Rating: 
Summary: don't overlook a giallo
Review: "Don't Torture a Duckling" obviously comes from an era when director Lucio Fulci--known mostly for his latter-day gore flicks--was more conscious of his audience and critics. The reason I say this is because, for the most part, the emphasis is on story instead of grisly shocks. That being said, DTaD may not be so easily accessible for fans of "Zombie," "The Beyond," etc. But for those who stick with it (and give it at least two viewings), they'll be rewarded with a giallo that is definitely on par with what Dario Argento put out during the '70s. The story has a murderer making progress through a small town, knocking off children, and the usual red herrings and twists and turns pop up well before the eye-opening ending. Fulci directs with surprising expertise and coherence, something that would go unseen in his movies until 1982's "The New York Ripper."
Rating:
Summary: don't overlook a giallo
Review: "Don't Torture a Duckling" obviously comes from an era when director Lucio Fulci--known mostly for his latter-day gore flicks--was more conscious of his audience and critics. The reason I say this is because, for the most part, the emphasis is on story instead of grisly shocks. That being said, DTaD may not be so easily accessible for fans of "Zombie," "The Beyond," etc. But for those who stick with it (and give it at least two viewings), they'll be rewarded with a giallo that is definitely on par with what Dario Argento put out during the '70s. The story has a murderer making progress through a small town, knocking off children, and the usual red herrings and twists and turns pop up well before the eye-opening ending. Fulci directs with surprising expertise and coherence, something that would go unseen in his movies until 1982's "The New York Ripper."
Rating:
Summary: Don't Torture A Duckling (1972) d: Fulci, Lucio
Review: Anchor Bay also come through with a lesser-known entry into their Lucio Fulci Collection. Don't Torture a Duckling is a sleek, yet unpleasant Italian Giallo. ...Those familiar with Lucio Fulci only through his `big three' Zombie (1980), City of the Living Dead (1981) and The Beyond (1981) - will be somewhat surprised, possibly even disappointed by the lack of outrageous splatter scenes, but for the collector this DVD is greatly welcomed. The film is an excellent, and highly recommended thriller set in rural Italy where a string of child murders have put the population ...rife with sex and superstition, while the townspeople go mad with rage and violence. There are plenty of suspects, including the village idiot, a young upper class woman who has a reputation of being durg addict (Barbara Bouchet), and an isolated woman (Florinda Bokan) who dabbles in the black arts.
Rating:
Summary: Don't Torture A Duckling (1972) d: Fulci, Lucio
Review: Anchor Bay also come through with a lesser-known entry into their Lucio Fulci Collection. Don't Torture a Duckling is a sleek, yet unpleasant Italian Giallo. ...Those familiar with Lucio Fulci only through his 'big three' Zombie (1980), City of the Living Dead (1981) and The Beyond (1981) - will be somewhat surprised, possibly even disappointed by the lack of outrageous splatter scenes, but for the collector this DVD is greatly welcomed. The film is an excellent, and highly recommended thriller set in rural Italy where a string of child murders have put the population ...rife with sex and superstition, while the townspeople go mad with rage and violence. There are plenty of suspects, including the village idiot, a young upper class woman who has a reputation of being durg addict (Barbara Bouchet), and an isolated woman (Florinda Bokan) who dabbles in the black arts.
Rating: 
Summary: Hollywood is afraid to make a film like this!
Review: Because of some of the subject content, no major studio would touch it. I never heard of this before it came out on DVD, but it's definitely worth the money. Watch it and spread the word.
