Night Killer 1989 Review
Night Killer 1989
aka Non Aprite Quella Porta 3
Directed by: Claudio Fragasso
Starring: Peter Hooten, Tara Buckman, Richard Foster
Review by Luis Joaquín González
I was saying to a friend the other night that after four-years of writing reviews for a SLASH above, I’m still nowhere near halfway through the slashers that I own. Due to the sheer weight of numbers, I’m guilty of overlooking the Giallo sub genre, which is a shame because Italy deserves its place in this online encyclopaedia. To make up for the lack of Tenebrae etc, I’ve tried covering the slasher films from Southern Europe that were moulded upon their US counterparts. The likes of StageFright, Nightmare Beach, Absurd and Bodycount have always intrigued me, because it’s strange that Italian directors adapted their methodologies to appeal to a foreign market trend that had been inspired by a style they created.
This is another one of their ‘Americanised’ exports and it’s by far the most obscure. It’s from Claudio Fragasso, who became a cult hero from the popularity of his daft project that was filmed on US soil. I haven’t seen Troll 2, but you don’t have to search far to learn that it’s a notorious ‘so bad it’s good’ cheese-fest. Fragasso began his career as an assistant to Bruno Mattei and it’s easy to see similarities in their filmographies. They worked extensively in the exploitation space and both seemed equally as focused on tackling popular cinematic trends on minimal funding. Due to loopholes in copyright laws, many low-budget flicks were released in Italy as unofficial sequels to renowned hits in order to grab an audience. The Texas Chainsaw Massacre’s Italian title is Don’t Open the Door (Non Aprite Quella Porta). Well this one was circulated as a continuation of kind to that series (Non Aprite Quella Porta 3), which made me think that it might be heavily influenced by Leatherface and his cannibalistic family.
It begins in much the same fashion as did Michael Soavi’s StageFright, with a group of theatre performers practicing their dance moves. Before long we meet our masked killer and he slaughters one of the bunnies backstage with a Freddy Kruegar-esque glove. When the bitchy director goes to check on the missing cast-member’s whereabouts, she also gets attacked by the loon, but he only manages to slice her throat delicately, which weakens her vocal chords. What follows is an energetic chase sequence that ends with the injured female tumbling from the auditorium to the floor below. The cast members look on in shock at the corpse and the screen fades to black.
We soon learn that the city is being plagued by a maniac that is killing and raping females at a terrifying rate. Thus far, the Police and a Psychiatrist (by far the most credible Sam Loomis impersonation) have no lead on his true identity, but they’re desperate to put an end to the ferocious butchery. His next victim, Melanie Beck (Tara Buckman), manages to survive and gets a view of the attacker’s face, but the event has left her with short term memory loss and she doesn’t recall anything about the night. She is released from hospital and bumps into an alcoholic vagabond by the name of Axel (Peter Hooten). His frantic beeping of his horn and offer of alcohol doesn’t immediately woo her, so he follows her into the women’s toilets (even a cubicle) where she draws a gun and forces him to strip to his briefs and flush away his clothes (I’m not joking). Axel manages to find a T-Shirt and new pair of pants from somewhere and continues his pursuit, which results in him preventing the desperate female from committing suicide on a beach. After taking her to a hotel, he begins to reveal some worrying shades to his personality. It looks like Axel is increasingly unstable and could well be the vicious maniac that she escaped from last time…
I mentioned Bruno Mattei above and whilst it’s true that he made some pretty bad movies, his Eyes Without a Face is a smart giallo that proved that even directors renowned for cheesy trash could helm a stylish picture on occasion. if you break down this film to the sum of its parts, I guess you could say that it looks fairly mediocre. We do get some gore, but it’s very amateur (the boogeyman’s glove is clearly rubber), the uncredited score is only outdone by the flamboyance of the performances and we lack a traditionally ‘clean cut’ protagonist that the audience can sympathise with. Somehow though, the bouncy soundtrack, unhinged characters, peculiar dialogue (“Oh Grandma, what a big schlong you have(!)”) and videotape picture quality combine to create an authentic and pulsating movie that blew my expectations to smithereens. It’s almost as if I kept waiting for the runtime to become tedious, but it maintained a momentum and only grew in intrigue with every step.
It’s clear that Night Killer was structured like a slasher movie, but it certainly has the grit and (not so) subtle sexual themes of a giallo. Our heroine regularly exposes her breasts (she massages them at one point after receiving a threatening call (?)) and we are told that the victims are raped before they are slaughtered. Thankfully, this is never demonstrated visually, and we only see the psychopath punching his bladed glove through their stomachs like he was The Terminator (??). One of the unfortunate females is even killed by having her face pushed into a bowl of latex (???). I managed to work out who was under the mask long before the conclusion, but there’s a further revelation that makes zero sense on reflection, even if it would rival the denouement of The Usual Suspects if you happen to be the guy from Momento or a Goldfish with a five-second attention span.
As I alluded to above, the leads really go OTT with their portrayals. This is especially true in the case of Peter Hooten, whose demeanor and vocal delivery was reminiscent of Matthew McConaughey’s cameo from The Wolf of Wall Street. Despite the misleading Italian release title, Night Killer is not similar at all to The Texas Chainsaw Massacre. It’s pure slasher trash that plays like a mix between Terror Eyes and Halloween. There are no supernatural elements, but the killer’s mask is clearly modelled on the face of Freddy Krueger and then of course there’s the bladed glove. We even get a final sequence that could have been lifted from the Edmund Purdom trash bag, Don’t Open ’til Christmas. I know that seems unlikely, but if great minds think alike, I guess that the opposite can happen too 😉
It would be illogical to call Night Killer a well made movie, but it’s constantly entertaining and riddled with intrigue. I thoroughly enjoyed my viewing and it’s another of those time capsules from a long forgotten time that modern entries regularly attempt to but never manage to emulate…