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Category: Hercules

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Plot: Hercules falls under the spell of a mysterious queen

On the back of the international box office smash that was The Labors Of Hercules (1958) (hereafter Hercules) the inevitable sequel came with the following year’s Hercules and the Queen of Lydia (a direct translation of the Italian title Ercole e la regina di Lidia) that was released in North America as the abbreviated Hercules Unchained. Both leading man Steve Reeves and director Pietro Francisci moved onto greener pastures. Reeves would play a succession of mythological strongmen while director Francisci delved into more historical territory with Siege Of Syracuse (1960) and closed the gates on the sword-and-sandal genre with Hercules, Samson and Ulysses (1963). Hercules Unchained managed to top its box office breaking predecessor on every front. Armed with a much more engrossing story, an epic array of quests and tests of strength, and with the stakes raised that much higher for everyone involved. The sets are more elaborate, the combat scenes are more involving, and the women are universally and uniformly breathtaking. Hercules Unchained set the template for the b-grade peplum to follow for decades to come, ensuring its survival well into the mid-seventies.

This time around the basis for the screenplay by Ennio De Concini and Pietro Francisci were Sophocles’ Oedipus at Colonus and Aeschylus’ Seven Against Thebes. Returning home from the previous movie’s quest for the Golden Fleece Hercules (Steve Reeves), Iole (Sylva Koscina), Jason (Fabrizio Mionzi), and Ulisses (Gabrielle Antonini) barely have time to recover. On the road to Thebes Hercules is challenged by the giant Antaeus (Primo Carnero) but can’t defeat the behemoth on land. Hercules and Ulisses are asked by Edipus, the dying king of Thebes (Cesare Fantoni), to negotiate a heavily escalated royal succession dispute between his warring sons. En route Hercules is seduced by a harem girl dancing the “Dance of Shiva” leading him to drink the Waters of Forgetfulness from a nearby magic spring, the Lethe. Without memory Hercules becomes a willing captive of the wicked Queen Omphale (Silvya López, as Silvia Lopez) of Lydia. As Hercules finds himself in the gardens of Omphale, unaware that Omphale embalms her playthings once she’s grown tired of them. Ulisses pretends to be Hercules’ deaf-mute servant in order to survive in the Queen’s opulent court, all while figuring out a way to restore Hercules’ memory. Meanwhile Iole is beset by Eteocles (Sergio Fantone) as Polinices (Mimmo Palmara) assails Thebes. Will demigod Hercules be able to both save Thebes from the warring brothers and rescue his wife?

The practice of sequels is almost as old as Hollywood itself, but it wasn’t always that sequels were alotted bigger budgets and higher productions values than the original. In case of Hercules Unchained, once again directed by Pietro Francisci, there isn’t too much of a difference between both titles. Hercules was significant for setting in stone many of the conventions of the more pulpy and kitschy variety of peplum. Hercules Unchained on the other hand was key in introducing future genre conventions such as court – and political intrigue, magic, and embalming – as well as bellydancing interludes, wild animal fighting, and hand-to-hand combat. Hercules Unchained saw much of the same talent, both in front and behind the camera, returning and it allowed for a distinct sense of continuity. Steve Reeves, Sylva Koscina, Fabrizio Mionzi, Mimmo Palmara, and Primo Carnero all make their return in either the same role or a similar one. Exclusive to Hercules Unchained are Silvya López, Marisa Valenti, and Colleen Bennett all of whom function as eyecandy in either a greater or smaller capacity. The prima ballerina (Colleen Bennett) at Omphale’s palace court paved the way for Cuban imports Chelo Alonso and Bella Cortez, both of whom would become genre fixtures in the coming decade. Hercules Unchained was not necessarily bigger in scale, but it took on a much darker tone than the whimsical Hercules. (1958).

Hercules was a pretty straightforward recounting of Apollonius Rhodius’ epic poem Argonautica with a giant rubber monster thrown at the end for good measure. Hercules Unchained puts a greater focus on court intrigue and the stakes are raised much higher for everyone involved. Hercules has to leave his beloved Iole in the claws of the reptilian Eteocles, Ulisses is powerless as Hercules walks blindly into the trap that Queen Omphale has laid out for him – and he spents a good portion of the feature trying to break Hercules out of her spell. Thebes is under the threat of war making Hercules’ diplomatic mission all the more important. The political class, corrupted by the power bestowed on them, has descended into squabbling and scheming, often to the detriment of the very citizenry that has entrusted them with said power. Rivalry is another big theme in Hercules Unchained, whether its two brothers vying for kingship or two women fighting for the affections of the same man. Omphale’s embalming theatre is fairly dark stuff for a kitschy peplum, as is the body count and predilection towards bodily harm and cold blooded murder. Steve Reeves is actually given the chance to showcase his acting chops and the entire middle-section is probably the most sumptuous as Hercules is a captive in Omphale’s court. Hercules Unchained is romantic the old-fashioned way as Iole desperately longs for her man to come home and gives lovelorn Queen Omphale of Lydia a boy-toy until Hercules regains agency. It’s an ingenious piece of screenwriting that doesn’t cast any of the parties in a bad light. Unfortunately there are no big rubbersuit monsters to defeat, but for good measure Hercules throws his behemoth nemesis Antaeus into the ocean.