Rating: 
Summary: Quack
Review: Before Fulci earned his title of the "Godfather Of Gore", which enhanced(and to some, ruined) his reputation, Fulci made this very entertaining giallo film. I'm not 100% sure, but I believe this film actually got him blacklisted or something back in the 70s. Duckling is a story about young boys who are being murdered in a small town. Who's doing it? Is it the peeping tom village idiot? The local wizard? The witch who sticks pins in(and spits on) wax figures of the boys? The priest? The priest's shady mother? The sexy Annette O'Toole lookalike with a thing for drugs and 12 year old boys? The reporter? Or maybe the police themselves? You'll have to watch it to see, and Fulci does a decent job of keeping us in the dark. Those buying this for that trademark gore we all love will be disappointed. There are only two real scenes of violence. One is identical to the whipping scene in the opening of The Beyond, and the other is the killer's demise which looks pretty silly, but still cool. This film shows what talent Fulci had, and proves that he wasn't a complete hackmeister....only mostly. I think there are quite a few critics who actually like this one. Though low on gore, it's far from p.c. The subject matter is unsettling enough, but there's quite a tantalizing scene that is every boy's dream come to life. The leading lady at one point throws herself at one of the boys, but the boy's pesky mother interrupts. Were young boys allowed to act in scenes with naked women? I suppose they could in Italy in the early 70s. Watch it, good flick.
Rating:
Summary: A great giallo...and so much more!
Review: Don't be put off by the weird title (although it is a rather typical giallo title), this is Fulci in high-gear. If there is one movie in Fulci's vast filmography that truly proves him as a talented and worthy director, this would be it. It's got it all (well, almost): a great story that transcends typical giallo trappings (such as close-ups of a gleaming knife and many nubile female victims), great casting and acting/writing (heck, even the dubbing isn't TOO bad) and terrific atmosphere. And best of all, Fulci doesn't go overboard with the gore and violence (like he so gleefully did in such films as "The Beyond"). Yep, when the gore and violence shows up, it's much more powerful and emotionally wrenching, because Fulci paints some wonderful characters worthy of our sympathy. Contrary to popular belief, this film has a surprising amount of heart and warmth for a Fulci film. The story is also tremendous. It concerns a small, backwards Italian village shattered by a trio of savage child murders. Fulci uses this storyline as a springboard for social commentary concerning the devestating effects of crime on a sensitive and simple-minded populace. There really are very few false notes of characterization in the film, and the motivations of the characters ring true (so unlike typical giallo cinema). Fulci's fascination and obssession of the evil and brutality that mankind is capable of is much more compellingly portrayed here than in any other of his films. Another facet of the film that boosts this past many other Fulci outings is the terrific cinematography (courtesy of Sergio D'Offizi) and sure-footed direction by Fulci. Fulci's direction is a breath of fresh air compared to static and sluggishly filmed American mysteries, as his mobile camera always keeps one's interest and dazzles the eye, even in the most mundane of scenes. The cinematography also brings the village to life, exposing its natural splendor and its grimy poverty, creating a living, breathing world. If there are any factors that detract from one's enjoyment of the film (and that keep it from five stars) it would be the sometimes slow pacing. While Fulci keeps things moving with his swift camera hand, nevertheless the plot can drag, no doubt due to the myriad of plot twists (another familiar giallo trait). Also, the film is less an assault on the senses as Fulci's horror films, and it works in a slower, dreamier way, which may turn some viewers off who are expecting a blood drenched giallo, Fulci style. No, this is a film that doesn't take the easy way out (in it's characters or in it's plotting) by assaulting the viewer with non-stop gore and violence, and this is why it is one of Fulci's most accomplished efforts. Here we see Fulci in top form as a director who is able to weave a unique and controversial tale with style and audacity. Highly recommended.
Rating:
Summary: Brilliant Psychosocial Giallo
Review: DON'T TORTURE A DUCKLING is a rare bird in Lucio Fulci's very gilded cage of horror. Made a good seven years before his gorefests, starting with the excellent ZOMBIE, that defined his reputation here in America and the rest of the world, DON'T TORTURE A DUCKLING is just as intense and brutal, if a bit less gruesome, than the typical Fulci fan is used to. Yet still in all, the story alone (co-written by Fulci) is as much a testament to Fulci's uncompromising and gutsy approach to horror and suspense as any gore scene in his later films (two scenes ended up starting off two later Fulci films). Hell, even the great Dario Argento says that this is one of Fulci's best films (it says so on the cover), and after my first viewing of DON'T TORTURE A DUCKLING on New Year's Eve, I can see why; I also saw a lot of George Romeroesque social commentary in this film.
