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That said Emanuelle and the Last Cannibals still has alot to offer from the surprisingly decent, occasionally haunting and often sensuous score by Nico Fidenco which works wonderfully within the context of the movie through to the cast who are far better than a film like this deserves. Fans of Euro schlock will definatly enjoy what D'Amato dishes up here and despite the two genres never really meshing together they don't conflict enough to completely derail the film meaning that this remains an interesting if ever so slightly predictable entry in the Italian exploitation sweepstakes which I am happy to finally see uncut in the UK. Picture: Emanuelle and the Last Cannibals makes it's Blu ray debut with an extremely problematic and uneven AVC encoded 1080p transfer that could be the worst to date in the 88 Films Italian Collection range. Presented in widescreen and framed at around 1. 5:1 this looks as if it was taken from a dated transfer with a decidedly flat and murky image that gets worse as the movie progresses. The opening could lead to a false sense of security as the sweeping ariel views of The Big Apple look relatively bright and clear and the interiors of the mental institution and press office appear somewhat solid despite a lack of fine object detail and noticeable textures. As to be expected the New York City segments are soft with occasional focusing problems (not to mention a lack of artistry) but this would have been inherent in the original and noticeably haphazard photography and I very much doubt these would ever come across as visually pleasing. The real problems with this transfer are raised once the action shifts to the jungle and the image takes on an unattractive and opressively dark feel not helped by some atrocious day-for night shots that barely look HD. Blacks are poor with extremely noticable crush resulting in a complete lack of shadow detail plus depth and dimensionality are sadly absent. The colour palette is mostly muted and uninspired (even for the jungle greens or blood reds) with a brownish yellow tint and skin tones are a little dark. Print damage is fairly light despite the rough overall appearance with a few scratches, dirt marks and stability issues and grain is visible to a certain extent but can look slightly thick and noisy. Audio: 88 Films provide two audio options in the form of both English and Italian dubs presented in uncompressed two channel 16bit LPCM at 1536kbps. I selected the English dub for my viewing experience occasionally switching between tracks just for comparison reasons. In both mixes dialogue is mostly clear and understandable but as to be expected possesses that detached canned trait often associated with European movies not to mention the requisite syncing problems.


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Nobody is ever missing. (DS, 33) The gruesome crimes of Bidart’s “Herbert White” are almost exactly those Berryman describes in this perhaps most-admired and most-often quoted of all the Dream Songs. Gluck ? ds that “more profoundly than any poet since Berryman (whom he in no other way resembles) Bidart explores individual guilt, the insoluble dilemma” (Gluck, 59). Yet Bidart’s fascination with deep-rooted guilt may both generate, and occlude, further debts to Berryman. Bidart resembles Henry’s creator both in imagining shocking situations and in pursuing sundered personae. Dan Chiasson writes that “Bidart’s model for speech is self-conscious performance”25; when asked which critical works inform his approach, Bidart names Francis Fergusson’s The Idea of a Theatre (Western, 227). Bidart, too, has been turning his separate poems and volumes into a uni? d work, reusing titles and invented forms (“The First Hour of the Night,” “The Second Hour of the Night”) as well as key words. Without exception! All. ALL. The senior population waits. The Songs toward the end of His Toy, His Dream, His Rest sum up the volume’s themes in funereal settings.