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Trope was cut/disambiguated due to cleanup
Deleted line(s) 27 (click to see context) :
* HeroesWantRedheads: Omu has striking red hair and attracts the affections of Engor pretty much immediately.
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Spelling/grammar fix(es), General clarification on works content
Changed line(s) 21 (click to see context) from:
* DisneyDeath: The young men of Wongo survive the attack on their village; they, like the women, decide to go to Goona for protection.
to:
* DisneyDeath: The young men of Wongo survive seemingly disappear after the attack on their village; once the women have departed for Goona, the men come out of hiding to an empty home. Afterward they, like the women, decide to go to Goona for protection.
Changed line(s) 26 (click to see context) from:
* GreenEyedMonster: The primary conflict is ignited by the Wongo men's flagrant jealosy of Engor's physical attractiveness, and the Wongo women's reaction to him, to the point where they (the men) plot to murder him despite his being both an emmisary of peace and prince of his home village.
to:
* GreenEyedMonster: The primary conflict is ignited by the Wongo men's flagrant jealosy jealousy of Engor's physical attractiveness, and the Wongo women's reaction to him, to the point where they (the men) plot to murder him despite his being both an emmisary emissary of peace and prince of his home village.
Changed line(s) 33 (click to see context) from:
* TheLoad: One Wongo woman, Ahtee, is argumentative and beligerent, both during the girls' exile and afterward in the abandoned village, consistently refusing to accept Omu's leadership seemingly out of personal spite. She does get better during the third act, though.
to:
* TheLoad: One Wongo woman, Ahtee, is argumentative and beligerent, belligerent, both during the girls' exile and afterward in the abandoned village, consistently refusing to accept Omu's leadership seemingly out of personal spite. She does get better during the third act, though.
Changed line(s) 35 (click to see context) from:
** The women of Wongo are exiled into the jungle on the proviso that they can return home only after the debt to their god "has been repayed in BLOOD!" In other words, TonightSomeoneDies. (Despite this proviso, Omu not-so-secretly protects her sisters from deadly wildlife.) After they are attacked by a pair of troglodytes and these are eaten by crocodiles, Omu loopholes that the god had never specified '''whose''' blood had to be spilled, so technically their exile is concluded.
to:
** The women of Wongo are exiled into the jungle on the proviso that they can return home only after the debt to their god "has been repayed repaid in BLOOD!" In other words, TonightSomeoneDies. (Despite this proviso, Omu not-so-secretly protects her sisters from deadly wildlife.) After they are attacked by a pair of troglodytes and these are eaten by crocodiles, Omu loopholes that the god had never specified '''whose''' blood had to be spilled, so technically their exile is concluded.
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add a couples
Changed line(s) 15 (click to see context) from:
* BehindAStick: They actually manage to pull off an impressive live-action rendition of this classic cartoon sight gag.
to:
* BeautyEqualsGoodness: Played straight for most of the film; the Wongo women and the Goona men (beautiful) are shown to be pleasant people, whereas the Wongo men and Goona women (ugly) are depicted as nasty and jealous. Subverted at the end when the two "ugly" groups meet; these find one another genuinely attractive and are more than happy to PairTheSpares, which helps everyone make peace.
* BehindAStick: Theyactually manage to pull off an impressive live-action rendition of this classic cartoon sight gag.gag, with four people peeking out from behind a narrow palm trunk.
* BehindAStick: They
Added DiffLines:
* HeroesWantRedheads: Omu has striking red hair and attracts the affections of Engor pretty much immediately.
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addz
** There turn out to be exactly enough young men and women in each village to PairTheSpares evenly.
* PairTheSpares: Not only does the film end with all the pretty Wongo women paired with the attractive Goona men, but also the 'brutish' Wongo men end up paired with the ugly Goona ladies (whom they find actually attractive).
Changed line(s) 39,40 (click to see context) from:
* StarCrossedLovers: As befitting a ''Theatre/RomeoAndJuliet'' knockoff, Omu and Engor are set up as this, being the children of their respective villages' leaders in the midst of a violent feud. Although in this case the animosity is entirely one-sided; and it's ultimately subverted, with everyone making peace and getting a happy ending.
