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The Great Alligator (1979)

Il fiume del grande caimano (original title)
Not Rated | | Horror | 3 November 1979 (Italy)
Tourists on a tropical island anger an island god, who turns himself into a giant alligator and stalks them.

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Writers:

(story) (as Luigi Montefiore), | 3 more credits »
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Cast

Cast overview, first billed only:
...
Alice Brandt
...
Daniel Nessel
...
Joshua
...
Peter
Fabrizia Castagnoli ...
Minou's Mother
Enzo Fisichella ...
Maurice, lover of Minou's Mother
Lory Del Santo ...
Jane
Anny Papa ...
Laura
Bobby Rhodes ...
Joshua's forman
Clara Colosimo ...
Tourist
Peter Boom ...
Tourist With Rifle
Giulia D'Angelo ...
British Tourist
Marco Mastantuono ...
British Tourist
Piero Jossa
Marco Giannoni
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Storyline

A tourist resort in Africa finds itself at the mercy of a huge man-eating crocodile from a local native legend which the croc is the incarnation of a native god angered by the intrusion of the tourists on its nesting ground. After a new natives are killed and eaten, they naturally blame the tourists and set out to kill them while the survivors try to rally on a boat with the hungry crocodile in the water, and the blood-thirsty natives on land waiting for them. Written by Anonymous

Plot Summary | Add Synopsis

Plot Keywords:

native | tourist | island | survivor | boat | See All (48) »

Genres:

Horror

Certificate:

Not Rated | See all certifications »
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Language:

Release Date:

3 November 1979 (Italy)  »

Also Known As:

Alligator  »

Filming Locations:


Company Credits

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Technical Specs

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Color:

(Eastmancolor)

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

German Import DVD has a Super-8 Version (German language only), as a special feature on the disc. See more »

Connections

Featured in The 50 Worst Movies Ever Made (2004) See more »

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User Reviews

 
The not-so-great alligator
29 April 2011 | by (Australia) – See all my reviews

The inhabitants of a remote South American village worship a prehistoric alligator god that is part reptile and mostly mythology. When a resort opens to tourists, they run afoul the tribe and their protective 'god'. Fortunately, hotel manager Bach also holds a degree in archaeology and can interpret all the signals with astonishing accuracy. It's also helpful that some of the tribesman speak English remarkably well. Cassinelli is the no-nonsense photographer who begins to suspect the natives are restless, a plea that falls on the deaf ears of Mel Ferrer as the consortium's rather passive financier.

As for the alleged "great" alligator, looking more like a piece of driftwood with beaming torch-lights for eyes, it's far from an impressive or especially menacing looking specimen; even still, the sub-continental "natives" all have panic attacks at the mere thought of encountering the great rubber log. One-time Bond girl and Italian eco-horror staple Bach, quickly loses her safari suit, eventually succumbing to the locals as a sacrificial offering to their 'god', and it's left to the anti-hero of Martino's trilogy, the remarkably relaxed-looking Claudio Cassinelli, to do all the work himself. It's somewhat disconcerting to see Cassinelli alight from the helicopter in the film's opening sequence, knowing that he would later lose his life in a helicopter crash, while filming for Martino's "Hands of Steel" in 1985. A very capable actor, who was well equipped to move between western mainstream and Italian exploitation cinema.

Given that this movie was made back-to-back with Island of the Fishmen, the cast is virtually identical, and both Ferrer and Richard Johnson (in a meaningless cameo as a traumatized Christian brother) again dedicate their time, while genre fans will also recognize the brawny action-man Romano Puppo in a frivolous utility role. It's the least of Martino's jungle trilogy, with tired looking set-pieces (there's only so many times the same personnel can stage a human sacrifice and make it gripping), and extras in grass skirts courtesy of Bollywood rentals incorporated. With miniatures doing the work of the special effects department (thanks to Carlo De Marcels for lending his kids' toys) and the dim hope of redemption in Johnson's appearance confined to a pointless five-minute cameo, there's not a great deal to recommend "The Great Alligator".


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