Love Goddess Of The Cannibals

They say that sex sells, and this is the line that Shameless Screen Entertainment have taken for its second batch of releases. It’s been the best part of a year since Shameless have bought us some unadulterated Italian cinema, and now they are back. Last time round they bought us some classic thrillers or Giallo for those in the know, this time round they are focusing all about the sex, with some spicy genre bending titles. The first releases are Satan’s Baby Doll and Love Goddess Of The Cannibals, two movies that are available for the first time in the UK, and in versions that have longer prints than other countries.

Love Goddess Of The Cannibals is a 1978 offering from notorious director Joe D’Amato whose movies include the highly controversial Porno Holocaust and Erotic Nights Of The Living Dead. D’Amato’s output mainly focused on the sex and death category a monopoly that he himself dominated, the director made over 190 movies that centered on either or both categories. Both of the aforementioned titles were more over the top on what I prefer to refer as “knobs and knockers” features, being more like pornographic movies than anything else. And while being amusing in different ways, were both lacking a great deal in anything with real structure, seeing as Love Goddess Of The Cannibals comes from this era I settled down with some hesitation to watch the movie.

The movie starts in typical D’Amato fashion straight into the sex, a seduction at the hands of the beautiful Papaya (Melissa Chementi) that leads to a mouthful not easily forgotten, either for the viewer or the unlucky man in question. What follows from this is something a little edgy, and for the first time I got a little excited about a D’Amato movie, although obviously not in a way the director intended.

The story circles around an Atomic plant that has caused native inhabitants of a tropical paradise to become evicted from their homes. Papaya is a tool used by the locals for seducing the scientists and developers rendering them too weak to fight off whatever atrocity awaits them. For reporter Sara (Sirpa Lane) and plant employee Vincent (Maurice Poli) an encounter with Papaya leads them down a dark path of sacred ceremonies, voodoo, and death.

From a subject matter perspective Love Goddess Of The Cannibals (AKA Caribbean Papaya, Papaya Love Goddess Of The Cannibals) has a little more on the bone than the usual D’Amato feature, there is some clear story telling there, but its bogged down by boring soft porn sex at such an alarming rate it almost eclipses the story aspect. And as a story it’s a pretty good one, one that any torture porn director (the likes perhaps of Eli Roth) might embrace with open arms. When the story gets dark, it gets really dark and the movie is certainly full of bloody punches. Sadly at some points however the bloody punches are met by hollow after effects, when a key characters life is ended around an hour in after the “oh my God” aspect their very existence is completely eradicated from the movie, like a nasty editing accident. I’m not a D’Amato fan (or of you prefer Aristide Massaccesi) but this is certainly far better than his usual output.

Sadly the characters are all fairly one dimensional, the only character with any clarity played by the late Sirpa Lane (who rather interestingly died of Aids at the end of the 90’s) spends much of the movie sleeping with animal, vegetable or mineral for no apparent reason thus unbalancing any actual performance.

One thing that is of interest is the title of the movie, it’s a little on the deceptive side, anyone looking for a cannibal feast would be sadly upset by a movie that contains one heart eating scene, but otherwise features no cannibal activity at all. A more appropriate title might be Voodoo Love Goddess, but I guess Cannibals out sell Voodoo activity.

If you’re a fan of Italian cinema this is certainly one of those movies you will need to see in order to mentally complete a collection of classics, but it’s a disjointed, and slightly underwhelming entry. I’m certainly glad I saw it, and should I ever take up the directors chair I’d certainly have gained some story inspiration, but based on the fact I don’t and won’t I’d never watch the film again.

The DVD comes with a scattering of Trailers from the original 20 Shameless releases, a trailer for Satan’s Baby Doll, as well as some trailers for Love Goddess, and some alternate opening sequences.

Love Goddess Of The Cannibals is available for around £10.

Suspiria - Blu-ray

There was a time when the ultimate baptism of fire for any future partner would revolve around how they reacted when I showed them Suspiria. If they could stomach Suspiria without the exclamation “you’re really f**ked up!” that the relationship had any chance of surviving. For the uneducated Suspiria is a harsh vivid depiction for horror, for the more educated it was probably one of the tamer movies I had in my collection.

Dario Argento’s 1977 horror movie has always been one of the greatest assaults on the senses of any horror movie. With its lavish sets, vivid ear trembling Goblin soundtrack, and gross out prolonged gore; Suspiria is a sceptical on any level. To look at it is a thing of beauty, even if the story itself suffers some flaws. The 21^st Century has bought something new to visual entertainment, something that Argento’s spectacular movie was made for, the wonder that is high definition viewing.

