See!! The rogue dairy industry foiled in their despicable attempt to smuggle powdered milk into Thailand!!
video codec: XviD ISO MPEG-4
video bitrate: 1190kbps
bits per pixel: 0.191
frame count: 118681
audio codec: 0x0055 MPEG-1 Layer 3
audio bitrate: 128kbps CBR
audio channels: 2
audio tracks: 2 [1-Greek, 2-Spanish]
A motherfucking brutal
drugsploitation shocku that fucks you in the face right off the bat with a delectable dead baby treat followed by a montage of deformed crack babies. Then it's off to some South American tropics for a cocaine history lesson, then stopping by for a quick puff at the local Thai opium den, before it's more dead babies at the morgue again--and these ones come with a yummy snowy surprise on the inside, like cute little ethnic Kinder Eggs. Then it's off to see some coke refinement, followed by more corporeal heroin smuggling, this time in adult form. Just in case we still haven't gotten the point, then there's shots of various crackheads spazzing the fuck out, and then, just to drill the point home, a few shots of monkeys hopped up on the good stuff for good measure, all to finally end in the inevitable climax of an OD.
...or in other words: Dead Babies + Monkeys + Cocaine == Sexy Fun Time Moving Picture!!
Here's an excerpt from an article about the flick (as well as Massi's other mondos) from a 1999 issue of the dago zine Nocturno
And here's an English translation of the above by ironmaster:
|Although Stelvio Massi's first experience in the field of documentary loses itself literally at the dawn of this tradition (in 1953, in fact, as a very young man, he worked on the set of the famous "Magia verde" [literally: Green Magic]), the parenthesis opened by the director in the second half of the 80s, with his friend and producer Gabriele Crisanti, is to be considered a product of mere chance.|
It was the latter who proposed to him, without spending much thought/time on the planning, a short trip to Colombia to shoot a series of documentaries on the world of drugs, an experience that got unexpectedly protracted (the stay originally was to last one week, but became six months in the process), and that brought with it the exposure of 40.000 metres of film.
From this material, gathered between 1984 and 1985, the first film to be edited was the feature length film "Droga - fiume senza ritorno" (literally: Drug - river of no return), a disquieting investigation into the social effects of narcotic substances in modern civilization.
Impressing and well researched, the film did not find a distributor on national territory [note: meaning Italy] and was confined to the limbo of the unreleased (a projection in Italian schools was also proposed - and obviously refused -, whereas abroad, the movie sold moderately well).
However, the strong point of "Droga" manifested itself in the roughness of its images and testimonies, in the searing picture - the more catering to a wide audience the more it was legitimate - which it painted of a heinous and sometimes hidden reality; the case of Thea, Dutch baby-prostitute killed at the age of 6 by an overdose of cocaine, sufficiently represents the efficacy of its contents.
The obstructionism which showed itself when confronted with the work drove the producers to attempt, in vain, a series of further rather laboured 'christenings': "Crack - l'insidia del 2000" ("Crack - the ambush of the year 2000") was the following title, which by the way was only found on the final copy, the film having passed the censor's office - without vetos - in 1989 as "Droga sterco di Dio" (literally: Drug, muck of God).
The conception of the first film gave rise to the simultaneous production of a second investigation - an idea born by the same Crisanti - of merely sensationalist character: "Mondo cane oggi - l'orrore continua" ("Dog world today - the horror continues"). His creation was built largely on the large heap of material gathered for "Droga" and made complete in a second step with new shoots on the Asian continent and in America.
Although, differently from the first, "Mondo cane oggi" was only a mirror product that did not add anything to the already exhausted repertory of the mondo movies, it almost immediately found a channel of distribution; one reason partly justified its emergence: Bitto Albertini, with his mediocre "Nudo e crudele" (literally: "Naked and cruel"), in the season of 1984/85 had managed to rake in an exorbitant sum. The box office numbers of "Mondo cane oggi" confirmed the interest of a certain public for this type of rough "cinema vérité ", a genre in which most of the producers did not believe any longer.
Not having enough of it, Gabriele Crisanti managed to piece together a third chapter in 1988, on which Massi, however, refused to collaborate, although he was the author of large parts of the shots: "Mondo cane 2000: l'incredibile" (literally: "Dog world 2000: the incredible"). Edited from the by now meatless residues of the two preceding movies, "Mondo cane 2000" constituted by its very nature the absolute end of the Italian mondo movie, the last of the genre's pictures to be distributed to the theatres. Exhausted were the possibilites of the big screen.
Crisanti still managed to channel the outcome of the three works, dismembered and patched together again with new narration, into a series of propositions for the video market commissioned by Number One video; the first publication, named "Sporco mondo, sporca gente" ("Filthy world, filthy people") and distributed in 1994, limited itself to bringing forward again a selection of the best sequences accompanied by a narration which - a strange case - is superior to the one on the last two films; the second publication, distributed in 1997, was in turn split up in a series of 10 shorts centering on the crime organizations of the world, and which were obviously represented a "rereading" of the same material cleaned of the stronger sequences with the goal of reaching a wider range of spectators. Finally, it appears that the same producer also produced by himself a fourth chapter destined for the big screens in the countries of South America: a saga to give George Lucas the goosebumps.
The 10 aforementioned shorts that the article alludes to but doesn't name are called 'Crimen: Monsters of Crime
(and indeed contain a chapter on drugs), and that "fourth chapter" is the mondo mash-up Mondo Ossesso
, purportedly a mixture of scenes from Massi's Drugs
and Racca's Tomboy
, compiled by Susumu Saegusa for the notorious V&R Planning, the company responsible for countless Jap shockus and distributed on video through their MAD Video label.
And lest we forget, here's the utterly useless IMDb entry for the flick: http://www.imdb.com/title/tt0150400/
: Droga - fiume senza ritorno, Crack - l'insidia del 2000, Droga sterco di Dio, Narkotika: Potami horis epistrofi, Droga: Viaje sin Regreso
language & subs
This copy is dubbed in Greek without any subs, though I've also muxed in a Spanish audio track as well. This second track is notable for, at least at times, using a different score.
And now for a mini-gallery of various cover art for the flick...
Distributed on VHS in Japan by SPO.
Current licensing rights to the film are apparently owned by the UK-based The Kruger Organisation, which lists the film in their catalog
as "An outstanding and often grewsome documentary of feature length pertaining to the World wide battle against the world’s most serious problem."
A Spanish poster, tastefully depicting the best scene in the flick:
Here's another Spanish VHS cover...
Curiously enough, the flick seems to have gotten some mileage in the latino lands, being shown to schoolkids in Colombia
and by church groups in Chile
(another Chilean dude
also tried to have the flick shown in schools).
And finally, this dinky little jpg shows the Greek Videosonic VHS, from which this very rip is sourced :).
Ripped from a bootleg copy of the Greek Videosonic VHS release, the video quality is nice 'n' gritty (and better than the Spanish rip floating around).
Please do share this film on other trackers, usenet, ed2k, and everywhere else. Spread the films like AIDS.