Il gigante di Metropolis

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.

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.

This amounts to Fritz Langs' "Metropolis" (1927), mixed with a good dose of "sword and sandals" film, with plenty of cheesecake and beefcake.

In Atlantis Obro is on a quest to Metropolis, to warn its king Yotar that his misuse of science will cause the downfall of Metropolis and all its residents. Suddenly, Obro and companions are hit with a "magnetic death ray" that only Obro survives, the others being turned into skeletons. Obro is then taken by soldiers to the King, who has him selected for a brain transplant for his son, because Obro is of "superior blood". The whole film plays like a Flash Gordon serial.

Gordon Mitchell is a suitable hunk of beefcake, who throws soldiers and boulders around like they were toys. Rodalno Lupi bears a resemblance to Charles Middleton, who played Ming the Merciless in at least one Flash Gordon serial. Bella Cortez's Mesede resembles Princess Aura; here she is redeemed by her love for Obro.

The futuristic Art Direction is by Giorgio Giovannini, who worked with Mario Bava on 1965's "Planet of the Vampires", and other Bava films. The sets and set decoration borrow from the Mayans, Aztecs, Egyptians, and Chinese, depending on the scene.

The cinematography is by Mario Sensi. The wild color scheme resembles that of "Planet of the Vampires" (1965) and "Hercules in the Haunted World" (1961), except the dominant color is red instead of orange.

The script is wonderfully stupid. My favorite line; Obro to Mesede : "We're made alike!" Not really, although they both have big chests.

Watch for the wedding dance, and the swords that look like canoe paddles. Last half hour of the film must have used a ton of dry ice. In spite of being great fun, I can only give it a 4/10.

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.