The movie itself surrounds a young American woman who travels to an acclaimed school of dance in Europe. Susie Banyon (Jessica Harper) is immediately offended by the German manners she encounters, the taxi driver is rude and insensitive and her expected warm greeting at the school is just a locked door. But Susie witnesses something, a strange series of events, these events lead to the death of one of her potential classmates in a highly unusual manner. Susie’s stay is drenched in further unsociable behaviour, and more equally disturbing deaths. In a strange country, and the talk of witchcraft banded about like it’s perfectly acceptable, Susie’s stay slowly gets worse.

In 1977 and for considerable years after, few movies had quite the same effect as Suspiria. The movie clearly put Italian cinema on the map in respect of horror, and gave the very stagnant horror styling’s of American and British horror a much needed wake up call. This was a movie that ticked all the right boxes and gave horror movies across the world something they craved, a really good scare. Its amazing to think but it took over two decades for American cinema to catch up, now the sort of terror you receive in Suspiria is commonplace in cinema, but well ahead of its time.

Suspiria is quite unpleasant in its character depictions, everyone in the movie including the character of Susie is fairly unlikeable, all very blunt and to the point, with appalling attitudes and beliefs. The main negative result of this is that when characters die you are not particularly bothered. Its not all bad it’s the unpleasantness that also gives the movie part of its charm.

For me personally the most impressive aspects of the movie are its style and soundtrack. Argento goes out of his way to deliver some of the most impressive looking architecture you could ever wish to see on film, the colours are so vivid, the structures so over the top and overstated. The décor for the movie is incredibly “loud”, from the bright red exteriors, to the lavish blue velour interiors; you really would be incredibly hard to find something that looks anything like this.

Onto the movies score, performed and composed by Italian Prog. Rock band Goblin. The wonder of their score is that you do not need to see the movie, only hear the music to get a glimpse of exactly how terrifying the movie is. Suspiria is a movie that’s main mechanism is its score, from heavy pounding electric guitars to haunting vocal whispers. Never has a movie been so well served by its soundtrack, take the soundtrack away and you have less than half a movie.

From a special effects perspective Argento delivers something quite spectacular, victims are slowly bleed on razor sharp wire, throats are ripped out, and hearts stabbed in ripped open chest cavities. While the blood effects are over the top, they are representative of the movies other vivid colours. Like the depiction of horror Argento was decades ahead of more popular horror cinema, to the extent that it has taken all this time for English speaking movies to catch up.

I wont lie, the acting needs a little to be desired, and its not even the fault of dubbing. It could however be on the part of Argento’s direction however, trying to take the viewer on a more ghostly experience by making the performances a little less animated than they should. You don’t quite get the impression that a couple of the characters are fighting for their lives, and this is in some ways an inexcusable flaw.

Praise put aside Suspiria does have a bit of a problem, and that is after an initial viewing it never quite lives up to the excitement of the first viewing (unlike a lot of other Argento movies), personally I have found Suspiria quite difficult to watch the whole way through for a few years now. It still impresses with its gore, overwhelms you with its soundtrack but needed something new to take it forward. That “new” is the wonder of Blu-ray, the experience is like a fresh one, the definition of colour has never looked so amazing, the clarity of vision a shining example of why high definition came about, I would go as far as to say that Suspiria on high definition makes a viewing experience that will take a long time for anything to catch up with it or equalled. Imagine taking something that already looked a step ahead of other high definition movies, then ramped the visual feast up a level. Few movies matched up to Suspira on DVD, now I find it hard to believe anything will match up to the movie in its Blu-ray format. Photographs cannot capture what has happened here, neither can text, but believe me when I say you’ll never see anything like this, and even if you are not a fan of the horror genre, you’ll find some redeeming features here.

Special Features:

Fear At 400 Degrees: The Cine-Excess Of Suspiria:- This talking head feature has some quality talking heads, but is head butted full force by the banal ramblings of Xavier Mendik a cult movie specialist. Mendik is the variety of soul who will chuck as many big words as he possibly can into a sentence, whether it’s a because of a severe dictionary beating, or whether its to sound impressive it just spoils what would otherwise be a quality release. Talking like he lives in the world of the tongue twister, (Peter Piper springs to mind) Mendik baffles then mispronounces as many works as he can, leaving a thick dirty taste in my mouth. The documentary is further hindered by the bizarre ratio it’s presented with. After a beautiful crisp clear widescreen movie, you then get this bizarre, poor quality print documentary that sits centre screen surrounded by borders. The legend that is Kim Newman, Patricia McCormack, Norman J. Warren, Claudio Simonetti and last but no means least Dario Argento adds the quality element to this otherwise odd documentary.

A very real audio commentary finds Kim Newman and Alan Jones discussing the movie in a very unscripted manner, some commentaries are put together almost scripted. Here you believe your listening to two great friends discussing a movie that in a number of ways has changed their lives.

Finally Suspiria Perspectives is a series of conversations with the characters outlined in the main documentary, its kind of like watching the edited bits not quite suitable for the documentary, but on the whole is just more elaborate discussion of the wonders of Suspiria.

Suspiria is available only in the UK at present on the Blu-ray format.