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SPARTACUS & THE TEN GLADIATORS 1964 aka GLI INVINCIBILI DIECI GLADIATORI (THE INVINCIBLE TEN GLADIATORS)
Dan Vadis (Roccia), Ivano Staccioli (as John Heston;Spartacus), Helga Line (Dania), Ursula Davis (Livia), Sal Borgese (Menos), Milton Reid (Chimbro), Gianni Rizzo (Julius Varo), Aldo Canti, Jeff Cameron
Varo to his former slave, Chimbro:"If you fail me once again, you'll return to being a slave. Even worse...I'll have your tongue cut out. I'll tear out your eyes and I'll send you into the mines where you will be whipped! And I'll have your wounds, all of them, rubbed with salt! Excuse me, my friends, but this big brutal man has to be encouraged at times and reminded of his duties."
After overhearing a son feel shame and sorrow for having to battle his father in the bloody gladiatorial coliseum, the ten gladiators speak out on the boys behalf. Having ruined his day of gruesome games, Publius Teraxus banishes the ten warriors from the city of Capua and guarantees they will never fight in another arena again. They become vagabonds and aid the helpless or needy wherever they find oppression. A member of the Senate, Julius Varo, employs them to seek out a rebel slave named Spartacus and bring him back alive.
However, when the ten warriors find Spartacus, they quickly discover that Varo is corrupt and an evil man using slaves to build a massive acquaduct to ingratiate himself within the Senate. Wishing to no longer be a gladiator, Spartacus plans to return to his home in Thrace and take his people with him. Betrayed and enslaved by the devious Varo, Roccia and his compatriots escape and join up with the rebel slave and lead a revolt against the cruel senator and his insidious plans take control of Rome.
The second entry in the popular TEN GLADIATORS trilogy is a non-stop barrage of action mixed with a smattering of light comedy. There's quite a few major set pieces scattered throughout the films 98 minute running time. The opening gladiatorial combat scene starts things off on a rather serious and somewhat violent note. Here and a couple other places throughout, the script tries to touch on the gladiators' sympathy. When Roccia and the others overhear a young man expressing great sorrow to his father because the two have been selected to take part in a fight to the death, they have a sudden change of heart in regards to fighting in the death games.
Suddenly realizing that a gladiators life is meaningless to those who employ them, Roccia and the others want to leave Capua. But because they voiced their opinions, the man who hired them, Palubius, states he will make sure no other arena will take them on as fighters.
It's a nice, yet subtle touch that the script (co-written between Alfonso Balcazar, Nick Nostro and Sergio Sollima) would tap into the subject of the warriors humanity and emotional involvement in leading a life of violence. The script doesn't dwell on it, but it pops up on several occasions. Another interesting point of view is taken once the Ten Gladiators rescue Livia, the daughter of a prominent senator. She takes them to see her father, the senator named Julius Varo. Once reaching their palatial estate, the ten men see what it's like to live like a king. There is a brief, but effective set of scenes wherein the contrast between those who must do for themselves, and those who have others do for them is compared.
Gianni Rizzo plays the duplicitous Julius Varo. It's a role that fits him like a glove and he was made for playing such roles. He later appeared in a few spaghetti westerns playing similar roles of questionable character including the SABATA trilogy and several others. Rizzo returned in a similar capacity in Nostro's TRIUMPH OF THE TEN GLADIATORS the same year.
The script also allows for a string of action sequences with several of them being especially impressive for an entry coming at the end of the strongman cycle of movies. A lot of these scenes revolve around a series of captures and rescues leading up to the massive battle at the end. Some of the massive battle shots are stock footage from another movie. However, the sets are very ambitious especially the massive fort surrounding the construction of the acquaduct. One of the best scenes has Roccia and some slaves being hung from a large tree by one arm for a long period of time. After a while, soldiers shoot them with arrows.
