Murder-Rock: Dancing Death

One of Lucio Fulci's "gentler" films, MURDER ROCK is not very popular among gore fans (largely because of the lack of eye gougings and disembowellments), but it has much to recommend. The story deals with a maniac who is killing the girls at a dance school in New York -- together, a cop and a psychiatrist track the maniac down. Keith Emerson contributes a dated, but enjoyable, soundtrack, and cinematographer Giuseppe Pinori makes fine use of half-lighting, a la Mario Bava's SEI DONNE PER L'ASSASSINO. Fulci cameos as an agent. Recommended for Italian horror buffs. *** out of ****

Lucio Fulci's foray into the world of competitive dance represents both a curious departure from his signature gore-soaked horror films and a surprisingly effective entry into the giallo tradition. Set against the backdrop of New York's cutthroat dance scene, this 1984 thriller combines the director's visual flair with Keith Emerson's pulsating synthesizer score to create an atmosphere that oscillates between sleazy exploitation and genuine suspense. While the film occasionally stumbles under the weight of its own ambitious concept, it delivers enough memorable sequences and stylistic flourishes to satisfy both Fulci devotees and giallo enthusiasts seeking something slightly different from the usual formula.

The Arts for Living Center provides the perfect setting for Fulci's exploration of artistic ambition turned deadly, where the pursuit of perfection becomes literally fatal. The director demonstrates his understanding of the dance world's inherent drama, using the rehearsal studio as a pressure cooker where jealousy and competition simmer beneath the surface of artistic collaboration. The cinematography captures the graceful movements of the dancers while maintaining an underlying sense of menace, particularly during the elaborate dance sequences that serve as both showcase and potential hunting ground for the mysterious killer.

Olga Karlatos delivers a commanding performance as Candice Norman, the academy's demanding director whose determination to solve the murders drives the narrative forward. Her portrayal balances authority with vulnerability, creating a character who feels genuinely invested in protecting her students while grappling with her own secrets. Ray Lovelock brings his characteristic intensity to the role of George, the enigmatic male model whose involvement in the investigation raises as many questions as it answers. Their chemistry provides the film with its emotional center, though their relationship development feels somewhat rushed given the constraints of the murder mystery format.

The film's most distinctive element lies in its unique fusion of dance choreography with traditional giallo elements. The killer's method of piercing victims' hearts with a hatpin creates a disturbing parallel between artistic precision and murderous intent. Fulci stages these murder sequences with his trademark attention to visceral detail, though he exercises more restraint than in his supernatural horror films. The dance sequences themselves are impressively choreographed and photographed, capturing the athleticism and artistry of professional dance without ever feeling like mere padding.

The investigation unfolds through familiar giallo conventions, yet the dance academy setting provides fresh opportunities for red herrings and misdirection. The competitive atmosphere naturally breeds suspicion among the performers, making virtually every character a potential suspect. Fulci wisely allows the mystery to develop organically through character interactions rather than relying solely on exposition, though some plot developments feel contrived when examined closely. The revelation of the killer's identity and motivation provides adequate closure, even if it doesn't achieve the psychological complexity of the genre's finest entries.

Keith Emerson's electronic score deserves particular praise for its ability to enhance both the dance sequences and the suspenseful moments without overwhelming either. The music captures the era's fascination with synthesizer-driven soundtracks while serving the story's dramatic needs. The production design effectively transforms New York locations into a believable world of artistic ambition and hidden dangers, though some interior scenes feel slightly cramped by budgetary limitations.

A violent shocker with high level on vivid imagery and pure cinematic style in which a nasty murderer executing grisly killings by means of a hypodermic needle-wielding psycho-killer . It starts with a series of murders rock a dance academy in New York . As the mysterous and owner directress , Candice (Olga Karlatos) of a prestigious New York ballet school teams up with a suspicious male model (Ray Lovelock) to solve a series of weird murders of a few of the dancers . Along the way , a tough Police Inspector Lt. Borges (Cosimo Cinieri) investigates the bizarre murders . Save the last dance . . . For hell! .Depraved - Demonic - Diabolical - And Beyond! .New York's best dancers are dying for a part in the next Broadway hit.

