Le colosse de Rhodes

Leone served his apprenticeship in film by assisting various Italian directors as well as Walsh, Wyler and Melvyn Le Roy… By the late '50s he was writing scripts for gladiatorial epics, the genre in which he first gained directing experience, and took over "The Last Days of Pompeii" when the director Mario Bonnard fell ill before directing alone "The Colossus of Rhodes." Not until 1964, however, did he establish himself as a true original with his first film in what would come to be known as the Man With No Name trilogy…

"The Colossus of Rhodes" begins in the island of Rhodes in the Mediterranean Sea 280 B.C.

Rhodes is celebrating a proud day in her history… A magnificent statue will now dominate the seas… But the Colossus was erected in blood and the people in Rhodes do not want slavery… The chief of the rebels, Peliocles (Georges Marchal) needs a man like that visitor Dario (Rory Calhoun), who's a great warrior in Greece…

Thar (Conrado San Martín)—who is in love with Diala (Lia Massari)—is no longer content with the power Serse (Roberto Camardiel) stupidly bestowed upon him… He wants this beautiful island to sell to Phoenicia, than he'll be the reigning monarch… Of course the rebels don't have enough men to attack them openly…

There's only one plan, to enter the Colossus… But the Colossus is impregnable…How could they hope to get in? Rhodes' best soldiers are imprisoned underground… A heavy gate seals the only exit… This gate can only be opened by a control in the Colossus…

If you want to see how the Colossus is a huge trap don't miss this Sergio Leone's directorial debut

I suspect it's curiosity that brought most of us reviewers to "The Colossus of Rhodes", an Italian swords-and-sandals blockbuster set in the Greek antique world and whose most prestigious name on the credits belongs to the director, Sergio Leone. His thunder isn't even stolen by his no-less legendary partner in film: the late Maestro Ennio Morricone. I confess it, if it wasn't for the film's reputation as the first directed movie from Sergio Leone, chances are it wouldn't have made it even in my Top 500 to-watch list.

And so like many fans, I was wondering how the film looked, how the hyperbolic style of Leone and his infatuation with detached and outcast characters would translate into a peplum? Yes, the film about one of the wonders of the Antique world started with a personal wonder. And so, maybe distracted by years of impregnation with Leone style, I kept looking at the film like an oddity, a canvas where I could spot here and there one or two trademarks from the Maestro. And I was so focused on that that I perhaps forgot to watch the film.

The distraction was so grand that I don't even feel entitled to review the film properly. I guess what I can say is that there is something in Rory Calhoun's impersonation of the Greek Darios that emerged from the usual heroic archetypes, here's a womanizer who gets itself caught in several plots converging toward the same goal, which is the destruction of the local tyrants. A Clint Eastwood he ain't but there is something in this colorful mosaic of talking and fighting and courting scenes that can't allow such characters to express themselves. As I noticed after watching "The Robe", peplums are movies designed for the spectacular and the epic, and it is a credit to the better ones to allow personalities to emerge.

Leone who was no stranger to that genre as he assisted Wyler in "Ben-Hur" and took part to the "Last Days of Pompei" had the instinct for such movies and "Colossus" features some remarkable sequences and set-designs, starting with the recreation of the big statue but something was missing. Leone's camera work has always been known to turn even the ugliest or most remote locations into subjects of eye-catching quality such as Goya paintings, his films portrayed the least appealing matters with great operatic lyricism, a capability to transcend the lowest instincts of humanity and turn them into things of epic aesthetic scales rather than morales. The Dollars trilogy was about greed or manipulation, ugly traits, the "Once Upon" trilogy about people incapable to cope with their time and also betrayal.

Great movies can be defined into simpler words and the simpler they are, the more they allow their directors to fully express their talent. "Colossus of Rhodes" has such a convoluted plot and historical mishmach doubled with the usual devotion to heroism as a value that it's remotely impossible to come up with anything fresh and new. At least, "Ben-Hur" had a universal story to tell, both "Spartacus" and "Quo Vadis" had Peter Ustinov. "Colossus of Rhodes" lacks colorful characters that could have humanized it. It's spectacular all right, the earthquake sequence is nothing short but brilliant but the film strikes as big chunk of antic splendor displayed only as a feast to the eyes, a "movie with gladiators" like another reviewer point it out, mentioning the infamous line from "Airplane!".

I don't feel like going further, this review isn't the highlight of my work either, but "Colossus" is more of a film you 'check' rather than watch, I checked so I could say that I saw all Leone's movies, Leone resurrected the Western genre and found the true arena of his colossal talent there and it had to to go through that step, one little step before the giant leap. Anyway, it was an Interesting watch, but legacy-wise, closer to the 'Manneken-pis' than the Colossus...

