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Bridgette Kubis
Cannibal Holocaust is a 1980 Italian cannibal film directed by Ruggero Deodato and written by Gianfranco Clerici. It stars Robert Kerman as Harold Monroe, an anthropologist who leads a rescue team into the Amazon rainforest to locate a crew of filmmakers that have gone missing while filming a documentary on local cannibal tribes.
Produced as part of the contemporary cannibal trend of Italian exploitation cinema, Cannibal Holocaust was inspired by Italian media coverage of Red Brigades terrorism. Deodato believed the news reports to be staged, an idea which became an integral aspect of the film's story.[2] Additional story elements were also influenced by the Mondo documentaries of Gualtiero Jacopetti, particularly the presentation of the documentary crew's lost footage, which constitutes approximately half of the film. The treatment of this footage, which is noted for its visual realism, innovated the found footage style of filmmaking that was later popularized in American cinema by The Blair Witch Project. Cannibal Holocaust was filmed primarily on location in the Amazon rainforest of Colombia with a cast of indigenous tribes interacting with mostly inexperienced American and Italian actors recruited in New York City.[3]
Cannibal Holocaust achieved notoriety as its graphic violence aroused a great deal of controversy. After its premiere in Italy, it was ordered to be seized by a local magistrate, and Deodato was arrested on obscenity charges. He was later charged with multiple counts of murder due to rumors that claimed several actors were killed on camera. Although Deodato was cleared of these charges, the film was banned in Italy, Australia, and several other countries due to its graphic content, including sexual assault and genuine violence toward animals. Although some nations have since revoked the ban, it is still upheld in several countries. Critical reception of the film is mixed, although it has received a cult following. The film's plot and violence have been noted as commentary on journalism ethics, exploitation of South American countries, and the difference between Western and non-Western cultures, yet these interpretations have also been met with criticism, with any perceived subtext deemed hypocritical or insincere due to the film's presentation.[4][5][6]
In 1979, an American film crew disappears in the Amazon rainforest while filming a documentary about indigenous cannibal tribes. The team consists of Alan Yates, the director; Faye Daniels, script writer; and two cameramen, Jack Anders and Mark Tomaso. Harold Monroe, an anthropologist at New York University, agrees to lead a rescue mission in hopes of finding the missing filmmakers. In anticipation of his arrival, military personnel stationed in the rainforest conduct a raid on the local Yacumo tribe and take a young man hostage in order to negotiate with the natives. Monroe flies in via floatplane and is introduced to his guides, Chaco and his assistant, Miguel.
After several days of trekking through the jungle, the rescue team encounters the Yacumo. They arrange the release of their hostage in exchange for being taken to the Yacumo village. Once there, the group is initially greeted with hostility and learns that the filmmakers caused great unrest among the people. The next day, Monroe and his guides head deeper into the rainforest to locate two warring endocannibal tribes, the Ya̧nomam and the Shamatari. They encounter a group of Shamatari warriors and follow them to a riverbank, where Monroe's team saves a smaller group of Ya̧nomam from death. The Ya̧nomam invite the team back to their village in gratitude, but they are still suspicious of the foreigners. To gain their trust, Monroe bathes naked in a river, where he is joined by a group of Ya̧nomam women. The women lead Monroe from the river to a shrine, where he discovers the skeletal remains of the filmmakers with their film reels nearby. Shocked by what he sees, he confronts the Ya̧nomam in the village, during which time he plays music from a tape recorder. The intrigued natives agree to trade it for the reels of film.
Back in New York, executives of the Pan American Broadcasting System invite Monroe to host a broadcast of the documentary to be made from the recovered film, but Monroe insists on viewing the raw footage before making a decision. One of the executives first introduces him to Alan's work by showing an excerpt from his previous documentary, The Last Road to Hell, after which she informs Monroe that Alan staged dramatic scenes to get more exciting footage. Monroe then begins to view the recovered footage, which first follows the group's trek through the rainforest. After walking for days, their guide, Felipe, is bitten by a venomous snake. The group amputates Felipe's leg with a machete to save his life, but he dies and is left behind. Upon locating the Yacumo in a clearing, Jack shoots one in the leg so they can easily follow him to the village. Once they arrive, the crew proceeds to intimidate the tribe and kill a young child's pet pig before herding the natives into a hut, which they burn down in order to stage a massacre for their film. Monroe expresses apprehension about the staged footage and the treatment of the natives, but his concerns are ignored.
