Italian Peplum & Fusto Movies: The Good, the Bad & the Epic

[venoms5]

HERCULES & THE BLACK PIRATE 1964 aka SANSONE CONTRO IL CORSARO NERO aka SAMSON AGAINST THE BLACK PIRATE

Alan Steel(Hercules/Samson), Rosalba Neri(Rosita), Andrea Aureli(The Black Pirate), Piero Lulli (Don Rodrigo), Nello Pazzafini

After defeating the Black Pirate and his men in a sea battle, Hercules falls in love with Rosita, the daughter of Don Alonzo. He disapproves of the son of a fisherman marrying the daughter of nobility and Hercules leaves the castle to return to his home village. Don Rodrigo secretly plots the death of Don Alonzo to usurp his power as ruler of Valencia and to also win the hand of his wife, a former lover of his before she married into royalty. Rodrigo sides with the Black Pirate to fulfill his plan. Eventually, Hercules must once again do battle with the malicious pirate as well as duel with the conniving Don Rodrigo to save the King, Rosita and his kidnapped daughter, Alma.

One of a handful of hybrid peplum movies this one very similar to the slightly better HERCULES & THE MASKED RIDER (1961/64) and even borrowing much of that films score. Ciani played second fiddle to Mimmo Palmari in that movie and considering when it was made, Ciani hadn't become a proven commodity in the genre. Like that film, there is an even stronger THREE MUSKETEERS vibe going on this time with some sea battles and decent sword fights. Though it's nothing spectacular, HERCULES & THE BLACK PIRATE is a decent time-waster but will more than likely be soon forgotten after you've watched it.

Steel (Sergio Ciani) is obviously suited to these roles but he never emotes when the scene calls for some strong reaction unless it involves fisticuffs. He was apparently popular as he continued to get roles for a number of years in movies that didn't require throwing logs or big rocks around. Other movies with Ciani are SAMSON & THE SLAVE QUEEN (1963), THE REBEL GLADIATORS (1963), HERCULES AGAINST ROME (1964), the popular cult film HERCULES AGAINST THE MOON MEN (1964), the terrible SAMSON & HIS MIGHTY CHALLENGE (1964), SLAUGHTER ON THE KHYBER PASS (1970) and FAST HAND IS STILL MY NAME (1972).

Neri is as sensual as ever as Rosita. Like most all beautiful women in these movies, she isn't given much to do but dote after the hero. Women in these movies were either damsels in distress or were wicked villainess's plotting the downfall of the hero's. Neri can also be seen in KINDAR THE INVULNERABLE (1964), HERCULES AGAINST MOLOCH (1963), ARIZONA COLT (1966), DAYS OF VIOLENCE (1967) and in far more revealing roles like THE DEVIL'S WEDDING NIGHT (1973) and SLAUGHTER HOTEL (1973).

Lulli is again excellent as the cunning bad guy Don Rodrigo. While I prefer Arturo Dominici from the earlier, similar movie, Lulli suffices and would make a career out of playing despicable villains most especially in spaghetti westerns like the SARTANA series and THE FORGOTTEN PISTOLERO (1969) among many others. Lulli did get to play a hero in the Dan Vadis fusto movie THE TRIUMPH OF HERCULES (1964).

Frequent peplum and Euroater actor Nello Pazzafini is a bit jarring here with his black face role. Not sure if he's supposed to portray an Indian or someone with a dark, dark suntan.

Future Euro cinema heavy Giovanni Cianfriglia has a brief duel with Ciani upon his return to Alonzo's castle after the opening defeat of the Black Pirate. This fight is actually better than the one at the climax of HERCULES THE AVENGER (1965) between Cianfriglia and Reg Park.

The set design is passable and the budget allows for a castle set as well as a couple of ships. The action scenes aren't stupendous but do showcase some fair fisticuffs that are a bit better than the sword duels. Some of the stunts are good and Hercules (Samson in the Italian version) gets to take part in some superhuman displays of strength despite the Elizabethan timeperiod in which the film is set. Not as fun as HERCULES & THE MASKED RIDER (1961/64) it's a decent diversion if you've nothing better to watch.

[venoms5]

COLOSSUS & THE HEADHUNTERS 1963 aka MACISTE CONTRO I CACCIATORI DI TESTE aka THE FURY OF THE HEADHUNTERS

Kirk Morris (Maciste), Demeter Bitenc (Ariel), Laura Brown (Queen Amoa), Ines Holder (Asmin), Frank Leroy (Kermes), Nello Pazzafini (Guna)

Directed by Guido Malatesta

Taking refuge on an island, Maciste and a group of survivors find the remnants of the Urias tribe whose city was demolished by an enemy tribe of vicious headhunters. After the Urias are attacked again, Maciste and Ariel travel to the ruined city of gold taken from the Urias to locate the captured King Olibana. Blinded by the traitorous Kermes, King Olibana is forced to give his daughter to him. Maciste must put an end to the savage headhunters and free the Urias as well as Queen Amoa.

