La ruée des Vikings

ERIK THE CONQUEROR (aka THE INVADERS) was Mario Bava's second directorial assignment after his meteoric success with BLACK SUNDAY (aka MASK OF THE DEMON/LA MASCHERA DEL DEMONIO (1960). ERIK THE CONQUEROR is a tale of intrigue and treachery between Viking forces and the Anglo-Saxon defenders of the British Isles in the year 786 A.D. The story begins as two children are separated from each other during a fierce battle. One of the two is taken and raised by Queen Alice (the stately & beautiful Francoise Christophe) and the other child remains with his Viking people. Both bear tatoos which identify them as brothers. They grow up to face each other in battle but have been tricked by Rutford (a deliciously evil portrayal by Andrea Checchi), a scheming English noble who intends to take the throne he covets for himself. Art direction alone is dazzling with phospherescent hues of crimson, gold, emerald & cobalt blue. There are many macabre touches courtesy of Bava, and in an interview with noted film historian David Del Valle, Cameron Mitchell marvelled at Bava's mastery of trick photography and flawless cinematographic style. Mitchell gives one of his finest performances here as Aaron, the Viking and Giorgio Ardisson is splendid as Erik, his brother and King/defender of Britain. The golden, flaxen beauty of Alice & Ellen Kessler is used o good effect here as the eventual lovers of Erik and Aaron. A must-see for Bava worshippers and required viewing for epic aficionados!

In the 9th Century, two Viking children, separated since their early childhood with one raised by the British and the other by Vikings, meet after nearly 20 years as rivals as war breaks out between Britain and the Vikings for control of England.

The film is a loose remake of the American film "The Vikings" (1958), starring Kirk Douglas. Credit was not given at the time, which really is not out of the ordinary for Italian productions. Just look at the endless string of "Jaws" ripoffs. Bava's film borrows the estranged twins idea, the duel alongside the castle, and the showing of a viking funeral. Interestingly, to get around his lack of budget, the biggest change is setting much of "Erik" underground because on-location (Norwegian) settings were just not possible. "Erik" also has a similar plot to Sergio Corbucci's "Duel of the Titans" (1961), though that setting was Rome rather than northern Europe. Most likely, Corbucci was ripping off the same source.

As far as casting goes, Cameron Mitchell is the definitive American "star" of Italian films. During the 1960s, Mitchell starred in numerous Italian sword and sandal, horror, fantasy and thriller films, several of which were directed by Mario Bava, including "Blood and Black Lace" (1964) and "Knives of the Avenger" (1966). He also participated in Spaghetti Westerns, like Corbucci's "Minnesota Clay". (In Hollywood lore, Mitchell's claim to fame was introducing Marilyn Monroe to Arthur Miller.)

Then we have the German-born Kessler Twins, who were big hits in Europe at the time. In the States, the Kessler Twins were not as popular as they were in Europe but soon appeared in Robert Aldrich's "Sodom and Gomorrah" (1962, while Aldrich was in exile) as dancers and appeared on the cover of Life Magazine in that year. Did "Erik" help get them the part in the Aldrich film?

Anyway, "Erik the Conqueror" is a fine film in its own right, even if we acknowledge its lack of originality. There is an epic ship battle that rivals anything in the more contemporary Disney "Pirates" franchise, for example, and the various techniques to create a big-looking film are admirable. Bava knew how to push the limits of budget, and this paid off. The film made back two or three times its production cost. Oddly, though we know Bava for his horror work, in Italy the horror genre was not terribly popular and the "sword and sandal" theme was a bigger draw. (Mitchell claims that Bava never had an unprofitable film. Whether this is true or not I don't know, but none come immediately to mind.)

The Arrow Video Blu-ray offers a brand new 2K restoration of the film from the original camera negative. Viewers are given the choice between the original Italian and dubbed English mono audio. There is a new audio commentary by Bava expert Tim Lucas, who reveals some of the interesting matte techniques used and declares this Bava's "most underrated film". Heck, we even get "Gli imitatori", a comparison between "Erik the Conqueror" and "The Vikings", as well as the film's original ending. This release is bursting with love.