The other nine gladiators arrive in time just moments before Roccia himself is killed. After the big battle, Varo is run over by a chariot by his own henchman, Chimbro, who escapes kidnapping Dania (Line) in the process. Roccia and his friends pursue on horses until Chimbro is stopped and he and Roccia engage in a final fight beside a river.
Dan Vadis plays Roccia, the same character he plays in the other two films. He is very athletic for his size and isn't shy in the action scenes. Like Gordon Scott, Dan Vadis was one of the more action oriented of the muscleman stars handling a lot of the fight sequences himself. Vadis was part of the Mae West Revue and a good friend of fellow peplum star, Gordon Mitchell. Vadis starred in SON OF HERCULES IN THE LAND OF DARKNESS (1963), THE REBEL GLADIATORS (1963), and THE TRIUMPH OF HERCULES (1964) among others. Vadis was one of the lucky few who made the transition into other genres and had one of the most successful careers outside of the sword & sandal genre.
Dan Vadis with Ivano Staccioli
He played convincing bad guys in the spaghetti westerns, FORT YUMA GOLD (1966) and THE STRANGER RETURNS (1967). This may have helped him in landing recurring roles in movies directed by Clint Eastwood. Vadis would appear in a series of films from the early 1970's into the early 1980's. He would briefly return to peplums with a lead bad guy role in Bruno Mattei's THE SEVEN MAGNIFICENT GLADIATORS (1983). Incidentally, Bruno Mattei worked on SPARTACUS & THE TEN GLADIATORS (1964) as the editor of the film. Dan Vadis was found dead in his car in 1987 of an apparent accidental drug overdose. There had been some speculation surrounding his death that it might not have been accidental.
Helga Line is on hand to provide some eye candy but unfortunately, she doesn't get to wear any outfits to show off her body. She is dressed in a gown through most of the film, though. She plays a very strong female character here as she does in the follow up, TRIUMPH OF THE TEN GLADIATORS. Only in this second entry, she doesn't play a fighting female, but does take a lot of punishment and torture displaying loyalty to her people. When the opportunity for her to escape presents itself, she decides to share her peoples fate and work in the slave camps of Julius Varo.
Character actor Milton Reid stands out as the memorable henchman, Chimbro. There is also some subtle tinkering with his role in an attempt to make his character sympathetic to the audience when Varo humiliates him in front of the ten gladiators. Threatening to make him a slave again lest he brings back Spartacus, you get the feeling he may betray Varo and join with Roccia and company. This never happens, though, but would have made for an interesting plot device if it had. The sword & sandal movies stuck mostly to formula and seldom strayed. Reid played a number of bit roles in his career, but he has a big supporting role here.
Possibly Reid's most memorable role was in THE PEOPLE THAT TIME FORGOT (1977) as the nasty Sabbala, the leader of the Naga's. Reid looked like something out of a Robert E. Howard novel in that picture. He also appeared in DR. PHIBES RISES AGAIN (1972) as a mute bodyguard and as a nemesis for 007 in THE SPY WHO LOVED ME (1977).
Having seen the third film in this series on a Saturday afternoon in the early 1980's, it has long been a favorite of the genre for me. The first movie, THE TEN GLADIATORS (1964), is the weakest of the lot. This second movie is as good, if not better than the third. There's a perfect balance between the comedy and the violence which is a problem that plagued the first film. It was endless goofy antics up till the conclusion then it suddenly turns deadly serious. The third picture is mostly light hearted with a bit of violence sprinkled here and there, but never gets too bloody or grim aside from a torture scene. SPARTACUS & THE TEN GLADIATORS is possibly the most successful in terms of its makers prowess to deliver a great and entertaining product.
The music by Carlo Savina is heroic and contains the prerequisite cues required for stoic sequences as well as those that feature the heroes in peril. It's nothing overly spectacular, but I would pick it up on CD should it ever be issued. Nick Nostro handles everything to a fine degree and never allows the comedy to overpower the production as in Giancarlo Parolini's take in the first entry. A recommended torch & toga romp peppered with all the ingredients that makes these movies fun to watch especially on a late Saturday night.
