Retro Slashers

Paganini Horror is most often viewed as a dumb, uncreative and thoughtless piece of filmmaking. Director Luigi Cozzi was expected to create a work of splatter cinema but was saddled with budgetary constraints and a short filming schedule (three and a half weeks) and even he considers his film a “non-entity” despite the “beautiful, ambitious script,” he started with. Indeed, the film is one of those late entry Italian horror flicks that seemed more interested in going for the gory gold over creating something more esoteric and stylish. Yet, there is something approaching enchanting when it comes to this beautiful train wreck.

While Cozzi had a different plan in mind, Paganini Horror stands as a wannabe gorefest, replete with half effective shocks and a little skin (OK, very little skin). And as per Italian splatter usual, the story falls victim to the set-up. The movie is about an (almost) all female rock band who are desperate for another hit. Their sole male member buys a piece of previously unheard music (from Donald Pleasance, no less), written by the late great violinist Nicolo Paganini. The band record the song (titled Paganini Horror) with a sort of hair metal twist and then jet off to a creepy and ramshackle house owned by Sylvia (Daria Nicoladi, who also co-wrote the script with Cozzi) to shoot a music video. Apparently, playing the music raises Mr. Paganini from the dead – and unfortunately, this tune is cursed and Paganini is in league with the devil. This movie doesn’t set up any red herrings or much in the way of mystery at all, except for how they plan to defeat Paganini and his golden violin.

At one point we think the lead singer is setting up a violin duel with the killer, ala Crossroads. As the eerie music floats through the ramshackle mansion, you will get an idea of what Cozzi was aiming for. Had the director been able to expand on that scene or imagery, I think Paganini could have been an excellent little flick. Ultimately, it is simply brainless. The dialog is bad, the acting is a bit challenged and everything is fairly basic in that late 80s low budget sort of way. However, while it doesn’t quite succeed at reaching any depth of terror, I found myself quite taken with all things Paganini. It is just a lot of fun, thanks to the crazy set up and Paganini himself. What saves the film in the end is that there remains that glimmer of what could have been. Obviously, the filmmakers intended something grander and it’s hard to begrudge them for working against the many odds placed before them. So for now, I’ll just settle for tight pink leather, a golden violin and Donald Pleasance delivering some of the most confusing dialog in history. Oh Paganini, I love thee!