THE ADVENTURES OF HERCULES
DVD Box Set Review by Christopher Dietrich

Trimark Home Video has released a seven-picture boxed set of Hercules and strongman epics from the Sixties no doubt cashing in on the success of Academy Award Winner GLADIATOR. For those of us cult film fanatics who remember fondly those matinees of the Sixties with such greats as the immortal Steve Reeves, Reg Park, Gordon Scott, Richard Harrison, Mickey Hargitay, Mark Forrest, Dan Vadis and others, our day has arrived!

Italian cinema has a long history of these spectacles dating all the way back to the silent era. However, other than Cecil B. DeMille's opulent epics CLEOPATRA (1934), THE CRUSADES (1935) and SIGN OF THE CROSS (1933) and a few by other directors, there was no such tradition in the history of American Film.

Decades later Joseph E. Levine, a shrewd producer in his own right, took a gamble on a film he had seen in Italy entitled LE FATICHE DI ERCOLE (The Deeds of Hercules, 1957) with a fresh unknown, the breathtakingly handsome Steve Reeves. Levine bought the film and proceeded to spend a cool $1 million on publicity alone for the film's American release. Cinema history was made when the film became an overnight hit and made huge profits for Levine and Embassy Pictures. A sequel followed entitled HERCULES UNCHAINED that also brought in mammoth money and engendered great appreciation stateside for tales of ancient Rome and Greece.

At the same time in the USA, bodybuilding had become a new craze among young actors. Many of these hungry for work had marginal acting ability by the rigidly perfectionist studios of the Fifties, and like surfers attempting to "ride the wave," a few searched for stardom across the Atlantic and straight to the Eternal City to seek their fortunes. How happy some of us are they did!

LION OF THEBES

Italy/France. Filmes, Rome & Societe des Films, Paris. Distributor: Embassy Pictures (1964). Duration: 85 minutes. EuroScope & Eastmancolor.

Producer/Director: Giorgio Ferroni. Screenplay: Remigio Del Grosso, Giorgio Ferroni, Andrey De Coligny and Jean Kelter. Music: Francesco De Masi. Camera: Angelo Lotti.

Cast: Yvonne Furneaux (Helen of Troy), Mark Forrest (Aryan), Massimo Serato (Tutmes), Pierre Cressoy (Ramses), Rosalba Neri (Nais, Fiancee of Ramses), Carlo Tamberlani (Menophis), Alberto Lupo (Menelaus).

The film begins with Mark Forrest (portraying a Hercules variant named Aryan) carrying the weakened, ravaged Helen of Troy (Yvonne Furneaux of the Hammer MUMMY and LA DOLCE VITA fame) through the Egyptian desert en route to Thebes. The two have fled the Greeks who have successfully defeated Troy. But Lower and Upper Egypt are in turmoil with each part ruled by different pharaohs. Helen & Aryan are captured and taken to the court of Ramses (Pierre Cressoy), the reigning Pharaoh. The monarch is smitten by Helen's good looks, much to the dismay of his intended bride (Rosalba Neri). Court intrigue gets a bit out of hand as the Pharaoh is assassinated and the blame is placed firmly at the feet of Helen and Aryan. The perpetrator is the power-hungry Tutmes (Massimo Serato). He attempts to kill Helen (the inevitable dungeon scene is a great setpiece as a slab is slowly lowered down on her body). A battle ensues between the armies of Upper and Lower Egypt that culminates in the defeat of Ramses and the rightful ruler, the benevolent Menophis (Carlo Tamberlani), is installed on the throne. His first act is to praise Aryan and Helen for their unselfish acts and for helping to return stability to the new state, the united Egypt. As the romantic couple prepares to return for Sparta, Helen decides there are better things than being a Queen and wishes to begin a new life with Aryan.

Mark Forest considered this his favorite film. He turns in a competent performance, is appropriately heroic and looks superb. The film distinctly needed a few hundred more extras and some of the desert scenes shot on soundstage could have had more dressing. However, the cinematography and color in LION OF THEBES are magnificent and dazzling. Costumes are also first-rate and battle scenes are quite good. Alberto Lupo (of ATOM AGE VAMPIRE fame) is appropriately blackhearted as Menelaus and is wicked fun. Director Giorgio Ferroni has given us a reasonably good and entertaining entry in the peplum genre that is in need of serious, positive reappraisal.

