Piranha

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source: Piranha

This is just one of those films which cannot justify much of anything that happens. These people are going on a trek: the young girl wants to photograph animals. There really are no Piranhas, but I guess the psychotic hunter guy is the real piranha. Anyway, there are lots of animals and there is lots of driving. There is considerable anti-gun talk, but we all know where that is going. Toward the end, there's lots of action and a rape thrown in. Somebody must pay, and they do. It would have been nice to have a couple of piranhas to sort of fill the thing out. There were lots of monkeys. If you fast forward through the dull parts, you have a tight little five minutes.

And one of 'em are bad movies. The title, as it turns out, refers to a killer of the human male variety, not fish. This is not the Dante-directed "Piranha" of '78 (which did have the fish) and is also known as "Piranha, Piranha." A trio of photographers, 2 men and a woman, hook up with a local hunter/trapper named Caribe somewhere in the Amazon jungle. Unfortunately, they are not familiar with the film resume of William Smith, who plays Caribe; otherwise, they would have known immediately he is the villain of the piece. Smith may have also refused to film the ending or cut out before they finished filming (see end of this comment). As mentioned elsewhere, this pic has a lot of filler - lengthy shots of the local wildlife (birds) - and the central set piece, a motorcycle race, which goes on too long. The reason this gets a second star from me is, of course, William Smith, who can't really save this sludge, but once again proves why he was the 'go to' guy 30-35 years ago if you needed a really nasty villain; at his best, Smith could be really terrifying. He's the type who enjoys killing, possibly in sadistic fashion, and you get that sense from the evil grin he usually puts on when a mood strikes him. Physically, he's very imposing, and you know the other 3 characters are pretty much doomed within the first half-hour. This was what Smith brought to most of his roles; it seems hopeless for the other characters against this manlike monster. Unfortunately, the movie continues to muddy things up to the very end, as if a minute of footage was lost - a confusing, incomplete climax.

Released in 1972, "Piranha" chronicles events when a brother & sister photography team (Tom Simcox & Ahna Capri) enlist a guide (Peter Brown) for a tour in the jungle wilderness where they meet a friendly-but-mysterious hunter named Caribe (William Smith), who lives in the jungle. Caribe shows his true colors when he acts upon his Native namesake. People badmouth this movie because they fell prey to a bait-and-switch by DVD-makers or whomever. This is NOT the Roger Corman nature-runs-amok flick of the same name from 1978. Neither is it a creature feature at all. It's a realistic Venezuelan jungle adventure/thriller with hints of horror highlighted by genuine early 70's atmosphere. Despite being an adventure/thriller, the title "Piranha" does not misrepresent the movie, which is explained in the second half and ties into the plot (I'm not going to give it away). Another thing to keep in mind is that the movie was released in '72, three years before "Jaws" made nature-runs-amok flicks popular. So the filmmakers didn't title it "Piranha" with the intention of misleading fans of creatures-on-the-loose flicks. In any case, the cast is great, although they coulda done better with someone other than Capri in the female role, even though she plays the part well despite my slight misgivings. Simcox is a likable masculine protagonist and it's too bad he didn't become a star, although he had constant TV work. Brown is good too, but it's Smith who towers here, literally at 6'2", but in overweening taciturn charisma as well. Caribe seems like a cool guy to party with in the jungle and the quartet have some good times together, including a long (8.5 minute) motorcycle race, but the story takes a dark turn in the final act. I've seen a handful of Smith films & TV episodes over the years and this is by far his best role. Some complain about the "stock footage" of numerous animals, but it adds to the jungle atmospherics. Others complain about the thinness of the plot and the seeming padding with the animal, Native and diamond-panning footage, etc. This has caused some to criticize the movie as a "Venezuelan travelogue," but I enjoyed this aspect. Viewing the film IS like vacationing in Venezuela and I found it interesting and informative, but it's just a stage for the interesting low-key drama of the quartet. And, say what you will about the thin story, it gels together into a meaningful whole with interesting things to glean. If you're in the mood for a 60s-70's psychological adventure/thriller I recommend "Piranha." However, if you need an explosion every second and unrealistic action sequences to maintain your attention look elsewhere. The film runs 90 minutes and was shot entirely in Venezuela. GRADE: B+

Having watched 'Piranha, Piranha' just last night, when I look at film sites online about it, and see all of these so-called cinephiles so upset because they felt the title was a ripoff (don't worry, I'm not going to give any spoilers), and that the film is an unenjoyable mess, 'to each his own', I say, for I really enjoyed it. Don't get me wrong, it's no 'Piranha', 'Jaws' or 'Moby Dick', but for what it does have, and what it does try to do, I give full marks for. Like Jack Palance and Henry Silva, William Smith is one of those presences that no matter how much you hate, you have to respect, and deep down inside, no matter how good you are, or think you are, you wish you were. Nothing phases them, and they're in complete control of their destinies. If someone bothers them, they are eliminated, and if they want someone, they reach out and grab them. This is one of those films that fully endorses that mythology, in Smith's character, Caribe. The film is an intriguing blend of 'Deliverance' and 'The Most Dangerous Game'. It's no masterpiece by any stretch of the imagination, but it's nowhere near as bad as people make it out to be. And it's no ripoff to Dante's thriller, because it came out six years beforehand (and three years before 'Jaws' made this type of movie so popular). What is very difficult for me to grasp is that around this same time, in an even more desolate area of South America and with even more temperamental actors, Werner Herzog was making a masterpiece in 'Aguirre, the Wrath of God'...

