Joe D'Amato was a busy man. In the late 70s, the Italian film industry was basically a factory for whatever the public was currently obsessed with. If people liked cowboys, they made a hundred westerns. If they liked sharks, they made rip-offs of Jaws. But by 1977, audiences wanted something grittier, sweatier, and way more taboo. They wanted cannibal films. And they wanted Emanuelle. Not the "Emmanuelle" with two m's—the Sylvia Kristel version that played in upscale theaters—but the "Black Emanuelle" played by the iconic Laura Gemser.
When you sit down to watch Emanuelle and the Last Cannibals, you aren't just watching a movie. You're watching a collision of genres. It’s an erotica film. It’s an adventure movie. It’s a gut-wrenching gore-fest. Honestly, it’s a bit of a mess, but that’s exactly why people are still talking about it almost fifty years later. It captures a specific, lawless era of filmmaking in Rome where the only rule was "make sure the poster looks crazy."
Most people get this movie confused with the dozens of other jungle-based shockers from the same period. It's easy to see why. You have the Amazon setting (actually shot in Italy and partly in the Americas), the "civilized" reporter venturing into the wild, and the inevitable discovery of a tribe that hasn't quite given up their taste for human flesh. But D’Amato, whose real name was Aristide Massaccesi, had a different vibe. He wasn’t trying to make a "serious" documentary-style film like Cannibal Holocaust. He wanted a high-octane blend of sex and violence that felt like a fever dream.
What Really Happened with Emanuelle and the Last Cannibals
The plot is straightforward, or at least it starts that way. Laura Gemser plays Emanuelle, an undercover journalist who spots a mysterious tattoo on a girl in a mental hospital. This leads her into the heart of the Amazon. She’s joined by Professor Mark Lester, played by Gabriele Tinti, who was actually Gemser’s real-life husband. There’s something kinda fascinating about watching a real married couple navigate a script this insane. They end up deep in the jungle, searching for the "Manaka" tribe, and—surprise, surprise—the tribe isn't exactly welcoming.
The film is famous (or infamous) for its gore. D'Amato didn't hold back. We're talking about scenes that got the movie banned in multiple countries. In the UK, it was caught up in the "Video Nasties" panic of the 1980s. The Director of Public Prosecutions put it on the list of films that could lead to a hefty fine or jail time just for owning a copy. If you've seen the scene involving the "surgery" or the various tribal rituals, you know why. It's stomach-turning.
Yet, there is a weird beauty to it. Joe D’Amato was a master cinematographer before he became a director. He knew how to light a scene. Even when something horrific is happening on screen, the colors are lush. The greens of the jungle pop. The sweat on the actors' faces looks real because it probably was; these sets were notoriously hot and uncomfortable. It’s this contrast between the sleazy subject matter and the professional camera work that keeps film historians coming back to it.
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The Laura Gemser Factor
You can't talk about Emanuelle and the Last Cannibals without talking about Laura Gemser. She was a massive star in the exploitation circuit. Unlike many of her contemporaries, Gemser had this incredible, quiet dignity. Even in the most exploitative situations, she carries herself with a grace that makes the character feel smarter than the movie around her.
She wasn't just a "scream queen." She was a global brand. By the time they made this cannibal entry, the Black Emanuelle series was already a juggernaut. They had sent her to New York, Tokyo, and all over the world. Bringing her into the cannibal subgenre was a calculated business move. It was like a crossover episode of your favorite show, but with more spears and fewer commercial breaks.
The Controversies That Won't Die
Is it racist? Is it sexist? Is it just plain trash? These are the questions that follow this movie everywhere. Honestly, it’s all of the above and more. The depiction of indigenous people is, by modern standards, incredibly problematic. It leans heavily into "savage" tropes that were common in 70s Italian cinema. Critics like Kim Newman have often pointed out that these films weren't trying to be ethnographic studies; they were selling a fantasy of the "unknown."
