Hercules and the Princess of Troy (1965) review

HERCULES AND THE PRINCESS OF TROY 1965 aka HERCULES VS. THE SEA MONSTER

Gordon Scott (Hercules), Paul Stevens (Diogenes), Mart Hulswit (Ulysses), Diana Hyland (Princess Diana), Steve Garrett (Petra), Roger Browne (Ortag), Gordon Mitchell (Pirate Captain), Giorgio Ardisson (Leander), Jacques Stanislavski (Argus), Mario Novelli (Botus)

Directed by Albert Band

The Short Version: Joseph Levine struck theatrical gold after importing HERCULES (1958) and its sequel from Italy. Regrettably, his lavish, ill-fated pilot for the ABC Network based on the Greek Demi-God was never picked up for production. This is unfortunate since Albert Band's 47 minutes of flex n' pecs is as strong as the best theatrical offerings; only by 1965, Hercules had lost his lucrative strength. Three of the genres biggest names and best actors--Gordon Scott, Gordon Mitchell and Roger Browne--give it all they've got; and Carlo Rambaldi builds a massive opponent for Hercules to duel in the form of a multi-limbed denizen of the deep brought to life via computer and engines, and operated by remote control. With a number of new, and subsequently popular TV shows debuting that week; and a handful of other children's programming airing in the same time-slot, the TV Gods decided the fate of HERCULES was to never set sail again.

An enormous sea monster terrorizes the people of Troy. To satiate the monster's appetite for human flesh and prevent the destruction of their city, the Trojans must sacrifice a young girl every month. Hercules, Ulysses and Diogenes, sailing aboard the Olympia on a long journey to Thebes, land on Troy's shores. Once there, they uncover an assassination plot to kill Hercules; a sinister scheme to seize the Trojan throne that puts the female heir in grave danger; and finally, they must devise a plan to defeat the maiden-devouring monster.

Without Joseph E. Levine, it's questionable if Sword and Sandal movies would've been as popular as they were in America in the late 50s and early 1960s. Outside of cult circles and nostalgia lovers, the genre is virtually forgotten these days. Back then, Levine managed to keep the genre in the public eye in America for the duration of its popularity in its home country of Italy. 

A former shoeshine boy turned multimillionaire movie mogul, Levine's penchant for showbiz savvy and extravagance was evidenced in the movies he handled. Founding Embassy Pictures in 1956, Levine brought Godzilla to America that same year with GODZILLA, KING OF THE MONSTERS; re-cut and with added footage of Raymond Burr. 

Not long after, the enterprising producer showed a lot of muscle with another import, Pietro Francisci's HERCULES (1958); the classic Italian mythological movie starring Mr. Universe Steve Reeves. Utilizing approximately $1.5 million to purchase rights, add dubbed dialog and promotion, his gamble paid off with some $15 million in grosses. The sequel, HERCULES UNCHAINED (1959), likewise proved profitable for the producer.

With the Sword and Sandal genre still popular in the early 1960s, Levine made his way into the proverbial gladiatorial arena again. From 1963 through 1964, Levine fostered over a dozen more Italian he-man movies and gladiator films for viewing on the small screen--repackaging them as THE SONS OF HERCULES series. Releasing them to television via his Embassy Pictures, this weekly series heralded a heroic adventure prefaced by a catchy theme song, 'The Mighty Sons of Hercules'.

He would return to the mythological well for the last time in 1965. Having worked with the genres first major player in Steve Reeves, Levine would now associate himself with the second biggest name of strongman cinema in Gordon Scott.

A weekly series about the adventures of Hercules wielded fantastic potential.... five years earlier. JASON AND THE ARGONAUTS had been a hit in 1963; but by 1965, loincloth cinema had been usurped by westerns and spy pictures. The television medium is an entirely different battleground; but even there, the market was already flooded with westerns and a smattering of spy shows. You'd think a fantasy series would've been ideal for an entertainment pool with little variance. The public just wasn't interested.

Still, that's not to say the script by TV writer Larry Forrester and Italian adventure specialist Ugo Liberatore isn't appealing. Nearly all the genres cliches are accounted for. There's epic action sequences, feats of strength, and cliffhangers putting the protagonists in sufficient jeopardy between commercial breaks (the writers could've come up with a more believable manner for Hercules to be captured, though). For kids, anyway, it seemed like a great recipe.

