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[Blu-ray Review] Sergio Martino Takes on Mondo Cinema with ‘The Mountain of the Cannibal God’

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My journey through the filmography of the legendary Italian director Sergio Martino continued recently with The Mountain of the Cannibal God. Before divulging my thoughts on this film specifically, I should point out that the Italian subgenre of cannibal films have really never done it for me. I love Italian horror in general, as I’ve discussed several times here on Bloody Disgusting, but the cannibal films have never really been my favorite. I don’t dislike them, mind you, they’re just not my favorite and not something I typically go out of my way to watch. I feel like this disclaimer is important because there could be a bit of bias that slips into my review as a result. Or maybe not, but either way at least the air is now clear.

Ursula Andress stars as a woman who ventures into the jungles of New Guinea to find her husband. Assisting her in her search is her brother (Antonio Marsina) and Professor Edward Foster (Stacy Keach). The belief is that her husband may have explored the mountain of Ra Ra Me, and if so that’s bad new. Ra Ra Me is believed by the locals to be a cursed mountain that none should dare enter. As such, the authorities have forbidden any expeditions there, making a rescue mission quite difficult.

After some violent run-ins with the wildlife in the jungle, the trio finally make it to the mountain where they meet Manolo (Claudio Cassinelli). Manolo is a jungle explorer out on his own that agrees to help them find the missing husband. It quickly turns out that all parties involved have an ulterior motive for heading out on this trek. None of those motives really matter when it turns out that the mountain is home to a tribe of bloodthirsty cannibals. Turns out those locals were right — this place is cursed.

I’ve thought about this movie a lot after watching it and my opinion on it has constantly wavered. One moment I think to myself, “Hey, maybe this is the movie that will turn by on the Italian cannibal films,” and the next I say, “Nah, this is precisely why I don’t care for these films.” Ultimately, I believe this film falls somewhere between those opposing positions. The Mountain of the Cannibal God has a lot of what I don’t like from this period of Italian exploitation, but it does have some slight variations that appeal to me.

The number one factor responsible for pulling me into this film is that despite its brutal nature, it’s quite beautiful to look at, which is a testament to the stunning work from director of photography, Giancarlo Ferrando. The film was shot on location in Sri Lanka and really takes advantage of the gorgeous, lush jungles the island has to offer. Later, when the film moves into the mountain for the more horrifying moments, Ferrando does an impressive job photographing the grim caves. While what is actually taking place on camera isn’t always pleasant to look at it, it’s hard not to be impressed by the craftsmanship that went into capturing it all.

Mountain also earns some extra credit for having bigger stars than most like-minded films from the era. Keach is the most notable of the bunch and for good reason. The man is a bonafide star and it’s hard not to be mesmerized by him every moment he crosses into frame. It is, however, Andress, that manages to steal the show here. She has a certain magnetism and it’s easy to see why she was the first ever Bond girl. I think better results could have been achieved by plopping her character, along with those of Keach and Cassinelli, into a more fun oriented action-adventure movie. For those intrigued with seeing more of Andress I recommend checking out some of her other work. Hammer’s She and 1967’s Casino Royale are two that stand out, but if you just want to have fun you can never go wrong with Andress opposite Elvis in Fun in Acapulco.

The biggest problems with this film, are the same problems that plague other Italian cannibal films — animal cruelty and the representation of native people. The latest Blu-ray release from Shameless Films, fortunately, tackles the first issue by pulling back on some of the violence towards animals. The film opens with a message that indicates Shameless, along with the filmmakers (Martino), “soften” some of the animal cruelty, despite re-inserting some previously cut footage. So this isn’t an uncut release, but a lot of the time the animal cruelty doesn’t add to the story, so kudos to Shameless and Martino for electing to forgo some of it for this release. The issue regarding natives, however, well there really isn’t any way around that. I understand you have to factor in when the film was made and consider that it is an exploitation film setting out to shock, but the treating of natives as nothing more than uncivilized savages because their world is different than the world most of us are accustom to isn’t great. It’s especially bad when you think about how indigenous people are still poorly treated to this day. I won’t begrudge anyone that is able to set these issues aside to enjoy these films more, but for me, they leave a bad taste.


Special Features

My recent viewing of The Mountain of the Cannibal God gave via the new region B Shameless Films Blu-ray. The release features a new 2K restoration and it looks wonderful. That new restoration played a big role in making this film easier for me to watch. In my head the Italian cannibal films are always very grimy and muddy looking, but as I stated earlier this film has outstanding jungle scenery and it really pops on this new transfer. As far as the extras go, there isn’t a lot here, but what is included is a nice touch. The film has an intro from Martino and then there is a short interview-esque segment where he discusses animal cruelty. Martino talks about how they filmed some stuff that he’s not very proud of and the producers put that footage in the cut for international distribution. He genuinely seems to be bothered by the footage of a monkey and an anaconda and it’s actually a touching, warming moment with a man known for creating some truly barbaric films.

The other big bonus included is a documentary called Cannibal Nightmare. This looks to be an older, making-of, doc centered specifically around Mountain, but there is some discussion of other Martino works throughout. This is a fun watch, with Martino and some of the other folks involved sharing their opinions on the film and its production.

The special features are topped off with some alternate Italian credits and a theatrical trailer.