"Piranha" is an very underrated little masterpiece. It starts out very slow and moves faster and faster until it comes to a very dramatic end. Ahna Capri (from "Enter the Dragon") plays the Photographer Terry who comes with her brother Art (70ies regular Tom Simcox) to Venzuela to shoot photos. Jim Pendrake (played by B-movie star Peter Brown, unforgotten as bad guy in "Foxy Brown") is their leader through the jungle. In a bar they meet the mysterious hunter Caribe, played by the greatest B-movie actor of all times, William Smith. Smiths performance is outstanding, one of his best ever. Caribe does not only hunt animals, he hunts everything that moves and that includes people, too. He invites Terry, Art and Jim into his house. While the man are away he rapes Terry. Art wants to revenge his sister and is the first who dies. Jim and Terry try to escape but Caribe follows them, burns down a village but they could escape him (but only this time). At Caribe's house it comes to a very dramatic showdown, he kills Jim until the hunter himself gets shot by his victim. "Piranha" plays with the idea of Manhunt which was a main theme in a classic movie that was made almost 40 years earlier: "The Most Dangerous Game" from 1932 from Meridian Cooper and Ernest B. Schoedsack, the makers of "King Kong" (1933). The beautiful landscape of Venezuela stands in confrontation to the heavy violence of his movie. It's a very rare and underrated movie!

Desperately seeking diamonds, a band of adventurers discover that life in the wild is not all fun and games. After traveling throughout the land on motorcycles and seeing several scenes of birds, they stop at a local pub to drink heavily and absorb the culture. As they become engulfed into the culture and the land, they gather the aid of a hunter named Caribe that has not only mastered a bike race, but also harbors a darker plan. When they arrive to their destination the sight of diamonds turns to dust as these friends are forced to play prey and predator with an evil that wears a familiar face. William Gibson directs this poorly acted, scripted, and pause-ridden suspense thriller that is easily lost in the shuffle of modern day cinema. The low budget is very obvious as Gibson riddles the film with overlapping scenes of birds, birds, and more birds to fill time. We are even shown unending scenes of diamond mining and bike racing, leaving nothing to develop characters or story. We are even shorted on the title of this film as there are only two mentions of the flesh eating fish. Back-stories are underdeveloped leaving us a lack of emotion for the main characters and building an emotionless climax that only gave us hope that the film was over. Nothing was worth saving in this film, unless you enjoy studying birds from different countries (outside of the one that the film takes place). Gibson missed the entire focus of this film and the final result reminds us of a preschooler's first collage where there were tons of images, massive amounts of glue, and no real structure. Grade: * out of ****

This movie starts out as if it were a comedy. It almost appears that the actors are reading off of cue cards, especially in the airport sequence. William Smith plays the role of "Caribe," a hunter, who is quite twisted and deranged. Smith seems to always play villains such as in "The Ultimate Warrior" (1975), and "The Frisco Kid" (1979) to name a few, although in this film the villainous role seems laughable. This is one of those films where senseless things take place only to fill up screen time, such as the girl chasing sequence at the beginning, and the long silly motorcycle race. I give this film 1/10. I would have liked to see this film on "Mystery Science Theatre" it would have been hilarious.

One of the greatest lessons I ever had in how to watch a movie happened this way: I was working in Roger Corman's offices, like so many other wanabees before and since, I was interning and trying to figure out how it all worked and how to make myself indispensable (hah!). One afternoon Julie Corman, Roger Corman's wife and a producer in her own right, asked me to load up a tape. I'm not sure why she wanted to watch it. I got the impression it was a student film or a show reel, something like that, some sort of calling card. Whatever the reasons she had to see it, the only free video machine in the offices at the time happened to be in the room I was working in, and I was the nearest person to the machine. I started the tape. Fade in: On screen a figure sat at a desk facing the camera. Behind him, screen left, was a door that opened into the room. Against the far wall was a coat rack. A second character entered through the door and started talking. The first character, the guy at the desk, turned round to reply, (this is all one take, static camera, there are no cuts pans or dolly shots. Just one locked off camera). The second character turned to hang his coat on the coat rack and delivered his next line. Julie Corman said "I've seen enough." and left the room. What she had seen in the ten seconds of footage she had watched was that the director was an idiot. Opening with two characters who immediately turned their backs to the camera delivering lines? Nope, sorry. Next! That's how long you've got. Ten seconds. Cock it up in the opening shot and you are dead. I was reminded of that moment while I watched the opening of this piece of crap. After an interminably long travelogue of jungle we see several monkeys apparently throwing themselves into cages. A man carrying a gun laughs. A jet liner lands and we see it taxi the whole way to the terminal. God this is boring! Cut to the interior of the Airport. Two men meet. Aha! Something is happening! They shake hands. Cut to a different angle of the two men - and the director crosses the line. The first two shots of the movie that have any kind of spatial relationship with each other and the guy has cocked up. 'Not Crossing The line' is one of those basic rules of movie grammar that keeps the characters from jumping about from side to side on the screen and confusing the audience. Audiences don't like to be confused. Mystified? Baffled? Puzzled and intrigued? Yes. Audiences love all of those. Confused? No. You loose them. They walk out. 'Not Crossing The line' is one of those things they pound into you at film school, or should. It's basic stuff. It's not an inviolable rule (there are no inviolable rules) directors break it all the time - but not on the first real cut of the movie. I thought, "I've seen enough". And switched off.