Scott's musclebound hero is joined by Ulysses (played by newcomer Mart Hulswit) and Diogenes (played by veteran actor Paul Stevens). Had the show been picked up, Ulysses could've been the Robin to Hercules' Batman. In the pilot, the character isn't given much to do in an already crowded cast of characters. Diogenes is the more interesting of the two--as a scientist devising weapons to help Hercules in defeating the sea monster.

Shot in Rome and Yugoslavia, Levine's small-screen HERCULES was stunningly polished, benefiting from high production values and seasoned professionals both behind and in front of the camera. At just over 47 minutes, the HERCULES pilot looks bigger and better than many of the genre's full-length features. One of the programs greatest assets is its monster; an oversized crustacean created by a young Carlo Rambaldi--the future Oscar-winning FX artist of KING KONG (1976), ALIEN (1979) and E.T. (1982) to name a few.

In 1962, Rambaldi had built an impressive dragon for Antonio Margheriti's PERSEUS THE INVINCIBLE (itself one of the SONS OF HERCULES pictures re-christened as MEDUSA AGAINST THE SON OF HERCULES) that looked more realistic than your average European-made fantasy picture. The sea beast seen in HERCULES AND THE PRINCESS OF TROY is a slightly more impressive creation.

Measuring some 25 feet in length and costing $25,000 to build, the Herculean monstrosity was built with metal, plastic, and ten miles of wires--encasing six engines powered by a computer. Two operators maneuver the creepy crustacean (named Max by the cast and crew) via remote control transistor radios. 

HERCULES AND THE PRINCESS OF TROY was heavily ballyhooed in all your finer monster periodicals of the time like Famous Monsters of Filmland, Castle of Frankenstein, and Mad Monsters magazines. Gordon Scott may have been the star, but Mighty Max virtually overshadowed him from all the coverage he received back in the Fall of 1965 (and into the early months of 1966). With no advertising other than the TV Guide listing, the end result debuted on the ABC Network on Sunday, September 12th, 1965 from 7-8pm.

There were a lot of new shows debuting that week like GREEN ACRES (1965-1971), LOST IN SPACE (1965-1968) and THE WILD, WILD, WEST (1965-1969). HERCULES didn't have to contend with any of those, but was unable to strong-arm a multitude of kid-friendly competition. On CBS, it was the 12th season premiere of LASSIE (1954-1973) and the third season opener of MY FAVORITE MARTIAN (1963-1966) in the 7pm and 7:30pm time-slot.

Other children's shows provided stiff competition for the Son of Zeus over on NBC. For an hour block between 6:30pm and 7:30pm, the network aired a special preview of two soon-to-debut Saturday morning cartoons--Atom Ant and Secret Squirrel. The former was an insect with super strength; while the latter was the animal kingdom's James Bond. Following that was the conclusion of KILROY, a repeat of the 4-part tele-film on the WALT DISNEY'S WORLD program that originally premiered earlier that year in March.

Additionally, on another network, HERCULES was preceded at 6:30 by the US debut of the children's show, STINGRAY (1964-1965), a British Supermarionation television series.

 
There may not of been enough interest for ABC to order a season's worth of HERCULES, but examples of the genre were getting airplay that same week. The Saturday before HERCULES debuted saw an airing of Gianfranco Parolini's SAMSON from 1961 at 7pm; on Thursday, September 16th, Sergio Grieco's SWORD OF THE EMPIRE (1964) aired at 5pm. Not entirely unrelated, TARZAN AND THE LOST SAFARI (1956), another Gordon Scott outing, swung into action on CBS on Friday, September 17th at 5pm.

While kids were the primary audience for HERCULES' monster action, an international cast perform admirably in measuring up to their show-stealing, armor-plated co-star.

After making his mark as the best Tarzan next to Johnny Weissmuller, the late Gordon Scott went to Italy in 1960 where he found further fame as a host of heroes in a dozen costume epics and swashbucklers ranging from Maciste to Zorro. Strangely enough, Scott's last such picture was the first time he was playing Hercules. Dubbed in his previous peplums, we get to here Gordon's real voice this time.

