Oblivious Maximus
I am the worm
Its a truly subversive film. For all it' brutality and blatant nihilism (a constant in Deodato's work, see Waves of Lust (1975) and The House on the Edge of the Park (1980), another film which presents many a moral conundrum), Deodato is really making a statement on human nature, the media's habit of sensationalism and the idea of "civility" in modern society with the biggest question at the end of the film being who are the real savages. Amazingly the film manages to do this without coming across as pretentious or corny.
It might seem strange given the films grim tone but it could also be read at satire. The cannibal genre was an offspring of the "mondo" film, pseudo documentary/exploitation hybrids which caused a stir in Italy and other counties depicting the native/tribal populations of third world counties and their rituals, largely considered "taboo" to western countries. Mondo films were notorious for turning the sensationalism up to 11, complete with exaggerated narration and good number of them contained staged scenes. So in a sense, Deodato was calling out such methods with Cannibal Holocaust. At the same time though he's having it both ways, making a statement while also delivering a commercial horror/exploitation film so he's getting away with both.
It was also a pioneering film in the way it utilized the "found footage" format which unfortunately has become so bastardized by hacks in recent years it just needs to fuck off but the way Cannibal Holocaust is structured in really ingenious. The grungy 16mm stock adds an extra layer of reality making the film all the more uncomfortable and of course, the outstanding effects. There's a reason the image of the girl on the stake has become so famous. Its one of the most striking sights to be seen on film and there's no forgetting it.
The score, and particularly the main theme is one of the films strongest attributes. Take the opening credits sequence, with this beautiful composition playing over the equally gorgeous aerial of the Amazon. Its a wonderful juxtaposition with all the nastiness that's about to unfold, almost giving an unsuspecting viewer a false sense of security. There's an undeniable air of melancholy to the theme which fits perfectly with the films worldview.
I find it somewhat amusing that those who condemn the film and its fans (and fans of the cannibal genre as a whole) for the animal killings clearly haven't the slightest clue what they're talking about because even the most staunch supporters of the film and the genre have condemned those scenes as unnecessary. Deodato has constantly defended himself on the matter, claiming that all the animals killed in the film were eaten by the cast and the natives which may or may not be true but ultimately they add nothing to the film but extra shock value.
I think I can quit adding to this damn post now
In all seriousness though, its an unforgettable (this can be a good or bad thing depending on who you ask), important film that established Deodato as one of the more unique voices in Italian horror and its impact cannot be duplicated.
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