| Cameron Mitchell | ... | Harald | |
| Edmund Purdom | ... | King Sveno | |
| Isabelle Corey | ... | Hilde | |
| Hélène Rémy | ... | Elga | |
| George Ardisson | ... | Guntar | |
| Mario Feliciani | |||
| Andrea Aureli | ... | Haakon | |
| Aldo Bufi Landi | ... | Londborg | |
| Carla Calò | ... | Herta | |
| Corrado Annicelli | ... | Godrun | |
| Nando Tamberlani | ... | Gultred | |
| Nando Angelini | |||
| Piero Gerlini | |||
| rest of cast listed alphabetically: | |||
| Andrea Checchi | |||
| Piero Lulli | |||
| Benito Stefanelli | |||
Directed by | |||
| Giacomo Gentilomo | |||
| Mario Bava | (uncredited) | ||
Writing credits | ||
| Arpad DeRiso | (story) & | |
| Luigi Mondello | (story) & | |
| Guido Zurli | (story) | |
| Arpad DeRiso | (screenplay) & | |
| Guido Zurli | (screenplay) & | |
| Giacomo Gentilomo | (screenplay) | |
Produced by | |||
| Roberto Capitani | .... | producer | |
| Luigi Mondello | .... | producer | |
| Sam Schneider | .... | producer (english version) (as Samuel Schneider) | |
Original Music by | |||
| Roberto Nicolosi | |||
Cinematography by | |||
| Enzo Serafin | |||
Film Editing by | |||
| Gino Talamo | |||
Art Direction by | |||
| Italo Tomassi | (uncredited) | ||
Costume Design by | |||
| Maria Luisa Panaro | (as M.L. Panaro) | ||
Production Management | |||
| Roberto Capitani | .... | production manager (as R. Capitani) | |
| Augusto Dolfi | .... | production supervisor | |
| Tonino Garzarelli | .... | production supervisor | |
| Luigi Mondello | .... | general manager | |
Second Unit Director or Assistant Director | |||
| Giancarlo Marmol | .... | assistant director | |
| Pino Mercanti | .... | second unit director | |
| Guido Zurli | .... | second unit director (as G. Zurli) | |
Art Department | |||
| Saverio D'Eugenio | .... | set designer | |
Camera and Electrical Department | |||
| Alvaro Mancori | .... | cinematographer: second unit (as A. Mancori) | |
Costume and Wardrobe Department | |||
| Assunto Lazzazzera | .... | seamstress | |
Music Department | |||
| Luigi Urbini | .... | conductor | |
Other crew | |||
| Anita Borgiotti | .... | script supervisor: second unit (as A. Borgiotti) | |
| Maria Luisa Roi | .... | script supervisor (as M.L. Roi) | |
| Benito Stefanelli | .... | fencing master | |
|
|
|
|
|
| Maciste, l'eroe più grande del mondo | I giganti di Roma | In the Name of the King: A Dungeon Siege Tale | I dieci gladiatori | Mihai Viteazul |
|
IMDb User Rating:
|
IMDb User Rating:
|
IMDb User Rating:
|
IMDb User Rating:
|
IMDb User Rating:
|
| Full cast and crew | Company credits | External reviews |
| IMDb Action section | IMDb Italy section | Add this title to MyMovies |
Though made in the wake of the worldwide success of "Hercules," this modest but vigorous Italian production plays less like a "sword-and-sandal" and more like a "Robin Hood." Much of the action takes place in the villain's medieval castle but the action, perhaps because of a limited budget, rarely results in the hoped-for excitement. The cast, however, is a notch above average, led by Cameron Mitchell in the good-guy role and Edmund Purdom as the Sheriff-of-Nottingham-like villain. Mitchell's hair has been unconvincingly bleached blond but he manages to get through the proceedings with dignity largely intact. Purdom, however, is another story. He played the title role in 20th Century Fox's most expensive production of 1954, "The Egyptian" and in 1955 he played the leading man to Lana Turner in MGM's most expensive production of that season, "The Prodigal." This one-two punch should have made him a star but he soon wound up back in Europe slumming in B-movies such as this one. Here he plays a mincing, giggling villain who scampers about like a campy Richard III, his eyes darting nervously here and there and his hands, when they're not being wrung, clasped prissily across his chest. It's a "fun" performance but, oh, how the mighty have fallen. Perhaps the film's most memorable moment comes when Mitchell rescues his brother (George Ardisson) from a cell in Purdom's castle. The brother's palms have been nailed to an X-shaped cross and Mitchell has to pull the spikes out, mostly by hand. Fans of beefcake-bondage, laced with blood and sweat, take note.