| Robert Kerman | ... | Harold Monroe | |
| Francesca Ciardi | ... | Faye Daniels | |
| Perry Pirkanen | ... | Jack Anders | |
| Luca Barbareschi | ... | Mark Tomaso (as Luca Giorgio Barbareschi) | |
| Salvatore Basile | ... | Chaco Losojos | |
| Ricardo Fuentes | ... | Felipe Ocanya | |
| Carl Gabriel Yorke | ... | Alan Yates (as Gabriel Yorke) | |
| Paolo Paoloni | ... | Chief NY Executive | |
| Lionello Pio Di Savoia | ... | Executive (as Pio Di Savoia) | |
| Luigina Rocchi | ... | Native | |
| rest of cast listed alphabetically: | |||
| Lucia Costantini | ... | Adulteress (uncredited) | |
| Ruggero Deodato | ... | Man Outside University (uncredited) | |
| Edward Mannix | ... | Harold Monroe (voice) (uncredited) | |
| Enrico Papa | ... | TV Show Host (uncredited) | |
| Gregory Snegoff | ... | TV Show Host (voice) (uncredited) | |
Directed by | |||
| Ruggero Deodato | |||
Writing credits | ||
| Gianfranco Clerici | (story and screenplay) | |
Produced by | |||
| Franco Di Nunzio | .... | producer | |
| Franco Palaggi | .... | producer | |
Original Music by | |||
| Riz Ortolani | |||
Cinematography by | |||
| Sergio D'Offizi | |||
Film Editing by | |||
| Vincenzo Tomassi | |||
Production Design by | |||
| Massimo Antonello Geleng | |||
Makeup Department | |||
| Nicola Catalani | .... | assistant makeup artist | |
| Massimo Giustini | .... | makeup artist | |
Production Management | |||
| Giovanni Masini | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Salvatore Basile | .... | assistant director | |
| Lamberto Bava | .... | assistant director (unconfirmed) | |
Art Department | |||
| Rodolfo Ruzza | .... | property master | |
Sound Department | |||
| Gianni D'Amico | .... | sound mixer | |
| Bruno Longobardo | .... | sound mixer | |
| Raul Montesanti | .... | sound engineer | |
| Umberto Montesanti | .... | boom operator | |
Special Effects by | |||
| Aldo Gasparri | .... | special effects | |
Camera and Electrical Department | |||
| Ennio Brizzolari | .... | key grip | |
| Paolo Cavicchioli | .... | still photographer (as Paolo Maria Cavicchioli) | |
| Roberto Forges Davanzati | .... | camera operator | |
| Enrico Maggi | .... | assistant camera | |
| Luigi Pasqualini | .... | chief electrician | |
Costume and Wardrobe Department | |||
| Lucia Costantini | .... | wardrober | |
Editorial Department | |||
| Rita Antonelli | .... | assistant editor | |
| Luciano Vittori | .... | color consultant | |
Other crew | |||
| Vito Di Bari | .... | production secretary | |
| Armando Pace | .... | cutting room assistant | |
| Rossana Rocchi | .... | continuity | |
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| Cannibal ferox | Lo squartatore di New York | Srpski film | Ta paidia tou Diavolou | Koroshiya 1 |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Adventure section | IMDb Italy section |
The second word in the title is important. Ruggero Deodato's 1979 meta-snuff movie, far more than a chichi trinket like THE NIGHT PORTER, is the real Holocaust porn. Here the trigger is not frights, or even shocks, or even splatter. Atrocity is the name of Deodato's game--and the genius of this monsterpiece is that Deodato horrifyingly delivers the goods at the same time he coruscates his audience and himself.
This is a hard movie to recommend to any but those who would find it anyway; but it must be said that Deodato here created the most rigorous, critical, almost philosophical movie in the Italian horror canon. The audience's lust for Third World exoticism and envelope-pushing violence are gratified and held up to the painful light of day--and not necessarily in that order. The overwhelming feeling of this picture is of a pornographer pleading, "Stop me before I shoot again."
The conceit of the movie--an academic's journey into the Amazon to find the remains of a Western film crew devoured by cannibals--permits Deodato more Pirandellian boxes within boxes than a double bill of BLOWUP and THE PLAYER. But the atmosphere of the movie, despite scenes of cruelty so extreme you sometimes want to put out your eyeballs, is relentlessly elegiac--capped by Riz Ortolani's theme music. (It can be said with certainty that no romantic ballad was ever used underneath what Deodato stages here.)
CANNIBAL HOLOCAUST is the farthest edge of Extreme Cinema--as in Extreme Sports. It feels stuntlike, yet the combination of amplified bloodlust and world-weary regret is unique. Like Lucio Fulci's even more personal CAT IN THE BRAIN, it's an affecting enactment of an exploitation artist's conscience tearing apart.
It might make good viewing for Y2K Eve: it puts together the century's two salient words--holocaust and entertainment--as no other film did before or since.