Eerie and creepy thriller with full of killings , sexual violence , red herrings , grisly murders by means of a razor blade executed by a psychopath on the loose , loathsome and lots of blood and gore . A mysoginist whodunit with plenty of nudism , explicit scenes of violence and Giallo style , no for squeamish . Concerning the classic giallo plot in which a series killer with a hidden agenda carrying out a criminal spree . It has flamboyant imagery , graphic gore and moody atmospherics , while mixing disco music from Keith Emerson and dancing images in Flashdance style along with Gialli characteristics. Starring the beautiful Greek actress Olga Karlatos giving a fine and attractive acting . Karlatos surrounded and well supported by an Italian cast of usual Italian B actors , such as : Ray Lovelock , Cosimo Cinieri , Geretta Geretta , Christian Borromeo and Claudio Cassinelli who passed away a bit later on , whilst filming Sergio Martino's 'Fists of Steel' .

The motion picture was middlingly directed by Lucio Fulci , and being entertaining enough. And financed in tight budget by Augusto Caminito , Fulci's regular producer and occassionally director . Fulci was one of the most controversial filmmakers in terror genre , though frequently derided as sheer sensationalism and commerciality. Here Lucio Fulci directs in his usual style filled with flaws , failures and gaps , but professionally made because being a nice artisan . Critics are divided over both the moral and talents of Fulci (1927-1996), who sometimes directed under the alias Louis Fuller. For some reviewers many of his flicks are extremely cruel and savage , yet their gory surface often concealing social, religious , or provoking commentaries or other thoughful , intelligent issues . Nevertheless , most of them considering his works have undeniably provided a considerable influence on the terror genre , creating decent efforts on low budget flicks . Standing out his ¨Don't Torture a Duckling¨ deemed to be one of his best pictures . And in the adventure genre with two financially successful Jack London 'White Fang' adventure movies in 1973 and 1974 which were ¨Zanna Bianca¨, and ¨Il ritorno di Zanna Bianca¨. Also during the mid and late 1970s, Fulci directed two 'Spaghetti Westerns' : ¨Four of Apocalypse¨ (1975) and ¨Sella d'argento¨ or ¨Silver Saddle¨(1978), and another 'giallo' ; ¨The Psychic¨ (1977), as well as a few sex-comedies which include the political spoof : ¨The Eroticist¨(1972) , and the vampire comedy ¨Young Dracula¨ (1975) , and the violent Mafia crime-drama ¨Luca the smuggler¨ (1979) . In 1979, Fulci's film making career successfully another high point with him, breaking into the international market with ¨Zombi 2¨ (1979), an in-name-only sequel to George A. Romero's Zombi: Night of the Lving Dead (1978), which had been released in Italy as 'Zombi'. And hiis big hit ¨New York Ripper¨ , at the time rated as a video nasty , due to it and why the excessive extra violence was heavily cut or prohibited in a large number of countries . With this film established Fulci as a gore director par excellence . Over the next three years, Fulci plied his trade with finesse and flair-play , rivaling even the popularity of his "opponent" the great Dario Argento, with such sanguine classics as ¨City of the Living Dead¨ (1980) and ¨Beyond¨ (1981). These films, as well as the reviled "New York Ripper" (1982) are actually intelligently crafted, with sound commentaries on everything from American life to religion. And he went on his fall with lousy movies, but eventually Fulci at least found work in television . Rating : 5/10 . Average , only for Lucio Fulci completists .

Lucio Fulci is one of the best and most underrated directors in history. Though not all of his films were great, at least 7 of this films should be in any horror anthology. This film is hard to find, though it was released here in Argentina. In the beginning I thought this was gonna be Flashdance - The Return, but ends up being a clever thriller. The killer's method is original, and the resolution quite surprising. Not one of Fulci's best, but a very good film indeed. Score: 8.

Lucio Fulci wanted to make a giallo. But then Flashdance happened and the producers knew Keith Emerson (yes, the Keith Emerson from Emerson Lake and Palmer) and the result was…Murder Rock! Or Murder-Rock: Dancing Death! Or Slashdance! Or The Demon Is Loose!

