Like many mondo films, the filmmakers claim to document real, bizarre and violent behavior and customs, although some scenes were actually staged.

[2] Two scenes in particular, a lion attack on a tourist in Namibia and the murder of an indigenous man by a group of mercenaries in South America, have gained notoriety as genuine footage of human death.

Religious ceremonies are also shown, where the African hunters proceed to suck fresh blood from the entrails of an antelope, and the Australian aborigines symbolically bury their prey in dust to placate the spirits of the animals.

Lastly, two brothers are arrested after partaking in a form of ritual post-mortem cannibalism of three of their relatives to acquire the hunting skills of the dead.

A collage of other conservation efforts is shown, including the tagging of white rhinoceroses, grizzly bears and elephants, which are shot with morphine darts.

Tourists on Africans safaris then come to view the conservation efforts, which the narrator claims to have seemingly negated the animals' violent instincts.

This effect is compared to modern day Eskimos, who no longer hunt since the discovery of oil in their homeland and have fallen into depression and melancholy.

Reflected in this is a montage of gun ownership, which the film relates to feelings of masculinity, followed by shots of illegal elephant poaching from Africa.

Attention shifts to large electronic probes in the Peruvian savanna used to measure the winds of El Niño for optimal fishing conditions.

This fish frenzy in South America is reflected in the salmon run in Alaska, where kodiak bears hunt and fight for prey.

The next animal collaborators are dogs, which hunt wild boar in Patagonia and a puma which has attacked a herd of sheep and a shepherd.

The cinéma vérité styled camera work used in Ultime grida dalla savana was previously used in Africa addio in a scene in which the film crew is nearly killed during an uprising in newly independent Ethiopia.

The music resembles Riz Ortolani's score from Africa addio, as most tracks are of a light and upbeat nature, particularly during the opening and closing credits.

Robert Firsching of Allmovie states: The reason for the film's notoriety, however, is a collection of grainy 16 mm images depicting the horrific round-up, mutilation, castration, and slaughter of a group of tribesmen by white mercenaries.

As appalling and revolting a sequence as ever depicted in a documentary film, the massacre footage marked something of a turning point in the development of the mondo subgenre, which moved increasingly toward snuff-like collections of death and mutilation.

Numerous scenes have been proven fake, including the anti-fox hunting campaign involving the fictional "Wild Fox Association" and the murder of the indigenous men by mercenaries.

[12][13] Although staged footage has been included since the early history of Mondo cinema, these scenes are nonetheless targets for critical abashment.

[4] Due to its graphic content, Ultime grida dalla savana has encountered censorship issues with certain countries' film boards.

Various scenes of animal cruelty, a race between cheetahs and ostriches, the lion attack, and the mercenaries' hunt of Amazonian natives were all cut from the British release.

The release of Ultime grida dalla savana initiated a rivalry between Climati and Morra and two other Italian Mondo film makers, Angelo and Alfredo Castiglioni.

[19] Firsching and Goodall also note that Ultime grida dalla savana was a transitional film within the genre,[9] as it, "provided a vital link between the 'classic' shockumentaries of the early-mid 1960s and the much crueller mondos of the mid 1970s and beyond.