The film begins with an island about to explode from a raging volcano. This is stock footage from FIRE MONSTERS AGAINST THE SON OF HERCULES (1962) also directed by Malatesta. The scenes of people dressed in cave man attire are at odds with the subsequent shots of the toga dressed participants. Not a good sign to start your movie with stock footage from a lower tier fusto movie (you even see a shot of Reg Lewis carrying Margaret Lee away in his arms!), things don't improve much from here. Not long after arriving on the island, Maciste gets put down by an arrow while the villains take his friends hostage. Maciste then finds out that this tribe of people are not the villains after all. Instead, a group of headhunters are the real brutes of the story and they deliver on the moniker, too. Their camp is riddled with heads on large poles and frequently chop off the noggins of their captives.

Morris doesn't really do much here as Maciste. He pops in from time to time to show off the requisite strong man skills inherent in these films and saves most of his super strength deeds for the finale. The movie is already a brisk 77 minutes long. No one is particularly memorable here but the film goes by fairly fast and the action scenes are pretty decent for the most part. The island setting offers a nice change of scenery from the usual coliseum's and marble pillars. Morris was apparently popular back then as he did a fair number of these movies including HERCULES, SAMSON & ULYSSES (1963; in which Morris sports a beard), SAMSON & THE SEA BEAST (1963; where he battles pirates) and THE CONQUEROR OF ATLANTIS (1965). Morris seemed to always be sucking his gut in for whatever reason possibly to poke his chest out more.

Malatesta also directed the above mentioned and better FIRE MONSTERS AGAINST THE SON OF HERCULES (1962) aka MACISTE AGAINST THE MONSTERS and GOLIATH AGAINST THE GIANTS (1961). So far of the films I've seen of his, Malatesta is a fairly mediocre director with some decent films to his credit.

Not one of the best entries in the genre but it is good for a few laughs. One of the funniest scenes takes place during the wedding scene. A dancer (Moana) is brought out to perform and the lady doing the routine looks totally disinterested and probably isn't a real dancer anyways. The violence level is quite high in places with people being shot with arrows in the eye and throat and lead henchman Pazzafini putting one poor fellow into a full nelson before burying his face in a pit of fire.

The picture quality is nice on this DVD and it's 2:35 widescreen. The sound for the English track is right loud and clear during the bulk of the film then towards the end, the audio is muffled a bit. The Spanish audio sounds newly created for this release. For peplum fans or completists only. A casual fan would be disappointed by this one as the violent scenes aren't really enough to recommend it.

[venoms5]

GOLIATH AGAINST THE GIANTS 1961 aka GOLIATH CONTRO I GIGANTI

Brad Harris (Goliath), Gloria Milland (Princess Elea), Fernando Rey (Bokahn), Barbara Carroll (Daiena), Fernando Sancho (Namath), Nello Pazzafini (Jagoran), Mimmo Palmara

Screenwriters: Gianfranco Parolini, Sergio Sollima; AD: Romolo Girolami; 2nd Unit director: Jorg Grau; Music by Carlo Innocenzi

Directed by Guido Malatesta & Gianfranco Parolini

Away fighting in a war for five years, Goliath plans to return to his homeland after learning King Argastese of Beyrath has been dethroned with the evil Bokan taking his place. After rescuing a mysterious and beautiful maiden on the island of Ayallus, Goliath and his crew are attacked by a sea monster. His ship destroyed, they end up on the beaches of Veyrath where more dangers ensue including a motley of giant men whom Goliath banished to the valley of Janafar. On his quest to restore his homeland, Goliath must battle assorted monsters and armies of soldiers to eradicate the treacherous Bokhan.

Original director Malatesta was replaced by Parolini after he lost control of the production. Parolini was able to get the film back on track and the resulting film proved to be a hit both domestically and internationally. While the bulk of the film is of a higher quality than the usual Malatesta movie, the chaotic nature of the film shows that enough of Malatesta's scenes remain in the final product. There are enough monsters and action for several fusto movies combined. The finale seems to never end with the city of Beyrath being liberated then Goliath goes after Jagoran before dueling with the giants of the title when out of nowhere, another dragon shows up(!)

