A shark approaches undetected, narrowly missing Susan who realizes the danger with seconds to spare. The ideas are outlandish and grand, enabling creative discovery, allowing for something bold, terrifying and fresh. The words on the page depict a similar kinetic energy, however with a detached precision that allows for filmmaker interpretation. A feeling that only comes from raw, unexpected filmmaking, unafraid to challenge the audience, placing them into an emotion as uncomfortable as what they’re witnessing onscreen… and as exciting. The script went through many phases and even Lucio Fulci himself didn’t see eye to eye with the producer’s on what should or should not comprise the body of the film.Ī great many scenes spring to mind when attempting to summarize the film by way of a handful of frames, but it’s when a member of the undead emerges below the sea to take on a shark that I knew I was watching something truly new. The film is the result of a cavalcade of creatives, vying together to create something that began as a rip-off to cash in on the success of Dawn of the Dead and became something else. Add to that the visionary eye of Lucio Fulci and what appears onscreen is a fever-dream of violence and practical magic, creating a zombie feature that feels vast, visceral and vicious. Wells’ The Island of Doctor Moreau than the film we ended up with) and the process of its adaptation into a pseudo-sequel to Dario Argento’s re-edited and re-scored version of Romero’s Dawn of the Dead that was released in Europe as Zombi. My research led me to Dardano Sacchetti ‘s original script (something more akin to H.G. Gore was ever-present in the zombie sub-genre, but Lucio Fulci’s masterpiece took it to a whole new level. The gruesomeness, the disturbingly surreal and yet all-too-real execution of the mayhem took root in my brain, creating a new pocket of obsession. Still, what was sticking with me, driving me to figure out what else this Lucio Fulci guy had made so that I could watch it as soon as was humanly possible, was the effects work. I didn’t get Romero this time around, I got something else entirely… and I loved it. My mind was reeling from what I had just seen. I said one word, aloud, vaguely subconsciously, which still, to this day, sums up my relationship with Italian horror.
Romero and the handful of American horror movies we’d managed to watch over the prior several months.ĩ1 minutes passed and the credits began to roll. We were armed with nothing but our knowledge of George A. I picked up a copy and, together with a few friends, decided to make a night of it. Staring at that cover, all I could think was: I have to see this thing. Romero classic Dawn of the Dead (1978) that had played such a key role in inspiring me to seek out more zombie films in the first place.
Hungry shark world zombie shark concept movie#
Hell, I didn’t even know that the movie was an unofficial sequel to the George A. I was unfamiliar with the name Lucio Fulci. The whole visage hovered above the glowing, red lettered title:Īt that time, I had not seen a single Italian horror outing. Its partially slack-jawed maw revealed a slanting row of jagged, misshapen teeth. The poster image was simply a decaying face, encased in moss and dirt, its left eye brimming with maggots and its right a vacuous hole. I perused titles online such as Let Sleeping Corpses Lie (1974) and Braindead (1992) but one title in particular caught my eye. I had done some research, read the names of the classic zombie fare that one is supposed to watch if they consider themselves a fan (according to the internet, anyway). Romero and once I had exhausted those entries, I was hungry for more flesh. Still, at that time, there were only three offerings from Mr. Romero’s Night of the Living Dead (1968) ignited a passion within me for the type of social commentary that horror had to offer, that zombie films, when done right, excelled at, and I never looked back. I’m not ashamed to admit that as a budding horror fan, my first obsession- my first love- was zombie flicks.
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