The Fury of Achilles (1962) review

THE FURY OF ACHILLES 1962 aka L'IRA DI ACHILLE

Gordon Mitchell (Achilles), Jacques Bergerac (Hector), Cristina Gaioni (Zania), Gloria Milland (Bryseis), Piero Lulli (Odysseus-Ulysses), Mario Petri (Agamemnon), Ennio Girolami (Patroclus)

Directed by Marino Girolami

The Short Version: Brutal, epic in scope peplum extravagance told in a more adult style than usually afforded these movies. Gordon Mitchell solidifies his status as one of the best and most formidable actors to appear in the Italian costume dramas with his sometimes feral performance as Achilles. A classic of the genre.


After ten long years of war between the Greeks and the Trojans, the Grecian armies led by embittered rivals Agamemnon and Achilles, having failed to overthrow Troy, set their sights on the city of Lynessos and lay siege to it. While the head leaders of the Greek forces are away on a mission, the formidable Hector, leader of the Trojan military forces launches an attack on the weakened Greeks along the coastline. With the prophecy of the Gods set in motion that Hector will die by the hands of his Grecian enemy, the determined Trojan is soon beset by the Fury of Achilles.

Hector, barely escaping with his life, is taunted into exiting the walls of Troy to meet Achilles to avenge the fallen Trojan soldier

Simply stunning peplum revenge thriller is one of the best the genre ever produced. An amazingly well made movie, Girolami (the father to famous action director, Enzo G. Castellari) alternated between good movies (VIOLENT ROME, SPECIAL COP IN ACTION) and mediocre ones (TWO R-RINGOS FROM TEXAS, ZOMBI HOLOCAUST). This brutally opulent epic is possibly his magnum opus.


Despite a face like granite, the film would likely not be as good without the intimidating features of Gordon Mitchell as Achilles. His performance perfectly suits the title as Mitchell is ferocious from start to finish. Mitchell was one of several Mae West musclemen who sent photos to interested Italian producers for American bodybuilders to star in the then burgeoning sword and sandal movies.


His facial features and hulking form was most suitable to villain roles, but Mitchell first took off as a heroic Maciste in the mediocre, but occasionally creative MACISTE IN THE LAND OF THE CYCLOPS (1961). From there, he was mostly featured as an antagonist, but did get heroic roles such as his turn in Michele Lupo's SEVEN SLAVES AGAINST THE WORLD (1964). He appeared in over 200 movies over the years in virtually every genre.

Achilles mourns the death of his best friend, Patroclus and his lover, Zania

Patroclus (left), Achilles (middle) and Agamemnon (sitting right) set their sights on the woman slave of their choosing

The script of this peplum adventure is told in a fashion befitting an opera, or play. The dialog is of a verse design and benefits the production to an enormous degree. The speech adds an air of respectability that belies many of the other less serious entries in the genre. The script is also faithful to its source material, 'The Illiad'. Some critics make note that the relationship between Achilles and Patroclus has been altered to be one of simple friendship when allegedly it is alluded to as a supposed homosexual relationship in Homer's version.


This film could be viewed as something of a "second act"; the first being the 1956 Robert Wise production of HELEN OF TROY. That film showcased what led to the Trojan War in its depiction of Helen eloping with Paris, the son of Priam, the king of Troy. In 1961, the Italian produced THE TROJAN HORSE, a sprawling epic from Giorgio Ferroni that details events that take place shortly after the ending of THE FURY OF ACHILLES. Girolami's movie, while shot in 1962, can be viewed as a prequel to Ferroni's film from '61.


Of the three films, Girolami's motion picture is the most successful at melding the two worlds of Gods and man. The mythological elements are presented here in such a way as they manage to keep the film from fully entering the realm of fantasy. Even as Bryseis attempts to murder Achilles with a dagger to his back resulting in the blade melting away as if struck by lightning, the scene comes off as natural. An attribute of the script and performers.

Hector ferociously slays the Greeks prior to the entrance of Achilles

Also of note in ACHILLES are numerous large scale battle sequences. It is in this area that the film equally excels. The battles are undeniably brutal and performed with a rage rarely seen in the genre. Both characters of Hector and Achilles are the main proponents of the frequently bloodthirsty display of savagery during these sequences. Among the cast Italian genre fans will find Mario Petri and frequent spaghetti western villain Piero Lulli as Odysseus (or Ulysses). The beautiful Gloria Milland is also on hand as the lover of Achilles.

