by Alain Deruelle
The three crooks and their young captive meet Mickey, the driver who's going to drive them across the border to Don Antonio's house. Mickey is a girl and I guess Mario thought she'd be a boy and decides to piss and moan about being wrong. They drive the car past the border guards (if these guys let every girl through who chats them up, the whole country must be just as stupid as Roberto and Mario). Mickey has just enough to tell these morons that they'll be driving through cannibal country before her car overheats and she decides to go out and get water AS IF SHE'D NEVER SAID ANYTHING AT ALL!!!! They capture her instantly and drag her back to their village (though the cannibals aren't quite as laughable as those in Franco's film, their village most certainly is). Mario starts the car up AS IF THERE WAS NOTHING WRONG WITH IT IN THE FIRST PLACE and they arrive at their destination.
Producer Daniel Lesoeur was if nothing else, a family man. His brother Marius helped him on most films, he put his daughter Anoushka in Franco’s Cannibals, and stole handfuls of footage from his earlier films. Much of the stock footage and native village stuff in this film was twice recycled after having already been in Cannibals, not to mention that the story is really just a slight alteration of Devil Hunter's already tired and silly plot. Much of the cast of Franco's two films are here in some form or other, whether recycled or not. Antonio Mayans, Burt Altman, Olivier Mathot, and Pamela Stanford were in either Cannibals or Devil Hunter. And half of the actors that weren't Lesoeur's stock players were people who never acted before or again; my guess is they were just friends of the director. So what effect does that have on the production? Have you or your friends ever tried making a movie when you were teenagers? Just got a camera, some buddies, and shot a movie in your backyard? That's what this movie is most like. The make-up, acting, dubbing, plotting, directing, editing - in fact, everything but the cannibal attacks which are still better than those in Cannibals, is blundering and amateurish to the utmost. Hence why when Lina and Mario get captured, we only see Mario get eaten; its implied that Lina has also been eaten, but it feels more like the director forgot she was in the movie. Everything that happens seems to happen for no reason other than it struck the director as something cool to film. With that in mind, it seems unfair to hold it up to the standards of regular filmmaking. That said, man oh man, is this some funny shit and because of the great transfer by the guys at Severin, all of its lunacy shows up loud and clear. If for no other reason than to hear Lina's first exchange with Roberto and Mario, you ought to seek this out.