Goliat contra los bárbaros

It's easy to get these Italian sandal-and-spear movies mixed up, but clearly the best "hero" to emerge from the genre was Steve Reeves. His mere presence elevates a movie from the "also-ran" to the "must-see" status. Reeves looks great in this predictable but lively outing which has him tied between two horses charging in opposite directions. Rather than being pulled apart like a wishbone, Reeves manages to rein them in, and you know something? His powerful physique and straining muscles almost make this seem plausible. The dubbing, as usual, is sloppy, but hey, who's looking at the lips?

I was 11yrs. old when I saw this movie for the first time. I was immediately "hooked" on Steve Reeves. This is still the only movie 45 years later that I get excited talking about. Reeves had an on-screen presence that was mesmerizing. The scene in which he is strapped to two horses that are pulling in opposite directions designed to split him apart is breath taking. And this is one of many scenes that exploits the magnificence of Steve's fantastic physique. Along with Reeves is the beautiful actress, Chelo Alonso who plays Reeves' love interest. They are truly electrifying on screen.(If you can call anything filmed in 1959 "electric"). I've seen about every movie that Steve Reeves made...from HERCULES to LONG RIDE FROM HELL. Even though HERCULES is the movie Steve will most be remembered for, GOLIATH & THE BARBARIANS will always be a top 10 favorite of mine!!!

Hercules was good, Hercules Unchained better still, and Morgan the Pirate was nothing to scoff at. Still, this remains the best Steve Reeves mini-epic of all, if also the hardest to get ahold of on VHS and DVD. He's typecast as a gentle giant who becomes a masked avenger when a horde of barbarians invades his terrain, leading the good people on a guerilla campaign against the marauding mob. Until, that is, he gets a good look at the barbarian princess (Chelo Alonso) and falls apart at the seams. Don't blame him - you will too. This former dancer at Paris nightspots is an exotic beauty, dark and dangerous looking, and she has not one but two extremely erotic dance numbers. They may seem relatively mild today, but this was real hot stuff for those of us who were adolescent boys when the movie was first released in America. The fight scenes are well staged, considering the tight budget, and this rates as the kind of exciting fun that used to make up the top half of a double bill at Saturday matinees during the late fifties and early sixties.

Though best known for playing Hercules, Steve Reeves only played that character twice and spent most of the rest of his Italian film career playing similarly situated mythological or legendary heroes. "Goliath and the Barbarians" (originally titled "Il terrore dei barbari") has him, in the English-language version anyway, playing Goliath, the nom de guerre of Emiliano, a woodcutter whose Italian village is over- run by the multicultural barbarian hordes in the oddly specific year 568 A.D. Conveniently ignoring that Italy had been the seat of the most powerful empire in the West and had done plenty of conquering and pillaging of its own, this film portrays the Italians as salt-of-the-Earth, hardworking peasants beset by the evil foreigners. You know they're evil because 1) they are boorish; 2) they spend a lot of time in revelries and generally seem to be having much more fun than the Italians; 3) one of them is named Igor (a terrific Livio Lorenzon) and sports a vaguely Mongolian hairstyle; and 4) they spend as much time plotting against each other as they do conquering and pillaging. Basically, they're rude and not very disciplined -- straight up signs of bad guys.

Among the least disciplined is Chelo Alonso, as the barbarian chief's headstrong daughter Landa, who naturally falls for our hero as soon as she lays eyes on his big biceps. Alonso is usually one of the star attractions of Peplum cinema and she doesn't disappoint here, having not one but two exotic dance numbers (the second especially energetic and involving fire), and a parade of fabulous costumes. She brings a manic energy to her role and to the film and helps carry Reeves, who is more subdued here that he was in "Hercules Unchained." He has almost as much chemistry with Alonso as he did with Sylvia Lopez in that film. Also appearing is former Hollywood boy starlet, Bruce Cabot, who never quite managed to become an A-list star (despite rescuing Fay Wray from the original "King Kong") but had a long career as a supporting player.

The plot gets fairly convoluted, what with in-fighting and double- crossing among the rival factions of barbarians plus the Romeo-and- Juliet nature of the romance between Emiliano and Landa (being from opposing sides and all), but it mostly holds together. It tries hard to sell a particularly nonsensical bit where a captured Emiliano, whom the barbarians strongly suspect is this Goliath guy who has given them so much trouble, is given two tests of strength, called by Landa "Tests of Truth." The fact that he is strong enough to pass them is supposed to mean he's telling the truth when he says he isn't Goliath, but the fact that he passes them is also a pretty clear indication that he is the heroic strongman. It's a conundrum the film doesn't quite manage to solve, but it's fun watching it try, and those scenes are the best opportunities in the movie to show off Reeves's impressive physique. (Alonso is very impressed!) The only major Peplum trope omitted is a battle with some kind of mythological or wild creature, but since Emiliano dresses in costume as Goliath, to scare the barbarians, I guess he is supposed to substitute for an actual monster.

This is a crisply directed, well-paced film that provides plenty of battles and plundering and an all-around good time, if you're inclined to like this genre.

You have to wonder how smart or stupid the Hollywood movie studios in the late 1950 were....first of all they all passed on a cheaply made Italian muscleman movie named "Hercules" with Steve Reeves and then passed again on "Hercules Unchained" with Reeves again in the title role....independent producer Joseph E. Levine picked up the options on both of these films and waged a massive advertising campaign in newspapers and television and those two "Hercules" films became monster hits at the box office. Not to learn from their previous mistakes, Reeves then made a muscleman "epic" called "Goliath and the Barbarians".....independent American International picked up the option on the film and it made a monster amount of money for them. Go figure out Hollywood....In "Goliath and the Barbarians" Reeves is the leader of a band of Italian villagers hell bent on revenge against a massive horde of barbarian huns led by a maniac named Igor. After a massacre of his village including the murder of his father Reeves decides enough is enough. He secretly starts to wipe out the barbarian horde one by one until his methods are found out by Igor. Along the way the beautiful Chelo Alonso, a barbarian queen becomes his love interest. Talk about a beauty.....she is a dancer and a romancer. Reeves tries not to get too involved with her but that is a lost cause. Check out the scene with Reeves in a test of strength pulls two horses with his hands tied to a pair of ropes....then he pulls down a slew of barbarians trying to pull him into a sword pit on a wall.....great stuff for the kids and the Saturday afternoon matinée crowd. Reeves ripling, bulging muscles are shown to the max in those scenes. By the end of the film Reeves and his men wipe out the barbarians including their leader and all is well. Final scene shows Reeves riding off into the sunset with Alonso sitting on his saddle.....at that time Reeves was the king of the muscleman movies with three blockbusters to his credit. All the muscleman actors that followed were no match for the physique and looks of Mr. Reeves. He certainly was the king of the Italian muscleman flicks.