Papaya dei Caraibi

I saw this for the first time recently after reading a review of BA_Harrison in which he praised the end twist which kinda made me see this one otherwise i aint no fan of such movies. Honestly, apart from the good boobs, the only saving grace is the twist. This movie doesnt even come close to the cannibal genre. Its very misleading. On a Caribbean island, a nuclear power plant is to be erected against the will of the natives. The natives use a tropical beauty in seducing n killing off the engineers of the project. A journalist gets involved into the act of murder, cannibalism (minor castration), drugs, rituals n sex after meeting an engineer.

It must be said that, alongside Jess Franco, Joe D'Amato is one of the undisputed kings of exploitation. His films such as Anthropophagous, Beyond the Darkness, Images in a Convent, Caligula: The Untold Story and his sleaze-filled Black Emanuelle sagas are bona fide classicks of the "genre". Papaya: Love Goddess of the Cannibals is one of his lesser known titles which has now been made available fully uncensored for the first time on DVD by the fine folks at Severin Films.

Maurice Poli (Rabid Dogs, Five Dolls for an August Moon) is part of a team of Geologists who, for reasons unexplained, are installing a nuclear reactor on a remote Caribbean island paradise. Before long Maurice unexpectedly bumps into his old reporter friend Sirpa Lane (La Bete) who just happens to be vacationing on the island. (Cue plenty of softcore sex as the old chums get reacquainted). When the couple picks up a hitchhiking native named Papaya, she tells them of an ancient annual ritual happening nearby and they decide to go along and check it out… and end up getting much more than they bargained for.

Papaya opens with probably one of the best scenes in the film; island sexpot Papaya seduces a bearded Geologist in his hut by rubbing fruit on his body then castrates him with her teeth. This is the first of two scenes of cannibalism in the film. The rest of it is pretty much held together with an abundance of sex set against a picturesque tropical backdrop and a vague plot which involves the natives protesting against having a nuclear reactor built on their island by having Papaya seduce and kill all the Geologists involved.

The title of the film is very misleading and the name on the actual print is Caribbean Papaya which makes much more sense because as mentioned above there are only two very brief scenes of cannibalism, the aforementioned one and another which is during the cannibal ritual and involves the eating of a sacrificial victims heart and some dead pigs being graphically gutted.

One thing there is no lack of though is sex & nudity - Nordic sleaze princess Sirpa Lane gets her kit off plenty and so does Melissa Chimenti who plays local temptress Papaya and looks a little like transvestite actor/tress Ajita Wilson which can be either a good or bad thing I guess depending on your orientation. The sex can sometimes be pretty graphic for softcore and there's plenty of variety from interracial couplings to threesomes and even a full-blown "cannibal" orgy underscored with some irresistibly funky disco beats.

Ultimately I cant say this is a must-have D'Amato film; it's basically a mediocre softcore fare with some vague cannibalism themes thrown in for added shock value. For Sirpa Lane fan-boys and/or D'Amato completists only.

So, how does pube fest Pappaya, Love Goddess of the Cannibals square up to Joe D'Amato's other pube fest, Emmanuale and the Last Cannibals then? Well, there's not much gut munching in this one, but plenty of carpet munching! I'm sorry. It's hard not to be crude after watching stuff like this. It's just that there's not much to Pappaya, Love Gouda and Cannibus at all except for people writhing about on top of each other. The story as it goes is that Sarah is a photographer on some Caribbean island who hooks up with Vincent, a guy who's there to build a nuclear reactor. For some reason the natives don't think this is a good idea and have put Pappaya on the case to sort things out.

Now, Pappaya endears herself to the audience by seducing a guy in hut, rubbing papaya fruit on his tummy banana, then chomping his knob off before having two guys set the hut on fire. This crispy corpse now ends up in Vincent's pad (just before he was going to get it on with Sarah), and before you know it, Pappaya turns up and starts working her charms on the two white folk.