As these things tend to go Hercules Unchained couldn’t escape its share of tragedy. Silvya López, the actress playing Queen Omphale, would die at the tender age of 28 from complications arising of leukemia just one year after the film’s completion. López was born Tatjana Bernt in Austria to Slavonic immigrants. Prior to taking up acting López, who was fluent in six languages, did modeling work with Jacques Fath for Vogue magazine in France. She debuted in an uncredited role in the musical Baratin (1956) and the comedy Five Million Cash (1957). It wasn’t until the Richard Pottier directed drama Tabarin (1958) that she adopted the Silvia López alias. Pottier would attain cinematic immortality himself with The Rape Of the Sabines (1961), a peplum comedy with future Bond actor Roger Moore, Mariangela Giordano, and Marino Masé, that undoubtly was an influence on Terence Young’s own zany mix of peplum and commedia sexy all’italiana The Amazons (1973). The loss of López overshadowed, at least in part, the release of Hercules Unchained. Tragic in a completely different manner was that Sylva Koscina in a decade hence would be working with trash specialist Jesús Franco on the Harry Alan Towers produced Marquis de Sade: Justine (1969) with Romina Power.

Hercules Unchained is an old-fashioned popcorn flick clearly intended as a second feature for a movie matinee headlined by an American production. As a peplum from an earlier generation it spearheaded elements that in a few years time would become standard for the sword-and-sandal genre. It has a hunky bearded hero, two classical beauties to appeal to everybody’s liking and enough comedy, action, tests of strength and romance to appeal to a broad audience. Hercules Unchained might not have been bigger per se than its predecessor. Hercules (1958) was whimsical and kitschy. Hercules Unchained is surprisingly dark at times for what all intents and purposes is a more fantastic inclined peplum rather than the more classical inspired Hercules a year earlier. Steve Reeves, Sylva Koscina, Fabrizio Mionzi, and Mimmo Palmara all would feature in peplum for several years to come, and Pietro Francisci’s two Hercules epics heralded the beginning of a cheaper, more philistine peplum movement that would last until the mid-seventies. Obviously Hercules Unchained had more than enough resources and budget to outclass the cheaper imitations it ended up inspiring.

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Plot: Hercules undertakes an epic quest to retrieve the Golden Fleece

The peplum, or sword-and-sandal, reigned supreme over the Italian cinematic landscape from 1958 to 1965, even though it was practiced well into the mid-seventies. The movie to launch the peplum phenomenom was Pietro Francisci’s unassuming and somewhat pulpy The Labors Of Hercules – released in North America as Hercules and domestically as le fatiche di Ercole – whose success had producers scrambling to launch their own pepla to capitalize on its box office success. The Labors Of Hercules laid out the groundwork and established the conventions that the peplum would adhere to for the next two decades. More importantly, it introduced the world to American strongman Steve Reeves, the image of perfection to which all subsequent Hercules would be measured.

The Latin term peplum is derived from the Greek peplon, and, according to the writings of Plautus and Virgil, designates the primitive dress of Greek women and, in particular, the tunic of Pallas Athena, while other sources define it as a Roman ceremonial mantle. It was French critic Jacques Siclier who first used the term - in an article titled L'âge du peplum in the prestigious Cahiers du Cinéma in the summer of 1963 – describing a specific brand of Italian costume drama set in the ancient world with muscle-bound historical, religious, gladiatorial, archetypical heroes in the lead role. Central in many peplum were the fantastic, and mythological adventures of Greco-Roman historical figures as Hercules, Samson, Goliath, Ursus, Atlas, and the fictional Maciste. Many of the non-Hercules protagonists were based of, or derived from, characters appearing in classic Hollywood peplum they sought to imitate. The peplum was almost exclusive to Mediterranean Europe, specifically Italy, France and Spain. The peplum genre never aimed for historical, or mythological, accuracy – instead they chose the most marketable elements from whichever Hellenic legend, myth, and poem sounded most appealing.

Director Pietro Francisci envisioned his own peplum after the commercial success of the Kirk Douglas-Anthony Quinn peplum Ulysses (1954). The production needed a hulking presence as lead man, as per the template set by Bartolomeo Pagano in Cabiria (1914). Years of searching for the right man came to an end when Francisci’s daughter suggested Steve Reeves, an American body builder and Mr. Universe 1950, after having seen him in Athena (1954). Reeves’ portrayal of the original Hercules allowed bodybuilders around the world to enter the industry. Following in his footsteps were the likes of Gordon Mitchell, Adriano Bellini (as Kirk Morris), Mickey Hargitay, Lou Degni (as Mark Forest), Sergio Ciani (as Alan Steel), Dan Vadis, Brad Harris, Reg Park, Peter Lupus (as Rock Stevens), Mike Lane, and Lou Ferrigno. The Labors Of Hercules became one of the biggest box office hits, both foreign and domestic, that it prompted a peplum cotton industry in its native Italy, and in the neighboring countries of Spain and France. In its native Italy alone it grossed 887 million lire, or four times its budget – in addition to another 18 million in box office revenue worldwide thanks to the promotional efforts of its American distributor Joseph E. Levine. A year later a largely similar sequel followed with Hercules and the Queen Of Lidia, released in North America as Hercules Unchained. Again, thanks to Levine's savvy, it became a box office smash.