Earlier in the film, Goliath's ship is destroyed by a sea monster which in some shots is a real lizard inside a tank of some sort. A rather detailed upper torso of the lizard is also utilized for the action shots with the actors. Aside from the fakeness of the bits using the real lizard, the sequence is well handled. Irregardless of what many reviewers may say, I find the hydraulically controlled monstrosities in Italian muscleman movies to be quite well designed some of the time They're clearly fake, but a lot of care went into their creation and most should remember that this was in Italy in the 1960s. They couldn't match most US productions in the budget department and had to make do with creativity. In addition to two dragons (probably the same creation refurbished to look different), there's also an army of Amazons, a huge ape creature, an attack by some lions and the giants of the title.

Brad Harris is perfect for these kinds of movies and is one of the better actors to play the muscleman roles. He has a ruggedness that gives him an almost comic book appearance that adds another layer to the films of this nature he participated in. He was an American performer who also appeared in SAMSON (1961) and THE FURY OF HERCULES (1962) among his sword & sandal credits.

Fernando Sancho is almost unrecognizable as Namath, the faithful compatriot to Goliath. He is a bit smaller in weight, his hair is curly and he is without his bushy mustache seen in his countless spaghetti westerns. An unusual role to see him in for sure, he exits the picture rather early. It's a shame he didn't make a bit further in the film as he was definitely an unusual presence in a film such as this.

The gorgeous Gloria Milland is a stand out beauty with some very fine curves. Like most all other peplum actresses, she's put into harms way on mulitple occasions allowing several glimpses of her heaving chest bound within tight dresses. She also features in THE REBEL GLADIATORS (1963) starring Dan Vadis and Alan Steel and HERCULES AGAINST THE BARBARIANS (1964) starring Mark Forest.

Fernando Rey brings a classiness to his role as the evil usurper Bokhan. He attacks his role with conviction unlike most actors playing sadistic rulers in these movies. Rey is one of many bright spots found here. Nello Pazzafini rules a number of scenes as Bokhan's main heavy. He's more of a presence here than in a fair number of other peplums he featured in. In this genre, Pazzafini fluctuated from playing good and bad guys.

Again, there are some strong scenes of violence one featuring the villains tossing some men and an old woman from a cliff. We see the body (a dummy obviously but still effective) as it rolls and tumbles bones breaking as it crashes to the craggy bottom below. An arrow delivered to the injured winner of a bloody game of gladiatorial death matches and a vicious sword to a bad guys face round out the brief bits of startling violence not normally seen in the US import versions of the Torch & Toga flicks.

GOLIATH AGAINST THE GIANTS (1961) is a very silly movie. Some of the fights seem almost like rehearsals but there's so much energy and near nonstop action that any shortcomings are easily forgiven. The film delivers lots of popcorn thrills for viewers who simply want to be entertained for 90 minutes. The film was popular enough that it led to bigger things for Parolini but sadly, things didn't work out so well for Malatesta whose resume is made up of lackluster and easily forgettable movies that are fun in their own right, but aren't of the same quality as this picture. It's also obvious a bit of money was lavished on this production. Not quite as big a budget as say GOLIATH & THE SINS OF BABYLON (1963) but more than was usually afforded movies of this type. Also of curious note are the various behind the scenes technicians such as master director Sergio Sollima who had a hand in this films script. Romolo Girolami/Gurierri who became a famous director in his own right and Jorg Grau who helmed the famous Euro horror film THE LIVING DEAD AT THE MANCHESTER MORGUE round out the most notable and famous of this films behind the scenes participants. The musical score from Innocenzi is noteworthy especially the main theme.

GOLIATH AGAINST THE GIANTS (1961) is well worth the purchase and a good time for watching with the kids save for a few strong moments, the various monsters provide a fun distraction for the young as well as the young at heart.

[venoms5]

THE GIANT OF MARATHON 1959 aka LA BATTAGLIA DI MARATONA

Steve Reeves (Phillipides), Mylene Demongeot (Andromeda), Sergio Fantoni (Theocrates), Daniela Rocca (Karis), Alberto Lupo ( Miltiades), Daniele Varga (Darius), Ivo Garrani (Creusis), Sergio Ciani/Alan Steel (Euros), Mario Adorf (wrestler), Giovanni Cianfriglia (gladiator)

Directed by Jaques Tourner & Mario Bava (uncredited); Cinematography by Mario Bava

During a time of war between the Athenians and the Spartans, the Olympic champion and newly crowned commander of the sacred guard, Phillipides is approached to lead the fight against the invading Persians. Theocrates envisions that if he and Creusis (both members of the Athenian Council) can control the sacred guard, they can rule over Athens. After a chance meeting with Andromeda, the daughter of Creusis, Phillipides instantly falls in love with her. However, she is promised to the ambitious and villainous Theocrates. In an effort to secure dominance of Athens, Theocrates along with the exiled Athenian Hippias, plots to align with the Persian King Darius for the surrender of the Athenians. Realizing his scheme, Phillipides refuses to join the traitors and retires from the sacred guard choosing to become a farmer. When the invasion becomes iminent, Phillipides returns to Athens. To save his people and the woman he loves, Phillipides procures an alliance with their long time enemies, the Spartans to drive out the Persian hordes.