As in his other pictures, Gordon Scott's performance possesses the energy of ten. Stoic as always, he would've made a fantastic Hercules had the series found life on network television. Gordon Scott was always a commanding presence, and he gets several opportunities to show off here; particularly during the finale while battling the monster. Another memorable sequence is at the beginning during an unusually impressive sea battle with pirates led by genre favorite Gordon Mitchell.

Mitchell fans will be disappointed in the actor's brief screen time considering he was a major player in Sword and Sandal cinema. Starting off playing the heroic Maciste in ATLAS IN THE LAND OF THE CYCLOPS (1961), Mitchell's face was better suited to anti-heroes and villains--types of characters he excelled in such as the lead role in THE FURY OF ACHILLES (1962). 

Aside from Mitchell, there's a handful of other familiar faces of American and Italian heritage.

Faring better than Mitchell in screen time is fellow American actor Roger Browne as Ortag, the brave centurion who is presumed dead after facing the sea monster at the outset. Returning with a mask covering his mutilated face, he saves Hercules just in time for the big battle on the beach that concludes the movie. Browne had worked with Gordon Mitchell before in VULCAN, SON OF JUPITER (1962) and in two of Michele Lupo's grand gladiator trilogy--THE REVENGE OF SPARTACUS (1964), SEVEN SLAVES AGAINST THE WORLD (1964) and minus Mitchell in his last genre offering, SEVEN REBEL GLADIATORS (1965).

Browne, along with his colleagues Gordon Scott and Gordon Mitchell, were the best actors this genre had ever seen. This was the only film to feature all three of them together. You can read our extensive interview with Roger Browne HERE.

Diana Hyland is the title Princess placed in peril by the usual throne usurper essential to vintage mythological movies. The typical plot device is that the hero saves the female protagonist, with both living happily ever after at the end. This being a pilot for a television series, you can't have your hero settling down so soon; so Hercules doesn't get the girl.

The late Ms. Hyland featured in numerous television programs--one of which being the spooky TWILIGHT ZONE episode, 'Spur of the Moment' from season five. Sadly, she died in 1977 from breast cancer at a very young 41 years of age.

Blonde-haired Georgio Ardisson (George Ardisson) was a fixture of Italian adventure, westerns and horror pictures, but barely gets anything to do or even say in HERCULES other than stand in as the love interest for Princess Diana. One of his most memorable roles was as the villain in the Barbara Steele Italian horror feature, THE LONG HAIR OF DEATH (1964).

Another member of the Italian cast fans will recognize is stuntman and actor Mario Novelli (he does both here; doubling Scott in a scene where he stops a galloping horse). An unremarkable actor, he rarely got many lines (if any at all); and the trend continues in HERCULES. Novelli has a duel with Hercules in what amounts to a failed assassination attempt. Novelli appeared in some of Italian muscleman cinema's best later examples--as well as a number of Italian and barbarian movies--he just never stood out as more than a familiar face.

Albert Band directs the action with flair, giving a glimpse at what a full-length Fusto feature would've looked like under his guidance. Band did work with Gordon Scott again in the same year's THE TRAMPLERS; an intriguing Italian western co-starring Joseph Cotten, James Mitchum, and Franco Nero. Band previously directed the quirky horror film, I BURY THE LIVING in 1958; returning to horror in 1977 with the thoroughly bizarre and campy DRACULA'S DOG. The father of Charles Band, he made movies under his son's Empire Pictures; and again in numerous Full Moon productions.

Fred Steiner's opulent musical arrangements are as big as Hercules' muscles. His impressive cues greatly enhance an already stout production. Steiner composed music for some of the greatest television shows of all time; these include GUNSMOKE, THE TWILIGHT ZONE, THE ANDY GRIFFITH SHOW, STAR TREK, THE WILD, WILD WEST and HAWAII FIVE-O to name a few.

Well known as a cinematographer, Enzo Barboni photographed films as diverse as ROMULUS AND REMUS (1961), NIGHTMARE CASTLE (1965) and DJANGO (1966). In 1970, Barboni moved up to directing, helming the wildly popular THEY CALL ME TRINITY (1970) and its even more profitable sequel, TRINITY IS STILL MY NAME (1971).