THE TROJAN HORSE

Also known as LA GUERRA DI TROIA. Europea Cinematografica, Rome/Les Films Modernes, Paris. Distributor: Colorama Features (1962). Duration: 105 minutes. Euroscope and Eastmancolor.

Director: Giorgio Ferroni. Screenplay: Ugo Liberatore, Federico Zardi and Giorgio Stegani. Music: Giovanni Fusco. Camera: Rino Filipponi.

Cast: Steve Reeves (Aeneas), John Drew Barrymore (Ulysses), Juliette Mayniel (Creusa), Edy Vessel (Helen), Lydia Alfonsi (Cassandra), Warner Bentivegna (Paris), Luciana Angelillo (Andromache), Arturo Dominici (Achilles), Mimmo Palmara (Ajax), Nerio Bernardi (Agamemnon), Nando Tamberlani (Menelaus), and Carlo Tamberlani (Priam).

The story commences in the 12th Century B.C.

Nine years have passed since Paris (Warner Bentivegna) captured the radiant Helen of Troy (Edy Vessel), then the wife of Menelaus (Nando Tamberlani), King of Sparta. During the nine-year period many unsuccessful attempts were made by the Greeks to avenge the outrage. Behind the towering walls of the city of Troy, Paris has kept Helen as his greatest prize.

It is the tenth year of conflict between the Trojans and Greeks. Hector, supreme commander of the Trojans and brother of Paris, son of King Priam, has slain Patrocus in single combat. Achilles then kills Hector and his body is dragged in triumph behind Achilles' chariot.

The Trojans, lacking a supreme commander, divide into two factions. One, headed by Paris, is composed of the nobility and upper classes. The other, headed by rank and file soldiers, is headed by Aeneas (Steve Reeves), a courageous fighter also of noble blood. Aeneas is secretly married to Creusea, sister of Paris.

The Greeks are holding war games as part of the funeral rites prior to setting fire to the pyre of Patroclus. Achilles has dragged the body of Hector to the foot of the pyre, allowing it to remain there in the dust.

The Trojan king requests the return of the body of his son and proceeds under the flag of truce accompanied by Aeneas. The Greeks humiliate the King and force him to beg.

Achilles invites Aeneas to join in their games, providing he fights their greatest warrior, Ajax. Aeneas agrees to this only if he is given Hector's armor if he triumphs. This wish is granted and a terrific fight takes place.

After victory, Aeneas returns to Troy and his ownership of Hector's arms entitles him to join in the war council. Wanting an end to the war, Aeneas urges that Helen be returned to her husband. Paris and Helen prevail and the war continues. The Trojan king sends Aeneas to neighboring kingdoms for reinforcements. At the same time, Paris is sent to the Greeks to negotiate a period of truce. Paris has to deal with Ulysses, who demands gold and all the wood that can be obtained in return for cooperation.

Ulysses explains to his fellow Greeks that the only way to win the war is to steal inside the very walls of Troy itself. He proposes to build a great wooden horse - a figure large enough to hold scores of soldiers.

Ulysses spreads the word among Trojan prisoners that the great wooden horse is sacred and the gods protect whoever possesses it. In an act of treachery he assigns a confidant to act as traitor and guard the horse.

Meanwhile Aeneas is returning to Troy with a large number of reinforcements. The Greeks discover this and a huge battle ensues. The Trojans route the Greeks and Aeneas sends word to Paris that if the Greek retreat is cut off, the war will end in victory. Paris refuses; however, when he notices that Aeneas is in a position to slay Achilles and thus become a hero, he has Achilles murdered with a poisoned arrow. The Greeks retreat to their ships, leaving behind the wooden horse.

Paris, who has taken command, declares the war ended. He believes the horse is imbued with protective powers from the gods and has it brought within the Trojan walls. By prior arrangement the Greeks return when the soldiers open the gates of Troy concealed within the horse. Troy is destroyed by fire and Helen and Paris are slain by Menelaus.

Aeneas escapes with a number of men and sail to the shores of undiscovered Italy where they found a new city - the Eternal City, Rome.

