Steve Reeves as The Thief of Baghdad

One Thousand and One Nights also known as the Arabian Nights is a collection of stories from the Middle East and India that can be traced back to the 9th century although the author or authors of the tales are anonymous. What is known is that the stories introduced such famous fictional characters as Sinbad, Aladdin, Ali Baba and others, all of whom have inspired numerous film versions of their exploits. One of my favorite Arabian Nights fables is The Thief of Bagdad but the first movie version I encountered was the 1961 Italian fantasy-adventure Il Ladro di Bagdad (released in an English dubbed version as The Thief of Baghdad in the U.S.) starring Steve Reeves. First seen at a kiddie matinee during its original release, it made a strong impression on me as a ten-year-old, even if it is not the best known, most lavish or critically respected of the many film versions. 

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Strange Brew

The sword and scandal genre rarely got much respect in the U.S. during its heyday and it was easy to see why. Aimed largely at indiscriminate male viewers, these action-adventure sagas were usually imported from Italy, poorly dubbed in English and featured some of the world’s most famous bodybuilders of that era (none of whom were known for their acting prowess) along with exotic female sex sirens. The plots were usually dumbed-down bastardizations of Greek and Roman myths or history and the production values were variable, mixing picturesque Italian locations with laughable special effects or papier-mache props. Due to their derivative nature and lowbrow appeal, few of these faux epics ever achieved classic movie status but occasionally one would stand out for its sheer weirdness alone like The Giant of Metropolis (1961), which is set in the year 20,000 A.C. and often looks like a Flash Gordon-inspired sci-fi adventure. Continue reading

Vintage Peplum

The French film poster for My Son, the Hero (1962)

Remember the Italian sword and sandal films (known as peplum in their native land) that enjoyed a brief period of popularity in the U.S. from around 1958 to 1964? There was never any question about the appeal. What’s not to like about muscle-bound super heroes, beautiful, curvaceous slave girls, princesses and evil queens, despicable, hiss-worthy villains, amazing feats of strength, epic battle scenes, exotic dance sequences, bizarre tortures and stylized sadism, picturesque locations, atmospheric set design, and disaster film calamities (earthquakes, volcanoes, storms)?   Continue reading