Ganor, the leader of the Desert People, murders Sandor, the Sultan of Baghdad, and imprisons his eventual heirs, Daykor and Soraya, thus becoming the sole power in the country. Anthar, a young rebel, manages to get Soraya free. Eventually, she is captured by Akrim, a slave merchant, who sells her to Kamal, a wealthy Sheik. Soraya refuses to be the Sheik's girl, and plunges from a tower into the river - where she would have drowned if Anthar would not appear to save her once more. Together they go to Baghdad, where Anthar gets Daykor out of prison. But Ganor captures Anthar, and sets him to fight a rhinoceros to get rid of the freedom fighter. Daykor and Soraya return to Baghdad at the head of the revolted people, and after a siege, they take the city and joining with Anthar, will finally prevail over the tyrant.Written by
This was one of the many sword and sandal/mythological muscle man movies acquired by Joseph E. Levine's Embassy Pictures for release in the United States. Since there was a decline in the popularity of the genre, and many such films had been released to U.S. theaters, Embassy released it directly to television as part of their "Sons of Hercules" film package. The film was modified, pan and scanned, and re-titled "Devil of the Desert Against the Son of Hercules." Like other films in this film package, broadcasters could select versions which could be shown like a feature film, or shown in two one hour time frames as if it were a part of a television series. See more »
Gainor has a chamber of mirrors millennia before the development of the technology to produce flat glass and silvering. See more »
More an Arabian Nights adventure than a "Hercules" movie, this minor entry in the Sword-and-Sandal cycle lacks the verve, polish, and tongue-in-cheek humor needed to lift it above the level of the "forgettable." While the casting of Kirk Morris might lead one to expect generous servings of "beefcake," his initial appearance is the only scene in which he appears completely bare-chested. After that he's usually seen in a bolero jacket which shows off his arms and stomach but which, unfortunately, makes him look more like a comic side-kick than a two-fisted hero. Also, despite expectations to the contrary, Morris is not subjected to one of those torturous tests-of-strength which showcases his musculature in a bondage situation replete with homoerotic imagery. Instead, he's simply thrown into a pit with an irritated rhino -- a sequence which must have seemed better on paper than it proves to be on film. While not a bad movie -- it's passably entertaining in a Saturday matinée sort of way -- fans of this genre in general and of Kirk Morris in particular are advised to look for their satisfaction elsewhere.
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