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Savage Man Savage Beast

A 1974 Italian mondo film on hunting and man-animal interaction.

Savage Man Savage Beast

Savage Man Savage Beast (Italian: Ultime grida dalla savana) is a 1974 Italian mondo documentary film co-produced, co-written, co-edited and co-directed by Antonio Climati and Mario Morra. It is the first film of their Savage Trilogy and is noted for its influence on exploitation cinema, particularly through cinematographic techniques later repeated in many mondo films. The film's central theme is hunting and the interaction between man and animal, and it claims to document real, bizarre, and violent behavior, though some scenes were staged.

Quick Facts

Director
Antonio Climati · Mario Morra
Writer
Antonio Climati · Mario Morra · Narration: · Alberto Moravia
Narrator
Giuseppe Rinaldi
Music
Carlo Savina
Cinematography
Antonio Climati
Distributor
Titanus Distribuzione
Released
24 October 1975
Runtime
94 minutes
Country
Italy
Language
Italian

Facts from the source article.

Lore & Background

The film was co-produced, co-written, co-edited and co-directed by Antonio Climati and Mario Morra. Climati drew influence from the mondo films of Gualtiero Jacopetti and Franco Prosperi, and the cinéma vérité style was previously used in Africa addio. Some scenes were directly lifted from Africa addio. The music was composed solely by Carlo Savina, resembling Riz Ortolani's score from Africa addio.

Reader's Guide

Savage Man Savage Beast is arguably the most notorious film of Climati and Morra's Savage Trilogy, which also includes Savana violenta and Dolce e selvaggio. It became influential in exploitation cinema through its cinematographic techniques, which were repeated in numerous subsequent mondo films. Two scenes—a lion attack on a tourist in Namibia and the murder of an indigenous man by mercenaries in South America—have gained notoriety as genuine footage of human death. The film also sparked a rivalry between the team of Climati and Morra and the brothers Alfredo and Angelo Castiglioni, both teams becoming forerunners of the second generation of mondo cinema. The film fared well in Asia, outgrossed in Hong Kong only by Jaws, and in Japan it was the second highest-grossing foreign film. Reception from mainstream critics was almost completely negative, but it is well accepted by critics in exploitation film circles.

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