* StayInTheKitchen: Played with. The Wongo women are shown to be more than capable of taking care of themselves, both domestically and in the wild, without the aid of men. However, they feel their lives are incomplete without men. However, it's also eventually revealed that the Goona women are actually better at the domestic chores than the Wongo girls (although that could just be chalked up to the Goona men's preferences).
* StayInTheKitchen: Played with. The Wongo women are shown to be more than capable of taking care of themselves, both domestically and in the wild, without the aid of men. However, they feel their lives are incomplete without men. However, it's also eventually revealed that the Goona women are actually better at the domestic chores than the Wongo girls (although that could just be chalked up to the Goona men's preferences).
to:
* StarCrossedLovers: As befitting a ''Theatre/RomeoAndJuliet'' knockoff, Omu and Engor are set up as this, being the children of their respective villages' leaders in the midst of a violent feud. Although in this case the animosity is entirely one-sided; and it's ultimately subverted, with everyone [[PairTheSpares making peace and getting a happy ending.
ending]].
* StayInTheKitchen: Played with. The Wongo women are shown to be more than capable of taking care of themselves, both domestically and in the wild, without the aid of men. However, they feel their lives are incomplete without men.However, On the other hand, it's also eventually revealed that the Goona women are actually better at the domestic chores than the Wongo girls (although that could just be chalked up to the Goona men's preferences).
* StayInTheKitchen: Played with. The Wongo women are shown to be more than capable of taking care of themselves, both domestically and in the wild, without the aid of men. However, they feel their lives are incomplete without men.
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tweakie
Changed line(s) 37 (click to see context) from:
-->'''Ahtee:''' You are no king!\\
to:
-->'''Ahtee:''' You are Omu is no king!\\
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add1
Deleted line(s) 31,32 (click to see context) :
-->'''Ahtee:''' You are no king!\\
'''Omu:''' I ''am'' no king... Ahtee is right!
'''Omu:''' I ''am'' no king... Ahtee is right!
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* PretenderDiss: During and after their exile, Omu serves as the women's leader. [[TheLoad Ahtee]] calls her out publicly for this; and, although the motive for said calling-out is pure spite, Omu is forced to agree.
-->'''Ahtee:''' You are no king!\\
'''Omu:''' I ''am'' no king... Ahtee deserves to die but she is right!
-->'''Ahtee:''' You are no king!\\
'''Omu:''' I ''am'' no king... Ahtee deserves to die but she is right!
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None
Changed line(s) 5,6 (click to see context) from:
''The Wild Women of Wongo'' is a 1958 independent BMovie, directed by James L. Wolcott and starring... well, no one really. Oh okay: Starring Jean Hawkshaw, Johnny Walsh, Mary Ann Webb and Candé Gerrard. It is a bizarre reimagining of ''Theatre/RomeoAndJuliet'', with a quasi-feminist twist.
to:
''The Wild Women of Wongo'' is a 1958 independent BMovie, directed by James L. Wolcott and starring... well, no one one, really. Oh Oh, okay: Starring Jean Hawkshaw, Johnny Walsh, Mary Ann Webb and Candé Gerrard. It is a bizarre reimagining of ''Theatre/RomeoAndJuliet'', with a quasi-feminist twist.
Is there an issue? Send a MessageReason:
None
Changed line(s) 3,6 (click to see context) from:
->"I am Mother Nature: designer of all the things you see, and all the things you are. For millions of years, Father Time and I have worked hand-in-hand to make the world a better place to live in; all things considered, we think we've done rather well. We '''have''' made our mistakes; there was a time, about ten thousand years ago, when we tried a topsy-turvy experiment with the human race."
'''The Wild Women Of Wongo''' is a 1958 independent BMovie, directed by James L. Wolcott and starring... well, no one really. Oh okay: Starring Jean Hawkshaw, Johnny Walsh, Mary Ann Webb and Candé Gerrard. It is a bizarre reimagining of ''Theatre/RomeoAndJuliet'', with a quasi-feminist twist.