An Italian-French co-production directed by Tourner and distributed by MGM. Although Tourner gets sole credit, Bava finished the film when Tourner became ill. Despite that, the film is a high mark of the sword & sandal genre. One of the biggest peplum productions, the film is notable for some sprawling battle sequences, intricate set design (with numerous composite shots courtesy of Bava's photographic effects) and a good script peppered with some engaging cliffhanger moments.

Steve Reeves lights up the screen as the Olympic champion Phillipides whose deeds (according the opening credits) layed the groundwork for the Olympic games to come. Reeves, looking more lithe than his previous outings, plays his character as a stubborn but love sick individual. He ignores the wiles of a busty seductress whose purpose is to lure him into helping the conniving Theocrates. This love story subplot never proves detrimental to the film but instead enhances it especially during the final 30 minutes which looks to be where the bulk of the budget went.

Andromeda (played by the gorgeous Mylene Demongeot) is kidnapped by Theocrates after nearly killing her father. He uses her to bring Phillipides. After securing the help of the Spartans, hope for the survival of Athens seems assured until the Spartans don't show up. Instead, the 100 sacred Athenian guard take on the Persian horde alone. They come with an ingenious plan of placing metal spiked tipped poles into the water held in place by huge rocks. when the Persian ships cross, the stakes pierce the hulls of their ships. But the Persians are not without their own weapons--the flagship has a giant spiked pincher that opens to crush the Athenian vessels in its jaws. It's here where there is some rather shocking scenes of violence. The Athenians jump into the water and the Persians fire arrows and spears at them while submerged. Blades pierce into stomachs, eyes and necks followed by the ejection of blood. The remaining Athenians make their way to shore while the Persian army close in on them. When defeat appears imminent, the Spartans finally show and turn the tide of the battle resulting in the retreat of the Persians.

The striking beauty of French actress Mylene Demongeot is one of the most lovely female stars to appear in these films and also does not appear to be wearing anything under her skimpy attire. Daniela Rocca provides some added femininity with her voluptuous figure but demongeot has the most appeal. THE GIANT OF MARATHON (1959) has everything that makes (good) sword & sandal movies great matinée entertainment--larger-than-life heroes, feats of strength, beautiful women, insidious villains (sometimes monsters), ornate sets and big action set pieces.

Actor Fantoni is supremely villainous as the traitor Theocrates who pretends to want the greater good for Athens but in reality only wants sole power over the city and will sacrifice anyone to get it. The scene where he repeatedly slaps Karis for her failure and refusal in seducing Phillipides followed by his decree to kill her should she not follow his command is a strong scene and his demise at the end is expertly handled and imaginatively staged as opposed to the usual dispatch of the villains in these movies. Here, Phillipides duels with Theocrates atop the Persian ships mast which also binds Andromeda. Credit to the filmmakers for some damn fine action sequences. However, this film features some painful shots of violence towards horses. ROMULUS & REMUS (1961) had an immense amount of horse falls, but here these bits appear increasingly dangerous.

Future fusto star Sergio Ciani has a small role as the Spartan leader Euros whom had a fight with Phillipides in the past; it's only spoken of and not shown. Early in the picture, Phillipides watches two men beat the hell out of one another, a fight set up for his supposed enjoyment by Karis. Phillipides sees these two men as savages and not wrestlers. The winner tries to stop Phillipides from leaving resulting in the wrestler being bested. The man playing the wrestler looks very much like Mario Adorf although he is not credited but then nor is Ciani. Reeve's stunt double Cianfriglia is seen briefly as a gladiator.

A classy effort from the director of NIGHT OF THE DEMON (1957), THE COMEDY OF TERRORS (1964) and the loose Poe adapted WAR-GODS OF THE DEEP (1965) starring Vincent Price. Ably finished by Italian master of the fantastic Mario Bava (who would get his first major horror film off the ground due to his assist here) and he also contributes some very nice photographic effects to heighten the allure of this films production. A quality peplum all around and must see entertainment for fans of Reeves and the genre in general.

