Das Schwert des Barbaren

Seeking new land for his people a swordsman's wife is murdered by followers of the evil Goddess Rani. He vows vengeance upon the cult and journeys to the Ark of the Templars for a magic crossbow to exact his revenge.

Director Michele Massimo Tarantini's Sangraal The Sword of the Barbarian(s), Barbarian Master, la spada di fuoco (1982) is one of three swords and fantasy films to feature both lead Pietro Torrisi and also Sabrina Siani. The other two are Francesco Prosper's Gunan il guerriero, Gunan King Of The Barbarians or The Invincible Barbarian (1982) and Il trono di fuoco, The Throne of Fire (1983).

Here again, Torrisi looks uncannily just like live action He-Man as Sangraal. He does a more than competent job in the leads role, sadly he never gets a meatier script to test him. Blonde beauty Sabrina Siani's role is small but pivotal. Both blonde Margareta Rance as Lenna and Brunette Yvonne Fraschetti's Ati, daughter of a village leader fill the void. Xiomara Rodriguez is notable playing Rani, Goddess of Fire and Death, beautiful, vengeful and bloodthirsty who demands human sacrifice. Rani inexplicably needs to be topless, despite having a wonderful costume. Mario Novelli offers weight as evil warlord Nantuk. Sabrina Siani gets to give a wacky brief cameo performance as the temptress Goddess of Gold and Life in the final act.

Tarantini's basic story, Piero Regnoli's clunky screenplay with Ted Rusoff as dialogue supervisor features more of the same issues synonymous with the Italian produced sub-genre films. Editing, dubbing, sound design etc. That said, the costumes and props are well crafted, the locations especially the caves offer some credence to the production. The visual effects are bare minimum. Mostly smoke and mirrors. There's voiceover, horses, swords, nudity, skeletons snakes, severed limbs and sacrifice as Sangraal and Ati, joined by Hal Yamanouchi who plays an archer Li Wo Twan go about getting their revenge. Sandstorms and plenty of spear and sword action ensues as they tackle blind cave dwellers, morse code 'man monkeys' and other dangers.

Pasquale Fanetti's cinematography offers atmosphere. Alessandro Lucidi's editing is quite tight. Franco Campanino's dramatic music is fitting. Despite much of the poster art being misleading for this offering, those familiar with the genre will notice it's nothing new. To Tarantini's credit it's well put together compared to his Italian contemporaries of the sub-genre.

Ultimately, while the journey story isn't as fantasy filled as The Throne of Fire, it's one of the more rounded efforts of the Italian produced Conan, He-Man type swords and sorcery cash-ins.

Pietro Torrisi again doing of barbarian type CONAN. As in THRONE OF FIRE or THE INVINCIBLE BARBARIAN. Possibly this movie is the best of all the led ones for him. It is not bored nor kept woman. Simply they are adventures through, like CONAN'S comic-book. The script is not bad but much leaves that to wish, the actors not estan badly in I make concrete the protagonists' trio (the girl and the Chinesse) and SABRINA SIANI's brief appearance , typical in appearing in all the CONAN'S Italian developments (here she works out nake integral). The sets, makeups, wardrobe are pesimos (them same that italianadas as ATOR, GUNAN, THRONE OF FIRE ...) The battles are absurd and badly done, though they have something of gore and blood, in I make concrete and probably the better(best) of the movie, the scene in which the trio protagonist gets into a dark cave and they face men serpent (style WARHAMER FANTASY ROLGAME) well caracters , in a slightly bloody battle. Slightly boring, senseless of the humor and very serious. Only for fans of CONAN.

Having basically grown up with them, I admit to being a sucker for the cheesy sword-and-sorcery flicks of the early 1980s. However, this was one I had never heard of before coming across it – nor am I familiar with the work of its director, since he mostly dabbled in vulgar comedies…though I am sure some have nevertheless tried to build a cult around his resume' in view of his surname being similar to that of a certain American film-maker!

Anyway, this (originally intended as a sequel to Franco Prosperi's GUNAN, KING OF THE BARBARIAN released earlier that same year) is pretty much standard fare though marked by a couple of excesses that make it unintentionally hilarious. Upfront is the intermittent narration, which is so utterly downbeat and gravely-spoken to boot that I swear the speaker was on the verge of tears at times! The other is the sheer display of histrionics by the villain who frequently – and not always with good reason – takes to shouting out the hero's name at the top of his lungs; incidentally, his beef with him is merely because the latter has killed a number of his priests-cum-minions, thus thwarting an onslaught on a neighboring village…so I wanted to yell back at him: "Get over it already"! As usual, the protagonist is muscle-bound yet thoroughly bland: at the beginning of the film, he survives the obligatory extermination of a peaceful tribe; eventually, he leads the remaining members of the clan to a promised land (along the way to which, some have begun to despair and almost turn against him – sounds familiar?!); as if that were not sufficiently Biblical, the hero is named Sangraal which, literally, means "Holy Grail"!