They all end up at some ceremony where Dakkar (of the much better Zombie Flesh Eaters, Zombie Holocaust, and Ator: The Fighting Eagle) orders them to drink some freaky juice and then we see two dead pigs being gutted. Thanks for that Joe. At least they were dead to begin with.

If you think the plot was slow to begin with, prepare yourself for the last half of the film which becomes an interminable barrage of sleaze (more writhing, jelly water mangoes, Vincent's sixty-five year old balls) where nothing happens at all. And then you get a kind of 'twist' ending.

It's not a bad film per se (this is the guy who made Endgame and Anthropophagus Beast after all), but it's deadly slow and there's not much going on. I bet Sirpa Lane didn't even take any underwear when she went on location.

The titular character of Joe D'amato's Papaya, Love Goddess of the Cannibals is an exotic dark-skinned beauty played by Melissa Chimenti; I'm guessing that Laura Gemser wasn't available. Papaya belongs to a tribe who are fighting back against industrialists planning to build a nuclear reactor on their tropical island. Using sex as bait, Papaya lures her victims into deadly traps, her latest target being geologist Vincent (Maurice Poli). Vincent is drawn to a remote village where he and his companion, reporter Sara (Sirpa Lane - average face, great body), are forced to participate in a voodoo ritual, and are subsequently held captive, both falling under the erotic spell of Papaya.

Kicking off things with an oral castration, Papaya, Love Goddess of the Cannibals looks set to be one hell of a trashy treat for fans of Italian sleaze, but the film turns out to be far less brutal than expected, the bulk of the film focussing on the main characters sexual liaisons: Papaya, Vincent and Sara play 'pass the partner', with the leader of the island rebels joining in the fun later on. Anyone watching for splattery cannibalistic action will be sorely disappointed: apart from the opening emasculation, the only other gory moment comes during the the islander's 'round stone' ritual, where two dead pigs are eviscerated and a man has his heart cut out and eaten. Other than that, it's just an endless succession of soft-core coupling (albeit with full frontal from both sexes), and very little in the way of plot; while this might still appeal to many D'amato fans, I found it all rather dull and repetitive.

4.5/10, rounded up to 5 for the twist ending, the only original thing about the whole film, and for the funky disco music that gets the islanders naked and gyrating during the round stone ritual.

Papaya dei Caraibi simmers with a heavy tropical atmosphere and erotic undertones but never quite delivers on its potential, ultimately leaving the viewer adrift in a haze of slow-motion sensuality and half-formed ideas. Shot on location in the Caribbean, the film does benefit from a lush, sun-drenched visual palette that gives the impression of a fever dream caught between a travel brochure and a pulp novel. The cinematography leans into the exoticized terrain, favoring golden light, soft focus, and lingering close-ups that sometimes feel more voyeuristic than artistic. There are moments when the atmosphere clicks, briefly conjuring an almost hypnotic spell, but too often it's undercut by lazy editing and repetitive imagery that drains the energy from the screen.

The performances range from serviceable to wooden. Melissa Chimenti, who plays the enigmatic Papaya, certainly has the screen presence to anchor the film's erotic edge, and her portrayal does hint at deeper complexity. However, the script gives her little to work with beyond seductive stares and ritualistic gestures. The supporting cast appears more functional than inspired, drifting through their roles with a kind of disaffected detachment that mirrors the film's own lack of urgency. Dialogue scenes are flatly delivered and often poorly dubbed, stripping any emotional nuance from interactions that are already thin on substance.

What undermines Papaya dei Caraibi most is its confused tone. It flirts with horror, exploitation, and socio-political commentary, but never commits fully to any of them. The result is a muddled narrative wrapped in titillating imagery, where the sexual content is more prominent than the story itself. D'Amato, no stranger to mixing genre and eroticism, seems less interested in telling a coherent tale than in stringing together provocative scenes under a veil of island mysticism.