[venoms5]

Do'h! i meant that the Kobrak/Goliath was Steve Reeves (under the mask) who fights with Goliath. my poor grammer! it was in an old issue of Monster! International, which is sorely missed.

Wishful thinking I guess as the actor, Celano isn't as big as Reeves and he had a somewhat hairy chest if I remember right.

[venoms5]

A couple months back I watched most of the German DVD of THE TROJAN HORSE starring Reeves which is considered one of the best ever. It's definitely one of the most expensive looking of the sword & sandal movies. I haven't watched the sequel yet, WAR OF THE TROJANS aka THE LAST GLORY OF TROY aka THE AVENGER also with Reeves as well as SARTANA's own Gianni Garko. I'll finish TROJAN HORSE sometime or other.

[Kwok Choi]

Thanks Venom5 quite impressive you have single handedly covered this interesting period of film-making so there is not much to add.I grew up watching some of these films and this was one of my favourite genre.Unfortunately I haven't been blessed with seeing these movies again on any format since the mid to late 70s in theatres when they were re-released therefore those names of top actors of that era brought fond memories.

Roger Browne is a worthy mention who worked his way up to a leading man with 7 Magnificent Rebels (excellent),7 Slaves Against Rome,Venus Against The Son Of Hercules,The Revenge Of Spartacus etc.

Mark Forest also did a rare one as "Kinder" titled Kinder The Invincible (good story) and of course Dan Vadis' The Ten Gladiators was a classic.

Kirk Morris,Reg Park and Ed Fury also did a couple.All these guys did their own different interpretations of the Hercules,Goliath,Maciste,Ursus,Ulysses etc etc characters.

[gravedigger666]

Do not think as negative issue but venom5 do you have life besides movies?I have impression you have seen almost every movie made+I admire your verbal skills a lot in this forum.How huge is your collection?

[venoms5]

Thanks Venom5 quite impressive you have single handedly covered this interesting period of film-making so there is not much to add.I grew up watching some of these films and this was one of my favourite genre.Unfortunately I haven't been blessed with seeing these movies again on any format since the mid to late 70s in theatres when they were re-released therefore those names of top actors of that era brought fond memories.

Roger Browne is a worthy mention who worked his way up to a leading man with 7 Magnificent Rebels (excellent),7 Slaves Against Rome,Venus Against The Son Of Hercules,The Revenge Of Spartacus etc.

Mark Forest also did a rare one as "Kinder" titled Kinder The Invincible (good story) and of course Dan Vadis' The Ten Gladiators was a classic.

Kirk Morris,Reg Park and Ed Fury also did a couple.All these guys did their own different interpretations of the Hercules,Goliath,Maciste,Ursus,Ulysses etc etc characters.

Hey, Kwok. I have that Mark Forest movie, too but the credits on mine say KINDAR THE INVULNERABLE. The few you mention with Roger Browne I've never seen but they sound good. I never had the luxury of seeing these in a theater but saw them on television as a kid.

[venoms5]

Today, or actually yesterday, Turner Classics had showings of HERCULES, SAMSON & ULYSSES and TERROR OF ROME AGAINST THE SON OF HERCULES aka MACISTE, GLADIATOR OF SPARTA. Neither were widescreen but both had been cleaned up nicely from past editions I'd seen of these two films.

[jiujitsu77]

venoms5...i think it is safe that no one screws with brad harris, steve reeves, gordon mitchell, and richard harrison

oh and my man franco nero

glad you started this thread. very informative

[venoms5]

Cool. Thanks for the kind words. I was hesitant to post this thread but did so just to see if there were any other fans of these movies here. I wrote the initial article late '06 or early '07 and have been writing the reviews off and on ever since for these and other genre flicks.

[jiujitsu77]

i think it is safe to say that when we have started a forum to feed our nerdish leanings, nothing should be left out, no matter how off topic it is. we are a rare breed, so let us celebrate this. never be hesitant to post anything, for im sure SOMEONE in this damn forum will know something. networking and swapping info is key

[jiujitsu77]

i think it is ALSO safe to say that since this forum is for film geeks like us, nothing is sacred or off topic. that is what we are here for. to be with like minded people. if anything it could open up someone's interest

[Kwok Choi]

Yeah Venoms5, jiujitsu77 has taken the words right out of my mouth;well said! This was an important era in the history of film-making which inspired the likes of Arnold Schwarzenegger and others whose contribution to the magical world of cinema has now left a deep impact worldwide so its good for youngsters to know that once upon a time there was http://www.hollywoodcultmovies.com/html/muscle_men_of_peplum.html

One can also check out some of these movies and their poster artwork at

http://www.hollywoodteenmovies.com/Sword%20&%20Sandal.html

http://www.cinesud-affiches.com/movie-posters-PEPLUM+t_24.html

So feel free to post whatever type of cinema you fancy.Spaghetti Westerns,Classic War,Spaghetti War,Bollywood etc etc as there will always be some interest on this unique forum.