Word was that director Sergio Leone who stepped in during 1959 and took over directing "The Last Days of Pompeii" with Steve (Mr. Hercules, himself) Reeves wanted to make a sword and sandal film...at that time Italy was churning out the musclebulgers by the dozens.....Steve Reeves with that physique carved from granite was the king of these musclebulgers.....and to a lesser degree by another musclebulger named Mark Forrest. Leone employed all the members of "Last Days of Pompeii" he could hire....the one exception was he wanted Steve Reeves with that bulging physique to star but Reeves was committed to making "The Giant of Marathon" and "The Great White Warrior" and was not available.....How did I get this info??? I knew a friend of Reeves who talked to him and how Leone liked him and offered him the role in Colossus...... Rumor was a rather handsome but undernourished John Derek was the choice for Dario in the lead role...but a feud developed between Leone and Calhoun who was making another costume "epic" nearby in Italy was suddenly available. Calhoun had made his reputation during the 50s making westerns and was hired......anyhow, story is a typical Italian sword and sandal epic of evil rulers, mob scenes, tortures with whips and chains and a few lovely women to look at.....main story line concerns a giant erected statue called the Colossus which stands over the entrance of the harbor to the island of Rhodes in 280 BC. The Colossus drops oodles of fire and brimstone from it's bottom on any invading ships and invaders who try and enter unwelcome...... Calhoun in leading role as Dario looks out of place....he has that greased up hair do from the 50s he wore and those white shiny boot sandals he had on...ugh!!!! Lea Massari his off and on again love interest is very wooden with a large skin blemish right in the middle of her forehead!!! Where was the make up department????? Massari has all the charm of a wooden box and little to no sex appeal.....in most sword and sandal movies the women are skimpily dressed to the extreme to attract the male audience.....in Colossus the women are covered with full length togas and long dresses....go figure.....Mylene Demengeot who co starred with Steve Reeves in "Giant of Marathon" would have been a better female leading lady for this film....anyhow....there are still legions of sword and sandal fans out there who remembers all those gladiator films....the genre was resuscitated briefly in Russell Crowe's 2000 film "Gladiator".....word was the director wanted Steve Reeves to come out of retirement and play a role but Reeves was in declining health at the time and could not commit....so sad to see the king of these S&S films decline the role......only real criticism is this film is about 20 minutes or so too long coming in at 2 hrs and 15 minutes.......still not bad to see for sword and sandal fans.

Now that this film is at last available on DVD (having never been issued on tape or laserdisc), more people will get a chance to see it and hopefully it will be better appreciated. Until now, the only way to see it was to wait for it to show up on TCM, which happened once or twice.

While this is Sergio Leone's first credited film as a director, you won't see the hallmarks of the distinctive Leone style. He's working here more as a director for hire, just as Stanley Kubrick had done the year before with "Spartacus." Rory Calhoun is woefully out of place, his hairstyle wildly anachronistic (full of that greasy kid stuff), he grins idiotically at inappropriate moments and gives his inane dialogue all the gusto it deserves. The story is fairly straightforward, although refreshingly free of the ersatz piety that infects so many epic Hollywood films of the era. There's a lip-smacking taste for brutality, as some of the heroes are fiendishly tortured; this appears to have been a hallmark of Italian epics of the time.

Where this movie works --- and it does --- is in the spectacle itself. You might not think that set decoration, production design, costumes, and cinematography can carry a picture, but in this case these elements are so well done it more than offsets Calhoun's dorky performance and the weaknesses of the plot. Bear in mind when you watch this that Leone did not have a computer to work with. Everything that you see had to be built or painted, and it's remarkably effective.

The film is perhaps a bit overlong, but the story has enough energy to carry the action sequences and bring all those incredible sets to life. The supporting cast is good enough to make up for Calhoun, although the dubbing is poorly done.

It's not as sophisticated as "Spartacus", but it's certainly more effective than, say, "Clash of the Titans." If you like sword-and-sandal films, this one is well worth your time.

Notable now mainly as an early work by Sergio Leone, this ambitious entry in the sword-and-sandal genre has the kind of long, detailed story-line rarely seen in productions of this sort, and it's unencumbered by the religious "piety" which clings to, say, "The Revolt of the Slaves." If anything, "Colossus" may be a tad too ambitious, since the second half of its two-hours-plus running time could use a bit of trimming.

Worth noting are the scenes involving the head of the giant statue which is of hollow construction. Watching Rory Calhoun climbing out the ear of the statue and then engaging in a sword fight on the statue's shoulder is one of those moments for which movies were invented. (Yes, I said Rory Calhoun, and he's as out of place here as you might imagine. Stephen Boyd or John Derek, Leone's original choice, would have done better jobs.)

Also worth noting is the movie's apparent motto of: "Shirts off, chains on." Rarely have so many muscular men been subjected to such a variety of bondage and torture, beginning with the pre-title sequence in which a bare-chested, spreadeagled Georges Marchal, (who was born for this kind of role,) is rescued from a prison-camp. Later, he's placed inside a metal bell which is repeatedly struck with a hammer while two of his colleagues -- stretched out on horizontal slabs -- have caustic fluids dripped onto their bare torsos. And then there are the prisoners in the arena who are dragged behind chariots or suspended by their wrists over a lion-pit. (About the only other movie which has such a high quotient of men writhing in pain in MGM's 1954 "Prisoner of War.")

Today's special effects could make the Colossus and its eventual fate even more impressive, but alas, movies such as this just aren't made anymore.