No wonder why this is considered one of the great gladiator movies of all time, so campy yet subtle in its depiction of a corrupt ancient culture, post Alexander the Great, pre Julius Caesar, and filled with all sorts of delicious debauchery that only a certain element of society could see beyond. Resembling a younger Robert Taylor, Rory Calhoun, a heartthrob of the 1950's, is still quite dashing as the rather sardonic Darios, looking quite manly in his togas even if he's not up to the size of the bodybuilding stars of cheaper gladiator movies. He has a powerful foe in king Roberto Camardiel whose party throwing involves the entertaining demise of someone sent to poison him.
Some delightfully campy dialog includes repeated references to "Greek booty", said enough times in a row to raise eyebrows, yet it escaped the censor which still held steadfast to the 1934 production code on references to certain issues or insinuations. Yes, there are plenty of lovely ladies to look at, but the number of scantily clad muscular men (in very tight short shorts and male skirts) is suspect, as if the producers were attempting to seduce a certain sector of society into coming to see this. In 1961, much of society would have no way of getting the laughter that certain male audience members had, and it definitely started a new type of code, as in secret language.
Outside of the camp elements, excellent production design and frequent action, the film suffers from overlength, running at least 30 minutes more than it should. Obvious overconfidence by the producers made them think that they had so much of a good thing, why not extend it? The statue is impressive, along with the beautiful sets (including an awe inspiring garden complete with huge fountain and cement pond), and certainly this would be great on a very large screen. But after a while, it feels like you're being held prisoner, and that is what lowered my rating. Director Sergio Leone would do better with his spaghetti westerns.
Some delightfully campy dialog includes repeated references to "Greek booty", said enough times in a row to raise eyebrows, yet it escaped the censor which still held steadfast to the 1934 production code on references to certain issues or insinuations. Yes, there are plenty of lovely ladies to look at, but the number of scantily clad muscular men (in very tight short shorts and male skirts) is suspect, as if the producers were attempting to seduce a certain sector of society into coming to see this. In 1961, much of society would have no way of getting the laughter that certain male audience members had, and it definitely started a new type of code, as in secret language.
Outside of the camp elements, excellent production design and frequent action, the film suffers from overlength, running at least 30 minutes more than it should. Obvious overconfidence by the producers made them think that they had so much of a good thing, why not extend it? The statue is impressive, along with the beautiful sets (including an awe inspiring garden complete with huge fountain and cement pond), and certainly this would be great on a very large screen. But after a while, it feels like you're being held prisoner, and that is what lowered my rating. Director Sergio Leone would do better with his spaghetti westerns.