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Streaming Cult Camp Classics 4 – Historical Epics Online.
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There was a time where camp classics weren’t exactly intentional but were every bit as appetizing as the camp films we have now. “Historical Epics” is the fourth in Warner Home Video’s “Cult Camp Classics” and at least two of these three films are actually quite salubrious outside of the classification.
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The first “The Colossus of Rhodes” was the first film that Sergio Leone took credit on as a director. Area during during the Hellenistic era before the rise of Rome, this film features cowboy b-movie star Rory Calhoun as a Greek(!) hero vacationing in Rhodes who gets pulled into an attempt to overthrow the Emperor. The centerpiece of this film a 180 foot high statue that stood astride the waterways of Rhodes and could be passe as a weapon to defend the city by dumping hot molten lead on invaders or would be revolutionaries.
Featuring risable dialogue, colossal action sequences and impressive production accomplish, this international production (featuring actors from Italy, Spain, America and France) features a number of gorgeous plot pieces that hint at Leone’s gargantuan Italian Westerns such as “The Agreeable, The Unpleasant and The Unsightly” and “Once Upon a Time in the West”. The film looks quite sterling with an estimable commentary track by Leone biographer and film historian Christopher Frayling who covers everything from the historical context of the film (the sincere statue of Rhodes was believed to be about 38 feet high and overlooked the city) and the unusual theatrical trailer. Frayling points out the edifying (Leone’s pretty exercise of the camera), the unpleasant (often the dialogue is quite ripe) and the evil (the overwrought performances of some of the actors) but calm finds merit in the film.
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Leone does a hommage to Hitchcock’s “North by Northwest” and “Sabteour” particularly during the slay sequence on top of the Colossus of Rhodes where there is a fight sequence. Fans of cinema will spy other references to other films that Leone sneaks in to this historical anecdote which is collected quite toothsome both as a memorable peep into what would reach later from Leone’s classic films as well as the amusing station devices and dialogue.
“Land of the Pharaohs” was directed by Howard Hawks and co-written by William Faulkner(!) so how could one go substandard with this historical memoir about the building of the pyramids? Joan Collins plays a Nellifer in this record production while Jack Hawkins is the Pharaoh Cheops putting thousands to work to manufacture is massive tomb. It’s though-provoking because the structure of this film echoes Hawks’ mountainous western “Red River”. “Pharoahs” is an satisfactory minor Hawks classic with an chronicle scale and of the three here is the least camp best film of the bunch. Collins brings the camp element to the forefront with her performance as the scheming Nellifer.
The film features Peter Bogdanovich providing a commentary. Bogdanovich doesn’t believe grand of the film (nor did Hawks as is evident in the interview excerpts included here) but it’s a attractive favorable historical story with the massive spectacle and production obtain that one expects from the genre. If it fails to live up to Hawks best films, that could be because he was working in a genre that he wasn’t totally comfortable with.
The last film included here “The Prodigal” featuring Lana Turner fits into the camp camp quie well. It apes the Cecil B. DeMille Biblical and historical epics quite well. Basically this tells the record of the prodigal son (Edmund Purdom) who falls for a pagan priestess (Turner) .
Dr. Drew Casper gives a frentic and attractive commentary track that makes more of this film than is there. Casper mentions in his commentary that he feels this is a remake of Raoul Walsh’s “The Wanderer” from 1926 which I’ve never seen. He also provides intriguing biographical information on many of the actors in the film.
All the films included here discover extremely qualified with some looking worthy better than others depending on the source print and its condition. Warner does an estimable job of putting this together mighty as they did with some of the other “Cult Camp Classics” sets in the series (the other two I purchased I haven’t watched yet–I wanted to go for the state that had the Hawks and Leone films first) . Some of these sets have no or minimal extras (such as a trailer only) but most have commentary tracks and all the ones here even when they aren’t perfect provide background on the films. Frayling is always intelligent and does an outstanding job adding humor and has a relaxed conversational style that makes his informative commentary the best of the bunch here.
Three stars for the films with an extra star for the commentary tracks.
Though these movies can be viewed as campy sword ‘n sandle flicks, two of the three are actually pleasing obedient. All three are in color and anamorphic ’scope, and two even have multi-track sound. The images are crisp and distinct, with no ticket of fading.
The Colossus of Rhodes was directed by Sergio Leone, with impressive visuals and a ample cast of extras. The weakest (and most droll) portion of the film is Rory Calhoun’s leading character, but the rest of the cast is radiant – though the area is overly-complex. Rory, a visiting hero from Athens, leads a slave revolt, amid treacherous plots to enslave mild Rhodes.
Land of the Pharaohs was produced and directed by Howard Hawks and written by no less than William Faulkner. The leads are played by Jack Hawkins and Joan Collins. Hawkins portrays a king obsessed with accumulating wealth for the afterlife, along with building a tomb to house himself and the gold. Collins plays a scheming princess who wants the gold for herself. Joan Collins is far from the stereotype she became in later years, and her acting ability leaves no doubt as to why Hawkins’ Pharaoh falls for her.
The Prodigal, retelling the Biblical memoir of the prodigal son, is the only truly campy film among the three. There are lots of processions, ponderous dialog, pagan temples, and a attractive pagan priestess to tempt the hero. Lana Turner may be dazzling, but she needs to catch tempting-the-hero lessons from Joan Collins. Speaking of camp, at one point we glance a long wall where various slaves are lined up for sale, with descriptions and prices written on the wall next to each slave – written in english of course. Now that’s camp!
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