Murder Rock (1984)

- Murderock - uccide a passo di danza
"You've got to grit your teeth and dance, even when a friend dies.", 20 July 2006

For those Lucio Fulci fans who only know him for his films like Zombi 2 or The New York Ripper, I can easily see how Murder Rock could come as something of a shock and disappointment. It has more in common with his film One on Top of the Other than it does the throat-gashing, chest-ripping, eye-gouging films Fulci is famous for. Murder Rock is virtually bloodless. It's odd that during the early to mid-80s, which are arguably Fulci's most violent and lurid period as a filmmaker, he reverted to a relatively tame film like Murder Rock.

That's not to say Murder Rock isn't enjoyable. There are enough Giallo elements in the plot involving a series of murders at a New York arts academy that I was reasonably entertained throughout. Murder Rock plays it straight and doesn't bring up some vital piece of information or suspect in the last minute that can sometimes make these films frustrating. However, and I realize that I may sound like I'm trying to have my cake and eat it too, but it's this straightforward approach that is also the film's biggest weakness. It was far too easy for me to spot "who done it". There are red herrings, but all of them are easily dismissed. I kept waiting for a plot twist that never materialized.

One area where Murder Rock excels is in its look. Fulci created a highly stylized world to set this Giallo. There are some interesting camera angles down corridors and through doorways that add a lot of suspense to the film. I was at first put-off by the lighting Fulci used in much of Murder Rock. I began to wonder if all of New York was lit by a slow pulsing strobe. But then I realized how effective this lighting was to Fulci telling his story. A lot can happen in the total darkness between the blinding flashes of light. Technically, I would rate Murder Rock as one of Fulci's best films.

Finally, a lot of the reviews I've read on Murder Rock tend to over-focus on the soundtrack. Sure, it's cheesy, outdated, and, at times, inappropriate. I won't deny that. At one point in the movie, I half expected to see Irene Cara pop up to do a song or two. But you've got to consider the timeframe this movie was made. Fame and Flashdance were very popular and Fulci was trying to cash-in on their success. And in that light, I think he was somewhat successful. Keith Emerson's score is a reasonable representation of the music used in movies of this type in the early 80s. Like it or not, it fits the film. I really wouldn't want to change any of it.

6/10