This adaptation starts promisingly enough: Steve Reeves vows to save Troy against the Greeks. This effort is loosely (and I do mean loosely) based on the fierce war between Troy and the Greeks. An apocalyptic vision of ancient times, the film is complex and just keeping track of the diverse characters will require some effort (but the payoff is well worth it!) There are divine set pieces and elaborate costumes in evidence here, hence, an acceptable budget. Arturo Dominici as Achilles is most menacing as his star turns in BLACK SUNDAY (1960) and HERCULES (1957) had established him as a wondrous spaghetti villain. The original silver fox, John Drew Barrymore (later to star in NIGHT STAR, GODDESS OF ELECTRA aka WAR OF THE ZOMBIES (1965) never looked more handsome and evil as in his role as Ulysses.

Splendid Italian color cinematography is courtesy of Rino Filipponi. The locations in Italy, France and Yugoslavia are breathtaking. The godly Steve Reeves is at his best in this and his legions of fans will certainly be compelled to obtain the box set for this film alone.

MEDUSA VS. THE SON OF HERCULES

Also known as PERSEO L'INVINCIBILE (Perseus the Invincible). Copercines (Madrid) and Cineproduzioni Bistolfi (Rome). Distributor: Embassy Pictures (1963). Duration: 93 minutes. CinemaScope and Eastmancolor.

Producer: Emo Bistolfi. Director: Alberto De Martino. Screenplay: Mario Guerra, Luciano Martino, Jose Mallorqui, Eduardo Giorgio Conti, Ernesto Gastaldi, Alberto De Martino and Vittorio Vighi. Music: Carlo Franci. Camera: Eloy Mella and Dario De Palma.

Cast: Richard Harrison (Perseus), Anna Ranalli (Andromeda), Arturo Dominici (Acrisius), Leo Anchoriz (Prince Galanore), Roberto Camardiel, Antonio Molino Rojo, Elisa Cegani (Queen Danae), Angel Jordan, Rufino Ingles, Jose Sepulveda, Lorenzo Robledo and Enrique Navarro.

The tale is based upon the myth of Perseus and Andromeda and the original Italian title was PERSEO L'INVINCIBILE (Perseus the Invincible). The Medusa, a tree-like, one-eyed monster rising from a lake attacks a group of soldiers. The monster has tree branches for arms and a gaze or glance from its one eye that turns the centurions (and a future king) to stone. Enter Perseus (the three marks on his shoulder distinguish him as the son of Zeus) into the picture. He is then attacked by a hunting party of the princess and is in a whipping contest with one of her suitors. Perseus loses and is about to be put to death but the princess intervenes and our hero is given a second chance in the arena as a gladiator. This journey enables him to be reunited with his mother who relates to him his real parentage before her death. Perseus then causes an uprising and raises an army to cause the downfall of the evil monarch and restores he and Andromeda to their rightful place. Perseus even manages to thwart the Medusa and de-petrify the centurions and their leader at the film's end.

Richard Harrison, while not a bodybuilder in the truest sense, is very appealing as Perseus, a role that would later be played by Harry Hamlin in Harryhausen's last hurrah, CLASH OF THE TITANS. Harrison, long a staple in Sixties Italian epics, has said to this reviewer how much fun it was to be in Italy during this fertile period when CLEOPATRA put Rome on the map. He recalled how all the little companies borrowed scenery and costumes from the bloated budget of the epic megabomb. He mentioned how often he was hurt doing his own stunts in this film, and after a while he wised up and let the stuntmen do the really dangerous feats themselves.

Once again, as with LOVES OF HERCULES, HYDRA has a very unconvincing dragon that is cemented in a lake requiring the extras to ride up and jump in its mouth or fall down close enough to be menaced. The Hydra itself resembles Phyllis Diller on acid! Both of these creatures were the early efforts of monster maven Carlo Rambaldi. The petrified centurions are good fun as well and are certainly more believable than the monsters. However, during the Sixties, Baby Boomers may have actually been frightened rather than charmed by all of this.

