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Dellamorte Dellamore (Michele Soavi, 1994)
Soavi, who got his launch as an assistant director to Italian fear god Dario Argento, spent his time making obscure B-movies until he stumbled upon Dellamorte Dellamore (Of Care For and Death, but released in America under the title Cemetery Man), Giovanni Rimoli (Trauma) ’s adaptation of Tiziano Sclavi’s unusual of the same name (one of the highly-praised and accepted Dylan Dog novels that have made Sclavi a household name in most countries that are not on this side of the Atlantic) .
Set in Dylan Dog’s hometown of Buffalore, Dellamorte Dellamore is the memoir of Francesco Dellamorte (Rupert Everett, who should need no introduction), the caretaker at a cemetery infected by a plague that causes the tiring, to arrive succor to life seven days after being interred. Dellamorte (whose name translates as “St. Francis of the Slow”) takes it all in inch, keeping around a variety of inventive weapons with which to re-dispatch the unimaginative. After all, all that gravedigging means a lot of overtime pay, legal? Dellamorte’s sole companion in life is his sidekick, the seemingly mentally challenged Gnaghi (Francois Hadji-Lazaro, recently in Brotherhood of the Wolf, but probably best remembered for his unforgettable role in City of the Lost Children) . Until, that is, he spies the most heavenly woman (Italian supermodel Anna Falchi) he’s ever seen at a funeral. Immediately, you know you’re not watching your everyday scare film; Dellamorte becomes a bumbling romantic-comedy film star around her. And yes, that’s what you’ve got here–a romantic comedy. With zombies.
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The comedy/horror blend works extremely well, and in the process doesn’t withhold the viewer from seeing that there’s a lot more underneath the hood than the surface would snarl. (This is hinted at throughout, but becomes sure in the final scene thanks to a startling trick Soavi hands us; witness closely, because you may not glean it unless you do. It’s vivid.) Dellamorte and Gnaghi are complex characters on the surface, but there are clues throughout the movie as to their deeper motivations and understandings of the things going on around them. To me, this is living proof that Rupert Everett is a better romantic comedy lead than Hugh Grant, but that’s unbiased me. (Hugh Grant hasn’t worked with zombies!)
Dellamorte Dellamore is one of those movies you can’t really have was made in the nineties. Luminous, beautifully-shot, low-budget horror/comedy that looks as if it came out of Dario Argento’s salad days (or out of Japan; there’s more than one aspect of this film that reminds me of the shining My Left Behold Sees Ghosts) . I can’t recommend this astonishing film highly enough. Go as far out of your blueprint as you need to to procure this one. **** ½
If you’re looking for geniuninely comic, creepy and aesthetic panic film peer no further.
Cemetery Man (aka Dellamorte Dellamore) tells the account of unlucky in life cemetery watchman Francesco Dellamorte. Watching over the Buffalora cemetery is no easy task, particularly when the boring arrive succor to life after seven days. And these are no ordinary zombies folks. The “Returners” truly embrace that at one with the earth bit that you hear some people saying they wish to be when they die. Perhaps if they watch this movie first, they’ll contemplate twice about that.
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Poor Dellamorte can’t seem to come by along with anyone, not his mentally plain assistant, Gnaghi, not the fair “She”, nor anyone in town. He even seems at odds with the aged Grim Reaper himself.
The humor is decidely sunless and hilarious. Of the many times I’ve seen this movie since 1994, it gets funnier all the time. Rupert Everett is marvellous as Francesco, as is the teenage actress who portrays the Re-Animator-like zombie Valentina.
The FX are gigantic, the zombies awesome. The location chaotic and very fun. This has got to be the best apprehension film of its type this decade. A note: Some people may gain the tone of the film a bit harsh toward women, (I don’t. Particularly when compared to most Italian/Spanish zombie/horror films) .
This should have ushered in a modern era of zombie films, but sadly did not.
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and remember No Deposit, No Returner!
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