'''The Wild Women Of Wongo''' is a 1958 independent BMovie, directed by James L. Wolcott and starring... well, no one really. Oh okay: Starring Jean Hawkshaw, Johnny Walsh, Mary Ann Webb and Candé Gerrard. It is a bizarre reimagining of ''Theatre/RomeoAndJuliet'', with a quasi-feminist twist.
to:
'''The
''The Wild Women
Changed line(s) 11 (click to see context) from:
!!The Wild Tropes Of TropeCo/TropeCo:
to:
----
!!The Wild TropesOf of TropeCo/TropeCo:
!!The Wild Tropes
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add1
Added DiffLines:
* ArrangedMarriage: Alko is the closest thing Wongo has to royalty or nobility (apart from the village chief and his immediate family, natch), so of course Omu is to be given to him even though it's a MarriageBeforeRomance situation, at least from her perspective.
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minor edits n addz
Changed line(s) 5,6 (click to see context) from:
'''The Wild Women Of Wongo''' is a 1958 independent BMovie, directed by James L. Wolcott and starring... well, no one really. Oh okay: Starring Jean Hawkshaw, Johnny Walsh, Mary Ann Webb and Candé Gerrard. It is a bizarre reimagining of ''Theatre/RomeoAndJuliet''.
to:
'''The Wild Women Of Wongo''' is a 1958 independent BMovie, directed by James L. Wolcott and starring... well, no one really. Oh okay: Starring Jean Hawkshaw, Johnny Walsh, Mary Ann Webb and Candé Gerrard. It is a bizarre reimagining of ''Theatre/RomeoAndJuliet''.
''Theatre/RomeoAndJuliet'', with a quasi-feminist twist.
Changed line(s) 12 (click to see context) from:
* AbortedArc: A strange example. Although the threat of a troglodyte invasion drives the conflict, and that invasion does happen, it occurs entirely offscreen and once the initial attack is over it is completely forgotten about.
to:
* AbortedArc: A strange example. Although the threat of a troglodyte invasion drives the conflict, and that invasion does happen, it occurs entirely offscreen and once the initial attack is over it is completely forgotten about.
Changed line(s) 14 (click to see context) from:
* ContrivedCoincidence: The women of Wongo arrive in the vicinity of Goona seeking men, at just the time when the village's young men are going out into the jungle sans weapons or tools in a coming of age ritual. Cue ZanyScheme.
to:
* ContrivedCoincidence: ContrivedCoincidence:
** Engor arrives on a diplomatic mission to Wongo on the same day that Omu is to be married off; the news he brings postpones the nuptuals.
** The women of Wongo arrive in the vicinity of Goona seeking men, at just the time when the village's young men are going out into the jungle sans weapons or tools in a coming of age ritual. Cue ZanyScheme.
** Engor arrives on a diplomatic mission to Wongo on the same day that Omu is to be married off; the news he brings postpones the nuptuals.
** The women of Wongo arrive in the vicinity of Goona seeking men, at just the time when the village's young men are going out into the jungle sans weapons or tools in a coming of age ritual. Cue ZanyScheme.
Changed line(s) 35 (click to see context) from:
* StayInTheKitchen: Played with. The Wongo women are shown to be more than capable of taking care of themselvse, both domestically and in the wild, without the aid of men. However, they feel their lives are incomplete without men. However, it's also eventually revealed that the Goona women are actually better at the domestic chores than the Wongo girls (although that could just be chalked up to the Goona men's preferences).
to:
* StayInTheKitchen: Played with. The Wongo women are shown to be more than capable of taking care of themselvse, themselves, both domestically and in the wild, without the aid of men. However, they feel their lives are incomplete without men. However, it's also eventually revealed that the Goona women are actually better at the domestic chores than the Wongo girls (although that could just be chalked up to the Goona men's preferences).
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None
Changed line(s) 25 (click to see context) from:
** Later on, Omu commits an accidental variation of this same faux pas, when she approaches severa Goona women "in peace" but forgets to drop her spear. The women (who are every bit as [[GreenEyedMonster envious]] as the Wongo men) presume she's going to attack them and flee in exaggerated terror.
to:
** Later on, Omu commits an accidental variation of this same faux pas, when she approaches severa several Goona women "in peace" but forgets to drop her spear. The women (who are every bit as [[GreenEyedMonster envious]] as the Wongo men) presume she's going to attack them and flee in exaggerated terror.