We start at the Arts for the Living Center in New York, where Candice (Olga Karlatos, the only actress to be in both Zombi 2 and Purple Rain) watches Margie (Geretta Giancarlo from Demons) choreograph dancers for an upcoming talent agent visit. Only three girls will be selected, so they all need more perfection.

That night, Susan, one of the dancers, is murdered in the locker room. First, she is chloroformed. Then, as if Fulci has simply waited too long for something violent to happen, a giant hatpin is inserted into her breast. I imagine Lucio sitting in his director's chair, saying "Why do I have to show all these pretty girls in leotards when everyone just wants to see me rip out one of their eyeballs?"

Lieutenant Borges (Cosimo Cinieri, The New York Ripper) and Professor Davis (Giuseppe Mannajuolo). show up to investigate, choosing Candice, the head of the academy Dick Gibson (Claudio Cassinelli, What Have They Done to Your Daughters?) and Susan's boyfriend.

We find Candice at her apartment, where Dick shows up to tell her that he isn't sleeping with any of the students. Anyone that tells you this is pretty much telling you that they totally sleeping with the students. The studio DJ also calls her to update her on the murder.

Back at the school and everyone is back to their routine, which upsets Dick, who tells the cops of the rivalries between the dancers. Later that night –after we see on stage by herself, showing off for the crowd — he shows up at her place, wanting to talk. She finds a photo of him with Susan, but when she turns to find him, he is gone. Worse, her bird is dead, stabbed by a hairpin. And soon, so is she, as a hairpin is thrust into her heart.

But what of Candice? Well, she's having nightmares of the killer, who she sees chasing her with the long hairpin. She sees his photo on a billboard and tracks him down. The man is George Webb (Ray Lovelock, The Living Dead at the Manchester Morgue), who isn't the handsome model in the ads any longer. He's now a mess, so she runs from him, leaving her purse in his room.

What would a giallo — or a Fulci movie — be without a red herring? It comes in the form of Bart, a dancer who confesses to the murders because Susan was crazy and Janice was Hispanic (but in a much more racist way). Borges believes that he isn't the killer, but when George comes to the Academy to return Candice's purse, Dick tells the cop that that's their man.

At lunch, Candice tells George about how her dancing career ended after a hit and run accident with a motorcyclist. Now, she can only be a teacher. And she's not convinced that George is on the up and up, as she learns from a talent agent that George once had an affair with a younger girl who died.

Oh yeah — and Margie attacks Candice just like the killer, but Dick saves her.

The killing doesn't stop, though. Jill is killed while Molly, a girl in a wheelchair, takes photos of her. Molly tries to take photos, but the killer escapes. Dick tries to run away, but he's arrested. But again, the killing doesn't stop. Gloria is murdered in the locker room with the trademark hairpin.

It all leads to Candice going back to George's hotel room, where she finds the murder weapon. She runs away and George tries to find her, but she's at the police station, telling the Lieutenant, who agrees to meet her at the Academy.

Ready for the big reveal? When she gets there, she sees a video of every dancer who has died, leaving her screaming their names. George appears with the murder weapon and asks why she set him up. She responds that she knew he was the hit and run driver who cost her so much and that she killed the girls because of her jealousy of them. They had the life she would never know and had to die…and he has to pay for all he has done to her. She grabs the murder weapon and kills herself with it, pushing the weapon into George's hand. The police arrive, but they already knew she was the killer, thanks to the buttons on the killer's jacket being on the left side and Candice knowing details about the murders that they never made public.

That's the plot, but please imagine that there is a leotard-clad dance-off every ten minutes or so.

Murder Rock was part of a planned trilogy entitled "Trilogia della musica" and would have been followed by Killer Samba and Thrilling Blues, but Fulci became ill for two years and abandoned the project.

This film looks gorgeous! It has some stunning shots of the killer coming at the camera and while there is some blood, it isn't at the expense of the story. I literally expected nothing and was rewarded with some great fun. Your ability to enjoy flashdancing and 80's outfits may impact your enjoyment of this film, however!

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