Charles Agosti (Count Siegried Von Frankenhausen), Antonio Raxel (Count Valsamo Cagliostro), Bertha Moss (Frau Hildegarde), Erna Martha Bauman (Countess Eugenia Frankenhausen), Begona Palacios (Anna Cagliostro), Raoul Farell (Dr. Richard Paisser), Enrique Lucero (Lazaro), Pancho Cordova (Justus)
Directed by Michael Morayta; Story & Screenplay by Michael Morayta; 99 minutes The families of Frankenhausen and Cagliostro have been devout enemies for centuries. Count Valsamo Cagliostro has successfully utilized scientific methods to halt the spread of vampirism by the use of Clamic Acid, which neutralizes the contagion spread by the infernal monsters. When his daughter goes undercover at a nearby mansion suspected of housing vampires, the stage is set for a renewed battle of good and evil. One of the best of the Mexi-horror films, director Morayta would return for more atmospheric spookery for the sequel entitled INVASION OF THE VAMPIRES (1963). He, along with cinematographer, Raoul Martinez Solares, create some truly unique and creepy imagery that stands out above many other similar films and not just those resigned to Mexican genre product. The films opening is truly one of the most frighteningly surreal sequences of any horror movie. At the start, we see a horse-drawn carriage moving in slow motion silently through foggy terrain. The coach reaches a pass in the forest where a hanged man dangles from a tree. The occupant pops his head out and orders the Grim Reaper-like coachman to drive on, "For Satan's sake!" Once the carriage reaches its destination, it is revealed that the coach driver really is a skeletal apparition wearing a hooded cloak! Once Frankenhausen and Hildegarde enter their home, the carriage, horses and all, vanishes into thin air. I can only wonder if Amando Ossorio saw this sequence as inspiration for his BLIND DEAD Templar Knights and their slow motion horse riding. What also enhances this scene is that three people watching note that the hooves make no sound as the eerie wagon passes by and into a hellish fog. It's as if the landau is floating just above the ground. The remainder of the film never quite reaches these sinister heights. A good portion of the film is a lot of talk about vampires and how to combat them. Leading up to the last 20 minutes, much of the running time concerns in fighting between members of the Frankenhausen clan and the infiltration by Anna and her lover, Dr. Paisser who seem to take forever to figure out something evil is going on within the disconcerting abode. Some of the characters are very interesting. Valsamo Cagliostro is a mix of Van Helsing and a Dr. Frankenstein type scientist. Valsamo (whom you see during the first 30 minutes and he doesn't appear again till the closing moments) gives a lengthy dissertation on the nature of the vampires. One of the most fascinating aspects of the Mexi-horror movies, notably the vampire releases, is that most all of them have their own mythology for the monsters from film to film. Valsamo and his colleague, doctor Paisser, inform an audience (including the audience watching the movie) about vampires and the contagion they spread. In the world occupied by the monsters seen in THE BLOODY VAMPIRE (1962), there are two kinds of blood suckers--dead and alive. Living vampires are the most dangerous. They live like mortals turning their victims into dead vampires. The dead vampires remain dormant in their caskets until the one that turned them is destroyed. The dead vampires then walk the Earth in search of new victims creating a mass chain of creatures. Valsamo goes on to discuss about the methods of disposing of a vampire. These keep with the popular means familiar with horror fans, but a mere stake through the heart, or burning doesn't necessarily do the trick. According to Valsamo, Clamic acid(!) is the only weapon that can stop the spread of vampirism; the substance called vampirina(!) is the term coined by the medical academic for the plasma that is drank from the victims of vampires. Clamic acid neutralizes vampirina blood, thus bringing about the end of the blood sucker. This Clamic acid is obtained by being distilled from the Black Mandragora plant, which only sprouts where a person has been hanged. We also get an education on the Frankenhausen lineage and their vampiric connections. The first born of the Frankenhausen family is hidden away from society till he reaches a certain age. Then, when the elder son reaches maturity, an epidemic of vampirism begins (although it isn't revealed just how the first born becomes a vampire in the first place). The remaining family of Frankenhausen are exempt