The Mountain of the Cannibal God didn’t really do much to sway my overall viewpoint on Italian cannibal cinema. Even with my reservations, I was able to enjoy this, and my guess is that most horror fans are much higher on this than I am. If I were judging the film on just its own merits, I’d give this a 2.5/5, but considering the excellent quality of the Blu-ray release I have to bump this up to 3/5. If you’re a Martino completest, or just a fan of the Cannibal films, you’re going to want this Blu-ray.

The Mountain of the Cannibal God is available on region B Blu-ray from Shameless Films.

Chris Coffel is originally from Phoenix, AZ and now resides in Portland, OR. He once scored 26 goals in a game of FIFA. He likes the Phoenix Suns, Paul Simon and 'The 'Burbs.' Oh and cats. He also likes cats.

Books

‘In Search of Darkness’ Book Review: A Must-Have for ’80s Horror Fans

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In 2019, the documentary of 80s horror In Search of Darkness became an instant hit with horror fans. Now, a beautiful coffee table style companion book is available and is a must-own for all fans of one of horror’s greatest eras. The book is a walk down the horror aisle of the best mom and pop video store in the heyday of VHS, featuring full color photos, poster art, insightful essays and more. More than just a nostalgic throwback, In Search of Darkness is the kind of book I wish I’d had back in my years as a burgeoning horror fan but is also satisfying for the film fanatic I have become in the years since.

The format is beautifully and simply laid out, with at least a dozen (usually more) movies from each year of the decade presented in order of release accompanied by informative and insightful essays by the authors Heather Wixson and Patrick Bromley. Both authors have been mainstays of film journalism, specializing in horror, for many years. Wixson began her career in 2007 with Dread Central and has spent the past ten years as the Managing Editor of Daily Dead, from which she recently retired to focus on books and other projects. She has devoted the past several years to interviewing and writing books about the Make-up and Special Effects wizards that have brought so much to film over the years, specifically the horror genre.

Bromley is a film journalist and critic whose work can be found all over the place including right here on Bloody Disgusting. He recently provided the commentary for the Vinegar Syndrome release of The Texas Chainsaw Massacre 2 and is known as something of a Tobe Hooper expert. He is also the founder and editor of F this Movie!, an eclectic film website, and host of its accompanying podcast. So, to be clear, the authors know their stuff.

Wixson and Bromley divide writing duties roughly in half and though each has a distinctive voice, their writing styles dovetail beautifully into a cohesive whole. Each author plays to their strengths. Being familiar with both their work I didn’t even have to look at the bylines to know that Heather covered Christine and Terror in the Aisles and Patrick took on The Funhouse and Hollywood Chainsaw Hookers. Wixson’s passion for make-up effects is clear and comes through in many of her contributions. In general, Wixson takes on the “big” titles, the movies that defined the decade the most, and Bromley covers what the more cynical among us might call schlock, but he would likely call pure cinematic bliss. There are exceptions and surprises, of course, as there should be (Patrick covers The Shining for example). Each essay dives into the history behind the film, the major players involved, the reception, and legacy with often surprising aspects drawn from interviews with the filmmakers from various sources and insights from the authors.

For all their in-depth explorations of each film, in general the authors keep their critics’ hats safely stowed, keeping in mind that every entry on the book has its fans. In fact, they may well have sold me on finally hitting play on some of the schlockier offerings of the decade like Evilspeak, Nightbeast, and Blood Diner. Hell, I may even give The Beast Within a spin for shits and giggles. The point is that this book is a celebration through and through. The authors are honest about the critical receptions of the films, which were often unkind, and sometimes let their own opinions shine through, but recognize how beloved even the schlockiest films can become given time and availability. And that is an ongoing theme of In Search of Darkness. What may have been dismissed in its day often becomes revered as the years pass. Variations on the phrase “the years have been kind to…” referring to various maligned projects like The Thing, Halloween III: Season of the Witch, The Blob and many, many others, can be found throughout the book for good reason.

Each chapter of the book also includes a rundown of the top horror movies at the box office for the year as well as the top movies of all genres for context. The final page for each year highlights some of the major news and pop culture events including the top songs, albums, and television shows. There is a large central section that pays tribute to the talent involved with the greatest horror films of the 80s including directors, actors, effects artists, and more. This section includes brief biographies of John Carpenter, Wes Craven, Stephen King, Tom Savini, Barbara Crampton, Robert Englund, and many others presented in a dynamic and engaging fashion.

One of the beauties of the book is that it covers so much ground. Sure, you’ll find Friday the 13th, A Nightmare on Elm Street, Hellraiser, and the Halloween sequels in it, but you’ll also find deeper cuts like The Changeling, The Being, and Tetsuo: The Iron Man. I was happy to find the same love given to Frank Henenlotter and Larry Cohen as to George A. Romero and David Cronenberg. In other words, In Search of Darkness is extraordinarily eclectic, highlighting the diversity that truly defined what is often viewed as a homogenous decade. The authors make the case that the 80s was horror’s greatest decade, and with what they lay out throughout this book, it’s tough to argue against that. I even came across a film or two I hadn’t even heard of before, which has become increasingly rare as the years go by.

At just shy of $85, the cover price may give some horror hounds pause, but believe me, it’s worth every penny. This is a beautiful volume that every fan of 80s horror will want on their shelf or prominently displayed on their coffee table. Filled with favorite titles, hundreds of full color photos, insightful and informative writing, this is simply a must own.

You can order your copy now.

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