Decent hokum sees Vikings ally with Moors to seek a mythical giant bell made of gold, “the mother of voices.” There are stunning set-pieces: a majestic long ship coming into port, superior battles, the Mare of Steel, the discovery of the bell itself, while a clever ruse triggers the climactic fight. There’s even a “Spartacus” moment – when the Vikings declare themselves willing to die should their leader be executed.
Richard Widmark as a wily Viking, second cousin to a con man, makes the most of an expansive role. Instead of seething with discontent or intent on harm as seemed to be his lot in most pictures, he heads for swashbuckler central, with a side helping of Valentino, gaily leaping from high windows and engaging in swordfights although he does appear to spend an inordinate amount of time swept up ashore after shipwreck. Sidney Poitier, laden down with pomp and circumstance rather than immersed in poverty as would he his norm, is less comfortable as the Islamic ruler. Fresh from winning the Oscar for Lilies of the Field (1963) it surely must have the chance of a big payday that lured him into this role. (Widmark and Poitier re-teamed in The Bedford Incident, 1965, previously reviewed in the blog.) The diminutive Russ Tamblyn, as Widmark’s sidekick, is easily the most athletic of the trio.
Although handy with a sword, both are equally adept as employing seduction, Poitier making eyes at Viking princess Beba Loncar (in her Hollywood debut) while Widmark targets Poitier’s neglected wife Rosanna Schiafffino (The Victors, 1963). The story is occasionally put on hold to permit the Viking horde to pursue their two favorite pastimes – sex and violence – and they make the most of the opportunity to frolic with a harem.
One of the marks of the better historical films is the intelligence of the battle scenes. Here, faced with Muslim cavalry, the Vikings steal a trick from The 300 Spartans by lying down to let the horses pass over them then rising up to slaughter their riders. But there is also an unusual piece of intelligent thinking. Realising, as the battle wears on, that they are substantially outnumbered and have their backs to the sea, Widmark takes the sensible option of surrendering.
Director Jack Cardiff, Oscar-nominated for Sons and Lovers (1960), brings to bear his experience of working on The Vikings (1958) for which he was cinematographer. He is clearly at home with the action and equally there is some fine composition. However, the story in places is over-complicated, he fails to rein in the mugging of one of the industry’s great muggers Oscar Homolka and there is a complete disregard for accent discipline. Edward Judd (The Day the Earth Caught Fire, 1961), Scotsman Gordon Jackson (The Great Escape, 1963) and Colin Blakely (The Private Life of Sherlock Holmes, 1970) have supporting roles.
Many of the films from the 1960s are to be found free of charge on TCM and Sony Movies and the British Talking Pictures as well as mainstream television channels. But if this film is not available through these routes, then here is the link to the DVD and/or streaming service.