From the early 80s, Murder Rock was the 44th film from Italian director Lucio Fulci, who is most known for his gore-bound, at times surreal horror films of the late 70s/ early 80s. The film is a giallo set in & around a NYC dance studio- taking in the then highly popular dance-focused genre, and blending it with Italy’s often elaborate murder laced mystery form. It’s fair to say the film is not the best/ most consistent of the director's work, but there are moments of greatness present, and when the atmosphere/ tension kicks in, it’s most effective. Here from 88 Films is a new Blu-ray/ UHD release of the film. It features a new 4k scan, a new commentary track, a great selection of new interviews, and a forty-page inlay booklet.

Murder Rock (aka  Murderock - Uccide A Passo Di Danza, Murder Rock - Dancing Death, Giallo A Disco, The Demon Is Loose ) was made in the year 1984. Its exteriors were filmed in New York, with its interiors at the Incir De Paolis Studios in Rome.

The film opens putting its 80’s cool credibility front and centre- as we move from shots of brightly graffitied alleyways, and a selection of folks break dancing/ body popping under bright club spotlights.  We then switch to Arts For The Living Centre- a central New York based dance studio/ school, where we see tightly leotarded and sweaty loose-haired students practising a routine that’s going to be shown on TV.

When the routine finishes, we shift to the on-site control room. Here we meet suited, slightly shifty, and serial killer glasses wearing Dick Gibson (Claudio Cassinelli) the dance studios director. He’s chatting with two TV executives, finding out they won’t need the whole troupe of twelve or so dancers, but only want to select three.

As things unfold and the murders start up, we meet our characters/ murder suspects- there’s Margie (Geretta Marie Fields), the focused, if a little highly strung, lead dance teacher. Willy- Blond-haired, timid, if at times slightly wild-eyed student played by Christian Borromeo- who will be known to genre fans for his role in Dario Argento’s 80’s giallo  Tenebrae. Washed-up TV ad actor George (Ray Lovelock).  speak her mind, assistant dance teacher  Margie(Geretta Marie), unpredictable and moody soundman/ DJ Bob(Carlo Caldera), and a few others.

Our murderer's way of killing is largely done with the use of a coliform and a long-jewelled hat pin- the pin is pushed into the bare breast of the victim. Most of the killings take place in the dance studio, with the first kill being one of the most effective, as the studio's corridors pulse on & off with a white light, with a brooding drone going on- as the pin is pushed deeper & deeper into the bare, breath in & out breast.  Surprisingly for a  Fulci film, the killings are not that gory/ brutal, with a largely more atmospheric and tense presentation of the homicides.

Investigating the murders, we have nut-chewing, trench-coated, and bearded Lt. Borges(Cosimo Cinieri), and often butting in/moustachioed psychist Dick(Claudio Cassinelli). As you’d expect with a giallo, we get more than a few red herrings and fake-outs.  I figured out who was behind it all around midway, but the mystery of the whole thing is engaging enough.

Prog Rock Legend Keith Emerson scores the film. This moves between typical of this period synth and synthetic horn bombastics, more moody/ brooding fare, and a few pumped-up disco/ soul tracks featuring English singer Doreen Chanter.  As a whole, it’s a decidedly mixed affair- the instrumental cues move between angularly taut, playful, and frankly rather naff/ overtly showy. The two vocal tracks are fine for pumping/ high octane 80’s disco/ soul fare, though they are somewhat overplayed, and at points rather vapid, though I guess the latter plays into the film's tone.

The film has a runtime of one hour and thirty-four minutes, and it is somewhat mixed in its pace, flow, and quality. On the positive side, there are some neat moments of both tension & disquieting mood connected to the build-up/killings.  There’s some well-realised shot use- for example, of the pulse light tiled corridors of the studio, or a range shot of someone sitting at the end of a bench.  The mystery of the whole thing and the selection of characters we’re presented with.

On the less positive side of things, it takes a bit of time to get our first murder, and as we get into the film, the murders are fairly sparsely placed. There are moments of camp soapiness to the acting- I guess this is expected for the time/ period, though at points it shifts from being entertaining to rather trying. The pace of the whole thing is somewhat uneven, and at points, the overt use of red herrings/ fake outs becomes tiresome. Lastly for the mixed- I’d say the lack of gore/ creative brutality here- yes you don’t always have to this in a Fulci film, but you do feel a bit short changed- as there really could have been some most nasty deaths weaved in, that said the more moodier/ taut take on the kills is quite refreshing for a Fulci film.

Murder Rock is a just ok early 80s Fulci film, with both positive and negative going for it. I hadn’t seen the film before this release, so it’s great to finally see it. I’d say it’s most going to appeal to those who enjoy their giallo soaked in 80’s camp, don’t mind dancing, and prefer the more moody, less gore-bound examples of the genre.

Moving onto this recent release- it features a 4k scan of the film- this, for the most part, looks and sounds great, aside from some of the dialogue being a little quieter than the always-in-your-face score.

On the extras side, we get a wonderful selection of new stuff. First off, we have a commentary track from genre experts Troy Howarth and Nathaniel Thompson- it’s another very well-researched track, brimming with great observations & facts. They begin by talking about how Emerson's name has the largest font size in the credits, and we find out the director thought the score wasn’t up to snuff. They discuss the dance/ breakdance trend of the 80s, and how this film fits into it. They talk about how the picture has an all-star Euro cult star cast, before pointing out actors as they appear. They comment on the lack of gore in the picture, and suggest that this was because of the backlash of his previous film, New York Ripper, touching on how both films can be seen as a comment/satire on the American dream. They talk about the cynical and jaded quality of the characters in Murder Rock.  Later on, they discuss Fulci’s career, talking about how he was such an eclectic director, saying it’s a great pity many of his earlier titles are difficult to get hold of. They talk about the career of Ray Lovelock, and how he always had a likeable screen presence, even when he was playing less pleasant characters. So all in all, a must-play track.

The other new extras take in: The Girl Who Knew Too Much (9.11), Interview with actress Silvia Collatina. The  Mask of Lucio ( 13.05) Interview with actor Al Cliver. The Man, The Myth, The Father( 11.11) interview with Lucio’s daughter Antonella. Rockin’ For a Murder (17.01) Interview with Eugenio Ercolani and Augusto Caminito. The “Scena” Of The Crime (19.45) Interview with Massimo Iacobis. The Stab of Light (19.37) Interview with Giuseppe Pinori. An Ego To Murder For (22.14) Interview with Giovanni De Nava. Aerobics, Ambitions and Assassinations ( 21.47) Video Essay from Rachel Nisbet. A Different Kind of Producer ( 31.31) featurette by Eugenio Ercolani, and an Interview with actress Geretta Geretta (25.18).

 As a long-term Fulci fan it’s great to finally see Murder Rock, and I’d say it’s a film for those who enjoy the more camp-meets-atmospheric side of the giallo form. This new 88 Film release features a truly bulging selection of extras, and a  new 4k scan