O Trono de Chamas

Peter McCoy (Pietro Torrisi) who also starred in the similarly themed Sword Of The Barbarians and The Invincible Barbarian appears here in this tale of swords, sorcery and ominous prognostication.

In it he plays Siegfried, a mightily muscled hero who is predestined to challenge Satan from attaining mastery over the earth, a feat that the dark one can (luckily for us) only achieve during a solar eclipse and whilst sitting on the magical 'Throne Of Fire' of the films title.

OK so the film isn't going to win any awards for ingenious plot intricacies but in this genre what can one expect?

As it is, the film is actually mildly enjoyable and even has a few decent scenes on offer (the 'Well Of Madness' being a particular stand out), plus there's some rather energetic sword fights on display from our oiled down hero (who looks a fair bit like fellow B movie action star Jeff Wincott!)

Always a plus in my book, this also stars regular Italian sword and sorcery sex symbol, Sabrina Siani who as usual looks absolutely gorgeous!!!

On the downside however, the movie does tend to drag a fair bit throughout, especially during the scenes when our hero is captured....in fact our hero seems to spend the entire film alternating between getting captured and then staging daring escapes! Oh well.....

Overall, if like me, you enjoy these types of films then I'd certainly suggest you give this a try. It's actually not half bad and is certainly infinitely better than most modern takes on the genre.

A woman gives birth to the devils messenger's child abomination, Morak, who is destined to sit on the Thorne of Fire at any cost and marry Princess Valkari, only Siegfried, a mighty barbarian warrior stands in his way.

The late director Francesco Prosperi returns with another a swords and sorcery film. Prosperi and writers Giuseppe Buricchi and Nino Marino move away from the Conan copies of the time, opting for a more generic fantasy. It plods along like some films made 20 years prior. Disappointingly, there's a few jarring exposition voice overs and unnecessary slow motion scenes synonyms with Prosperi's work.

Lead Pietro Torrisi, in perfect He-Man-esque shape, handles the sword fights and action well, as he hacks his way through the flick, he has plenty of presence despite a lack of lines. Harrison Muller's heartless cocky Morak isn't the usual ugly old evil villian which makes a refreshing change. Although lacking screen time Sabrina Siani as Valkari is on form here and gets some sword play action. To Siani's credit she injects some much needed energy into the film, stealing every scene she's in.

The locations, castles, courtyards and sets; corridors, well/cave offer weight. The stuntmen set on fire and the effects are adequate enough (if dated even for 1983), the devils child puppet, burning throne, Moraks true zombie-like face, opticals visuals in 'the well of madness' to name a few.

Prosperi delivers a film that is reminiscent of swords and sandals old films of the 50s and 60s on a smaller B-movie scale. Due to the direction, pacing and cinematography it uncannily feels of that period, Carlo Rustichelli and Paolo Rustichelli biblical epic score (for the most part), the look of the cast only compounds the feeling.

On the whole, it's a vast improvement on Gunan il guerriero (1982). Intentionally or not, it's callback or homage to mythical tales of films gone by. Torrisi, Siani and Muller work wonders with what they are given. Despite its flaws, more importantly Francesco Prosperi goes out on a final movie high.

This cheapjack Conan rip-off is so mightily inept that the villain actually comes off appearing more sympathetic, interesting and intelligent, not to mention handsomer, than the hero. Surely this was an unintended consequence of the poor script and bad acting, the seemingly lumbering stupidity of the wooden muscle-bound hero and the obligatory trotting around cardboard sets in g-strings by these supposedly heroic do-gooders. This makes the Conan and Beastmaster films look like Ben-Hur and El Cid in comparison. The only (accidental)redeeming feature is the striking presence of Harrison Muller, Jr. as Morak a surprisingly appealing "bad guy." Both his person and his character stand out, perhaps largely due to the colossally boring nature of those around him. It's hardly his fault that he was warped by destiny as the plot would have it...the viewer can't help but root for him to succeed since he's the only one of any interest or appeal on scene.

Watching this I got reminded of my childhood and how I loved watching these types of movies. Swords and sandals I think they are called, with a touch of fantasy. And then I thought my childhood was all a lie. How could I have watched this and think this is any good? But reviews in general here have proved that this obviously is one of the weaker efforts. Apart from one praising this as being better than LotR - pure magic, especially because in no way is this explained. Not that you could explain it and sometimes you go with your gut feeling. But if you want to compare this with a "big budget" movie take Army of Darkness, not LotR which even if you don't like it plays in a different ballpark altogether.

Another reviewer of course, how many times can the hero of the movie be captured? The answer lies within this film. If that resembles to anything that makes sense for you: good for you. Just don't expect the majority to get it. Even when the movie tries to defend it at every way possible. "Stunts" are as if they were from a different era. When you could spot the stunt man doing the back-flips. It has its charm I guess. But there are a lot of other problems too. The inability to act, the script that if it even existed, is as terrible at dialog as it gets. You could go further and accuse this of sexism (more on the women side, but men get a bad rep from this too) and many other things. Prop swords that bend on papier-mache walls and so forth ... I'm beginning to wonder why I gave it a 2 right now ... but I guess I'm still a sucker for this

The beautiful princess Valkari (Sabrina Siani) must marry the evil Morak (Harrison Muller, whom I remember from "She"), otherwise he cannot sit on the Throne of Fire and become rightful ruler. The hero Siegfried (Pietro Torrisi) goes on a mission to rescue the princess and prevent Morak's rulership.

If the storyline seems familiar to you: yes, we've seen it all before, and much better. This poorly staged movie ticks the usual boxes of the genre, and even other low-budget sword and sorcery flicks of that era shine compared to this ineptitude. It was the last movie Franco Prosperi ever directed and the last top-of-the-bill part in a cinema production for teenage queen Sabrina Siani who is familiar to fans of the genre from "Conquest" and the first "Ator" movie. You can easily give this a miss.