Don’t Torture a Duckling [Limited Edition] 4K Ultra HD Review

Estimated reading time: 8 minutes

Lucio Fulci’s Don’t Torture a Duckling (Italian: Non si sevizia un paperino) is a masterful entry in the giallo genre, blending elements of horror, mystery, and social commentary. Released in 1972, the film stands out not only for its gripping narrative and atmospheric tension but also for its bold critique of religion, superstition, and rural conservatism in Southern Italy. Fulci, often associated with graphic violence and surreal horror, demonstrates a more restrained yet equally impactful approach here, crafting a film that is as thought-provoking as it is unsettling.

Plot Overview

The film is set in the small, insular village of Accendura, in Basilicata, Italy, where a series of child murders terrorize the community. The victims are young boys, and the killings spark paranoia and hysteria among the villagers. The investigation draws in a variety of characters, including a city journalist, Andrea Martelli (Tomas Milian, The Four of the Apocalypse), a mysterious outsider, Patrizia (Barbara Bouchet, The Red Queen Kills Seven Times), and the local police. As the mystery deepens, the film explores themes of guilt, repression, and the destructive power of mob mentality.

Themes and Social Commentary

Fulci uses the giallo framework to delve into the darker aspects of human nature and society. The film critiques the hypocrisy of organized religion, as seen in the character of the village priest, Don Alberto (Marc Porel), whose repressed desires and questionable behavior make him a suspect. The villagers’ blind faith and superstition are also scrutinized, particularly in their treatment of the local “witch,” Maciara (Florinda Bolkan), who becomes a scapegoat for the crimes.

One of the most striking aspects of Don’t Torture a Duckling is its exploration of innocence and corruption. The title itself is a metaphor for the destruction of innocence, as the “duckling” represents the vulnerable children of the village. Fulci juxtaposes the purity of the children with the moral decay of the adults, creating a stark contrast that underscores the film’s themes.

Key Scenes and Analysis

The film begins with a haunting shot of a young boy playing near a cliff, accompanied by a melancholic score by Riz Ortolani. This scene sets the tone for the film, establishing a sense of foreboding and tragedy. The boy’s innocence is immediately contrasted with the ominous landscape, foreshadowing the loss of innocence that will pervade the story. And that loss comes quickly in one of the film’s most controversial scenes where Barbara Bouchet’s Patrizia sexually teases a young boy while lounging fully nude.

The first murder occurs off-screen, but its aftermath is deeply unsettling. The boy’s body is discovered in a river, and the villagers’ reaction is one of shock and horror. Fulci uses this scene to highlight the community’s vulnerability and the fragility of their sense of security. The dialogue here is sparse but effective, with one villager muttering, “It’s the work of the devil,” reflecting the pervasive superstition.

One of the film’s most powerful scenes involves the brutal lynching of one villager accused of witchcraft and murder, she is hunted down by a mob and beaten to death with chains. This scene is a harrowing depiction of mob mentality and the dangers of unchecked rage.

In a climactic scene, Andrea confronts Don Alberto, revealing the priest’s hidden secrets and repressed desires. The dialogue here is sharp and incisive, with Andrea accusing Don Alberto of using religion as a shield for his own sins. “You’re not a man of God,” Andrea says, “You’re just a man, with all the weaknesses of a man.” This confrontation exposes the moral failings of the church and its representatives.

The film’s conclusion is both shocking and tragic, as the true killer is revealed to be someone deeply connected to the village’s moral decay. In the final scenes Fulci gives a masterclass in tension, using tight close-ups and rapid editing to heighten the sense of dread. The killer’s motive, rooted in a warped sense of protection and purity, underscores the film’s critique of societal repression.

Visual Style and Direction

Fulci’s direction is meticulous, with a keen eye for detail and atmosphere. The film’s rural setting is both beautiful and oppressive, with the sun-drenched landscapes contrasting sharply with the darkness of the story. Fulci employs a variety of visual techniques, including slow zooms, extreme close-ups, and stark lighting, to create a sense of unease. The use of color is particularly effective, with the vibrant hues of the village contrasting with the muted tones of the more sinister scenes.

Performances

The cast delivers strong performances across the board. Tomas Milian is compelling as the cynical yet determined journalist, bringing a sense of world-weariness to the role. Barbara Bouchet is enigmatic as Patrizia, her character’s ambiguity adding to the film’s tension. Florinda Bolkan is heartbreaking as Maciara, her portrayal of a woman scorned by society both sympathetic and tragic.