Child murders and disappearances are very galvanizing experiences for any society, especially in a town like in this movie. Everybody is desperate for answers as to who would do such a horrible thing. There have even been a few cases where some townspeople resort to vigilante behavior towards a suspect to satisfy their need for justice. Fulci handles this story in a surprisingly tasteful matter, with only two instances of violence against children; the fact that little boys are being murdered is shocking enough!
There are no likeable characters in the village, which makes the story more immediate and brutal. Even the little boys that are the targets of murder are portrayed as nasty (e.g., spying on naked people, killing animals with slingshots). The recent scandal with Michael Jackson gives more importance to the story arc involving Patrizia, whom one of the boys sees naked. The only character with any appeal is the reporter Andrea Martelli, who is covering the murders. That character is like the outsider that Argento gets you to identify with in his movies, and that plot device works wonders in this story.
The chain-whipping of a local Wiccan by three men as pop music plays from a car radio is the most psychosocially relevant scene in horror history. It speaks volumes about how far some people will go to achieve a degree of justice in the wake of horrible crimes. In this case, these men are driven by superstition since the woman claimed to have placed a spell on the boys because they were messing around her property. That entire sequence, appropiately hard to watch and grisly, tells you all about the moral decay of the entire village. Fulci also used a chain-whipping scene to kick off THE BEYOND, my favorite Fulci film, and it holds the same meaning.
*SPOILER ALERT* We all know how terrifying killers are in slasher movies, but imagine the killer being somebody who should protect you-such as a Clergyman. Just as Romero has always taken potshots at the military (e.g., THE CRAZIES, DAY OF THE DEAD), so Fulci knocks organized religion front and center here. The ultimate motivation behind the killings is a shocking one because it is so misguided. In fact, the eventual demise of the killer (reused for SEVEN NOTES IN BLACK/THE PSYCHIC) is all the more shocking when juxtaposed with some other footage. This plot point has more shock value in the wake of the scandal with the Catholic church of last year! I have never been stunned by a horror film since childhood until this one!
If DON'T TORTURE A DUCKLING were to be released in theaters today, it would generate a major firestorm of controversy, especially in light of the aforementioned events in the media. Yes, this movie was definitely too strong for Europeans to stomach back in 1972 (it didn't get released elsewhere at that time) and it remains potent today. A gritty and ground-breaking giallo, Lucio Fulci's DON'T TORTURE A DUCKLING is a definite must-watch!
Rating:
Summary: Very Disturbing & Effective Film From Lucio Fulci
Review: DON'T TORTURE A DUCKLING is a very well-made, atmospheric, creepy, disturbing, & effective horror film. What makes this movie very unlike what Lucio Fulci makes is that it relies more on suspense, characterization, & disturbing realism other than blood & gore that which he is noted for.In a small Italian village, young boys are being murdered. Who is responsible for these horrific crimes? Probably one of the first of its kind of films that deal with the grim reality of serial murder (along with Fritz Lang's M & Ulli Lommell's THE TENDERNESS OF THE WOLVES). And when the revelation of the murderer is is truly astonishing & shocking for its time when it was released. The Anchor Bay video transfer is crisp & bright. They did a marvellous job of bringing this well-made giallo on video the quality is just marvellous. Barbara Bouchet is mesmerizing as the town tease. Nuff said! If you're a horror film fan, you won't be disappointed with this classic, yet almost forgotten outing from one of the masters of Italian horror, Lucio Fulci.
Rating:
Summary: And Now for Something Completely Different
Review: I didn't know what to expect when I rented this widescreen DVD. I knew it had a cult following but I had also seen a lot of the director's later works which although delightfully gory were also pretty much incoherent. DON'T TORTURE A DUCKLING actually had a linear storyline and a mystery that kept me guessing almost until the end. And after all was said and done, it was a genuinely unsettling and creepy experience. One major caveat: I would much rather have heard the original soundtrack and read English subtitles than the uneven dubbing found here.
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