Is there an issue? Send a MessageReason:
minor corrections
Changed line(s) 5,6 (click to see context) from:
'''The Wild Women Of Wongo''' is a 1958 independant BMovie, directed by James L. Wolcott and starring... well, no one really. Oh okay: Starring Jean Hawkshaw, Johnny Walsh, Mary Ann Webb and Candé Gerrard. It is a bizarre reimagining of ''Theatre/RomeoAndJuliet''.
to:
'''The Wild Women Of Wongo''' is a 1958 independant independent BMovie, directed by James L. Wolcott and starring... well, no one really. Oh okay: Starring Jean Hawkshaw, Johnny Walsh, Mary Ann Webb and Candé Gerrard. It is a bizarre reimagining of ''Theatre/RomeoAndJuliet''.
Changed line(s) 17 (click to see context) from:
-->'''Woman 1:''' ''(of Engor)'' It's a man! It must be\\
to:
-->'''Woman 1:''' ''(of Engor)'' It's a man! It must be\\be!\\
Deleted line(s) 21 (click to see context) :
* HollywoodHomely: Most of the cast described as "ugly" are not '''really''' so, they're just less conventionally attractive. Though, since it was made in TheFifties, the distinction is more obvious with the women of Goona (whose number include a horse-faced girl, an extremely tall and thin girl, and an overweight woman with a makeup job by [[Series/TheDrewCareyShow Mimi Bobeck]]) than with the men of Wongo.
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launch!
Added DiffLines:
[[quoteright:300:https://static.tvtropes.org/pmwiki/pub/images/women_wongo_pstr.jpg]]
->"I am Mother Nature: designer of all the things you see, and all the things you are. For millions of years, Father Time and I have worked hand-in-hand to make the world a better place to live in; all things considered, we think we've done rather well. We '''have''' made our mistakes; there was a time, about ten thousand years ago, when we tried a topsy-turvy experiment with the human race."
'''The Wild Women Of Wongo''' is a 1958 independant BMovie, directed by James L. Wolcott and starring... well, no one really. Oh okay: Starring Jean Hawkshaw, Johnny Walsh, Mary Ann Webb and Candé Gerrard. It is a bizarre reimagining of ''Theatre/RomeoAndJuliet''.
In the prehistoric village of Wongo, all the women are gorgeous (by modern beauty standards, even) and the men are HollywoodHomely at best but tend to be brutish and possessive. The chief's daughter Omu (Hawkshaw) is set to be married to a prominent Wongo man when arrives a handsome stranger named Engor (Walsh), whose home village Goona (where the men are beautiful but the women are not) wishes to form an alliance to fend off a potential invasion of troglodytes; however, the men of Wongo are [[GreenEyedMonster totally jealous of this good-looking young man]] stealing the attentions of their women so they try to murder him, though he manages to escape with help from Omu and her girlfriends.
Because they accidentally desecrate a sacred totem during their rescue attempt, Omu and her friends are exiled from the village into the wilds of the jungle (hence the title). But when the exile ends and the women return home, they find that the troglodytes have indeed invaded just as Engor had warned, and all the men of Wongo are gone. The Wild Women Of Wongo must now figure out how to carry on now that they have no men in their lives. Wait, wasn't there another village not too far to the south, where there was a bevy of attractive men ripe for marriage? There's a ZanyScheme a'scheming...
!!The Wild Tropes Of TropeCo/TropeCo:
* AbortedArc: A strange example. Although the threat of a troglodyte invasion drives the conflict, and that invasion does happen, it occurs entirely offscreen and once the initial attack is over it is completely forgotten about.
* BehindAStick: They actually manage to pull off an impressive live-action rendition of this classic cartoon sight gag.
* ContrivedCoincidence: The women of Wongo arrive in the vicinity of Goona seeking men, at just the time when the village's young men are going out into the jungle sans weapons or tools in a coming of age ritual. Cue ZanyScheme.
* DisneyDeath: The young men of Wongo survive the attack on their village; they, like the women, decide to go to Goona for protection.
* EatingTheEyeCandy: There's plenty enough of this to go around in mostly [[MaleGaze equal]] [[FemaleGaze measure]], as the whole point of the film is two distinct groups of attractive people having to live with unattractive people (and having never known attractive people of the opposite sex). Even so, since the women of Wongo are the focus of the plot (hence the title), we see a bit more of it from the female side.
-->'''Woman 1:''' ''(of Engor)'' It's a man! It must be\\
'''Woman 2:''' Oh no, it's a GOD! I'm sure!