Billed as a one-hour special narrated by the esteemed Hollywood actor Everett Sloane, you'll know his face from dozens of television shows; including THE ANDY GRIFFITH SHOW (as Jubal Foster), THE TWILIGHT ZONE (the main character in 'The Fever'), and a few GUNSMOKE episodes to name some of his credits. Sadly, Sloane would take his own life on August 6th, 1965. HERCULES AND THE PRINCESS OF TROY would be one of, if not his last credit.

HERCULES AND THE PRINCESS OF TROY looked its best when TNT aired their yearly New Years Eve Sword & Sandal all-nighter where it played as HERCULES VS. THE SEA MONSTER. It looked its worst on German DVD as HERKULES UND DIE PRINZESSIN VON TROJA. The packaging makes the release look high quality, but the contents are little more than a dupe from a horrible looking VHS tape.

 
Possibly had Levine pushed this endeavor when the genre was a heavyweight, HERCULES may have been picked up as a weekly series. Then we could've seen Gordon Scott battling various monsters and duplicitous villains once a week for at least a full season, if not two. With but a single pilot episode, HERCULES AND THE PRINCESS OF TROY is an historical curio of what might of been.

This review is representative of the Retromedia DVD. Specs and Extras: Full Screen presentation; paired with ATLAS IN THE LAND OF THE CYCLOPS and GIANTS OF ROME; Running time: 00:47:09

Zorro and the Three Musketeers (1963) review

ZORRO E I TRE MOSCHETTIERI (ZORRO AND THE THREE MUSKETEERS) 1963

Gordon Scott (Zorro/Count of Seville/Military Inspector/Count of Teruel), Jose Greci (Donna Isabella), Giacomo Rossi-Stuart (Aramis), Livio Lorenzon (Porthos), Franco Fantasia (Count of Seville), Nazzareno "Tony" Zamperla (D'Artagnan), Nerio Bernardi (Cardinal Richilieu), Ignazio Leone (Sancho), Mario Pisu (Duke of Asturia), Gianni Rizzo (King Philip), Maria Grazia Spina (Manuela), Roberto Risso (Athos), Benito Stefanelli (Richelieu soldier)

Directed by Luigi Capuano

The Short Version: It's five times the buckle swashing in adventure specialist Capuano's marriage of Johnston McCulley's Spanish swordsman and Alexandre Dumas's French musketeers into an historical mishmash of epically light-hearted proportions. It's a comedy fantasy adventure all the way, but an impoverished budget keeps this from being anything more than a fractured fairy tale. Gordon Scott keeps the wind in its sails as a spirited Zorro who spends more time disguising himself as other people than he does donning the iconic black outfit. One of Gordon Scott's lesser, if fitfully fun Saturday matinee style features.

In the mid 1600s, Cardinal Richelieu of France declared war with Spain. One of these skirmishes between the two countries was for ownership of a strategic fortress in the Pyrenees at Vandremond. King Philip's cousin, Donna Isabella is kidnapped and held within the castle walls of St. Denis in France. The Count of Seville, who aspires for the hand of Isabel, is secretly aligned with the Cardinal; and while pretending to be in Spain's best interest, his real intentions are to hand over battle plans to the enemy in exchange for Isabella and the riches that come with marriage. Zorro, a mysterious Spanish swordsman intercepts and defeats the Count and his men, burns the plans, and then heads into French territory under the guise of the Count of Seville. Upon his arrival, he is to meet with the Three Musketeers (four including D'Artagnan) as his escort for the alleged mercy mission. At first meeting as friends, the Musketeers later learn the Count is an imposter. Unable to trust a spy, the plan to free Isabella fails; yet during the fray, the Musketeers realize Zorro's honorable motives and unite together against Cardinal Richelieu and the traitorous Count of Seville. 

For this story's purposes, a narrator tells us "this small war isn't mentioned in any of the history books"; and that it shouldn't considering the (fictional) protagonists lived in eras three centuries apart! Much like Umberto Lenzi's action-packed ZORRO CONTRO MACISTE (1963), Luigi Capuano and his team unite two unlikely sources -- Johnston McCulley's Zorro, and the valiant Musketeers of Alexandre Dumas. The result is average at best, but still entertaining. Around the time the peplum and fusto films were losing their herculean grip on the box office, and the Euroaters were about to ride into town, there was a mass wave of Errol Flynn style tales of derring-do and pirate adventures. With the market quickly saturated, a handful of crossovers appeared around the same time. Capuano was arguably the greatest helmsman of these Sword and Seafaring spectacles. Some of his examples include the Zorro flick THE MASKED CONQUEROR (1962); the lady pirate pulp of TIGER OF THE SEVEN SEAS; (1962), the classy swashbuckler THE LION OF ST. MARK (1963); a couple SANDOKAN films with Ray Danton from 1964; and the entertaining crossover, HERCULES AND THE BLACK PIRATE (1964), that, in its original version, is a Samson film.

