How can these images possibly exist on film? Who thought of this, and what type of actor would agree to do this? A scene so horrific it has to be seen to be believed. The turtle scene in Cannibal Holocaust will linger in your mind long after it is over. In this scene, a fairly large turtle is captured in the water and dragged on shore. We are then treated to an incredibly gruesome and completely real scene where we see the actors decapitate the turtle. All of the animal killings in Cannibal Holocaust are pretty tough to get through but this is by far the worst.
Pink Flamingos : All of It. Waters simply wanted to see how far he can push people and how much he could shock them.
The film is notorious for the controversy it caused and was banned in several countries. Despite this, the film has gained a large cult following and has a large fan base. The film is essentially one shocking scene after another. By the end of the film you will be reaching down to pick your jaw up off the ground. Incest, rape, hermaphrodites, gay sex, killing of animals, bestiality etc.
Nothing is off limits and nothing is censored. Every taboo is broken, nothing is held back, this movie is truly the most shocking set of images ever put on film. Eating feces is just plain gross. Most notorious of all was Cannibal Holocaust's depiction of the slaughter of wild animals. That is the only part of the film Deodato regrets. More troubling, though, is the treatment of humans in Cannibal Holocaust.
Despite Deodato's avowed support for indigenous peoples he shot the movie on the border between Colombia and Brazil , none are credited, and there's little evidence of interest in their actual tribal customs. He is often accused of racism and exploitation, but he insists they were intelligent, co-operative collaborators.
It's an ancestral thing. When they had a battle, the leader of the losing tribe would be killed and eaten by the winners. It's part of their past. They don't deny that. The get-out is that the film-makers in Cannibal Holocaust are the real savages. They are shown goading, raping and even killing to get sensational footage for the media back home.
In real life, though, Deodato was doing something suspiciously similar. Do more! Keep filming! That said, if the freelance journalists in search of a quick buck today were around in the 70s, they would have been shooting fish in a barrel. There were some genuinely outrageous things being spat out of a strange underworld of the film industry far from the black ties of Cannes and the Oscars. Of these, the films that went the furthest were the Italian cannibal movies, which this year are receiving their obligatory American homage with the release of Eli Roth's The Green Inferno.
The films I'm talking about aren't like those quaint 70s slasher flicks defanged by time. Awash with sexual violence, graphic gore, real cruelty to animals, and imperialistic racism toward indigenous peoples—not to mention terrible dubbing and a parade of Italian character actors sweating their way through the jungle—these films are the end of the line. Every time somebody talks about how shocked they are by something that's emerged out of the mainstream, it's instantly clear they haven't seen Mountain of the Cannibal God , Eaten Alive!
Bracingly misanthropic, ethically unsound, and offensive beyond belief in terms of racism and sexism, they are the true pits of how far exploitation films of the 70s would go—but for all their crudity, there are moments of sophistication, and yes, real beauty. Nothing like them could ever be made again. Cannibalism had been in movies for years—there's even a cannibal tribe in Disney's 20, Leagues Under the Sea.
But it wasn't until the looser censorship environment of the 60s and 70s that films this explicit were even possible. Long before "accident" clips on Youtube or Bestgore. Despite their makers claiming they were merely documenting a tough world kept off TV, they played up to the folklorish horrors of the "savage" places Europeans had only recently decolonized, depicting a world of brutality where life was cheap and the white man an emissary from civilization.
This was the time when indigenous peoples in South America were arguably entering into public consciousness in the West more than ever before—the expansion of logging in the Amazon and the construction of the Trans-Amazonian Highway led to a spate of remote tribes being forced to integrate with societies they'd dodged for years.
The very occasional incidences of ritual cannibalism led to caricatures of these peoples as Stone Age savages shockingly still around in the era of Studio 54—and a sequence of books by anthropologists eager to shift units with sensationalism didn't help. David Attenborough even made a film called A Blank on the Map in , where he encounters some tribesmen in New Guinea, who promptly tell him to fuck off.
The explosion of awareness toward these peoples led to a huge amount of interest, and in turn they were rewarded with epidemics, abuse, and being painted as villains in some of the grimmest films ever made. The first cannibal movie to really blend all this was the release Man from the Deep River , a knock-off of A Man Called Horse, where a photographer is first tortured, then accepted by a tribe in Thailand.
Compared with what would come later, it's fairly innocent, but two mainstays of the genre were introduced— Me Me Lai , a Burmese-British game-show hostess who would consistently play tribal girls with access to boob jobs but not clothes; and real, Mondo -inspired animal killing in this case a monkey having the top of its head cut off.
There's really no defending this. Sadly, in a world of ISIS videos, it's not too shocking, but it's still infuriating to think of the asshole with a cigar standing behind the camera directing somebody to end this little critter's life for a film. Sure, it was a different time, but if PETA ever gets its own Yewtree up and running the Italian office is going to need double shifts. It ended up as a straight retread of the same turf.
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