Hector and Ulysses duel within the burning Greek fort near Troy

Hector incurs THE FURY OF ACHILLES

Any serious fan of mythology and these movies will find much to enjoy in THE FURY OF ACHILLES. It's truly one of the best films the genre has to offer. For those seeking brawny entertainment filled with monsters and tossing of boulders, you're likely to be disappointed. Those familiar trappings are replaced with such things as strong performances and an opulence relegated to a small contingent of pictures in this most underrated of Italian film genres.

This review is representative of the Rider Films Spanish R2 PAL DVD. There are no English options

The Lion of St. Mark (1963) review

THE LION OF ST. MARK 1963 aka IL LEONE DI SAN MARCO

Gordon Scott (Manrico Venier), Gianna Maria Canale (Rosanna Melzi), Alberto Farnese (Titta), Franca Bettoia (Isabella Fieschi), Rik Battaglia (Giandolo), Mirko Ellis (Civetta)

Directed by Lugi Capuano

The Short Version: This rare Gordon Scott pulp pirate picture is harmless fun for all audiences and the type of movie you'd see at an old style matinee, or on a Saturday afternoon. With lots of action, a lively cast of characters, numerous cliffhanger moments and some low key comedic touches, this high seas adventure is worth storming the castle for its plundered booty.


Turkish pirates raid the Adriatic coast. The buccaneers eventually attract the ire of Manrico Venier during a ballroom dance commemorating the joining of two European families through the marriage of Manrico and the Venetian beauty, Isabella Fieshi. From there, Manrico disguises himself as the 'Lion of St. Mark', a masked hero that protects the downtrodden from the pillaging pirates. During an attack against Titta and his rogues, Manrico comes face to face with the alluring Rosanna. Despite being on opposite sides of the law, the two soon fall in love with one another. While keeping the relationship a secret from both sides, it's eventually discovered leading to an explosive siege on the pirates stronghold.


This Gordon Scott vehicle is a semi ambitious pirate picture helmed by adventure ace, Luigi Capuano. Considering Scott and Steve Reeves were rivals of a sort, it's likely this production was a response to Reeves starring role in MORGAN THE PIRATE from 1960. Whereas that film was lacking in action, Capuano's movie contains a preponderance of it. Also, unlike Reeves, Gordon Scott was far more energetic and imposing in the fighting sequences. Furthermore, Scott was persistent in performing most of his own stunts. Curiously, there's one moment here, the first time we see the masked swordsman, that's it's a double and not Scott in the costume.


Amidst the prolific series of peplum/fusto films, there was a seemingly successful string of costume adventures of pirates and some entries even melded the strongman genre with the swashbuckler. Capuano directed one of the better examples with the escapist fluff that is HERCULES & THE BLACK PIRATE (1964). For THE LION OF ST. MARK, Capuano goes for the same, but with a stronger actor in the lead. The story is ZORRO and ROBIN HOOD all rolled up in one. Manrico (Scott) dons a mask and battles the Ozkok pirates under the guise of the 'Lion of St. Mark' and helps the less fortunate people in the surrounding lands.

Rik Battaglia (left) and Gordon Scott (right)

The films plot borrow elements from the legendary story of St. Mark the Apostle whose remains were stolen by three Venetian graverobbers from his tomb in Alexandria, Egypt in the ninth century. Upon returning to Venice, the three men handed over St. Mark's remains to the Doge (military leader). After that, the dead Apostle was made the patron saint and his symbol, a winged lion, became known as the representation of the Republic of Venice.


The film also borrows plot points utilized in Sergio Corbucci's SON OF SPARTACUS from 1962. That film also took inspiration from ZORRO. In both films, the main stars (Steve Reeves in SON) don masks and also implement a decoy disguised as the hero they are accused of being in an effort to keep their identity a secret.


Capuano's movie is aimed at a general audience. At least in the English export version (it's apparently missing over 20 minutes of footage), the violence is mostly tame. Even the villains are not quite as vicious as you'd expect. The pirates seen here are somewhat honorable in that they don't try to kill captives and fight fair when challenged. That doesn't make the film any less enjoyable, just acceptable for younger viewers. The sword fights are fine, if repetitive and plentiful. The sets are mostly authentic and the costumes are extravagant. I am sure a widescreen presentation would only enhance the picture.


This is a must see adventure film for Gordon Scott fans. If you enjoyed his popular interpretation of Tarzan and his imposing roles in scores of torch and toga epics, you'll find this of interest as well. The action is abundant, violence is minimal, but the story is pulpy fun and the script has some enjoyable characters. This is just one of Capuano's many adventure movies on his resume. While I wouldn't say he was a great director, he knew how to deliver popcorn and candy coated entertainment rife for Saturday afternoon viewing.

This DVD-R can be purchased at Sinister Cinema