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The Lion of Thebes (1964)
"Leone di Tebe" (original title)

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Ratings: 5.0/10 from 134 users  
Reviews: 7 user | 3 critic

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.

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Cast

Cast overview:
Mark Forest ...
Arian
Yvonne Furneaux ...
Massimo Serato ...
Tutmes
Pierre Cressoy ...
Ramses
Nerio Bernardi ...
Xesostus
Rosalba Neri ...
Nais
Carlo Tamberlani ...
Menophis
Nello Pazzafini ...
Wrestler
Pietro Capanna
Roberto Messina ...
Wrestler (as Giovanni Messina)
Tullio Altamura ...
Elnà, mercante di gioielli
Enzo Fiermonte ...
Ufficiale di Tutmès
Valerio Tordi
Diego Michelotti
Alberto Lupo ...
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Storyline

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.

Plot Summary | Add Synopsis


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Details

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Language:

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Release Date:

28 June 1964 (Italy)  »

Also Known As:

The Lion of Thebes  »

Company Credits

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Technical Specs

Sound Mix:

Color:

(Eastmancolor)

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

Italian censorship visa # 43027 delivered on 27-5-1964 See more »

Connections

References Hercules in the Haunted World (1961) See more »

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User Reviews

 
Peplum at its best
27 September 2007 | by (United States) – See all my reviews

Mark Forest's personal favorite of his films is one of the best Italian sword & sandal films of the 1960s. Superior writing and direction, and handsome Egyptian sets and costumes, make it seem like a wonderful comic book come to life. Forest, in great shape, has never been better or been better-photographed. Furneaux capably heads a strong supporting cast.

The story finds the Pharaoh Rameses in love with Helen of Troy (Furneaux), who prefers Aryan (Forest), her beefy bodyguard. A mythological mix-up, but it's one of the genre's strongest, most logical and compelling stories.

A film like this, in an unfaded print with strong bright colors, makes one wonder if some of these films aren't actually better than they seem in their ludicrously-dubbed American TV versions. If this had been made by Fassbinder, David Lynch or some other fashionable director, it might be acclaimed as an avant garde masterpiece.


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