Hercules and the Captive Women / Hercules Conquers Atlantis (1961) ***

Something of a cult in the peplum vein in which Hercules (Reg Park), wanting to enjoy domestic life with his wife and son, is instead drugged by Androcles, King of Thebes (Ettore Manni), and spirited away by ship to Atlantis whose Queen Antinea (Fay Spain) is intent on global domination and the resurrection of the dethroned god Uranus to his rightful place in the heavens.

This isn’t your normal Hercules, not that keen on demonstrating his physical prowess, preferring to sleep or lie around. It’s not your normal ship either. Androcles, unable to persuade his Senate to properly fund the expedition, has crewed his vessel with renegades who are inclined to abandon Hercules on the nearest island  And unbeknownst to Hercules, his son has come along for the ride.

Of course, nothing goes according to plan and Hercules is soon shipwrecked on an island where he finds Ismene (Laura Efrikian) imprisoned in rock as a sacrifice to the gods. Rescue never being simple, Hercules has to first withstand fire then tackle in quick succession snake, lion, eagle and a giant lizard. Ismene turns out to be Antinea’s daughter and the Queen, rather than being delighted at her return, is appalled, for, according to the way the ancient world works with all its prophecies and religious ritual, the girl must be sacrificed to prevent the destruction of Atlantis.

Nor is Atlantis your usual kingdom. Even setting aside the peculiarities that mark the Greek world, this is a place where abnormality rules. Hercules finds Androcles, whom he believed died in the shipwreck, but it turns out to be a vision, or some kind of shape-shifting being. The Queen believes she can subjugate nature and has a tendency to throw those who disappoint her into an acid bath. There is a fiery rock that controls life and death.

Like most of the peplum output, you have to accept a standard of production lower than the Hollywood norm, and the terrifying beasts sent to test the hero are not at all convincing, but on the plus side are feats of imagination that mainstream American studios would never conjure up, unless it was something that fitted into the swashbuckling genre. You pretty much have to go with the flow and accept what is offered in terms of narrative oddity. Bear in mind, too, that there is no one dressed in as skimpy or revealing a costume as suggested by the poster.

You also need to be get hold of a good copy. Several versions are available, some for free, where the colors are so washed out you can hardly determine what is going on never mind enjoy the costumes, creatures and sets as intended. This was filmed in Technirama 70, shot in 35mm but blown up to70mm widescreen for exhibition, so should generally be of a high technical standard – this was the process used by Spartacus (1960).

It’s not a film to fit into the so-bad-it’s-good category, but of course imagination too often exceeds budget which renders the filmmaking somewhat random at times and like the bulk of the peplums acting skill is not at a premium. As you might expect, the British-born Reg Park was a bodybuilder first – three times winner of the Mr Universe title – and an actor second. He played Hercules another three times and Maciste once but outside this narrow comfort zone made no other films. But he was Arnold Schwarzenegger’s inspiration, so that was probably enough.

American Fay Spain (The Private Life of Adam and Eve, 1960) never got  beyond bit parts as a B-movie bad girl and television, although she was seen in The Godfather: Part II (1974). Italian Laura Efrikina made her debut here and you would later spot her as Dora in the Italian television mini-series David Copperfield (1966).

Director Vittorio Cottafavi was steeped in peplum, from The Warrior and the Slave Girl (1958) to Amazons of Rome (1961) but although he worked consistently in television made only one other piocture, 100 Horsemen (1964).

The Giants of Thessaly (1960) ***

Spoiler alert – this film contains no giants unless you count the one-eyed Cyclops. It’s the Jason and the Argonauts story with a lot of political shenanigans thrown in.

Even lacking the Ray Harryhausen special effects of the film covering the same ground a few years later and without the kind of budget dropped into the lap of a Stanley Kubrick it’s not a bad stab at retelling the myth. And Carlo Rambaldi (later the creator of E.T.) does a decent job of the Cyclops at a time when special effects were primitive.

This belongs to the Italian-made “peplum” genre, out of which came Hercules (1958). What struck me most was the director’s use of the camera, very often tracking a character in scenes that would otherwise have been static. There are virtually no close-ups and hardly any medium close-ups.

It’s quite strange to see. On the one hand a moving camera is an expense and on the other hand lack of close-ups saves money, so it’s possible the money spent on one technique was the result of saving money from another. Alternatively, much of the director’s work has gone into arranging characters in group scenes in such a way that dramatic impact is sustained while not moving the camera.

There’s enough political chicanery going on to keep two different plots going. Back in Jason’s homeland, where he is a king, an usurper not only seeks his throne but wants his wife and tries to deceive the population into thinking Jason is dead. Meanwhile, Jason faces mutiny on board the Argo and then the temptations of the Siren, battle with the Cyclops, and then a final bold act to reclaim the Golden Fleece.

Possibly the best scene is kept for the end, when the Argo arrives home with its own brand of deception. The film is topped off with a clever trick. Sometimes what we would now view as a B-film, ideal Saturday matinee material, sticks in the mind because it has been the proving ground for a future director or star but writer-director Riccardo Freda had already turned out Spartacus the Gladiator (1953) and Theodora, Slave Empress (1954).

Star Roland Carey was unusual in this field because he was actually a trained actor rather than hired for his torso, but this did not exactly stoke his career – his appearance in Fall of the Roman Empire (1962) was uncredited. Female lead Ziva Rodann was unusual, too, in that she was Israeli rather than Italian, had appeared in Samuel Fuller’s Forty Guns (1957) and second- billed in exploitationer Macumba Love (1960) and would later play Nefertiti in the Batman television series.

If you go in not expecting much, you might get a surprise, though, be warned the acting is wooden and other special effects, such as the storm, not quite in the Rambaldi class.   

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