HYDRA is one of the better entries in this collection thanks to the spirited performance of the handsome Richard Harrison and a good supporting cast. Arturo Dominici is formidable as a villain once again and the man portraying his son, Leo Anchoriz, is equally evil and capable of chewing the scenery (the resemblance between Dominici and Anchoriz is most uncanny too!) This reviewer regrets that the musical score was not up to the standards set by HERCULES and sword and scandal films with a budget for a good soundtrack. However, the film begins and ends with the wonderful "Sons of Hercules Theme" which will take any lover of these epics back to a kinder, gentler era.

THE TRIUMPH OF HERCULES

Also known as IL TRIONFO DI ERCOLE and HERCULES VS. THE GIANT WARRIORS. Produzione Cinematografica, Rome/Les Filmes Jacques Leittienne and Unicite, Paris/John Alexander Films 1964. Duration: 90 minutes. Cromoscope and Eastmancolor.

Producer: Alberto Chimenz. Director: Alberto De Martino. Screenplay: Roberto Gianviti and Alessandro Ferrau. Music: Francesco De Masi. Camera: Pier Ludovico Pavoni.

Cast: Dan Vadis (Hercules), Pierre Cressoy (Milo), Moira Orfei (Pasiphae), Marilu Tolo (Ate), Piero Lulli (Aristeo), Enzo Fiermonte (Eurystheus), Renato Rossini (Gordius).

Milo, a tyrannical figure intent on ruling his kingdom, has the rightful king assassinated during his slaughter of innocent villagers. His ace in the hole is his mother, Parsifae the sorceress, who protects her evil son by giving him a bejeweled dagger that, when opened, makes appear a cadre of bronze warriors that are nearly superhuman. Enter Dan Vadis as Hercules to save the day! Milo then attempts to seize power by influencing the new queen, Ate (Marilu Tolo). When he arranges for the capture of Ate, Hercules (who has fallen head over heels for the new glamorpuss) the man of steel goes totally batshit and goes on a killing spree against the villagers, taking out some innocent lives along the way. Zeus is displeased and retakes Hercules' strength, making him not only mortal but also a weak one at that. Milo's evil plan intensifies and he places Ate in restraints as a panel of long silver blades her ultimate reward. The contrite Hercules is given back his strength just in time to save Ate's life, dispatching the evil Milo and his gorgon-like mother and the golden warriors her sorcery created.

It's in films like this that one wonders who does the hairdos for these women. And where do all these gowns and jewels come from? This reviewer has never seen a Roman shopping mall in any of these pepla nor even a marketplace for the commoners to shop! In this film sorceress and peasant alike are coiffed, and made-up to look as if the Westmore brothers must have a salon in the Coliseum.

Dan Vadis looks the part of Hercules from the neck down. His facial features are those of a jock who has wandered on the set without a clue as to what an ancient warrior, much less a god, would act like or behave. This entire aside, he's great fun to watch as he does the best he can to look mythic and keep those six-packs well oiled. Seriously, Herc-fans, this one is a real dog and if you have to skip watching any of the titles, this is the one to avoid!

HERCULES VS. THE HYDRA

Also known as GLI AMORI DI ERCOLE (LOVES OF HERCULES). Grandi Schermi Italiani, Rome/Contact Organization, Paris/Walter Manley Enterprises (1960). Duration: 94 minutes. CinemaScope and Eastmancolor.

Producer: Alberto Manca. Director: Carlo Ludovico Bragaglia. Screeplay: Luciano Doria & Alessandro Continenza. Music: Carlo Innocenzi. Camera: Enzo Sarafin.

Cast: Jayne Mansfield (Deianira/Hippolyta), Mickey Hargitay (Hercules), Massimo Serato (Lico), Tina Gloriani, Rossella Como, Giulio Donnini, Arturo Bragaglia, Andrea Aureli, Andrea Scotti, Rene Dary, Olga Solbelli, Moira Orfei, Cesare Fantoni and Sandrine.

Released as THE LOVES OF HERCULES in Europe and on some video presentations as well, this is unquestionably the campiest of the films in this box set. While it is a tragedy the original 35mm prints are impossible to locate (maybe lost forever), this is the best this movie is ever going to look. While Mickey Hargitay is more of a bodybuilder than an actor and Jayne Mansfield more of an icon than an actress, they are perfectly matched in their ineptitude here. The plot is really unimportant as Hargitay is no Steve Reeves. Watching him lift paper mache props and mouth impossibly bad dialogue adds to the camp value of this effort. It is clearly Jayne Mansfield that put this production into motion. It is a bit jarring to see the fabled blonde in deliriously black and red wigs making her face like a painted doll and her rocket-like tits more lethal than ever.

