When twins survive the Ungat horde raid on Solmen and are brought up the Kuniats, as adults they compete to become Zukahn, an invincible warrior prophesied to free the land from Ungats. However, when things go awry Gunan takes on the formidable enemy himself.
The Invincible Barbarian or Gunan il guerriero is one of the first Italian Conan the Barbarian cash-ins. Director Francesco Prosper's outing suffers from all the shortfalls that many of the Italian low budget film at the time, ungainly sound design, camera work, editing and staging. Prosper's overuse of slow motion and other speeds really hampers the film further, along with the countless long and medium shots. That said, there is a handful of memorable visuals, including a beach filled with a tribe of Amazon women and a spacious fire lit cave.
Written by Piero Regnoli there plenty of slashing and sword action, however, it's plodding Roberto Pregadio's heavy handed music does inject energy into the picture. The real locations offer atmosphere and grit. The craftsmanship on the production, from the sets to weapons and costumes are well produced.
Lead Pietro Torrisi looks the part as Zukahn / Gunan, in fact uncannily he looks just like He-Man if he walked out of a frame of drawn celluloid. Top billed Malisa Longo's Marga who gets more dialogue than you can shake a stick at. Emilio Messina's Nuriak is menacing enough. Sabrina Siani as Lenni who steals the third act. Siani is undressed as the script dictates but she has screen presence. Uncomfortable rape scene aside, Siani injects some much needed life into the proceedings but is sadly underused with no real action scenes, aside from a torture device escape.
Ultimately, it not as watchable as Ator, the Fighting Eagle is a (1982), both Torrisi and Siani presence isn't enough to cement this a must see (but don't fret they both get another stab at the swords and sandals sub-genre in The Throne of Fire, Il trono di fuoco (1983)).
The Invincible Barbarian or Gunan il guerriero is one of the first Italian Conan the Barbarian cash-ins. Director Francesco Prosper's outing suffers from all the shortfalls that many of the Italian low budget film at the time, ungainly sound design, camera work, editing and staging. Prosper's overuse of slow motion and other speeds really hampers the film further, along with the countless long and medium shots. That said, there is a handful of memorable visuals, including a beach filled with a tribe of Amazon women and a spacious fire lit cave.
Written by Piero Regnoli there plenty of slashing and sword action, however, it's plodding Roberto Pregadio's heavy handed music does inject energy into the picture. The real locations offer atmosphere and grit. The craftsmanship on the production, from the sets to weapons and costumes are well produced.
Lead Pietro Torrisi looks the part as Zukahn / Gunan, in fact uncannily he looks just like He-Man if he walked out of a frame of drawn celluloid. Top billed Malisa Longo's Marga who gets more dialogue than you can shake a stick at. Emilio Messina's Nuriak is menacing enough. Sabrina Siani as Lenni who steals the third act. Siani is undressed as the script dictates but she has screen presence. Uncomfortable rape scene aside, Siani injects some much needed life into the proceedings but is sadly underused with no real action scenes, aside from a torture device escape.
Ultimately, it not as watchable as Ator, the Fighting Eagle is a (1982), both Torrisi and Siani presence isn't enough to cement this a must see (but don't fret they both get another stab at the swords and sandals sub-genre in The Throne of Fire, Il trono di fuoco (1983)).