Fabio Frizzi’s Frizzi 2 Fulci, Contraband (1980) and more!

July 23, 2015 | By

Back in the fall of 2013 I interviewed maestro Fabio Frizzi regarding Frizzi to Fulci, his first concert in London, celebrating his friendship with and scores for director Lucio Fulci, and a year later we touched upon the significance of that performance at Union Chapel, and the imminent concert (branded Frizzi 2 Fulci) at London’s Barbican.

Naturally the topics included scores for Fulci’s most famous films – Zombi (1979) and The Beyond (1981), the latter recently given a deluxe release by Grindhouse Films – but we also talked about two early works: Oscar Brazzi’s “sexy” film Giro girotondo… con il sesso è bello il mondo (1975) and Fulci’s Il cav. Costante Nicosia demoniaco, ovvero: Dracula in Brianza (1975).

I tried to track down the films to review, and while they (obviously) exist in Italian, there’s no subtitled version, so we’ll have to wait a bit, and rely on Frizzi’s bemused recollections of these films in the podcast.


Beautiful painted Italian poster with a clean, balanced layout.

Also touched upon is the restoration of Contraband (1980), which makes its soundtrack album debut via Beat Records, the venerable Italian label who also released a 2-CD set of Frizzi’s 2013 Union Chapel concert. (I still have to track down those CDs, but expect eventual reviews.) I’ve added a review of Blue Underground’s DVD which features the uncut Italian edit with all the face burning, cranial trauma, and other meanness that’s more intense than a standard gangster drama.

The roughly 38 min. podcast – available on iTunes, Libsyn, and YouTube – features the full interview which was the basis for a shorter profile in Rue Morgue magazine, and Frizzi’s hugely gregarious personality which undoubtedly tickled audiences who attended his prior 2014 and 2013 concerts.

The podcast was edited a few days before Frizzi announced a Toronto date for Frizzi 2 Fulci (Thursday Oct. 8 at The Opera House, where Goblin performed in 2013), so where you hear ‘rumours of a date in the intro,’ just replace with ‘He’s coming!!!’ As some have pondered in recent Facebook posts, hopefully the concert will include the orchestra as well.

As I state at the end of the podcast, coming next is a lengthy interview with composer Terence P. Minogue, who discusses his entry into film scoring with Roar! (1981), the ‘ferocious comedy’ that cost $17 million and 11 years to make. I’ll pair the podcast with a review of the original U.S. soundtrack LP which I bought a decade ago during an extended phase of LP binge buying.

I’m finishing up on another blog at Big Head Amusements on the filming / editing of Marilla Wex’s Lost and Found, videotaped with a vintage 1986 ENG tube camera at the 2014 Toronto Fringe Festival. The blog’s augmented with a plethora of sexy camera and lens stills + two making-of featurettes, but coming next at KQEK.com are reviews of documentaries on a trippy device known as a dream machine: William S. Burroughs in the Dreamachine (2014) from Cult Epics + FLickeR (2008) made by the NFB.




Mark R. Hasan, Editor

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