Back in the 70’s and 80’s, Italy seemed to be the low-budget knockoff capital of the world. Whenever a Hollywood genre movie becomes a huge hit, you can bet that there would be at least one Italian film made to exploit the popularity of the global blockbuster. Jaws was an easy target for exploitation compared to most big movies because its simple premise allowed for a stronger focus on suspense and character drama. If Steven Spielberg can extract cinematic gold from the modest idea of a great white shark threatening a resort town, then making a hit movie should be simple. All you need is a ferocious sea-dwelling animal and enough money to afford boats, scuba gear and a trip to a peaceful seaside town. Unfortunately, most Italian knockoffs of Jaws put a lot of effort into the aquatic creature to the detriment of every other element of the film. A textbook example of this is the subject of today’s review, 1977’s Tentacles.
Known as Tentacoli in Italy, the concept of Tentacles is more intriguing than the film itself. The film’s direction, provided by former Cannon Pictures CEO and Pirahna II producer Ovidio Assonitis, is very rudimentary, especially when the film’s antagonist, a deadly giant octopus, is offscreen. The only real suspense in the film comes from any scene involving the savage cephalopod, who feels like a terrifying presence thanks to some decent model work, clever editing by Angelo Curi and the skilled cinematography of Roberto D’Ettorre Piazzoli, who would work on another infamous knockoff of a famous blockbuster, Starcrash, sometime after this picture. The standouts of the oddly star-studded cast are the legendary John Huston (director and screenwriter of The Maltese Falcon) and Oscar winner Henry Fonda, who do the very best they can with the stilted direction and a hackneyed and inconsistent script written by Jerome Max, Escape from the Bronx scribe Tito Carpi and former Star Trek script editor Steven Carabatsos. Another Academy Award-winning star, Shelley Winters (The Diary of Anne Frank), shows up to waste her time in a cloying subplot that desperately attempts to evoke the sense of dread that surrounded Alex Kintner’s death scene in Jaws. The overall tone of Tentacles lacks any semblance of harmony between its horror elements and its playful humor which isn’t helped by Stelvio Cipriani’s bizarre, synth-heavy score and some weird scenes like Bo Hopkins (American Graffiti) giving a pep talk to a pair of killer whales that are sent to fight the octopus.
If you’re looking for a cheesy horror film that’s good fodder for a bad movie night with friends, I highly recommend Tentacles. It’s always fun to see a group of top-tier actors slumming it in a schlocky B-movie and this Jaws knockoff is no exception.