“Why ban films? If you don’t want to go watch something, don’t go. Don’t spend your money to watch it. To me it’s against your civil liberties. Censorship is against your human rights. It just takes a critic to exaggerate and say the film is over the top, it’s gruesome and full of terrible violence.” Words from legendary cinematographer Roberto Forges Davanzati on the special edition Blu-Ray of Cannibal Holocaust.
As you celebrate this holiday of stuffing your face full of delicious gooey goodies and cooked meats, let us look back at a feast for the ages that was buried in lawsuits, censorship, exploitation and even jail time for its creator. Cannibal Holocaust, one of the most infamous video nasties of all time, is not only one of the most gruesome and horrifying collection of images put to celluloid but also, in its own way, one of the most beautiful. Often times it’s notoriety as a horrid exploitation film overshadows the artistry that crafted it and the true message behind it.
First off, let’s look at the fact that this is truly the first found footage film. Its narrative is about four young documentarians who set out into the Amazon into an area dubbed “The Green Inferno” to find and document several primitive tribes of cannibals. While this narrative is the backbone of the movie opening up the film, this footage is not shown until the latter half. Professor Harold Munroe is assigned by the television studio that employed the documentarians to go into the Green Inferno himself to see if he can unravel the mystery of the youth’s disappearance or obtain the footage they filmed. Today we have found footage movies left and right but it’s rare we get a movie within a movie in this style.
Davanzati has talked about his different shooting styles for the time on the Blu-Ray for the film. Munroe’s section of the film was shot on 35MM film while the “found footage” shot by the documentarians is shot on 16MM film, giving a much grainier and dirty look to their footage. Not only that, but since the four youths within the film at all times had two 16MM cameras operating, Davanzati would often film the two camera men within the film and then switch around showing the point of view of each camera man within the found footage, which he states helped edit the movie as they shot it. The artistic decision to have two narratives wrap around each other like this are perfect antithesis to each other as Munroe’s footage shows a completely opposite depiction of the cannibals compared to the documentarian’s footage. This style informed a generation and still does, but has never been stylistically approached the same way.
Some may argue that regardless of the artistic vision and groundbreaking filmmaking style of both Davanzati and director Ruggero Deodato that it doesn’t matter, because what good is beautiful footage of despicable trash? How dare they film something so atrocious? Actor Robert Kerman can maybe answer that in a quote from an interview on the Cannibal Holocaust Blu-Ray. “What’s the difference between Cannibal Holocaust and Schindler’s List? Or the first 20 minutes of Saving Private Ryan?” The world is full of horrible atrocious things and sometimes we don’t like to acknowledge them. To simply not acknowledge them would seem an injustice to the victims. In this case, what may offend might be the same reason audiences were offended about the Universal Monsters: the fact that perhaps we are the villains. Perhaps those victimized within Cannibal Holocaust are the titular cannibals.
Deodato opens the film with a reporter speaking about how far the world has come and how advanced we are as a civilization, that it is strange that indigenous tribes still exist in the jungles of the Green Inferno. All the while, during this news report on the savagery of those tribes, Deodato cleverly shows us the jungles of the modern world as the imagery put to this news cast foreshadows the film’s true intentions. It would be easy to assume the “Holocaust” in Cannibal Holocaust refers to the humans devoured by cannibals, when in reality, the holocaust is the devastation inflicted upon the cannibal tribes by the so-called “normal” humans. Deodato cleverly misleads the viewer showing off all-American kids as the documentarians. He quickly follows the opening with a scene of the Yacumo tribe devouring a human body as the Colombian soldiers gun them down and capture one of their tribe. It’s a brutal scene that depicts the Yacumo as monsters.
As Professor Munroe ventures into the Green Inferno with his Yacumo captive and guide, Chaco, it is discovered that the Yacumo tribe itself has had some hardship and pain. They are the more peaceful of the tribes who simply thrive and survive. Their Yacumo captive who was found devouring a human was doing so as part of a ceremonial practice to ward off evil spirits. Befriending the tribe, they venture deeper to find the two warring tribes that scare even the Yacumo: the Yanomamo (Tree People) and the Shamatari (Swamp People). While the Shamatari are depicted throughout as vile and dangerous, the Yamamomo befriend the professor and Chaco due to the pair aiding them against the former tribe.
