Emanuelle And The Last Cannibals
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Emanuelle And The Last Cannibals
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Emanuelle and the Last Cannibals (1977)
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Mental Institution Cannibal Girl (uncredited)
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While doing undercover work in a mental hospital, Emanuelle discovers a girl who seems to have been raised by a tribe of amazonian cannibals. Intrigued, Emanuelle and friends travel deep into the Amazon jungle, where they find that the supposedly extinct tribe of cannibals is still very much alive.
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4.2 out of 5 stars
206 ratings
Playback Region 2
: This will not play on most DVD players sold in the U.S., U.S. Territories, Canada, and Bermuda. See other DVD options under “Other Formats & Versions”. Learn more about DVD region specifications here
MPAA rating
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Unrated (Not Rated) Package Dimensions
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7.1 x 5.42 x 0.58 inches; 2.93 Ounces Media Format
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NTSC, PAL, DVD Subtitles:
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Finnish, Swedish, Danish Language
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English (Dolby Digital 2.0) ASIN
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B00IWJ5O1G Number of discs
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1
4.2 out of 5 stars
206 ratings
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I bought this because I read that it was something of an influence on Ruggero Deodato's 'Cannibal Holocaust' which sort of stands today as like the artistic pinnacle of grindhouse filmaking, and I just wanted it as part of my 'Cannibal Boom' collection. Right out of the mailer, if you got the limited edition slipcased version, you find out that the thing is really snug around the bluray case. It takes some jimmying to get the thing out of it without tearing the fancy-schmancy slipcase. This was also true with Severin's recent release of 'Eaten Alive!' so...that's no fun. It's hard to get it in and out of the slipcase without tearing it. The bluray case is nice glossy black plastic instead of the standard translucent blue which I hate, so that's good. The movie itself is supposed to have been 'remastered from vault elements'. I don't know what kind of leaky basement vault they found these 'elements' in, but this 2k version doesn't look all that great. Maybe D'Amato and co. just couldn't afford very good film stock for this c-grader or the vault elements were copies of copies; it looks like what it is, though, a cheap sleazy grindhouse movie. Sometimes these older movies get re-mastered into looking like they were shot yesterday; this is not the case here. It's fairly grainy and at one point the picture snaps out and you're seeing a split second of burned out film flitting across the screen. Every shadow is pitch black, every bright color is washed out, every medium earth tone is rich and oversaturated. Luckily, since the beautiful Miss Gemser has so much skin on display, the rich earth tones make for a nice touch. The 'influence on Cannibal Holocaust' is debatable. There was a brief segment where Emanuelle and her new lover Professor Lester watch footage of cannibals in Tanzania doing what they do. The basis of the story is that Emanuelle is a hard-nosed journalist doing a gritty piece about chaos in the Amazon, which was sort of the basis for the fictional documentary portrayed in Holocaust. In Holocaust, though, the cannibals come off as somewhat docile until they're riled up by the interloping documentarians; in this, apparently a tribe that was thought to be wiped out resurfaces and goes after anyone and anything that crosses their path. It's hinted at that something might have happened to anger this tribe previous to the films opening but that is not really explored/explained later. Really, 'Emanuelle and the Last Cannibals' is just an excuse to get a lot of actors into an exotic location in order to remove their clothes. Gripes about movie: Every jungle native shown in the movie is a cannibal and every cannibal is a male in a loincloth, even when they're shown in their own island village. Maybe what the tribe is so angry about is that all the women in the tribe left? Emanuelle's young blonde friend is rather graphically molested in her sleep by a stranger they meet in the jungle. She wakes up, alerts her friends and a fight ensues. The stranger wins the fight and afterwards the film goes on as if the molestation and fight had never happened. D'Amato does deliver on some solid, if somewhat cheap looking, gore moments. The cinematography gets pretty wild at times. The sex scenes are softcore, often with the male participant forgetting to remove (or even unzip) their pants prior to penetrative sex but then that's putting the grind in grindhouse. The extras consist mainly of the theatrical trailer and interviews with a lot of the major players. The video interviews are fairly long and all in subtitled Italian with the interviewees expounding at great length upon their long storied careers in which, for the most part, it would seem this film was but a footnote. You can watch the movie with English or Italian dialogue with English subtitles on or off. The English subtitles are written to follow the Italian dialogue so they don't read at all similar to what's being said on the screen with dubbed in English. Also, the dubbing overall is kinda awful. The Italian dialogue was very fast-paced so, for instance, when Emanuelle's sitting around a campfire talking about something, in Italian she'd be saying, "I did this so I want this and now I'm gonna do this. Later I will do other things." Dubbed into English it sounds like "I did this....so I want this.....and now I'm gonna.....do this and....more." That's not a line from the movie, but it's an example of how the dub-job didn't work. At one point where Emanuelle is supposed to be telling someone "I won't hurt you" the dubbed in English has her stating simply "Hurt you." If you prefer your sleazy 70s cannibal movies to have remotely believable performances from the actors, I'd recommend watching this one in Italian with the English subtitles on. Or off if you can understand Italia. Good for you! The soundtrack cd is pretty awesome with Nico Fidenco's lush 70s softcore sounds and synthed up scary jungle atmosphere cues. It's 30 tracks long and sounds a lot better than the sound in the movie itself. Lots of good moody stuff. I suppose this is pretty comparable to Holocaust in the sense that it's got a great soundtrack.