The movie is plotted like a serial allowing Hargitay to encounter various obstacles on the way to serving justice and completing his vengeance. Unfortunately the budget does not allow for adequate special effects and part of the charm of this Hercules is just how bad it gets.

For example, the Hydra that Hercules must slay is a three-headed carnival attraction (or bad acid flashback) that is plugged into the wall of the cave and can barely move its heads back and forth. The actors literally have to climb into the monster's mouth and writhe dramatically before Hercules cuts off one of the heads thus turning the mechanism off altogether. And Jayne Mansfield is not about to let anything (or anyone) get in her way, including turning former lovers into living trees!

One begins to think this film was made strictly for children, as all the violence is very tame. Even a mad bull that is meant to menace Mansfield is no more than a cow sprayed black but not so covered in paint that you can't make out the white spots. Hargitay slays the animal off-camera as we watch Jayne overact as if to compensate.

As bad a production as it is, one is still immensely entertained by the two stars and their dedication to get through it as if better things were around the corner. Always think of the remark Jayne Mansfield made during this time in Europe, "Why don't I get offered the same parts they offer Marilyn?" One viewing of THE LOVES OF HERCULES and this question answers itself.

In spite of its shortcomings, the print looks better than any of its video predecessors. The colors are not faded and the sound quality is above average. There are a few problems in the reel changes and a bit of scratching from time and wear. This is easily the best offering and is on one disc all by itself.

HERCULES VS. THE SONS OF THE SUN

Also known as ERCOLE CONTRO I FIGLI DEL SOLE. Wonder Films, Rome/Explorer Films, Madrid/Walter Manley Enterprises (1964). Duration: 84 minutes. Totalscope & Eastmancolor.

Producer/Director: Osvaldo Civirani. Screenplay: Franco Tannozzini & Osvaldo Civirani. Music: Lallo Gori. Camera: Julio Ortaz Plaza.

Cast: Mark Forest (Hercules), Giuliano Gemma (Mytha), Anna Maria Pace (Princess Hamara), Franco Fantasia, Angela Rhu, Giulio Donnini (King Atahualpa), German Grechi and Carlo Latimer.

The story begins in Tijuanaca, city of the Incas. Hercules is shipwrecked on the shores of the New World. He soon befriends a friendly Inca Prince, Mytha. The prince endeavors to return his imprisoned father to his rightful throne that has been usurped by the king's evil brother, Atahualpa. Warriors of King Atahualpa attack Hercules who is rescued by Mytha. Together they join forces to save his sister, Princess Harmara from becoming a human sacrifice.

After the usual stock shots of battling warriors and dying villagers, the final showdown ends the tyranny of King Atahualpa and saves the princess as Hercules plans his return to his native shore with the help of his newfound friends, the Incas.

A clean-shaven Mark Forest is really playing Maciste as he had in several other films. But after the success of the Steve Reeves HERCULES audiences only seemed to identify with the son of Zeus. This entry does not have any silly monsters or elaborate dungeons of torture but it is high on camp value as a basically Italian and Spanish cast parade around in redskin drag and the court of Atahualpa is filled with elaborate costumes of feathers & jewels. This is the oddest backdrop for a Hercules epic yet conforms to the others in styles and plot. The highlight of this epic is the dance numbers choreographed to be show-stoppers. But if you like your Hercules films to be more conventional, this one might disappoint.

HERCULES VS. THE MOLOCH

Also known as ERCOLE CONTRO MOLOCH (CONQUEST OF MYCENE). Explorer Film, Rome/C.F.F.P. Paris. Distributor: Embassy Pictures (1963). Duration: 91 minutes. Euroscope and Eastmancolor.

Producer: Bruno Turchetto. Director: Giorgio Ferroni. Screenplay: Remigio Del Grosso.

Cast: Gordon Scott (Glauco/Hercules), Rosalba Neri (Pasifae), Michel Lemoine (Oineo), Arturo Dominici, Jany Clair, Alessandro Panaro, Nerio Bernardi.

