Il colosso di Rodi

After dying Alexander the Great , his empire was split itself, originating some independent kingdoms ruled by descendants of the Alexander's generals, this one was called the Hellenistic time. In fact , this is one of the few films to be set in the Hellenic period that spanned the period from the death of Alexander the Great to the rise of Rome as a world power . It's set in 280 B. C , the starring is Dario (a likable Rory Calhoun , though the original choice for the role of Darios was John Derek) an Athenian on holidays living in Rodi with his uncle Lisipo (Jorge Rigaud) . There he meets a good girl (Mabel Karr, wife to Fernando Rey, starring in The last days of Pompeii) and a bad girl (a gorgeous Lea Massari) . A tyrant (Roberto Camardiel) and his hoodlum (Conrado San Martin) govern tyrannically the town . But rebels led by Peliocles (Georges Marchal) fight against the nasty rulers . Meanwhile, a Phoenician army attempts to attack Rodi . Dario trying to clean up the doomed Rodhes town from enemies and a foreign invasion .

Some years before conducting a master class on the art of widescreen composition in The good , the bad and the ugly , Sergio Leone directed his credited directorial debut , though he had previously stepped in to finish most of The Last Days Of Pompeii when the original director fell ill, with this equally epic sword and sandal film starring American cowboy actor Rory Calhoun. Ample cast formed by American Rory Calhoun and familiar faces as Spanish as Italian actors ; Rory was in Italy for the title role in MGM's Marco Polo (1962), stepped into the lead role of "Colossus" on only one day's notice . Roy is solid and sympathetic though uninspired in the lead role as a honest adventurer caught up in the prior momentous to earthquake that threatens noblemen and slaves alike , but acting honors go to the villains played by Roberto Camardiel and Conrado San Martin . It's an European co-production by Spain/Italy/France with several actors from various countries , the screenplay was reportedly the work of nine screenwriters and filmed in lavish Budget . Leone's dynamic framing of the towering statue at the center of the film combined with the frenetic action scenes set on top of it made sure the Saturday matinée crowd stayed glued to their seats for the film's excessive 128 min. Running time . This historical epic about the Hellenistic time bears no relation whatsoever to real events and much of the dialog is of the wooden variety . In fact some scenarios contain abundant anachronism such as 'the Garden of the Granja of Segovia' built in XVIII century . The highlights are the images of the Colosso , one of the marvels of the world . The real Colossus, one of the Seven Wonders of the Ancient World, was 32 meters high and stood on a hill , the cinematic version stands 110 meters and its legs bestride the harbor . In the pier of Laredo (Cantabria, Spain) was built feet , and head and shoulders were made in ordinary size and a maquette reflecting its whole splendor . Some spectacular scenes including the explosive climax when ground shaking and the town blows its top .

Colorful cinematography by Antonio Ballesteros , the widescreen process used is TotalScope, an Italian version of Cinemascope and evocative musical score by Angelo Francesco Lavagnino . The film bears remarkable resemblance to 'Last days of Pompeii' by Mario Bonnard and Sergio Leone, such as the earthquake in which numerous images are taken , repeat several actors actors as Mimmo Palmara , Carlo Tamberlani, and of course, technicians, producers, writers : Ennio De Concini, Duccio Tessari, same cameraman : Antonio L. Ballesteros and assistant direction, Jorge Grau, among others . The motion picture was professionally directed by Sergio Leone . Although he had experience directing other films, this was the first to give full on-screen credit to Sergio .

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...

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.

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