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To honour her father's dying wish, Queen Salina shares the rule of Icena with Justinian, a fair and just Roman. This displeases the bloodthirsty Druids on one side and the more hard-line Romans on the other. As Salina and Justinian fall in love their enemies start to plot, and blood soon stains the green hills of Britain. Written by
Jeremy Perkins <firstname.lastname@example.org>
The fact of a soldier wearing a wristwatch has passed into movie folklore as the favorite goof of many moviegoers. Similar stories are told of Ben Hur (1959) and Spartacus (1960). For The Viking Queen no still or precise reference has ever been found, and it is likely that the story is either apocryphal or that one of the wristbands worn by the soldiers was mistaken for a wristwatch. See more »
Strictly for Hammer completists and those bored on a Sunday afternoon
Never a company to let something like historical accuracy get in the way of some good ol' fashioned blood shed and some barely covered breasts, Hammer Studios went all-out anachronistic in 1967, telling the tale of The Viking Queen, Salinas (Carita), a British druid who was not a Viking and seemed to worship the Greek god Zeus. It's a rather dull tale about Salinas' love affair with invading Roman general Justinian (Don Murray), whose truce causes both the Druids and the Romans to heavily oppose it and wage war against each other. With Justinian raising taxes of the rich merchants, and lowering them for the poor small-folk, a plot is forged between the merchants and the usurping Roman Octavian (Andrew Keir) to overthrow Justinian and conquer the Druids.
Shot with an almost sickening lucidity, The Viking Queen is certainly an example of Hammer's strives for visual lushness and oily-skinned beauties, possibly to compensate for the sheer monotony on show. This was Finnish fashion model Cairta's only starring role (she appeared in small roles in a couple of other productions), and although she certainly looks the part (in terms of what Hammer were obviously looking for), her inexperience shows and zones in a rather flat performance. The wildly historical inaccuracy can certainly be forgiven if the film was entertaining, such as it was in Hammer's Rasputin The Mad Monk (1966), but there is nothing going for this film apart from the odd amusing camp performance, and the sight of Nita Lorraine's (credited as Nubian Girl Slave) shiny flesh. Strictly for Hammer completists and those bored on a Sunday afternoon.
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