* GreekChorus: There's a [[TalkingAnimal parrot]] which offers occasional commentary on the goings-on. It has no obvious connection with any of the characters and does not interact with them directly, suggesting it was filmed and [[AnInsert inserted]] separately.
* GreenEyedMonster: The primary conflict is ignited by the Wongo men's flagrant jealosy of Engor's physical attractiveness, and the Wongo women's reaction to him, to the point where they (the men) plot to murder him despite his being both an emmisary of peace and prince of his home village.
* HollywoodHomely: Most of the cast described as "ugly" are not '''really''' so, they're just less conventionally attractive. Though, since it was made in TheFifties, the distinction is more obvious with the women of Goona (whose number include a horse-faced girl, an extremely tall and thin girl, and an overweight woman with a makeup job by [[Series/TheDrewCareyShow Mimi Bobeck]]) than with the men of Wongo.
* HoneyTrap: The women of Wongo lure the men of Goona in to be captured using their feminine charms, relying on the [[ContrivedCoincidence convenient fact]] that the men are without weapons, then march them off to their crocodile temple for a mass ShotgunWedding.
* LaserGuidedKarma: One Goona man snickers gleefully at seeing his compatriot captured by the Wongo women, watching from the safety of a high branch. But then he finds himself befriended by a big tree snake and jumps to the ground, only to be captured himself.
* UsefulNotes/TheLawsAndCustomsOfWar: Apparently exist in prehistoric times.
** The men of Wongo attempt to murder Engor, an envoy of peace (and also son of his village's chief); this comes around to bite them in the arse when, after Wongo is attacked and the women seemingly disappear, the men must travel to Goona with hat in hand to ask for assistance.
** Later on, Omu commits an accidental variation of this same faux pas, when she approaches severa Goona women "in peace" but forgets to drop her spear. The women (who are every bit as [[GreenEyedMonster envious]] as the Wongo men) presume she's going to attack them and flee in exaggerated terror.
* TheLoad: One Wongo woman, Ahtee, is argumentative and beligerent, both during the girls' exile and afterward in the abandoned village, consistently refusing to accept Omu's leadership seemingly out of personal spite. She does get better during the third act, though.
-->'''Ahtee:''' You are no king!\\
'''Omu:''' I ''am'' no king... Ahtee is right!
* LoopholeAbuse:
** The women of Wongo are exiled into the jungle on the proviso that they can return home only after the debt to their god "has been repayed in BLOOD!" In other words, TonightSomeoneDies. (Despite this proviso, Omu not-so-secretly protects her sisters from deadly wildlife.) After they are attacked by a pair of troglodytes and these are eaten by crocodiles, Omu loopholes that the god had never specified '''whose''' blood had to be spilled, so technically their exile is concluded.
** Speaking of defending her sisters from attacks, when called out on this Omu justifies herself by saying that if/when their god decides it's time for a sacrifice to be made, she (Omu) would be unable to fight it off.
* NoGearLevel: Non-VideoGame example. As a rite of passage into adulthood, the young men of Goona must survive in the jungle for one month with no weapons or tools of any kind. The Wongo women [[ZanyScheme take]] [[HoneyTrap advantage]] of this. What's odd is that this plot point [[AbortedArc completely ignores the previously established threat of a troglodyte invasion]] (which, indeed, by this point has already happened).
* OpeningNarration: [[MotherGoddess Mother Nature]] herself sets the scene, telling us of a time "ten thousand years ago", when she and FatherTime set up the whole half-beautiful/half-ugly dichotomies seen in the film, apparently [[{{Troll}} just to see how it would play out]]. Her summation? "[[WhatCouldPossiblyGoWrong It didn't work]]!"
* StarCrossedLovers: As befitting a ''Theatre/RomeoAndJuliet'' knockoff, Omu and Engor are set up as this, being the children of their respective villages' leaders in the midst of a violent feud. Although in this case the animosity is entirely one-sided; and it's ultimately subverted, with everyone making peace and getting a happy ending.
* StayInTheKitchen: Played with. The Wongo women are shown to be more than capable of taking care of themselvse, both domestically and in the wild, without the aid of men. However, they feel their lives are incomplete without men. However, it's also eventually revealed that the Goona women are actually better at the domestic chores than the Wongo girls (although that could just be chalked up to the Goona men's preferences).
