Who needs epics about Ancient Rome, Egypt, or Greek mythology when we have a thousand years of exotic Central and South American civilizations to exploit? Well, it's only been done a handful of times. This cinematic concatenation of nifty architecture, fruity multicolored headgear and athletic oiled warriors is, well, nifty, fruity and athletic! Kings of the Sun Kl Studio Classics Savant Blu-ray Review 1963 / Color / 2:35 widescreen / 108 min. / Street Date May 26, 2015 / available through Kino Lorber / 29.95 Starring Yul Brynner, George Chakiris, Shirley Anne Field, Richard Basehart, Brad Dexter, Barry Morse, Armando Silvestre, Leo Gordon, Victoria Vettri, Rudy Solari, Ford Rainey, Chuck Hayward, James Coburn (narrator). Cinematography Joseph MacDonald Film Editor William Reynolds Original Music Elmer Bernstein Written by James R. Webb, Elliot Arnold Produced by Lewis J. Rachmil Directed by J. Lee Thompson
Reviewed by Glenn Erickson
Epics don't get wilder than this. According to producer Walter Mirisch, 1963's Kings of the Sun...
Reviewed by Glenn Erickson
Epics don't get wilder than this. According to producer Walter Mirisch, 1963's Kings of the Sun...
- 9/8/2015
- by Glenn Erickson
- Trailers from Hell
The Western was a movie staple for decades. It seemed the genre that would never die, feeding the fantasies of one generation after another of young boys who galloped around their backyards, playgrounds, and brick streets on broomsticks, banging away with their Mattel cap pistols. Something about a man on a horse set against the boundless wastes of Monument Valley, the crackle of saddle leather, two men facing off in a dusty street under the noon sun connected with the free spirit in every kid.
The American movie – a celluloid telling that was more than a skit – was born in a Western: Edwin S. Porter’s 11- minute The Great Train Robbery (1903). Thereafter, Westerns grew longer, they grew more complex. The West – hostile, endless, civilization barely maintaining a toehold against the elements, hostile natives, and robber barons – proved an infinitely plastic setting. In a place with no law, and where...
The American movie – a celluloid telling that was more than a skit – was born in a Western: Edwin S. Porter’s 11- minute The Great Train Robbery (1903). Thereafter, Westerns grew longer, they grew more complex. The West – hostile, endless, civilization barely maintaining a toehold against the elements, hostile natives, and robber barons – proved an infinitely plastic setting. In a place with no law, and where...
- 1/3/2013
- by Bill Mesce
- SoundOnSight
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