Conclusion

Don’t Torture a Duckling is a landmark film in the giallo genre, showcasing Lucio Fulci’s ability to blend horror with social commentary. Its exploration of themes such as innocence, guilt, and the corrosive effects of superstition remains relevant even today. The film’s powerful scenes, memorable dialogue, and striking visuals make it a must-watch for fans of giallo cinema and horror alike. Fulci’s masterpiece is not just a tale of murder and mystery but a profound meditation on the darker aspects of human nature and society.

The Video

Arrow Video scanned the original 35mm camera negative in 4K at L’Immagine Ritrovata. The film was restored and graded in HDR10 and Dolby Vision at Dragon DI. The 2.35:1 HEVC 2160p (4K UHD) Dolby Vision encodement looks stunning on my G3 OLED panel. Having only seen this film streaming on Tubi, this is a major upgrade. The image is clear, crisp, with organic and fine grain. Colors are natural yet vibrant, with highlights that pop and excellent contrast in dark scenes.

The Audio

From the booklet: “The mono soundtracks were remastered from the original optical sound negatives at L’Immagine Ritrovata with additional work by Þorsteinn Gíslason. Audio synchronization may appear slightly loose due to post-production dialogue recording.” Although I prefer the Italian track, both are out of sync because of the post-production process common in Italian films of that era. The sound quality is clear and dynamic with minimal noise.

The Supplements

There are no new extras included with this release, but everything here is still well worth having and going through for gialli fans especially if one has never owned this release.

Limited Edition Contents:

• Reversible sleeve featuring original and newly commissioned artwork by Ilan Sheady
• Illustrated collector’s booklet featuring writing on the film by Barry Forshaw and Howard Hughes

Bonus Features:

• Commentary by Troy Howarth
• Giallo a la Campagna (1080p; 00:27:44) – Video discussion with Mikel J. Koven, author of La Dolce Morte: Vernacular Cinema and the Italian Giallo Film.
• Hell is Already in Us (1080p; 00:20:30) – Video essay by Kat Ellinger, challenging accusations of misogyny in Lucio Fulci’s Work.
• Lucio Fulci Remembers (1080p) – The filmmaker answers questions from journalist Gaetano Mistretta in this rare audio recording from 1988.
  • Part 1 (00:20:13)
  • Part 2 (00:13:12)
• Who Killed Donald Duck? (1080p; 00:18:31) – Interview with actress Barbara Bouchet
• Those Days with Lucio (1080p; 00:28:20) – Interview with Actress Florinda Bolkan
• The DP’s Eye (1080p; 00:46:21) – Interview with cinematographer Sergio D’Offizi
• From the Cutting Table (1080p; 00:25:38) – Interview with editor Bruno Micheli
• Endless Torture (1080p; 00:16:03) – Interview with makeup artist Maurizio Trani
• Theatrical Trailer (1080p; 00:03:56)

The Final Assessment

With Don’t Torture a Duckling, Lucio Fulci, often regarded primarily as a director of schlock horror films, demonstrated his command of the cinematic arts and his versatility in navigating various styles and genres. The film’s intricate narrative delves into themes of societal oppression, repression, perversions, and discrimination, all rendered with an auteur’s visual flair. This makes it an essential viewing for aficionados of Italian cinema. It comes highly recommended.

Don’t Torture a Duckling [Limited Edition] is out on 4K Ultra HD March 25, 2025 from Arrow Video

• Rating Certificate: Not Rated
• Studios & Distributors: Medusa Distribuzione | Arrow Video
• Director: Lucio Fulci
• Written By: Lucio Fulci | Roberto Gianviti | Gianfranco Clerici
• Run Time: 105 Mins.
• Aspect Ratio: 2.35:1
• Video Format: HEVC 2160p (4K UHD)
• HDR Format: Dolby Vision (HDR10 Compatible)
• HDR10 Metadata:
  • MaxLL: 10000 nits
  • MaxFALL: 167 nits
  • Max. Luminance: 1000 nits
  • Min. Luminance: 0.0001 nits
• Primary Audio: Italian LPCM 1.0
• Secondary Audio:English LPCM 1.0
• Subtitles: English for Italian Audio | English SDH