After a volcanic eruption kills most of his tribe, the fierce Mali asserts leadership over the survivors and takes them on an arduous trek across a desert region to find a new land. A tribe of more advanced blonde-haired people welcomes them. Mali takes a mate from the other tribe and she gives birth to two twin boys – the peaceful and intelligent, fair-headed Toomak and the cruel, dark-haired Rool. As the two boys grow up, they compete for the role of tribal leader and the beautiful Nala.
I pinched most of this synopsis from elsewhere because without reading up on it, I wouldn’t have had the faintest clue about what was going on. I’m not sure how someone thought that a film about cavemen without any real dialogue for the entire duration would be a good thing but here we go with Creatures the World Forgot. Following on from their previous successes with One Million Years B.C. and When Dinosaurs Ruled the Earth, Hammer looked to make their trilogy of caveman films complete with a final instalment in the early 70s. However, Hammer was struggling to recapture its earlier successes during this period and were wanting to cut overheads in order to start clawing back money they were losing on lavish productions. So the studio decided early on to remove any notion of dinosaurs in this, leaving it a rather peculiar outing with lots of grunting, people in need of a good barber and a few bare breasts along the way.
On the flip side to this, Creatures the World Forgot is one of the more realistic caveman films out there simply for the fact that it doesn’t have the loincloth-wearing, spear-throwing savages up against a horde of hungry dinosaurs. There are some weird creatures in this but they’re smaller beasts designed to be tackled hand-to-hand rather than pluck up stragglers with their teeth – the least said about the man in the bear suit, the better. Ironically, in being the cheapest of the prehistoric films it made, Hammer turned this one in the most faithful to anthropology as it has been proven that millions of years separated the dinosaurs from man, despite countless fantasy films attempting to show otherwise. So no dinosaurs = realistic. However no dinosaurs = boredom as well.
The lack of dialogue is interesting. On one hand, I’ll give the filmmakers credit for at least trying to stand out from the crowd and make something original and innovative. On the other hand, the film fails miserably to excite or grip its audience because it is hard to get emotionally-involved with a bunch of mutes (or I should say grunters). It’s confusing at times trying to translate what is going on as multiple grunts and groans happen at once. Not helping things is a plot which moves across a number of years and which sees the young boys grow up. Too many similar-looking cavemen and cavewoman grace the screen, making it hard to identify any of them and the already-sparse narrative slowly winds its way along looking for something to showcase its characters. There are some hand-to-hand fights between individuals and between tribes, and there are moments where the cavemen have to face off against aforementioned creatures. But these lack any sense of real excitement or engagement – if we don’t know who is fighting who, why should we care?
It’s hard to really comment on the acting here though most of the cast can grunt and beat their chests like the best of them. I wonder how this was sold to agents when these actors signed up: “Get paid a few hundred quid for a few days shooting in Africa and you won’t have to say a word on camera.” There is no narration to kick the film off or end it either. The only notable star is Julie Ege, an actress that Hammer were pinning their hopes on to be the next big screen sex symbol. Whilst not in the same league as Raquel Welch in One Million Years B.C., at least Ege’s appearance looks rougher, readier and less dolled up to the eyes with make-up making it more realistic. To get a flavour of the type of audience this was marketed at in Germany, the sight of Ege in a fur-lined bikini was slapped on the posters under the reworded title of Sex Vor 6 Millionen Jahren. Minor titillation aside, the title has nothing to do with the eventual film.
Speaking of Africa, the film gains major points for looking the part. Shot in the Namibian desert, the cinematography is excellent, enhancing the ‘forgotten world’ vibe and really creating the sense that this is a snapshot from prehistory. The spectacular scenery doesn’t make up for the lack of anything remotely exciting happening on it however.
Often considered one of Hammer’s worst films, it’s easy to see why Creatures the World Forgot has been given that moniker. If this was the sort of film they were banking on bringing back the good times, then it is no wonder Hammer limped along for the next few years before they stopped making films at the end of the decade.