* StopTrick: The crocodile priestess uses this camera trick to transform herself into a lithe dancer so that she can join in the women's dance of atonement (see BigLippedAlligatorMoment on the YMMV tab).
* TinyGuyHugeGirl: One of the eventual pairings between the Wongo and Goona villagers is a very compact Wongo man and an extremely tall Goona girl.
* ZanyScheme: Since they don't know what happened to their men (and presume them dead), the women of Wongo travel to Goona to make friends (and husbands). Admittedly, the ''actual'' scheme (see HoneyTrap) isn't thought of until after they get there.
----
->"I am Mother Nature: designer of all the things you see, and all the things you are. For millions of years, Father Time and I have worked hand-in-hand to make the world a better place to live in; all things considered, we think we've done rather well. We '''have''' made our mistakes; there was a time, about ten thousand years ago, when we tried a topsy-turvy experiment with the human race."
'''The Wild Women Of Wongo''' is a 1958 independant BMovie, directed by James L. Wolcott and starring... well, no one really. Oh okay: Starring Jean Hawkshaw, Johnny Walsh, Mary Ann Webb and Candé Gerrard. It is a bizarre reimagining of ''Theatre/RomeoAndJuliet''.
In the prehistoric village of Wongo, all the women are gorgeous (by modern beauty standards, even) and the men are HollywoodHomely at best but tend to be brutish and possessive. The chief's daughter Omu (Hawkshaw) is set to be married to a prominent Wongo man when arrives a handsome stranger named Engor (Walsh), whose home village Goona (where the men are beautiful but the women are not) wishes to form an alliance to fend off a potential invasion of troglodytes; however, the men of Wongo are [[GreenEyedMonster totally jealous of this good-looking young man]] stealing the attentions of their women so they try to murder him, though he manages to escape with help from Omu and her girlfriends.
Because they accidentally desecrate a sacred totem during their rescue attempt, Omu and her friends are exiled from the village into the wilds of the jungle (hence the title). But when the exile ends and the women return home, they find that the troglodytes have indeed invaded just as Engor had warned, and all the men of Wongo are gone. The Wild Women Of Wongo must now figure out how to carry on now that they have no men in their lives. Wait, wasn't there another village not too far to the south, where there was a bevy of attractive men ripe for marriage? There's a ZanyScheme a'scheming...
!!The Wild Tropes Of TropeCo/TropeCo:
* AbortedArc: A strange example. Although the threat of a troglodyte invasion drives the conflict, and that invasion does happen, it occurs entirely offscreen and once the initial attack is over it is completely forgotten about.
* BehindAStick: They actually manage to pull off an impressive live-action rendition of this classic cartoon sight gag.
* ContrivedCoincidence: The women of Wongo arrive in the vicinity of Goona seeking men, at just the time when the village's young men are going out into the jungle sans weapons or tools in a coming of age ritual. Cue ZanyScheme.
* DisneyDeath: The young men of Wongo survive the attack on their village; they, like the women, decide to go to Goona for protection.
* EatingTheEyeCandy: There's plenty enough of this to go around in mostly [[MaleGaze equal]] [[FemaleGaze measure]], as the whole point of the film is two distinct groups of attractive people having to live with unattractive people (and having never known attractive people of the opposite sex). Even so, since the women of Wongo are the focus of the plot (hence the title), we see a bit more of it from the female side.
-->'''Woman 1:''' ''(of Engor)'' It's a man! It must be\\
'''Woman 2:''' Oh no, it's a GOD! I'm sure!
* GreekChorus: There's a [[TalkingAnimal parrot]] which offers occasional commentary on the goings-on. It has no obvious connection with any of the characters and does not interact with them directly, suggesting it was filmed and [[AnInsert inserted]] separately.
* GreenEyedMonster: The primary conflict is ignited by the Wongo men's flagrant jealosy of Engor's physical attractiveness, and the Wongo women's reaction to him, to the point where they (the men) plot to murder him despite his being both an emmisary of peace and prince of his home village.