ERIK THE CONQUEROR is a superb Viking saga set in the year 786 off the rocky coast of the British Isles. Anglo-Saxon protectors have vanquished the Scandinavian hordes with utter treachery & ferocity led by the evil Duke Helfort (a villainous portrayal by Andrea Checchi). Two tiny blond boys, Aaron & Erik, are left floundering on the sandy beach. One of them (Erik) is taken away by the English Queen (he lovely Francoise Christophe). The other, Aaron, is left to be raised by fellow Norsemen. The two boys bear identical dragon tatooes. Twenty years later the Vikings decide to avenge themselves, led by the now-adult Aaron (Cameron Mitchell at his finest!) Erik (Giorgio Ardisson at his finest!) has been crowned monarch of England and must face the feared Vikings for supremacy. Though Helfort is somewhat older he still covets power and attempts to sway the outcome of the final battle in his favor. Mario Bava is at his best as director and cinematographer in this, his first film since the celebrated BLACK SUNDAY. Art direction on this film is outstanding with sets basking virtually in golds, neon crimsons, icy cobalt blues and forest greens (color by Technicolor!) In an interview with the distinguished film historian David Del Valle, Cameron Mitchell related many stories about the making of ERIK along with declaring Bava's genius at trick photographic effects. Required viewing for Bavaphiles and aficionados of epic cinema. Dazzling!

Mario Bava, fresh from the overnight success of BLACK SUNDAY the previous year, emerges as a master of epic cinema in this Viking tale. Brilliant use of color hues and outstanding art direction distinguish this saga of twins separated as young boys during a battle between Anglo-Saxon hordes and Scandinavia's feared Viking tribes. Giorgio Ardisson portrays Erik and imbues his character with great nobility as he rises to fight against the Norsemen led by his brother Aaron (splendidly cast Cameron Mitchell). Andrea Checchi (Dr. Kruvajan in BLACK SUNDAY) is also tremendous as the evil Rutford, the scheming villain in this piece who wishes to use both forces to his own gain and place himself upon a throne he does not deserve. In an unforgettable interview with film historian David Del Valle commented that this film was made on a tiny budget but one would never surmise this from the rich texture and tenor of this major Bava opus. Macabre touches and phospherent Bava lighting place this work in a class by itself. The Kessler twins are used to superior advantage here and Francoise Christophe appears as the dignified and lovely Queen of the British Isles. A must-see for all lovers of The Maestro and for aficionados of epic cinema.

The first peplum to be officially directed by Bava (and his first collaboration with Hollywood actor Cameron Mitchell) is, as can be expected, a virtual clone of the classic spectacle THE VIKINGS (1958) – if, obviously, done on a much smaller budget. That said, unlike the later KNIVES OF THE AVENGER (1966), the film does feature a few sweeping action sequences (many of them replicated practically wholesale in the following year's ATTACK OF THE NORMANS [1962]; see above).

The plot concerns a couple of Viking brothers separated at birth during a vicious attack: one of them is raised by the British Queen and, therefore, becomes his sibling's sworn enemy. Also involved are a couple of identical vestal virgins – played by the then-popular singing duo, the Kessler Twins – who, obviously, both go against their vows (and thus risking death if caught) by falling for the brothers. The Viking community, largely confined to living as cave-dwellers, provides plenty of opportunity for Bava's trademark atmospherics and flair for composition and, as was the norm for him at this stage in his career, he officially acted as his own cinematographer!

The typically jovial, uncouth and heavy-set Viking leader is played here by Folco Lulli (though he is killed in the very opening sequence!), while Andrea Checchi – from Bava's own BLACK Sunday [1960] – fills in for the role of chief villain (his death via a succession of arrows may well have been inspired by the unforgettable demise of the "Macbeth" character in Akira Kurosawa's superb Shakespearean adaptation THRONE OF BLOOD [1957]). Though a decent actor, Mitchell comes across as a generally glum presence in these type of pictures; here, he ends up by sacrificing himself for his brother and, consequently, receives the requisite fiery viking burial (even if the film's budget apparently didn't afford this spectacular effect – since it cuts abruptly to a two-shot of the lifeless Mitchell and his grieving intended for the fade-out)! Curiously enough, while Mitchell is the nominal male lead, the English title of the film makes it sound like the younger brother is the conquering hero of the piece!

While I already owned the film, taped off Italian TV, this second viewing came via a rental of the bare-bones Italian DVD; given the picture's lack of exposure in R1 land, I wonder whether it will eventually be included in Anchor Bay's hopefully-not-long-in-coming "The Mario Bava Collection Vol. 2"...