[jiujitsu77]

i think it's safe to say that i say "i think it's safe to say" alot.

spaghetti cinema has always been an interest to me. has anyone tried to search out some spaghetti KF classics like "the kid in the golden kimono" or even the western/eastern crossover "my name is shanghai joe"? (which i believe has a sequel that is hard to find). also, anyone hear of "tiger over river kwai"?

[venoms5]

Yeah, there's a couple of SHANGHAI JOE movies but I only have the first one. I didn't like it that much. There's also a spaghetti Eastern with Pai Piao although I forget the name right now.

[venoms5]

So feel free to post whatever type of cinema you fancy.Spaghetti Westerns,Classic War,Spaghetti War,Bollywood etc etc as there will always be some interest on this unique forum.

Alright, cool:). I just posted some past articles I wrote on other types of genre cinema, abridged articles though. I had planned to use them for something else down the road.

[venoms5]

HERCULES IN THE HAUNTED WORLD aka HERCULES IN THE CENTER OF THE EARTH aka ERCOLE AL CENTRO DELLA TERRA aka HERCULES VS. THE VAMPIRES

Reg Park (Hercules), Christopher Lee (Lyco), George Ardisson (Theseus), Leonora Ruffo (Deianira)

Directed by Mario Bava; Cinematography by Mario Bava; Music by Armando Trovajoli

After thwarting an assassination attempt on his life and that of his best friend, Theseus, Hercules returns to Ecalia. Upon his arrival to see his beloved, Deianira, Hercules learns that Uriteis, the king of Ecalia has died under mysterious circumstances. Deianira, the king's daughter, has suddenly taken a strange illness rendering her incapable of ascending the throne. Her uncle, Lyco, has taken over in her place as a great evil descends upon the city of Ecalia. Hercules learns the only way to cure Deianira is to traverse the horrors of Hades and retrieve a magical stone. But first, to be able to enter and leave the Land of the Dead alive, a Golden Apple, a treasure of the evil God Pluto in the marshes of Hesperides must be obtained. Meanwhile, the vile Lyco plans to sacrifice Deianira to Pluto during an eclipse drinking her blood gaining immortality in the process and plunging Ecalia into eternal darkness forever.

Exquisitely stylish and visually impressive film from Mario Bava who is like a little kid in a candy store with his new play toy--technicolor film stock. Regardless of whatever people may think of the genre or prudes who mock the limitations of older genre cinema, this is hands down, one of the most gorgeous 81 minutes of film you will ever see. A macabre painting brought lovingly to life by Mario Bava's gleefully inventive approach to the material. Anyone familiar with his techniques showcased in such films as THE MASK OF SATAN (1960) or THREE FACES OF FEAR (1963) will know what to expect only here you get Bava's trademark style in abundance. With what was reportedly a miniscule budget than was sometimes afforded these films, Bava of course, used his ingenuity to cover up budgetary shortcomings making use of limited sets by simply rearranging or combining existing sets to make them appear different. Also, the use of mirrors is employed to give the illusion you are seeing more than is actually there. Painted backdrops are used to there fullest effect in complimenting the nightmarish world of Hades. This also lends the proceedings a cadaverously opulent, operatic feel. Bava also goes the full mile incorporating opaque colors and gels and milky black shadows to drive home his fantastic vision.

Not content with just the films direction, Bava also handles the cinematography as well as the effects work which itself, saved some production money. What is immediately noticeable upon seeing this film is that Bava creates some interesting ways to shoot action sequences. Numerous shots display some wonderfully varied angles with which the action takes place. Bava utilizes wide shots from afar to allow the viewer to see the scope of the scene at hand. There are also some striking composite shots during the lengthy Hades sequence including one in which Hercules and Theseus are atop a massive precipice looking down into an enormous sea of flame. Directors both before and after Bava's entry were content with "playing it safe" when it came to shooting the action scenes. This is taking nothing away from the number of true artisans that labored in the genre, it's just refreshing to see it done with so much vigor and love for creating something special. Bava not only loved movies, but loved making them, too.