I first saw "Emanuelle and the Last Cannibals" ("Emanuelle e gli ultimi cannibali") in Paris along the Champs-Élysée, where it was playing under the title "Viol dans les Tropiques," in the early 1980s. It was the first time that I had ever heard of the film's star, Laura Gemser, whose cinnamon-skinned, statuesque beauty leaves me at a loss for superlatives. As delivery systems for Gemser's eye-popping pulchritude, her films are worth parades, confetti, and a twenty-one-gun salute. But aesthetically speaking, the films themselves are poorly made. Joe D'Amato, maker of "Cannibals" and the director with whom Gemser is most closely associated, is more notable for his sensationalistic subject matter than his handling of a movie camera (the same cannot be said of Russ Meyer). But trying to warn audiences away from Laura Gemser films because they're poorly made is about as useful as warning people away from Häagen-Dazs because its fattening. Most viewers don't go to a Gemser movie to see a well-made film; they go to see a rapturously beautiful woman get herself into one sexual situation after another. On this level, "Emanuelle and the Last Cannibals" probably won't disappoint its core audience. However, the film is notable for its use of nudity in one scene. In this otherwise schlocky and cheesy exploitation movie, when the youngest member of an Amazon safari is kidnapped by South American cannibals, Laura/Emanuelle strips out of her clothes, pretends to be the cannibals' fertility goddess, and spirits the young kidnap victim away from her captors. What I liked about the scene (when I could ignore the condescending portrayal of the "cannibals") was that Emanuelle's nudity became an agent of her personal power. The cannibals were so in awe of her naked body, and the confidence with which she wielded it, that they surrendered their prisoner to her. In one of those rare moments in the movies, a woman's nakedness was not a mark of vulnerability or victimization -- but of strength. And the natives yielded to the erotic aura and power of her unadorned female form. In fact, the cannibals' awe of Laura Gemser's naked body mirrored my own. Also, immersing myself into the story, I got an electric charge out of the idea that a beautiful woman would deliberately drop trou and knowingly walk into such a dangerous situation. (The film's German title is "Nackt unter Kannibalen" -- literally "Naked Among the Cannibals.") And I got another charge out of the idea that she was able to escape that situation precisely because she was nude to begin with. Never underestimate the power of the naked female body. Gemser fans may laugh at comparing "Emanuelle and the Last Cannibals" to the films of Miklós Jancsó, the Hungarian art-film director ("Red Psalm," "Allegro Barbaro") who also frequently uses nudity as an element of power and resistance. But nakedness is so rarely portrayed as a symbol of strength in story-telling audiovisual media (no doubt because of nudity's taboo status in society) that thinking of similar scenes from films leaves the brain racked. This one scene from "Emanuelle and the Last Cannibals," the single moment of mesmerism in an otherwise tawdry movie, stands as a tribute to Laura Gemser and her bountiful beauty. Jancsó aside, I wish there were more scenes like this in non-sexploitation cinema.
