CONTRABAND (1980) - directed by Lucio Fulci

[Splatterpunk]

Lucio Fulci’s only crime film, the poliziotteschi CONTRABAND from 1980, is every bit as brutal and splattery as his most well known horror efforts. The production ran out of money a few weeks into shooting and so real life underworld figures pitched in to help complete the film. Smugglers acted as extras, loaned their boats, and even altered the script. It’s a shame that the Italian splatter god didn’t make more crime flicks, as his sensibilities meshed well with the genre.

Luca (chiseled Fabio Testi) and his older brother Mickey (mischievous Enrico Maisto) are smugglers trafficking in stolen cigarettes. When one of their deals is broken up by the police (in a thrilling boat chase sequence featuring seven or eight speedboats zigzagging and hurtling across the Neapolitan harbor), they suspect a rival mobster set them up. They start to plan their retaliation but the situation is more complex than they anticipated and their shortsightedness leads to explosive violence. Matters soon get personal and Luca’s vendetta threatens to destroy everything he loves. Significant supporting roles belong to Ivana Monti as Luca’s wife Adele, Saverio Marconi as the dashing boss Perlante, and Marcel Bozzuffi as the sadistic and ruthless Marsigliese. Watch out for noted trans actress and adult film star Ajita Wilson as one of Perlante’s companions.

As I noted above, actual smugglers made some changes to Ettore Sanzo, Gianni De Chiara, Giorgio Mariuzzo, and Fulci’s script. For the most part, the story works, although some of the twists don’t quite click the way they should. I’m thinking particularly how Marsigliese is introduced to the narrative. Ultimately, though, that’s a small nitpick. It’s obvious that THE GODFATHER was an inspiration, as there are two pretty prominent allusions to Coppola’s classic, but this is a more action oriented hard genre piece than operatic drama. Fulci does a great job of presenting the tale, emphasizing graphic violence, decadent lifestyles, and the beauty of historic Naples. Testi is dashing and tough in the lead, capably keeping our attention. My favorite performance belongs to Maisto, though, as he brings some gleeful street smarts to his role.

Sergio Salvati’s lensing is strong, effortlessly conveying the maritime nature of Neapolitan culture. Naples truly provides an interesting backdrop for the story and the city almost exists as a character unto itself. Salvati’s photography in the above-mentioned boat chase sequence is remarkable. The mix of aerial shots, propulsive tracking shots, and grim faced close-ups make for a supremely entertaining segment. Of course, some of this success can be attributed to Vincenzo Tomassi’s evenhanded editing, which is also on display in the intercut multiple mob hits montage. The effects are well done, with Fulci deploying his trademark penchant for gooey gore. Brains splatter, guts spill, and gunshot wounds erupt in thick sprays of bright crimson. Stunts are also excellent with my favorite scene showing a man tumbling down an extremely steep hill into a watery grave. The always-excellent Fabio Frizzi drops a bass slapping funky score that helps to keep the pace propulsive.

This was my first time seeing Lucio Fulci’s CONTRABAND and I thought it was excellent. The ending is a little abrupt with the closing moments focusing on minor characters for some reason, but Fulci relays a mostly coherent story in a brisk 97 minutes. The director’s lurid sensibilities are on full display with nudity, gore, and rape presented in explicit detail. I don’t have much experience with Euro-crime thrillers, but I have to think this is a stellar example. Highly recommended for fans of the original GET CARTER, THIEF, and I SAW THE DEVIL.