…And then there’s Cannibal Ferox. Released a year after Cannibal Holocaust, in 1981, Cannibal Ferox tries to succeed as a film by taking the most exploitative moments of Holocaust, and wrapping footage around them. Writer/director Umberto Lenzi did not seem to realize that what made Cannibal Holocaust a successful movie was not the animal slaughter or the graphic violence. Those are, arguably, essential parts of the package, but Holocaust is indeed a package deal. It succeeds because most aspects of the film are well done, including story, acting, cinematography, music, etc. Without all those things working together, viewers get, well, Cannibal Ferox.
Cannibal Ferox stars Lorraine De Selle as Gloria Davis, a doctoral student in anthropology from New York, whose thesis is that cannibalism in tribal cultures does not really exist. Rather, it was a lie fomented by Conquistadors and other Europeans to justify genocide in the New World. In order to prove her thesis, she travels to the Colombian Amazon with her brother, Rudy (Danilo Mattei), and friend, Pat (Zora Kerova). They’re hoping to locate an isolated tribe and do some anthropological stuff.
Not long after going off the beaten path into thick jungle, they begin to see disturbing signs that something is amiss, culminating in the discovery of bloody corpses. Then, a pair of unexpected New Yorkers like themselves pop out of the jungle, one suffering a grievous wound. They are Mike Logan and Joe Costolani (the recently-deceased Giovanni Lombardo Radice and Walter Lucchini). Those two fled New York after ripping off a heroin supplier, in a side plot that takes up far too much of this film’s time. They somehow ended up in the Amazon jungle chasing down emeralds. Continue reading “Lo spettacolo dell'orrore italiano: Cannibal Ferox, aka Make Them Die Slowly”
There are good Italian cannibal horror flicks, and there are bad Italian cannibal horror flicks. Besides the plot elements they all share and steal from one another, the other thing they have in common is that they are prime exploitation cinema. Massacre in Dinosaur Valley is one of the more exploitative of the bunch, and it has nothing to do with animal slaughter and mutilation, or graphic depictions of bodily injury. This flick is about the nudity. It’s right there in the Italian title of the movie.
In a recent article about the film Passages receiving an NC-17 rating from the censors at the MPAA, Slate columnist Sam Adams 
What a bucket of sleaze. Blood Sabbath, the 1972 exploitation horror flick from screenwriter William A. Bairn and director Brianne Murphy, is exactly the kind of movie that gets the pious all worked up. Gratuitous nudity only begins to describe the amount of flesh in this movie. This is one of those drive-in classics packed full, from start to finish, with butts, boobs, and bush. Add in witchcraft, and one would be hard-pressed to find an R-rated film more capable of moral corruption. It’s spectacular.
There is some sleaze to Blood Mania, the 1970 neo-noir drive-in flick from purveyors of shit Crown International Pictures. Tony Crechales and Toby Sacher were responsible for the screenplay, while Robert Vincent O’Neil sat in the director’s chair.