Munroe and the Yanomamo friendship gives way to a very beautiful scene in the movie. Munroe disrobes himself completely and swims in the river naked with a group of Yanomamo women. There is nothing sexual about the scene, only curiosity and playful ignorant bliss. This sense of peace is elated by the score of Riz Ortolani, which permeates the entire film with melancholy melodies and themes of religious experiences. This scene in particular is boosted amazingly by his score.
Munroe’s journey is the audience’s point of view where we watch in horror and wonder at what these “cannibals” are capable of but, upon venturing further for ourselves with respect towards the tribes, we find perhaps there is more to these people than monstrosities. There are definitely horrible things the Yacumo and the Yamamomo commit, but our eyes are slightly opened as to why.
Enter the found footage aspect of the film, which is the core of Deodato’s message. The young documentarians headed by Alan are the true villains of the piece. While the indigenous peoples within idolize their gods and ways, this crew of documentarians only idolize the gods of entertainment and visceral mind rape. What’s worse is the discovery of the studio behind them condoning their efforts in order to get people to watch. The found footage approach descends into madness as Alan and his crew are responsible for the Yacumo’s problems that Munroe discovered when he arrived. We see them burning down the village and even having sex on the ashes of their homes in a horrifying shot that pans out to show the Yacumo watching in sorrow as they are huddled by the river for warmth. As the television executives watch this footage unfold it is stated, “The more you rape their senses, the happier they are.” It’s disgusting.
The footage goes on and gets progressively worse as Alan and his crew commit horrible acts of rape and violence that parallels the natives actions. But while the natives at least have a misguided sense of purpose, there is none for the documentarians. They set up a girl on a spike after they rape her just to have something visceral to film. “Watch it Alan, I’m shooting.” Alan has a smile on his face from the atrocity he’s committed, their excitement paralleled by Ortolani’s score. This scene plays on the typical thought of things we don’t understand being weird. As the filmmakers have no concept of what makes the Yanomamo tick or of their religious rites, they just create something ghastly. Because their audience will not understand it, they lump it in with their actual spiritual and cultural beliefs, making it all seem bereft of rhyme or reason, confusing audiences just to entertain.
“Keep rolling, we’re gonna get an Oscar for this!” The final act of found footage is more intense and more satisfying than any you can see. As one of the cameramen dies, they keep filming, that prize in their eyes with the camera lens as a separation from what’s before them. Their friend is no longer a person but a spectacle to be shot as he’s torn limb from limb and prepared to be eaten by the cannibals for their transgression. Who is worse, those that created the situation or those simply reacting to it? The Yanomamo stand triumphant over the interloper and, as stated in the beginning of the film, they eat him ceremonially in order to keep out the evil spirits of the white man. Each is taken down and each filmed. Debts paid in blood to the cannibals and
the white man’s gods of entertainment. The found footage has all been viewed as Munroe and the rest of the executives walk off, “I wonder who the real cannibals are?”
True, there are very vile things depicted in this film. Rape, animal cruelty, extreme violence. It is definitely not for the squeamish. I, myself, cannot stand the animal violence as it shouldn’t be in the film and is lingered on for far too long. However, each scene of extremism beyond those shots serves a purpose in the film, juxtaposing the actions of the protagonists and antagonists, often times blurring the lines of those roles.
Watch this film with an open mind and a filmmaker’s thought process. You’ll see the amazing direction accompanied by brilliant and, at the time, never-before-seen cinematography. The score elevates the film with its beauty against the ugliness of the visuals. While the actions of many of the characters are disgusting, you have to admit the level of excellence each actor gives in their portrayal of these characters, especially the tribes.
We must not forget in these dark times not to judge the cultures of others before we truly understand them as people.
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