Can anyone tell me why Soylent Green exists (as a film)?

I watched Soylent Green (1973) for the first time, and I understand why I never saw it earlier.  Its a period piece of formalism on the part of Richard Fleischer, but its oversexed by Charlton Heston.  I was just bored until the end, until the last scene where Heston's character, Detective Thorn, unveils the truth about Soylent Green in a fit of hysterics.  I understand that apocalyptic experiences and getting shot through and through in the torso can cause hysterics, but I don't understand why Thorn's arm and hand drenched in blood are framed as he's being carried away.  Is it supposed to suggest something about powerlessness or oppression? Is it martyrdom? I just don't get it.

I suppose it doesn't matter.  Anyway,  I would like to present the names of the people who made Soylent Green enjoyable: The Stunt People.

Stunts
Denny Arnold	....	stunts (uncredited)
May Boss	....	stunts (uncredited)
Joe Canutt	....	stunt coordinator (uncredited)
Joe Canutt	....	stunt double: Charlton Heston (uncredited)
Larry Duran	....	stunts (uncredited)
Gary Epper	....	stunts (uncredited)
Jeannie Epper	....	stunts (uncredited)
Stephanie Epper	....	stunts (uncredited)
Tony Epper	....	stunts (uncredited)
Fritz Ford	....	stunts (uncredited)
Ralph Garrett	....	stunts (uncredited)
Bob Herron	....	stunts (uncredited)
Kim Kahana	....	stunts (uncredited)
Frank Orsatti	....	stunts (uncredited)
Eddie Paul	....	stunts (uncredited)
Dick Warlock	....	stunts (uncredited)
Ted White	....	stunts (uncredited)
Jack Williams	....	stunts (uncredited)

 I think Soylent Green only exists because of stunts, and I am starting to think that stunts were the form of Fleischer's formalism.  Maybe, he wanted to represent the concept of viscera in rhapsody.  I just got lost, I mean, I checked out.