3.0 out of 5 stars
Nudity and Cannibals and Nudity and Cannibals and Nudity...and story? The Reviews from The Bigscreen Series
Title: EMANUELLE AND THE LAST CANNIBALS (1977) Label: 88 FILMS Tranfer by: Italy ? Aspect Ratio: 1.85 : 1 88 FILMS released EMANUELLE AND THE LAST CANNIBALS as a BD set. Newly transferred from the original camera negative. I am not quite sure. By the looks this could be originally shot 16mm material, blown-up to 35mm for cinematic screening. EMANUELLE isnt really the finest addition to the genre of italian cannibal flicks. It has a remarkable lack of own visual style and a very ineffectual story. The many erotica segments seem uninspired and constrained. They just distract from the anyway very thin story. The soundtrack is nice and sometimes funny and sometimes it adds to the atmosphere. All in all a below average movie with much nudity and some thrown in gore segments. But hey! What do you expect from an italian movie title containing the name EMANUELLE and the word cannibals? Could be worse. There is a little bit of adventure in it and if you watch with distance EMANUELLE... can be entertaining somehow...sometimes...a...little...hmmm...at least... :) No Grain Baby, No Gain / The Transfer(s): For this transfer the original camera negative was used as source material and it obvious isnt in the very best condition. It wobbles a lot throughout the whole presentation. There is a visible fine grain structure left in brighter scenes which looks nicely filmic. These brighter segments offer a relatively good level of detail - having in mind that the quality of the source in general does not offer too many details. In darker scenes faces get a little too waxy and here in movement the grain appears slightly digital. All in all I think it is the result of the source material. Colors are worn out in general but I have the feeling that greens and reds are boosted up a little but I am unsure with that. Could be a result of the negative material development in the first place. EMANUELLE will not be priced for its stunningly beautiful cinematic visuals. It is a mixed bag between nicely filmic and slightly digital sometimes. But it is good regarding the size I watched it via projection. Cut and Run: The scanned source material is integral. NO noticeable inserts from different sources have been applied. I find this to be so damn important for a perfect filmic enjoyment. The movie is strongly uncut. Final Thoughts: Fans, curious ones, collectors and people with bigscreens or projectors may spent their money while they lower their expectations. I doubt this movie will look better in the near future in our home cinemas. There are no noteworthy extras on this BD set. Statement: My ratings refer exclusively to technical aspects of BD sets. The more filmic / photographic a movie looks and feels via bigscreen projections and the more authentic to its camera negative (or other sources) the movie is scanned and digitally treated afterwards, the higher the ratings will be. I do not rate movies at all. I just watch them and I think of them as artificial pieces of work where many efforts have been taken (including complex postproduction) to accomplish a vision of whatsoever kind. No movie ever shot has earned a 1 star rating on AMAZON or a 1 point rating on IMDB. Anyway, I could rate them because I have studied in private many publications about making films, their psychological impact, and the subject violence on film. And because I am a hobby photographer for years now I know much about frame compositions, color composition and different styles and so on. I am interested in the arts in general. I am also a hobby musician and sound designer with a little studio. So I even could rate the filmical scores. But hell...why should I? Things are what they are and nothing more or less. I like to think beyond mind constructed terms like good and bad. So called "objectivity" becomes fast diluted by personal preferences which results in comments of personal taste. And that should not be the base for a rating-scale which claims to be universal. When it comes to technical aspects thats a different kind of thing. DNR, edge enhancement or block noise and such things are obvious on big screens and we can speak of objectivity and measurability. All about Ev(m)e: I am a collector of films for about 27 Years, own about 3.000 films (would be far more, but I often sort out transfers I dont like) and watch them in a home-cinema room via bigscreen projection. I am also a hobby musician and photographer with some experience scanning camera negatives in high definitions. I am fascinated by films from reels since I am a kid and spent hours for hours in cinemas and visiting film festivals.
4.0 out of 5 stars
Not quite the last of the Cannibals.
I had this film already courtesy of Vipco from a few years back albeit, I never watched the film and understood that it was a cut version. However, I couldn't resist purchasing this latest Blue Ray release from '88 Films,' especially as it was proclaimed to be fully uncut. Having now viewed this feature it seems to be the genuine uncut version albeit the graphic gore scenes are mostly in the last quarter of the film prior to that the film is almost like a toss up between 'Black Emanuelle / Yellow Emanuelle' (also starring Laura Gemser) with quite a lot of the more-softer sex scenes splashed about. Given the year of this release (1977) it seems in retrospect that Ruggero Deodato's notorious 'Cannibal Holocaust' (1980) has been greatly influenced by this Joe D'Amato feature.
3.0 out of 5 stars
Laura Gemser - beautiful
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