The story of Helen's flight from the vengeance of the Greeks following the Trojan War, in the company of her loyal protector Arion. She falls into the hands of the pharaoh Ramses, who sits on the throne of Thebes.
Roman soldiers capture Attalus (a.k.a. Hercules) in a battle at the fringes of the Roman Empire. They take him back to Rome where his prowess as a gladiator earns the respect of the Emperor... See full summary »
Once again billed as Montgomery Wood, Giuliano Gemma plays a civil war soldier who returns to his family land to find his family decimated, his property taken over by a family of Mexican ... See full summary »
Lorella De Luca
In the first of the Angélique series, the beautiful feisty teenage heroine becomes entangled in a political assassination plot and is betrothed to a stranger who is twelve years her senior and a reputed sorcerer.
Maciste arranges for himself and his new friend Bangor to be captured by a mysterious band of white-clad marauders and taken to an underground city. There the two are forced to turn an ... See full summary »
While fighting in Britain, Roman forces commanded by Caligula capture the noble warrior, Glaucus. Seeing in him gladiator material, Caligula takes Glaucus back to Rome along with other ... See full summary »
Based on the Edward Bulwer-Lytton novel. Set in the shadows of Mt. Vesuvius just before its famous eruption, the film begins with Glaucus, a Roman legionnaire, returning to his home from ... See full summary »
Italian censorship visa # 43547 delivered on 8-8-1964. See more »
When Hercules and Maytha first meet, Maytha says how he never saw a white man before, and Hercules remarks about how the Incans are a people he's never heard of before. Despite both of them being totally ignorant of each other's cultures, they speak the same language and have no trouble communicating this to each other. See more »
It's strange. I haven't seen a wheel since I've been in your country. Do you know what a wheel is?
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HERCULES AGAINST THE SONS OF THE SUN (Osvaldo Civirani, 1964) *1/2
This peplum, set in Inca country, is one of a handful which tried to give novelty to the tired formula by changing the locale (or the era) in which they were set: similarly freewheeling entries in the genre took place in China (including Riccardo Freda’s SAMSON AND THE SEVEN WONDERS OF THE WORLD ), another in full 17th Puritan atmosphere (THE WITCH’S CURSE , coincidentally also by Freda), etc.
However, it’s not enough to alter the background if the plotting remains the same old juvenile nonsense! In this case, Hercules is shipwrecked and immediately clashes with the locals yet helped by their rivals (led by Giuliano Gemma, still a year away from attaining genuine stardom with the first Ringo Spaghetti Western). Apparently, for all their architectural know-how, the Incas are still a backward people when it comes to warfare (given the surprising number on display here, they’re seemingly more interested in raising llamas than anything else) – so that it takes Hercules to update their weaponry and organize the surprise attack on the usurper!
As always, the faded pan-and-scan print and English dubbing do the film no favors – but it’s hurt all the more by a threadbare narrative (which extends merely to a princess being rescued from the sacrificial altar, naturally falling for the strapping foreigner at first sight, and the obligatory battle at the climax) padded with a couple of idiotic dances (which are interminable, to boot), and lifeless handling. Incidentally, the Hercules in this one – Mark Forest (who had already played the role in Vittorio Cottafavi’s minor but delirious GOLIATH AND THE DRAGON ) – is atypically clean-shaven: apparently, the film-makers thought his customary bearded look would jar with the generally exotic ambiance!
For the record, I was unfamiliar with director Civirani or, for that matter, leading lady Anna Maria Pace – the former’s work here doesn’t indicate anything more than a journeyman talent but the latter, at least, has the (agreeably darkened) looks to counter a rather stilted performance! Another ‘fault’ I regularly notice in this type of low-brow entertainment (but which, more often than not, translates into a fun booster for the viewer) is that the action sequences tend to come across as unintentionally comical – in the enthusiasm, or lack thereof, displayed by the extras or stunt people!
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