He has a blonde girlfriend but soon also sets his sights on the daughter of the people he defended; conveniently, another assault sees the former killed…which the hero is forced to watch from afar while strung up (crucified, get it?). Rather than start life anew with his other girl and make life easier for all of us, he determines to bring the dead woman back to life (yep, they keep coming!) and seeks out a hermit-like sage with the help of an Oriental archer who comes out of nowhere but subsequently breaks our balls by incessantly spouting Charlie Chan-type aphorisms! Pilfering yet another fashionable mystic source, the villain and his men worship a topless goddess who lives inside a fire a' la SHE (just as bloodthirsty and constantly threatening her disciple when his every ruse to dispatch the hero inevitably fails!).

Later on, the protagonist and his two companions are attacked by blind creatures that live in caves and sport webbed fingers – maybe their tatty 'costumes' were borrowed from Sergio Martino's ISLAND OF THE FISHMEN (1979)? – before stumbling upon a secret weapon, an unwieldy arrow-shooting contraption that barely sees service thereafter! Eventually, hero and villain engage in a one-on-one by the sea, with the latter ending up impaled on his own dagger! Mind you, in spite of my disparaging remarks, one cannot really hate this type of juvenile (nudity and gore notwithstanding) fare too much – in fact, on the strength of this, I acquired two other minor efforts (albeit from American exponents) in this vein i.e. Jack Hill's SORCERESS (1982) and THE WARRIOR AND THE SORCERESS (1984), though I probably will not be getting to them just now...

This movie stunk. The English dubbing was horribly amateur, like some video company wanting a release in North America hired a bunch of high-school teachers to dub the film and did it in one try to save money at the recording studio. Ignoring the dubbing, the acting was completely off-key. Sometimes the characters looked like they were trying to get their lines over with after practicing a dozen times in front of the mirror, other times they were over-acting, it was the typical acting style you see in high-school dramas.

The choreography was a joke, not only can you tell it's totally fake with the lack blood and the bad acting, but what makes it funny is that they try to make it look real by moving the camera angles in such a way to hide the fact that they thrust the sword to the side of the opponent or to cover up the fakeness. The directing and photography is equally bad, the camera work is shaky, sloppy, and even out-of-focus at times.

The film shots were poorly set-up. They were at bad angles, frames, and positions. I'm sure the director knew this during editing, but they probably were operating on a miniscule budget, so they couldn't afford enough film and decent filming equipment. You can tell the budget is so small by the fact that they lacked enough decent props and backdrops, didn't have any special effects besides camera tricks, and had micro "villages" and settings that had the camera always close-up to hide this fact. Lastly, the music was completely cheesy, like it was made and composed for an electronic keyboard.

To sum things up, this movie is a completely forgettable, straight from film to VHS, watch-on-a-Sunday-afternoon-when-nothing-else-is-on-TV flick.

Ah...what have we here....yet another Conan The Barbarian rip off do I see?

Yes indeed and sadly not one of the better ones I might add.

Following the enormous success of the aforementioned pinnacle of the genre, it was inevitable that the market would be flooded with cheap cash-ins.

Now if there's one country in the world that seems to always be the fastest to leap onto any given cinematic band wagon, then it surely must be Italy.

And not just the fastest either, the Italian movie industry, especially in the late 1970's and early 1980's, was probably also one of the most prolific and could churn out seemingly hundreds of films on any given theme (the theme being usually dictated by what happened to be successful in Hollywood at the time) Take for instance the success of George A Romero's Dawn Of The Dead (which was released in Italy as 'Zombi') Within no time at all, enterprising Italian producers had released a whole slew of cheaply made (but often rather watchable) virtual copies of the film.

And so it came to pass (damn! - I sound like a Sword & Sorcery movie narrator now!) that with the remarkable success of Conan, Italian film producers, true to form, released numerous clones of their own.

Universally, all were woefully inferior to the original in pretty much every way and yet, one can't deny that there was a certain (cheesy) charm to many of them such as Joe D'Amato's, 'Ator The Fighting Eagle' starring one time Tarzan, Miles O'Keeffe.

Sadly Sword Of The Barbarians, whilst not totally without its merits, is hardly a particularly memorable entry in the genre.

There are all the usual trappings to be found here as in the other films of it's ilk i.e. topless maidens, torture and violent battle scenes (some of which are pleasantly gory) but overall this film feels distinctly lifeless.

It's a sad reflection in fact, that whilst watching this I found myself continuously looking at the video counter to see just how much more running time was actually left, as I was becoming increasingly bored with the unfolding on screen events.

Even the climatic battle between the hero and the main villain was handled in a rather hopelessly lacklustre manner.

Still, if you're a fellow fan of the Sword & Sorcery genre, then you'll no doubt want to see this and make up your own mind.

It's certainly not exactly a complete stinker of a movie (in fact it's quite amusing in a B-Movie sort of way), but it certainly doesn't warrant repeated viewings.