story. Here Beatrice Cenci is more often than not filmed as some sort of corrupted angel, and in the end we are spared seeing her death. Although the lead up to the guillotine is haunting enough.88 Film's 2k transfer is serviceable rather than spectacular although the films frequently looks good, its variable with softness appearing at times. Overall, a very impressive work from Fulci brandishing the tools which would later become his trademark.Thrower in a 30 min interview on the film expounds its 'technical virtuosity' and I can only agree; Fulci's lens here just glides effortlessly to pull of its impeccable mounting. Relief was given only as the end credits roll! Treat yourself to this period shocker if you have the stomach.