Der Untergang von Metropolis

This is the ultimate Italo-kitsch-sword and sandal-science fiction something. The early 60's cinematic Zeitgeist in Italy was certainly unique. This one has some knockout art direction and costumes along with some pretty moody photography. Then there's your cheesy (but fun) fight scenes. It also has a some crummy special effects, monotone dubbed acting, and somewhat slow pace; but you fans of the genre knew that already and all you others will just have to try it for yourselves. You either love these kinds of films or loath them with a passion- (said in a low, dubbed, monotone voice) WHICH WILL YOU BE? A great minimalist musical score, too. I give this one an 8 because of what it is- just plain bizarre weirdness that may appeal to those of you with a certain kind of mindset. Gordon Mitchell sure is ugly but he's perfect as the put-upon (and I mean PUT-UPON) hero.

Hmmm... outside of the poor dubbing, I don't really understand how this gets basted as a turkey. I suppose you could eat cheetos and drink beer and watch it with your buds. It's entertaining, but hardly Maciste Against Hercules In The Valley Of Woe or similar low budget quickies full of unintentional laughs. It's more sci-fi than sandal due to the urgent "message" it attempts to teach us modern scientific men. Evidently the producers saw in the script an important project because they lavished the greater part of their creative energies on the costumes, set designs, lighting and camera set-ups. Like movies today, the stars are not found in the cast but in the art director's studio. If it weren't in color, Giant Of Metropolis might easily be mistaken for some expressionistic epic cooked up by Fritz Lang in 1925 or one of those "new wave" European productions of The Ring cycle from the 60s and 70s. The heavy symbolism is transcribed visually, and the Roman crafts people behind the scenes must have been pleased at the oppressive but strangely beautiful world they realized. So don't expect much exciting action, character development or witty dialog. But do expect a Roman giant of sorts, one with an under-appreciated place in the ranks of thoughtfully produced sci-fi cinema.

One of my sci-fi/horror/fantasy reviews written 50 years ago: Directed by Umberto Scarpelli; Produced by Emmimo Salvi, released in America as "Giant of the Metropolis" by Seven Arts Productions. Screenplay by Gino Stafford, Emmimo Salvi, Ambrogio Molteni, Sabatino Ciuffini and Oreste Paiella; Photography by Oberdan Troiani; Edited by Franco Fraticelli; Music by Armando Trovajoli; English Dubbing director: Richard McNamara; English Dubbing Script: John Davis Hart. Starring: Gordon Mitchell, Bella Cortez, Roldano Lupi and Carlo Tamberlani.

Combination science fiction and muscleman-in-loincloth feature, where feudalistic state of the future's scientists/priests experiment with immortality.

Co.

Few movies can truthfully be called "unique," but this comes close. It's a bizarre hybrid, set in Atlantis in 20,000 B.C., which combines the "Hercules" genre with the kind of science-fiction motifs found in Flash Gordon serials. True, the plot is the usual strongman-vs-the-evil-tyrant affair, but the "look" and "atmosphere" surrounding this plot make for striking viewing and have that touch of stylized madness found in only a handful of movies. (Fritz Lang's "Metropolis" and David Lynch's "Dune" are some of the few comparable efforts which spring to mind.) Adding to the almost-hypnotic effect is a somber, restrained, at times almost atonal music score.

Gordon Mitchell spends the entire movie in one of those "Hercules" loincloths and one never tires of looking at his bare torso which is often contorted into a variety of "bondage" positions.

Only in the final cataclysm do the proceedings become routine but for the most part this movie is one of the cinema's most eccentric flights of imagination.

Got to give this ultra low budget, horrendously dubbed Italian Sword and Sandal clunker credit for trying something different.Adds a heavy dosage of Science- Fiction to the mix.The baddie resembles Bela Lugosi, the hero a less handsome Charlton Heston and the " Giant" to me at least resembled Harry H Corbett's werewolf from " Carry On Screaming" even though this was made three years before that.The climatic destruction of Atlantis takes place in near darkness, to hide the cheap cardboard sets and lack of them.Pretty bad, but i almost felt sorry for them, they did the best they could.