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Meanwhile the nurse learns how to heal the scars from her own past while she helps her dying patient. Their relationship is already forbidden, but her determination to be in his play makes for a moving and ultimately doomed romance. He kills his father and arranges the murder of the general's family, selling his father's heir into slavery to be trained as a gladiator. But another aspiring-performer ends up in prison for a similar crime—and takes her lawyer—creating an infamous media circus. While hobbits Frodo and Sam reach Mordor in their quest to destroy the ring, Aragorn leads the crusade of good against Sauron's evil army at Minas Tirith. After he relents, they form a close bond that irrevocably changes each of their lives. Orbiting loosely around each other are a district attorney and his prejudiced wife, two police detectives, a victimized Middle Eastern store owner, a wealthy African American couple, and a racist traffic cop. He gains the head mobster's trust, but a career criminal infiltrates the police department at the same time, reporting the cop to his syndicate bosses. Both organizations are aware they have a mole in their midst, but how will the two men behind enemy lines save their respective hides. He takes the cash that he finds, and is pursued by a merciless killer and an aging sheriff who is harboring his own dark secret as he tries to protect the hunter. From his early life as part of a stable of thieves alongside his brother, to the small jobs the man does until he lands on the TV program, viewers are presented with the full arc of triumph and tragedy.

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Despite the occasional reference in Thompson to such and such a motif being from “Africa” or “India,” the Index is less helpful when one is attempting to research non-European motifs, such as the zombie. To get to these materials, one needs to avail oneself of a different kind of folklore research. The Ethnographic Zombie Zora Neale Hurston wrote in 1938, Here in the shadow of the Empire State Building, death and the graveyard are final. But in Haiti there is the quick, the dead, and then there are Zombies. (Hurston 1990, 179) There are three main anthropological, ethnographic, and folkloristic studies of Haitian Voudou and the zombie. The first was travel writer and adventurer William Seabrook’s The Magic Island (1999), first published in 1929. The Magic Island was incredibly popular in the United States, and it is largely from Seabrook that the popular conception of the zombie originates. The following year saw the release of this film, directed by Wes Craven. Despite both the Hurston and Davis books, most casual perceptions of “voodoo” is as a “dangerous” religion, akin to Satanism, and the reality of the zombie as a modern monster has largely been fueled by horror cinema and popular culture. These distortions are undoubtedly attributable to racism and to the fear that the Haitian slave revolution sparked in predominantly white nations. Yet Seabrook, Hurston, and Davis, in addition to other anthropological literatures, did verify the existence of the Haitian zombie.

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At one point in the film, Bimba makes an appearance at a cocktail party, like Regan does in The Exorcist, but instead of urinating on the floor, Bimba flashes all the guests her body. As was typical of the time, Italian erotic films would be produced in both soft- and hard-core editions; that is, special inserts (you’ll forgive the pun) were filmed of hard-core penetration and cut into the existing film to make a hard-core edition. If the cultural mores in a particular community or from a specific board of censors viewed pornography negatively, the softer edition would be distributed instead. Bimba’s seduction of the paralyzed Adolfo begins to have an effect, and Adolfo begins to become aroused (probably for the first time in years). A blow-job from a teenage niece is too much for the elderly Karoli, and his heart gives out. While the incest between uncle and niece is certainly explicit, more implicit is the affection between Bimba and her widowed father, Andrea (Enzo Fisichella). And, love it or hate it, even without Strip Nude for your Killer or any of Bianchi’s other films, Burial Ground is so outrageous as to cement Bianchi’s reputation. The film opens with Professor Ayres (Renato Barbieri), opening up an Etruscan tomb and reciting an ancient prayer that awakens the zombies. Joining them for the weekend are two other couples and a skeleton crew of domestic servants. With no phones installed, when the dead start attacking the villa, these nasty bourgeoisie have no place to go or get help from. Burial Ground is a full bodied bloody gut munching film, which is probably what its reputation is based on; and the dismemberment and disembowelment starts surprisingly early in the film, with little extraneous plot.

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