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".
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".