HERCULES IN THE HAUNTED WORLD (1961) is not Bava's first foray into the fusto realm. He had previously finished the classic Steve Reeves peplum epic, THE GIANT OF MARATHON (1959) when original director Jaques Tourner became ill. Bava also performed photographic duties there as well. Bava also worked on the special effects for Vittorio Cottafavi's HERCULES & THE CAPTIVE WOMEN (1961), also starring Reg Park. There would also be a small number of sword and sandal films that would have an air of horror about them. These include THE WITCH'S CURSE (1962) starring Kirk Morris and GOLIATH AGAINST THE VAMPIRES (1961).

Reg Park was a former Mr. Universe having won the title in 1951, 1958 and 1965. He had even attained second place against Steve Reeves in 1950. Park didn't partake in Italian cinema for the fame but for a stepping stone for his future business ventures in bodybuilding and fitness. He starred in five films in the genre. The remaining four being HERCULES & THE CAPTIVE WOMEN (1961), HERCULES, PRISONER OF EVIL (1964) and HERCULES THE AVENGER (1965). Each of Park's torch and toga movies diminished wildly in quality especially HERCULES, PRISONER OF EVIL (1964);a limp and lazy effort from Margheriti that returns to the horror elements that made Bava's movie so enduring. And the film isn't really a Hercules film but one of the Ursus series retitled for foreign consumption. One of the most famous men to follow in Park's footsteps is none other than Arnold Schwarzenegger who held great reverence for Park even plastering his walls with posters and articles about the distinguished British muscleman. It was also Park that talked Arnold into taking the role of the Olympian Demi-God in HERCULES IN NEW YORK (1970). Reg Park would die on November 22nd of 2007 after losing his battle with skin cancer.

Christopher Lee is an odd but easily gratifying choice to play the lead villain, Lyco. What is disappointing here and really the only negative I can levy at the film is that Lee did not dub his own voice. So much more depth of character and malice would have been evoked had Lee dubbed his dialog in his patented deep, commanding tone. Lee was a great admirer of Bava and I'm sure was delighted at the chance of working with the grand old man of Euro horror. However, Lee was not enamored with Bava's trendsetting BAY OF BLOOD (1972) after witnessing the cavalcade of gore on display. Lee was of course famous for his portrayal as Dracula in the Hammer films series and whether the role was advantageous or detrimental to his career is entirely up to interpretation. But vampire lore seeps its way into the narrative of HERCULES IN THE HAUNTED WORLD. Although Lyco bears no fangs, he intends to drink the blood of Deianira "when the dragon devours the moon" gaining him eternal life and transforming Deianira into the undead. While it's not shown on screen, Lyco kills a beautiful woman in vampiric fashion; her blood running out onto the marble floor and Lyco's visage suddenly appearing in the pool of plasma.

Without reiterating too much that has already been said, the set design is stupendous and Bava clearly shows his knack for making so little appear to be so much more. Other than a clunky rock monster (this was 1961 and such things should be overlooked given the circumstances), the effects are incredibly imaginative and innovative with what little Bava had to work with. The gloriously spooky score by composer Armando Trovajoli is suitably fantastical and even includes a nicely bombastic Hercules Theme. Given that so many composers who got much notice internationally for their scores on Italian westerns, I find there orchestral scores just as memorable if not more so adding a sense of majesty that belies the budgets on many of these productions. This version of the film utilizes the original title HERCULES IN THE CENTER OF THE EARTH moniker. Bava's sole directorial effort in the fusto arena would be distributed in America by the Woolner Brothers as HERCULES IN THE HAUNTED WORLD re-edited and cut eliminating some important exposition. The Woolner Brothers version was released to VHS back in the late 80's from Rhino with terrible sound quality.

Enough cannot be said about Mario Bava's commendable journey into this misunderstood genre. An auspicious start for Bava entering the world of color photography, his stamp hovers and engulfs every frame of this picture. One of his finest achievements of his career and easily one of the best and best loved muscleman movies to ever come out of the fabled Cinecitta Studios of Italy.

[Xenorama]

i just do not care for this movie that much. i prefer the other Reg Park movie, the Women of Atlantis- it's got more going on. sure, this one looks great, like all of Bava's movies, but it just lacks something.

great review though! you need to publish a book!

David

[venoms5]

It's missing the sword fights and abundant action in most all of these movies. Aside from the opening and a spot here and there, it's all horror and atmosphere. But what bit of action there is, Bava shoots these bits in a way the other directors never did. Bava used different angles and wide shots with actors in the foreground as well as the background in the action. I hadn't seen this film since I had bought the Rhino tape years back and didn't care for it much then but after seeing this version of it and in widescreen it's a different story altogether for me. This review was a bit longer and I trimmed some of it including a George Ardisson paragraph and I think I also cut off the one where I mentioned the above info. Thanks for the kind words, David.