An earthquake destroys ancient Mycenae. In the disaster the king is mortally injured but before dying he places into the safekeeping of his queen Pasifae the girl Medea whom he had by a previous wife. The survivors abandon the city. When Pasifae gives birth to the king's son it is decided to rebuild Mycenae on the very site of the birth. The child, however, is a disfigured being and a monster. The high priest orders that the cult of Moloch be practiced in honor of him and that one of the rites should be the periodic sacrifice of hostages taken from subjected peoples.

To end this barbarous practice, Glaucus (Gordon Scott), son of the king of the neighboring city of Tyrins offers himself as hostage with the intent of instigating a revolution in Mycenae itself and of opening the gates of the city to the army of Tyrins and her allies. Glaucus is helped by Cineus, the leader of the Mycenaen rebels.

To avoid recognition Glaucus takes the name of Hercules. His amazing strength brings him to the attention of Pasifae. He and Medea fall in love with each other but the girl is loved in turn by the head of the army Pentius who attempts to force Medea to marry him but Hercules prevents this. Pasifae, irritated by the action of the two suitors, sends Medea to become a handmaiden in the Temple of Mother Earth. She also sends Hercules to engage in mortal combat in the public arena. During the gladiatorial spectacle the Mycenaean army attacks Tyrins. It is victorious. Medea informs Hercules of the defeat of his people but the high priest surprises the lovers' meeting. Medea is condemned to die as a traitor.

Just as Medea is about to be sacrificed the populace rises in rebellion and liberate the lovers. Hercules is wounded in the fight but does battle with the beast Moloch. Hercules kills Moloch and frees the city of its scourge.

The highlight of this installment is the character of Moloch himself and his introduction in the film is quite spectacular and hallucinatory with a montage of slave girls arranged in psychedelic colors. Combined with the outstanding score by Carlo Rustichelli (the man who scored BLOOD AND BLACK LACE), one can hear the influence for not only Bava's next film but an influence to Italian giallos of the future.

The ubiquitous Rosalba Neri, whose reputation is nearly that of Barbara Steele, has appeared in such sleazy greats as LADY FRANKENSTEIN, THE DEVIL'S WEDDING NIGHT and countless semi-softcore sword and sandal epics. She resembles (in some shots) a young Barbara Streisand mainly due to her prominent probiscus. She tends to show more skin in her films than the Queen of Horror and we love her for it. Here she plays a vain and unscrupulously evil queen, aptly named Demetra.

The guilty pleasures of this film inlude the introduction of Gordon Scott, a great Tarzan and a very likeable sword and sandal hero, the underrated Arturo Dominici (from BLACK SUNDAY) combined with Ms. Neri make this a cast worth repeating.

Director Ferroni, best known for the acknowledged masterpiece MILL OF THE STONE WOMEN (1960), gives us some interesting setpieces here but my colleague Tim Lucas has pointed out that Bava's hand appears to be obvious in several scenes. So it is up to speculation if Bava took part in the production without credit.

This film is certainly one of the better offerings in the set along with HERCULES VS. THE HYDRA and THE TROJAN HORSE.

Trimark Home Video deserves enormous praise for the release of these titles at an affordable price. Amazingly enough, the company has succeeded in finding quality prints that have survived the ravages of time. Colors and hues are nicely saturated, not faded and look vibrant and new. Sound quality is also first rate. The only problem this reviewer has with this effort is that all the titles were variations of CinemaScope and should have been letterboxed.

Tales of ancient Greece, Rome and Medieval Asia deserve their place in cinema mythology in all their richness, beauty and splendor.

One plea from this reviewer to Image Entertainment, MGM Home Video, VCI Home Entertainment or Trimark: can we EVER expect any of the following titles (preferably letterbox format): HERCULES (1957), HERCULES UNCHAINED (1959), GIANT OF METROPOLIS (1962), HERCULES IN THE HAUNTED WORLD (1961), GOLIATH AND THE VAMPIRES (1963), THE TARTARS (1961) or THE MONGOLS (1961)?

Thank you, Trimark Home Video and please showcase further epic cinema! (Christopher Dietrich)

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