* HollywoodHomely: Most of the cast described as "ugly" are not '''really''' so, they're just less conventionally attractive. Though, since it was made in TheFifties, the distinction is more obvious with the women of Goona (whose number include a horse-faced girl, an extremely tall and thin girl, and an overweight woman with a makeup job by [[Series/TheDrewCareyShow Mimi Bobeck]]) than with the men of Wongo.
* HoneyTrap: The women of Wongo lure the men of Goona in to be captured using their feminine charms, relying on the [[ContrivedCoincidence convenient fact]] that the men are without weapons, then march them off to their crocodile temple for a mass ShotgunWedding.
* LaserGuidedKarma: One Goona man snickers gleefully at seeing his compatriot captured by the Wongo women, watching from the safety of a high branch. But then he finds himself befriended by a big tree snake and jumps to the ground, only to be captured himself.
* UsefulNotes/TheLawsAndCustomsOfWar: Apparently exist in prehistoric times.
** The men of Wongo attempt to murder Engor, an envoy of peace (and also son of his village's chief); this comes around to bite them in the arse when, after Wongo is attacked and the women seemingly disappear, the men must travel to Goona with hat in hand to ask for assistance.
** Later on, Omu commits an accidental variation of this same faux pas, when she approaches severa Goona women "in peace" but forgets to drop her spear. The women (who are every bit as [[GreenEyedMonster envious]] as the Wongo men) presume she's going to attack them and flee in exaggerated terror.
* TheLoad: One Wongo woman, Ahtee, is argumentative and beligerent, both during the girls' exile and afterward in the abandoned village, consistently refusing to accept Omu's leadership seemingly out of personal spite. She does get better during the third act, though.
-->'''Ahtee:''' You are no king!\\
'''Omu:''' I ''am'' no king... Ahtee is right!
* LoopholeAbuse:
** The women of Wongo are exiled into the jungle on the proviso that they can return home only after the debt to their god "has been repayed in BLOOD!" In other words, TonightSomeoneDies. (Despite this proviso, Omu not-so-secretly protects her sisters from deadly wildlife.) After they are attacked by a pair of troglodytes and these are eaten by crocodiles, Omu loopholes that the god had never specified '''whose''' blood had to be spilled, so technically their exile is concluded.
** Speaking of defending her sisters from attacks, when called out on this Omu justifies herself by saying that if/when their god decides it's time for a sacrifice to be made, she (Omu) would be unable to fight it off.
* NoGearLevel: Non-VideoGame example. As a rite of passage into adulthood, the young men of Goona must survive in the jungle for one month with no weapons or tools of any kind. The Wongo women [[ZanyScheme take]] [[HoneyTrap advantage]] of this. What's odd is that this plot point [[AbortedArc completely ignores the previously established threat of a troglodyte invasion]] (which, indeed, by this point has already happened).
* OpeningNarration: [[MotherGoddess Mother Nature]] herself sets the scene, telling us of a time "ten thousand years ago", when she and FatherTime set up the whole half-beautiful/half-ugly dichotomies seen in the film, apparently [[{{Troll}} just to see how it would play out]]. Her summation? "[[WhatCouldPossiblyGoWrong It didn't work]]!"
* StarCrossedLovers: As befitting a ''Theatre/RomeoAndJuliet'' knockoff, Omu and Engor are set up as this, being the children of their respective villages' leaders in the midst of a violent feud. Although in this case the animosity is entirely one-sided; and it's ultimately subverted, with everyone making peace and getting a happy ending.
* StayInTheKitchen: Played with. The Wongo women are shown to be more than capable of taking care of themselvse, both domestically and in the wild, without the aid of men. However, they feel their lives are incomplete without men. However, it's also eventually revealed that the Goona women are actually better at the domestic chores than the Wongo girls (although that could just be chalked up to the Goona men's preferences).
* StopTrick: The crocodile priestess uses this camera trick to transform herself into a lithe dancer so that she can join in the women's dance of atonement (see BigLippedAlligatorMoment on the YMMV tab).
* TinyGuyHugeGirl: One of the eventual pairings between the Wongo and Goona villagers is a very compact Wongo man and an extremely tall Goona girl.
* ZanyScheme: Since they don't know what happened to their men (and presume them dead), the women of Wongo travel to Goona to make friends (and husbands). Admittedly, the ''actual'' scheme (see HoneyTrap) isn't thought of until after they get there.
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