Steve Reeves as Hercules and Sylva Koscina as Iole

The Labors Of Hercules does indeed have its titular hero (Steve Reeves) completing two of the Twelve Labors in defeating the Nemean Lion, and the Cretan Bull. However the majority of its plot is derived from the Argonautica, the 3rd century BC Greek epic poem by Apollonius Rhodius, chronicling the myth of the voyage of Jason (Fabrizio Mionzi) retrieving the Golden Fleece from Colchis. In fifties western fashion The Labors Of Hercules opens with the hulking hunk rescueing the dashing princess Iole (Sylva Koscina) of Iolcus from certain death as her chariot storms towards a cliff. Meanwhile Pelias (Ivo Garrani), the king of Iolcus, has to deal with the treacherous Eurysteus (Arturo Dominici) in his court. Prior his quest Hercules seeks counsel of the prophetess The Sybil (Lidia Alfonsi, as Lydia Alfonsi) whereas Iole does the same in Thessaly with her multiple handmaidens, one of which is played by Luciana Paluzzi (as Luciana Paoluzzi). In an early flashback young Iole is played by Paola Quattrini. A good portion is spent on chronicling the trials and tribulations Hercules, Jason, and the Argonauts face crossing the Aegean Sea. They land at Lemnos, situated off the Western coast of Asia Minor (modern day Turkey), the island of the Amazons, presided over by Antea (Gianna Maria Canale) where the gentlemen enjoy the warrior women’s hospitality. Towards the end some Samson is thrown in. It’s all fairly standard peplum business until in the third act the pulp comes to the fore as Jason and Hercules are forced to battle the dragon Ladon, a creature bearing a remarkable resemblance to Godzilla (1954), a movie that Levine had distributed three years earlier.

Lidia Alfonsi as the oracle The Sybil

While leading man Steve Reeves was fairly new to acting Francisci assembled an ensemble of recognizable faces for the remainder of the cast. Reeves allegedly was paid $40,000 US cash for the part, a considerable salary for the time. Later Reeves was allegedly offered the roles of James Bond by producer Cubby Broccoli and The Man With No Name, the part that cemented Clint Eastwood as an icon of Italian exploitation, by spaghetti western specialist Sergio Leone. Croatian actress Sylva Koscina was a regular in Italian dramas and comedies during the fifties. Gianna Maria Canale had prior starred in the original Italian version of Spartacus (1953) – famously remade by Stanley Kubrick in 1960 with Kirk Douglas starring and producing – as well as in Theodora, Slave Empress (1954) and Mario Bava’s I Vampiri (1957). Lidia Alfonsi would cross paths with Reeves again in Morgan, the Pirate (1960) and The Trojan Horse (1961). Alfonsi would find steady work in Italian television afterwards. Luciana Paluzzi, obviously a star in the marking given her bit part here, was Bond Girl Fiona Volpe in Thunderball (1965), played opposite of Farley Granger in A Black Veil for Lisa (1968), as well as being present in the Kinji Fukasaku science fiction opus The Green Slime (1968) and the Arabian Nights cheapie 1001 Nights (1968). Paluzzi returned to the peplum genre as Phaedra, the betrothed of Theseus in Terence Young’s campy shlockfest The Amazons (1973).

Distinct not only for being the first of its kind The Labors Of Hercules is far slower and with fewer action scenes compared to the many imitations that it spawned in the ensueing two decades. It was one of the last productions by Federico Teti and The Labors Of Hercules possesses a sense of scale that would be largely absent from the 1970s excursions into the genre once the peplum was no longer deemed profitable. It’s also far more technically proficient than the imitations that followed in its wake. The cinematography by Mario Bava, son of Italy’s first special effects artisan Eugenio Bava, makes use of vivid colors, long shadows, and painting-like composition, and contrasting light and shadow. Mario Bava would in the 1960s and 70s establish himself as the master of Italian gothic horror and giallo murder mysteries. American distributor Joseph E. Levine bought the English dubbed version for a modest $120,000, shortened the title to simply Hercules, relied on radio, television and word-of-mouth promotion to stir interest in the movie and booked it across 600 theaters nationwide, a practice now known as saturation – and one practically unheard of during the 1950s. The Labors Of Hercules made $4.7 million in domestic ticketsales in North America alone. Its influence on the pepla of the following two decades is undeniable, and directors would continue to borrow from the kitschy shenanigans of Pietro Francisci’s sword-and-sandal epic.