After he finishes viewing the remaining footage, Monroe expresses his disgust toward the station's decision to air the documentary. To convince the executives otherwise, he shows them the remaining unedited footage that only he has seen. The final two reels begin with the filmmakers locating a Ya̧nomam girl, whom the men take turns raping against Faye's protests, stating they are wasting film footage. A Ya̧nomam man can be seen in the background stalking them as the fracas occurs. They later encounter the same girl impaled on a wooden pole by a riverbank, where they claim that the natives killed her for loss of virginity, although it is implied that the group themselves killed her and staged it as a murder by the natives for dramatic effect. Shortly afterwards, they are attacked by the Ya̧nomam tribe as revenge for the girl's rape and death. Jack is hit by a spear, and Alan shoots him to prevent his escape. The scene then moves to the crew filming the natives undressing Jack in their captivity and cutting his genitalia off with a large machete before completely mutilating Jack's lifeless body. Thereafter, an exhausted Alan says they have gotten completely lost trying to escape, and are now surrounded by the natives who pursued them. As a last resort, Alan attempts to scare them off with a flare gun. During the commotion, Faye is captured by the Ya̧nomam. Alan insists that they attempt to rescue her, but Mark continues to film as she is stripped naked, gang-raped, beaten to death, and beheaded. The Ya̧nomam then locate and kill the last two team members as the camera drops to the ground. Disturbed by what they have seen, the executives order all of the footage to be burned. Monroe leaves the station, pondering "who the real cannibals are".
Production on Cannibal Holocaust began in 1979, when director Ruggero Deodato was contacted by West German film distributors to make a film similar to his previous work, Last Cannibal World. He accepted the project and immediately went in search of a producer, choosing his friend Francesco Palaggi. The two first flew to Colombia to scout filming locations. Leticia, Colombia was chosen as the principal filming location after Deodato met a Colombian documentary filmmaker at the airport in Bogot, who suggested the town as a location ideal for filming. Other locations had been considered, specifically those where Gillo Pontecorvo's Burn! had been shot, but Deodato rejected these locations due to lack of suitable rainforest.[1]
Deodato conceived of the film's premise while talking to his son about news coverage of the terrorism of the Red Brigades. Deodato thought that the media focused on portraying violence with little regard for journalistic integrity and believed that journalists staged certain news angles in order to obtain more sensational footage. The Italian media was symbolized by the behavior in the film team in Cannibal Holocaust, the depiction of whom was also influenced by the works of Gualtiero Jacopetti, a documentary filmmaker of whom Deodato was a fan.[7][2] Jacopetti and his partner, Franco Prosperi, are credited with popularizing Mondo films, a genre of documentary, with their first release, Mondo cane. Mondo films focused on sensational and graphic content from around the world, including local customs, violence, sexuality, and death. Deodato included similar content in Cannibal Holocaust, such as graphic violence and animal death, and the documentary that is produced in Cannibal Holocaust resembles a Mondo film.[6][8] The scene of Monroe bathing naked in a river and the scene of a forced abortion rite have also been noted as being similar to scenes in Antonio Climati's Mondo film Savana violenta.[6]
The Italian screenwriter Gianfranco Clerici wrote the script under the working title Green Inferno. He had collaborated with Deodato in his previous films Ultimo mondo cannibale and The House on the Edge of the Park, the latter of which was filmed before Cannibal Holocaust but released afterward. The screenplay included multiple scenes that did not make the film's final cut, including a scene in which a group of Ya̧nomam cuts off the leg of a Shamatari warrior and feeds him to piranhas in a river. This scene was to take place directly after Monroe's team rescues a smaller group of Ya̧nomam from the Shamatari.[9] Attempts were made to film this scene, but the underwater camera did not operate properly, and the piranha were difficult to control. As a result, Deodato abandoned his efforts, and still photographs taken during the scene's setup are its only known depiction.[2] The originally scripted version of The Last Road to Hell, which was written to depict soldiers advancing upon an enemy position, also went unused, as Deodato instead decided to use stock footage of political executions for the segment in order to draw further parallels to the films of Jacopetti.[2] The character names Mark Williams and Shanda Tommaso in Clerici's screenplay were also changed to Mark Tomaso and Faye Daniels, respectively, in the film.[9][10]
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