Here’s the exciting pressbook for The Lodger (1944) with Laird Cregar. It’s almost as big as he was. As David J. Hogan in his Film Noir FAQ notes, while some consider this a remake of Hitchcock’s The Lodger (1927), only the name and the Jack the Ripper storyline match to the previous film. Both, however, are based on the 1913 novel of the same name by Marie Belloc Lowndes. In this one, Cregar uses his immense stage presence (both figuratively and literally), and his piercing eyes, to create a multi-dimensional character that vacillates between sinister and innocuous, innocent and guilty, with a definitely male-gaze problem toward women and his dead brother. The last minutes of the chase through the catwalks of a theater provide a thrilling noir backdrop and pace. The fog-bound streets, darkly lit byways, and confined spaces filmed entirely on the Fox backlot give this noir a classic status. Unfortunately, Cregar’s body size kept him from being a leading man and he died from trying to lose enough weight to open up those roles for him. He was 31.
I have a confession to make. I’m addicted to Peplum. That’s right. There’s nothing more exhilaratingly earthy than a super-strong brawny guy in loincloth kicking ass and tossing around large objects like they were wiffle balls. Whether he’s fighting mythological monsters, fighting his way out of Hades with a swooning woman tossed over his shoulder, or rippling his dew-dappled muscles against enemies and assorted monsters, I’m in Heaven. It’s a guilty pleasure.
Maciste Against the Vampire became Goliath and the Vampires for AIP to provide a sequel, of sorts, to their box office hit, Goliath and the Barbarians, starring Steve Reeves. Bringing sword and sandal movies over from Italy proved a profitable endeavor for AIP.
I grew up watching sword and sandal movies on television every Sunday. Steve Reeves and Gordon Scott were big, handsome, and always in command. Although they gave me one hell of an inferiority complex they still provided a lot of wholesome, he-man action against the supernatural and the bad guys.
Maybe I should confess…I have a weakness for Mexican masked wrestlers, too… …
Steve Reeves flexes his mighty arms and wins the “Test of Truth” against two horses.
Myths, muscles and movies.
That’s what I call ‘em. Others call them Sword and Sandal movies and some just call them “Peplum” movies – Italian-made spectacles dubbed into English and given new names. Whatever you call them, I venture to say that you know what I am talking about and have probably seen your fair share of them.
Crazy Gary, here, and Granny wanted me to be sure to feature these spots because she knows how much these movies mean to me. Every monsterkid worth his or her salt grew up watching these movies either at the movie theater, the drive-in, or later on TV. And why not? It featured a muscular hero, gorgeous women and, usually, one or more monsters or beasts. The guys identified with the hero, and the women swooned over his body and wished they could be the damsel in distress that he rescues.
Although filmed in Italy and surrounding picturesque locations, the heroes were generally American bodybuilders or physique models, and just reading their names on the posters and seeing the spectacular artwork promised a grand adventure. Most popular were Gordon Scott, Brad Harris, Mark Forest, Ed Fury, Gordon Mitchell, Reg Lewis, Dan Vadis, and the all time favorite, Steve Reeves. Also included were Englishman Reg Park, and Italians Sergio Ciani (Alan Steel) and Adriano Bellini (Kirk Morris). The movies were colorful, epic, and full of feats of strength.
The radio spots were colorful too, promising the viewer sights never before seen. Surprisingly, despite Granny’s best collecting efforts and those of The Radio Reaper, few are available. Even so, what we do have will be broken down into two parts.
The two movies I want to highlight this week represent the best, in my opinion, of capturing the spirit of the genre, and are two of my personal favorites, both released by American International.
First up is Steve Reeves’ fourth movie, Goliath and the Barbarians, released in late 1959. The most memorable scene in the movie is when Emiliano (called “Goliath” because of his strength) is tied between two horses going in opposite directions in an attempt to pull him apart. No such success, however, as Emiliano exerts his strength in an impressive double-biceps shot. He passes this “Test of Truth” and is released, only to later return and lead a revolt against the barbarians. Chelo Alonzo is the barbarian beauty he falls for and who complicates things with his people. Les Baxter added a new music score and his “Goliath March” added a sense of grandeur and spectacle.
The second, and my personal favorite of all the sword and sandal movies, is Goliath and the Vampires (1961) starring Gordon Scott. It has everything: feats of strength , an evil vampire creature, giant bugs, atmospheric scenery, creepy sound effects, blue men, faceless humanoids and the inspiring “Goliath March” music theme. It also features an awesome battle between Goliath and Kobrak the vampire who has assumed Goliath’s form. Muscular stuntman Giovanni Cianfriglia doubles Gordon Scott as he fights himself. Thanks to The Radio Reaper for furnishing these four classic spots.
These movies inspired many young moviegoers to take up the weights and embrace the fitness lifestyle, myself included. Today, they are still fun to watch.
So, sit back and enjoy these spots which reflect back to a time when men were men and women were glad of it. See you next time with Part Two…
Goliath and the Barbarians Radio Spots
Goliath and the Vampires Radio Spots
Gordon Scott as Goliath unmasks Kobrak who has disguised himself to look like Goliath in the climactic battle. Giovanni Cianfriglia portrays Kobrak here, and he went on to become Steve Reeves’ stunt double in many later features including Morgan the Pirate, The Trojan Horse, and The Slave.
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