In Capuano's Zorro and Musketeer meeting, the budget appears to be fairly low by Italian standards with our story unfolding on a noticeably limited number of sets; some of which are incredibly flimsy and look like they're made of cardboard (on one occasion, the walls of a tavern bend!). Most of the film is shot on these studio bound environs -- one in particular that stands in for the castle of St. Denis gets a lot of mileage. There are some nice location shots, but these are few and far between. There are even more minuses on Capuano's report card, but in spite of this, his film remains amusing as mediocre as it is. 

Fans of the Spanish masked man may be disappointed to learn that Gordon Scott only dons the famous Zorro tresses twice throughout the proceedings; and the second time is but for a mere few seconds. The rest of the time he disguises himself in other ways by feigning various identities so as to rescue the fair Isabella; which brings us to the type of antics this picture excels at. First and foremost, ZORRO AND THE THREE MUSKETEERS is a comedy, and a fairly humorous one. Some of the jokes probably come off better to Italian viewers, but for the most part, the mirthful dialog and occasional silliness keep this one from flatlining. Capuano has eschewed the more adult tone of his superior THE LION OF ST. MARK (another Zorroesque type sword slinger) for a kid-friendly one.

The high volume of comedy accounted for here would eventually infiltrate the peplum, and ultimately become the signaling death-knell for any welcome worn genre. Aiding and abetting this funny business are several sidekick comedy relief characters; but no midgets, unfortunately. With such a heavy dose of invasive comedy, everyone appears to be having a swell time parrying, dodging, and thrusting their rapiers at assorted members of Richelieu's ineffective militia.

Bearing a typical, but suitably pulpy storyline, the action sequences propelling it are adequate; and made all the merrier by a few impressive instances of dangerous stunt work. Prolific actor and stuntman, Franco Fantasia not only plays the villain, but also acted as the weapons master. Likely he choreographed the action sequences as well. As per the bulk of these movies, it's the action that tells the story, and not the characters. Introductions are handled in bar fights, or exchanges of sword skills akin to a thousand kung fu films. This too works against the film. So much is crammed into the script, no one gets enough time to stand out. Zorro and the Musketeers are but a novelty to make movie theater cash registers sing; and apparently it did as ZORRO AND THE THREE MUSKETEERS performed better than some of the more prestigious features released that year.

Gordon Scott, famously late of six Tarzan films, made a name for himself in Europe for an astonishing number of very popular peplum and strongman movies; a few of which gave your buckles a good swashing. Scott was gifted with starring roles in some of the best films of this sort, but sadly, and despite his rip-roaring antics as Zorro, this is one of his lesser affairs. However, it's highly unlikely that Capuano's character collision would be as entertaining without Gordon Scott leaving his mark throughout it. Scott is at his most amicable here, playing Zorro in the exact opposite fashion of his St. Mark hero, or any of his gladiator roles. He's still very stoic, handing his sword fights with his usual energetic zeal.

The Musketeers fare far worse. The four of them are virtually interchangeable, with little discernment between them. Only Giacomo Rossi-Stuart exhibits a personality outside of leaping all over the sets, constant drinking, slinging witty barbs, and belly-aching fits of laughter. The character of D'Artagnan was a major player in the Dumas novel, later becoming a Musketeer himself. He's already a member when the festive foursome are introduced, and is about as durable as the material the sets are made of. The famous exclamation of "all for one and one for all" takes on new meaning for our French swordsmen -- there may as well have only been one of them. 

