Synopsis:

Door into Silence was written and directed by Lucio Fulci (under the pysduoname H. Simon Kittay), who is primarily known for his gore films like The Beyond and Zombie. The cinematographer on Door into Silence was Giancarlo Ferrando and some of his standout films as a cinematographer include All the Colors of the Dark, Your Vice Is a Locked Room and Only I Have the Key, Torso, The School Teacher, Gambling City, The Suspicious Death of a Minor, The Virgin, the Bull and the Capricorn, Island of the Fishmen, Big Alligator River, A Policewoman in New York, Scorpion with Two Tails, Don’t Play with Tigers and Craving Desire. Franco Piana’s score for Door into Silence is at times reminiscent to the jazz infused score that Riz Ortolani composed for Lucio Fulci’s One on top of the Other and the main theme for Door into Silence bears a faint similarity to music from Lucio Fulci’s The Beyond.

The plot for Door into Silence moves at a languid pace and even though it is only eighty seven minutes in length its does feel like the premise was stretched beyond its limitations. This is most noticeable in the way that some of the footage in the film is overly reused and how the main character spends most of the film wandering to fill up time. The premise deals with themes like the supernatural and death and afterlife which are prominent in many of Lucio Fulci’s previous films. Fans of Lucio Fulci’s gore splattered extravaganzas might be let down that this is a bloodless film with no murders and a minuscule body count of one. To complicate things even further the films lead character is totally unsympathetic. On the plus side Door into Darkness is visually Lucio Fulci’s most satisfying film since The New York Ripper. The performances from the entire cast especially its lead John Savage in the role of Melvin Devereux leave a lot to be desired. Ultimately Door into Silence is a flawed film that will only appeal to the most hardcore Lucio Fulci fans.