Then there's the animal cruelty. This is the hardest part for modern audiences to stomach. Like many of its peers—Maniac or Cannibal Ferox—the movie featured real animal deaths on camera. It was a trend started by Mondo Cane in the 60s. Today, we have CGI and strict PETA oversight, but in 1977 in the Italian jungle-flick scene? It was the Wild West. Most modern Blu-ray releases from companies like Severin Films actually offer "animal-friendly" cuts of the movie, which tells you everything you need to know about how those scenes have aged.
Why the Soundtrack is Actually a Masterpiece
Nico Fidenco. Remember that name. He’s the guy who wrote the music for this movie, and it is genuinely incredible. While the screen is filled with chaos, the music is often this breezy, loungey, disco-infused bliss. It shouldn't work. It’s like playing a bossa nova track during a car crash.
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But it does work.
The score creates this surreal atmosphere where the horror feels disconnected from reality. It makes the movie feel like a vacation gone horribly wrong. Collectors pay big money for the vinyl pressings of Fidenco’s work on the Emanuelle series. It’s a highlight of the "Library Music" genre that has seen a massive resurgence lately.
The Different Cuts and Titles
If you’re looking for this movie, you might find it under a dozen different names. Trap Them and Kill Them. Emanuelle’s Amazons. Wild Kat. This was a common tactic for distributors. If a movie got banned under one name, they’d just change the title and the poster and try again.
- The Italian Cut: Usually the most complete and "artistic" version.
- The US Grindhouse Cut: Heavily edited for pace and sometimes censored.
- The UK Video Nasty Version: Often missing the most extreme gore.
Tracking down the "definitive" version used to be a hobby for dedicated cinephiles in the pre-internet days. Now, thanks to 4K restorations, we can see every drop of fake blood in high definition. It’s a weird time to be a fan of cult cinema.
The Legacy of Joe D’Amato
D’Amato is a polarizing figure. Some see him as a hack who would film anything for a buck. Others see him as a misunderstood auteur of the "extreme." He directed hundreds of movies. Literally hundreds. He worked in every genre imaginable: horror, porn, peplum, comedy, and westerns.
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Emanuelle and the Last Cannibals stands as his most famous contribution to the cannibal genre. It’s more polished than Burial Ground but nastier than his later erotic work. It’s the perfect midpoint of his career. It shows a man who knew exactly what his audience wanted and gave it to them without an ounce of hesitation.
If you’re planning on watching it for the first time, go in with your eyes open. It’s a product of its time. It’s offensive, it’s visually striking, and it’s deeply weird. It’s not "good" in the traditional sense, but it is unforgettable.
How to Approach This Movie Today
If you're diving into the world of 70s Italian exploitation, don't start here. Start with something a bit tamer. But if you're already familiar with the works of Lucio Fulci or Umberto Lenzi, then this is the logical next step.
- Check the version: Look for the Severin Films or 88 Films releases. They have the best transfers and include interviews with the cast and crew that provide much-needed context.
- Listen to the score: Seriously, pay attention to Nico Fidenco’s music. It’s the best part of the movie.
- Research the "Video Nasty" history: Understanding the legal battles this movie faced in the UK adds a layer of historical interest to the viewing experience.
- Contextualize the "Emanuelle" series: Remember that this is just one entry in a massive franchise. Laura Gemser played this character in over a dozen films, most of which have nothing to do with cannibals.
Ultimately, the movie remains a landmark of "sleaze" cinema. It’s a reminder of a time when movies were dangerous, cheaply made, and totally unafraid to break every social taboo in the book. Whether you love it or hate it, you can't deny its impact on the horror genre. It’s a raw, unfiltered look at the dark side of 70s pop culture. It’s messy, it’s bloody, and it’s pure D’Amato.
To truly understand the cult surrounding this film, one must look past the surface-level shocks. It represents a era where the line between art and exploitation was non-existent. For those interested in the history of censorship, the evolution of the "final girl" trope, or the strange intersections of global cinema, it is an essential, if difficult, watch. Be prepared for a journey into the heart of the jungle that you won't soon forget. It is a cinematic experience that defies easy categorization and continues to challenge audiences decades after its initial release. Enjoy the ride, but maybe don't eat lunch while watching.