Jose Greci, an Italian actress well known for her roles in Italian fantasy-adventure films, is arguably the signature face of the genre, if not the most elegant. Her beauty graces such efforts as the Mark Forest gladiator epic COLOSSUS OF THE ARENA (1962), the crossover pulp of HERCULES AND THE MASKED RIDER (1963), and a rare villainess role in the riotous comedy peplum, SEVEN REBEL GLADIATORS (1965). Her part in the scheme of things is to be rescued and provide a barely there love interest for the Spanish fox. This romantic angle is about as durable as everything else, serving to only be a formulaic device needed for these sorts of films to sustain a 90 minute running time.

There's actually a secondary romance between Aramis (Rossi-Stuart) and Isabella's maid Manuela (Maria Grazia Spina) that, for a brief moment felt like it might amount to something; but it is quickly forgotten about by the finale. The climax itself is surprisingly weak. Possibly time was running out, and with an already miniscule budget, there wasn't enough of either to close things out with a satisfying duel. Zorro clashes for the second, and final time with the Count of Seville in a very brief sword fight with the Musketeers encircling them. Everything ends well, and people live happily ever after, although Manuela seems to have gotten a raw deal. After teasing a romance between her and Aramis, the final moments sees the Musketeers pledging their undying friendship to Zorro before parting ways. Suddenly Manuela seems to not exist as the four embark on what is likely some other low budget Euro project. At least Zorro and Isabella embrace and exchange a plastic kiss for the camera before "fine" closes the curtain amidst Carlo Savina's romantic cue that is as robotic as everything else.

Italian version

Spanish version

There are at least two versions of ZORRO E I TRE MOSCHETTIERI (1963) out there. The Italian version runs 88 minutes and is full 2.35 widescreen. The German and Spanish releases both run 80 minutes and comprise a 1.85 ratio, but with more room at the top and bottom. The former has a more stable image, but the latter has stronger colors. While the Italian is longer, the Spanish version contains one lengthy sequence not found in the Italian original. Creating jarring plot holes and narrative discrepancies with these omissions, if you hadn't seen the two versions, you'd probably not notice in this indistinguishable instance of disposable entertainment. Below are the differences:

SCENES IN THE ITALIAN PRINT MISSING IN THE SPANISH RELEASE

1. The actual introduction of the Musketeers in the Golden Lion Tavern precedes Zorro's first encounter with the Count of Seville. They immediately stir up trouble with a mass of Cardinal Richelieu's soldiers. When we first meet them in the Spanish version, they are already at the Inn, and the feather ruffling of Richelieu's men across the room has less of an impact.

2. The Count of Seville reports his fight with Zorro to King Philip, but inflates the numbers, stating Zorro was leading a regiment of French soldiers that outnumbered them. Additionally, the Spanish cut excises a brief shot of Zorro (masquerading as the Count of Seville) laughing with the Musketeers just prior to this scene as well.

3. Cardinal Richelieu's arrival at St. Denis castle is cut in the Spanish version, as is dialog between Zorro and the Musketeers while enjoying a meal before the Cardinal enters the room.

4. During the finale, the Musketeers devise a plan to rescue Zorro from certain death. They plan to get those involved in the execution drunk the night before. The problem is, the Musketeers themselves have a bit too much to drink. Portions of the morning after have been deleted showing Zorro's four benefactors sleeping late. Also present here, but cut in the Spanish print is a conversation between Isabella and her maid, Manuela. More funny business with all the protagonists sidekicks, and some footage of Zorro being led to his execution are missing in that version.

SCENES IN THE SPANISH PRINT MISSING IN THE ITALIAN RELEASE

1. After the Four Musketeers help Zorro escape the castle of St. Denis, he again assumes yet another disguise, this time as a French military inspector in what amounts to another plot to rescue Donna Isabella. He arrives back at the castle and sets about freeing his sidekick, Sancho. Both versions pick up with Isabella playing a harpsichord while entertaining the Musketeers. While it's never explained just how Zorro manages to get away with assuming this new identity, his sudden appearance at the castle in the Italian version is a jarring plot hole.

With all the squandered potential, ZORRO AND THE THREE MUSKETEERS (1963) ends up as little more than fluff, but pleasing fluff. There's fun to be had with lots of humor and a rapier wit. The usually energized Gordon Scott keeps the films batteries charged, even if the picture gets sloppier towards the end. Those who will get the most out of this assembly line adventure are young kids and fans of these vintage Italian style peril-filled pulp. 

This review is representative of the Spanish R2 DVD from Rider Films.