O Desafio dos Gigantes

More or less "Reg Park's Greatest Herc Hits", since huge chunks of this film are lifted lock, stock and barrel from HERCULES IN THE HAUNTED WORLD and HERCULES AND THE CAPTIVE WOMEN (both 1961). A wraparound story is concocted about Hercules questing for his missing son Xanthus, who is imprisoned in the supernatural domain of Gia the earth goddess. Meanwhile, Gia's evil son Antaeus — himself a demigod — impersonates Hercules and takes over the city-state of Syracuse with the help of its ambitious queen. Ruling as a mad, barbarous tyrant, Antaeus (Giovanni Cianfriglia) starts exiling and slaughtering people at whim, generally soiling the name of Hercules something fierce. Naturally, the real Herc takes umbrage at this...

If you've already seen HAUNTED WORLD and/or CAPTIVE WOMEN then there's really no point in watching this one. All of AVENGER's monster action and FX scenes are borrowed from those films, only with different dialog dubbed in. Its main cheesy pleasure is Gianfriglia's Antaeus. A schoolyard bully in a he-man's body, he's such a cruel, arrogant jerk that you keep watching for the moment when Herc finally kicks his butt. He's at least good for a few laughs, as when barking commands such as, "Drive them into the Valley of Agony... and block the way out!"

HERCULES THE AVENGER is a cheapo peplum adventure that rips off plenty of footage from two previous HERCULES outings, HERCULES AND THE CAPTIVE WOMEN and HERCULES IN THE HAUNTED WORLD. Needless to say, those two earlier films are much, much better, leaving this a curious relic more than anything else.

Director Maurizio Lucidi handles the newly-filmed footage which sees Hercules attempting to save his beleaguered son as well as the people of Syracuse when they're menaced by the Earth goddess Gaia as well as her evil son (played by SUPERARGO actor Giovanni Cianfriglia). Inevitably, much of the storyline sees our hero engaging in oddly-familiar adventures underground.

HERCULES THE AVENGER is really a film for cult fans only. It has its positives, such as a relatively fast pace for this genre and plenty of action, but the calibre of the acting is below par (Reg Park seems to be on particularly bad form) and the material is just too familiar to be fully enjoyable. Even the climactic fight employs a plot twist involving the strength of the villain which was already played out in one of the Steve Reeves HERCULES films I watched. Certainly a forgettable effort in a genre already loaded with them.

Hercules the Avenger is by far the best single entry in the muscleman genre I can recall. The charge against it made by critics - it is a cut and paste of two previous Hercules films, with some added new material to make it appear fresh - misses the fact that this cut-and-paste approach solves one of the central problems of the sword-and-sandal movies. With most of these films, the middle third sags horribly - usually involving a sappy love story or arcane political intrigue or both (queen falls in love with Hercules and her evil brother plots against them, etc.) It's often hard to hold on through this to watch the exciting finale. Hercules the Avenger cuts all that crap from the source films, and adds a rather brisk narrative of a Hercules impersonator bullying his way into power. (It should be noted that this episode also functions as a distant but pointedly critical remark on the rise of Fascism in Italy.) This also sets up a fine final wrasslin' match between the real Hercules and his impersonator.

In a narrower focus, I might also add that further editing has improved individual scenes borrowed from the other films. For my money, the mutiny scene here is much better than it first appeared in Hercules and the Captive Women, since it has been tightened with the reduction of several characters and their plot complications.

There are also floppy monsters, creepy underworld atmospherics borrowed (literally) from Mario Bava, an entire city destroyed, and the usual amount of lovely babes in revealing gowns. Since no one expects any of these films to compete with The Seven Samurai - or even with The Magnificent Seven - it seems a bit picky to hold the film's borrowing from other films against it.