from being turned into one of the undead and whom ever the vampire deems to take as a wife, she, too, is off limits to the creatures thirst for blood until he decides to take another wife. Charles (Carlos) Agosti is excellent as the head vampire, Count Frankenhausen. He's a particularly brutal fellow, often beating his servants with a whip and maintaining a torture dungeon when the need arises for some information to be extracted from an unfortunate. Agosti attacks his role with a lot of gusto and his look recalls the YORGA movies with his mouthful of fangs. Also, one scene where he rushes down a dark hallway towards his 'Quarry' (pun intended) reminded me of a similar shot in RETURN OF COUNT YORGA (1972). One of the most notable aspects of these Mexican vampire movies is that their chief antagonists are very talkative and excitable, something painfully absent in virtually all of Christopher Lee's interpretations of Dracula. The Count also has the ability to transform into an abnormally large bat monster. It's very fake looking, but striking to see such a massive creature and you get to see a lot of it in the couple of scenes that it features in. Another unusual touch is that Frankenhausen only hunts for fresh blood on the nights of the full moon! Mexi-horrors seemed to enjoy mixing and matching criteria from popular genre conventions. His tomb is also a striking piece of set design with a bizarre looking crest and the Count also shows off his supernatural powers from time to time as well. At the beginning, there seems to be a brief attempt to perceive Count Frankenhausen as a pitiable character. He speaks of his "sickness" in a tone that hints that he may possibly wish to be cured of his blood drinking ways. This is never brought up again, however. Aside from keeping up with all the eccentricities of the script, it's difficult to ascertain just where this film takes place. The Frankenhausens are of German descent and their enemies, the Cagliostros, are an Italian lineage. The Aztecs are brought up in passing so it's never quite clear just where the locale truly is. I guess it's safe to say it's somewhere in Spain. There is also mention of a daughter between the evil Count and his human bride. Called Brunhilda, we never see her, but she is talked about on several occasions. Her character is prominently featured in the sequel as is Frankenhausen headquarters, The Haunted Hacienda near Dead Man's Lake; the latter of which is only seen briefly at the end. Even with its faults, THE BLOODY VAMPIRE (1962) is easily one of the best of the Golden Age of the vampire genre. The spooky opening sequence is worth the price of admission alone and Morayta follows suit with his sequel opening that film with another spectacularly haunting attention getter. The music by Luis Hernandez Breton is also distinguished. There are some cues that possess a ghostly choir effect while the main cues are some unsettling stinger type distortions that add an unnerving quality to the scarier scenes. A most unusual score especially for a film of this vintage. Filmed at Churubusco-Azteca Studios in Mexico, the filmmakers get the most out of the Gothic and fog entrenched sets the studios artisans were experts in crafting. Despite being in black and white, I find the Mexican horror movies far more entertaining than anything Paul Naschy ever did. At least in these pictures, some attempt is made to explain almost everything whereas in Naschy's movies, things and situations just simply happen without any sort of logic or reason. If you are a fan of the old Universal style of horror moviemaking, you will no doubt have a good time with the overflowing lava of atmosphere the Mexi-horrors have to display for audiences. In spite of overly silly dubbed dialog, the actual dubbing itself is generally well done in these films. Lovers of cheese will have much to chew on here and those in search for old fashioned thrills and scares need look no further for something very different. Mexi-horror definitely delivers.
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I've been a huge movie buff since childhood catching old horror and monster flicks on Shock Theater and kung fu movies at the drive-in during the late 70's and early 80's. I've had a long time fascination with, and appreciate all genres of fantastic cinema, good and bad. One fans cheese is another fans juicy steak. I like both equally and seldom find a film I truly dislike as I will find something of interest in just about anything. The bulk of the films or tv series' seen here are mostly from my childhood, or films I own in what has become an Amazing Colossal DVD collection.