[venoms5]

HERCULES UNCHAINED 1959 aka ERCOLE E LA REGINA DI LIDIA aka HERCULES & THE QUEEN OF LYDIA

Directed by Pietro Francisci; Special Lighting and Effects Director: Mario Bava

Steve Reeves (Hercules), Sylvia Koscina (Iole), Sylvia Lopez (Omphale), Gabriele Antonini (Ulysses), Sergio Fantoni (Eteocles), Mimmo Palmara (Polineces), Guliano Gemma (Beranipo), Sergio Ciani

Hercules attempts to thwart war against Thebes after the two sons of Oedipus, Eteocles and Polineces, feud over their yearly rotation to rule the great city. On his way to mediate for the two begrudged siblings, Hercules is entranced after drinking the "water of forgetfulness", found emanating from a fountain near the entrance to a cave. Omphale, the bewitching man-eater of Lydia, forces her men to lust after her by using the powers of the magical waters. Hercules comes under her spell but is saved by his friend, Ulysses in time to save the city of Thebes from certain destruction.

Sexually charged sequel to Pietro Francisci's HERCULES (1957) has the Olympian Demi-God at the mercy of the man hungry Omphale of Lydia. As a good number of fusto movies take bits and pieces from Greek mythology for these cinematic tales, this portion of the film is taken from the story of Hercules who, according to Greek lore, was a rather unhinged man with violently murderous tendencies.

The legend states that Hercules was to marry Iole after defeating her father and brothers in an archery contest. But after unknowingly purchasing stolen cattle belonging to Iole's father, her brother confronted Hercules about the theft only to have the angered strong man toss him from a tower. Not long after, Hercules asked an oracle to purify him yet again only to be refused. After destroying the shrine and battling with the God Apollo, Zeus proclaimed Hercules would be pardoned if he became a slave for three years. He was sold to Queen Omphale of Lydia who then forced him to dress as a woman and perform womanly duties as well as being her lover until his three years were up. In the film, Hercules becomes easily enraged after repeated ingestion of the magical waters, another nod to his mythological personality.

An interesting plot point regarding Omphale is her black widow-like behavior regarding males. She uses them sexually till they begin to bore her only to have them killed then "mummified" as stone statues by a group of Egyptians living beneath her domicile. The grotesque statues are then placed in Omphale's secret garden of the dead. Of course, Omphale ultimately falls in love with Hercules and finds it difficult to allow him to meet the same fate as her previous suitors. Still, it's up to Ulysses, pretending to be Hercule's deaf servant, to help the strong man escape Lydia alive just in time to prevent his home of Thebes from certain war.

The brief sequence where we see the Egyptians "disposing" of Omphale's lovers provides a parallel to their mummification practices of preserving the dead and is even mentioned in dialog by Omphale that the Egyptians will one day become widely known for their art.

Steve Reeves returns in this Italian-French co-production. A better sequel to the original film that made him an international star. And again, as always, (like the other actors in these movies) Reeves is dubbed by a voice actor because, according to a colleague, his voice wasn't "Herculean" enough. Guiliano Gemma and Sergio Ciani (Alan Steel) make very brief appearances as centurions.

Although the action slows down a bit during the section of the film when Hercules is under the spell of Omphale, there is still much to enjoy about the production. Whether it be the beautiful women or some stunning locations accompanied by colorful set design ably photographed by the esteemed Mario Bava.

[venoms5]

I added the complete article here with a plethora of pics. Still need to add some more, but this piece is for the most part, complete although I plan to add some additional paragraphs on the beauties present in these movies...

http://www.coolasscinema.com/search/label/Italian%20peplum%20and%20fusto%20movie%20overview

[kowloon]

THE SEQUEL OF SHANGAI JOE IS:

Che Botte, Ragazzi!

Cast Klaus Kinski, Karin Field, Fortunato Arena, Rick Boyd, Paolo Casella, Dante Cleri, Consalvo Dell'arti, Attilio Dottesio, N. Duong, Tom Felleghy

Regia Bitto Albertini

Sceneggiatura Bitto Albertini

Data di uscita 1974

GenereComico/Commedia

[venoms5]

THE SEQUEL OF SHANGAI JOE IS:

Che Botte, Ragazzi!

Cast Klaus Kinski, Karin Field, Fortunato Arena, Rick Boyd, Paolo Casella, Dante Cleri, Consalvo Dell'arti, Attilio Dottesio, N. Duong, Tom Felleghy

Regia Bitto Albertini

Sceneggiatura Bitto Albertini

Data di uscita 1974

GenereComico/Commedia

Cool. But what does this have to do with the peplum thread?