Il colosso di Rodi

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

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.

In "Airplane," when Captain Oveur asks young Joey, "Do you like gladiator movies?" he is slyly and salaciously referring to films like "The Colossus of Rhodes." While technically not a gladiator movie, Sergio Leone's directorial debut is rife with scantily clad men whose rippling muscles and impeccable abs are fully exposed while they wrestle with each other or undergo whippings, torture, and bondage. The national pastime of Rhodes must have been doing crunches and lifting weights, because even the mature men have flat tight stomachs and bulging biceps. Meanwhile, the women, while lovely of face, remain chastely clothed and relegated to the sidelines. The homo-erotic visuals of this tale of ancient Rhodes call into question the film's intended audience. Were there enough closeted gays in the early 1960's to make a success of mediocre movies such as this?

Despite some good action sequences that hint at Leone's directorial talents, the film's dialog is stilted, the special effects dated, and the performances generally wooden. In desperate need of judicious editing, the film drags on far too long, and the plot sags in the middle. American actor, Rory Calhoun, a fading western hero who was obviously hired only for his name, wanders through the proceedings like a stranger in a strange land in more ways than one. Portraying the Greek Darios as an American on holiday, Calhoun remains nonplussed in the face of death, torture, and the lures of beautiful women. Decidedly less buff than his Italian counterparts, Calhoun nevertheless overwhelms men whose physical strength obviously exceeds that of his own lean build. Perhaps his attire gave him self-confidence. The stylish mini-togas with colorful scarves thrown over one shoulder and white, laced boots to the mid-calf make Calhoun resemble Captain Marvel more than an ancient warrior.

When viewers tire of Calhoun's costume changes and the sight of bare male flesh, they can amuse themselves watching the actors' mouths move without once matching the words that they supposedly utter. In the scenes between Calhoun and Lea Massari as Diala, there is little doubt that neither performer knows what the other is saying. Calhoun recites his lines in English while Massari recites hers in Italian, which was later ineptly dubbed. However, even Italian sandal epics can be entertaining, and "Colossus" is no exception. If expectations are kept low or the viewer is an undying fan of Rory Calhoun, then "Colossus" provides some camp moments and decent action in addition to its legions of male Italian bodies.

Technically master director Sergio Leone's debut, The Colossus of Rhodes wasn't his first foray into swords-and-sandals epics. He was famously the second unit director for Ben-Hur and had to take over the reigns himself for The Last Days of Pompeii. Although he's known now for his Westerns, he certainly had a little niche going at the start. Unfortunately, there's fundamental flaws with that niche and it just doesn't hold up to today. Bland characters, bland story. It takes itself too seriously and ends up overly camp. It wants to have a camaraderie about war but it comes off awkward and childish ending with meaningless conflict and catastrophe. It's an interesting film and relatively watchable but it's terribly dated. While it has the pace of his subsequent films, it has none of the grit or tension. The most disappointing aspect is that the photography is incredibly flat. While the frames take a massive expanse for a debut, there's no depth and the sets are just obvious. Well, at least he got better.

5/10

...there was the movie that probably should not have been. It's not THAT bad, it's just surprising to see the director is Sergio Leone. But we all have to start somewhere don't we? And Leone started with this sword-and-sandals epic.

In the year 280 BC, Rhodes is a rich and powerful seaport island nation. King Serse (Roberto Camardiel) has just unveiled the Colossus, a massive metal statue of the god Apollo that stands over the port entrance. Greek hero Dario (Rory Calhoun) is in town for the festivities when he's approached by Peliocles (Georges Marchal) to join in a slave uprising against the Rhodesian oppressors. Dario is reluctant until he learns that the Phoenicians are plotting to overthrow the king and take the city's treasures.

This handsome production strives more for Ben-Hur or Spartacus style epic grandeur than Hercules Unchained B-movie pablum. Calhoun is a very dubious casting choice as the hero, and the French star Marchal is a more suitable lead. The costumes are nice and colorful, and the sets are very impressive, especially the Temple of Baal. At 127 minutes, this goes on about a half hour too long. However, there are some good action scenes, including an extended gladiator arena sequence. Unfortunately, a guy in a gorilla suit glimpsed briefly near the beginning never returns. This was the first credited directing job from spaghetti western maestro Sergio Leone, but his skill was not readily evident from this effort. Still, there's enough spectacle to keep this from being a complete waste of time.

Warner Brothers actually restored this and put this one on DVD, with commentary even. And yet they never got around to doing the same for Showboat. The speed in technology changes - DVD to Blu, physical to streaming, and throw in the Great Recession of 2008, and you see what seems like some strange choices by the studios. This one is often on Turner Classic Movies since Warner Bros. owns the rights. It is probably worth a watch for the novelty of it all.