Scott LeBrun Virtuoso filmmaker Mario Bava turns his attention to the Viking adventure genre with generally engaging results. It's set in the 9th century when Viking aggressors are bloodily invading Britain. Two Viking brothers are separated during a battle, and are raised by opposing forces. Eron (American star Cameron Mitchell) grows up to be a fierce Viking warrior, while Erik (George Ardisson) is adopted by a young British queen (Francoise Christophe). Eron loves a vestal virgin named Daya (Ellen Kessler), while Erik takes a shine to her twin sister Rama (Alice Kessler).All in all, this is good fun, and worthy viewing for folks who enjoy a good period adventure. It's bloody, it's colourful (it ought to be - Bava photographed it himself), it benefits from obviously impressive production values, and it works as a combination of intense action, melodrama, sexiness (there are plenty of lovely ladies on hand), and even a little dose of humour. The action sequences are definitely well executed, and look especially good given that Bava actually shot this in the 2.35:1 aspect ratio, which he usually didn't do. One highlight is a wall scaling sequence that would make Spider-Man proud. The music helps immensely in making this a rousing bit of business.The performances are solid right down the line. Mitchell does fine, even if he is dubbed, and embraces the physicality of his role. Hunky Ardisson is his match as his long-lost brother. The real-life Kessler twins are positively ravishing, and Andrea Checchi is an enjoyably odious villain as the devious Sir Rutford.Fun to watch for Bava admirers, and the first of his three pictures with Mitchell - the others being "Blood and Black Lace" and "Knives of the Avenger".Eight out of 10.

clanciai Everything is wrong in this film, but it's a masterpiece. Vestal virgins are mixed up with Vikings, the year is 768, and the Vkings are invading some Arthurian part of Cornwall, it seems, that is very Christian indeed, with bishops and clergy all dressed up like in a Shakespeare play, they use long bows and crossbows long before they were invented, and the Vikings even practice human sacrifices and weddings by bleeding a white bull - this is all anachronisms with myths and rituals and ceremonies all mixed up with bits and pieces from the Trojan war to Robin Hood, but it's the cinematography that counts. This is marvellous all the way, the film being a feast for the eyes from beginning to end, and even the story is quite good. There is nothing wrong with the actors either, they are all common standard picturesque prototypes, and the whole set-up and scenery compositions, the swashbuckling dialogue and the colourful clichés are all so flamboyant, so the acting does not have to be very qualified. Cameron Mitchell, usually villains or cowboys, is always an ace in B-pictures, and here he is allowed to play out his whole register including an infinitely prolonged Bogartian farewell scene. The girls are all overwhelmingly blonde and beautiful, and the queen could have been something for Sophia Loren. Mario Bava is the man both behind the camera and the direction, and it's a splendid combination. Every shot is esthetically delightful to the eye, there are some gprgeous and gory battle scenes, and the finale is equal to the best of Tyrone Power and Errol Flynn. In brief, this is a grossly underrated masterpiece in its very kitschy way, and it could be the best Viking film ever made. It is certainly superior to the Kirk Douglas one.

Michael_Elliott Erik the Conqueror (1961) *** (out of 4) Eron (Cameron Mitchell) and Erik (George Ardisson), as children, witness their father brutally murdered during a Viking massacre. After the massacre Erik is taken in by the Queen while Eron grows up as a viking. Twenty-years later the two are on a collision course.ERIK THE CONQUEROR is quite the action picture as director Mario Bava certainly made the film look like a much bigger budget than I'm sure it had. There's no question that this film was riding on the success of THE VIKINGS but obviously the Italian production didn't have the big stars, the big budget or an unlimited amount of resources. That's what made Bava so special. He could take a small budget and make the picture look like something from a major studio.I think the weakest thing here is the actual story since it's really nothing original and there's really nothing here that we haven't seen countless times before. Where the film succeeds is on every other level and we can start with the wonderful cinematography. This is certainly a beautiful picture to look at with the camera-work really bringing the settings to life. You've got the wonderful use of color that adds to the picture and just take a look at the camera work during the opening battle. This battle sequence was perfectly shot and it manages to grab you and throw you right into the action.The action scenes are all handled with extreme craft and perfection. The movie certainly contains some rather violent moments to add to the fun and I'm sure the kiddies watching this during a matinée were quite shocked. The film also benefits from some nice performances with Mitchell leading the way. He was very strong in the lead role and managed to really sell the character. Ardisson isn't quite as good but he's at least fun as is Alice Kessler and Ellen Kessler as the love interest.ERIK THE CONQUEROR isn't a masterpiece but it's certainly a highly entertaining action film.

Mark Turner It's been written that much of the output from Italian studios in the sixties were little more than remakes of movies from other countries. It's even mentioned in one of the extras on the new blu-ray release of this film. The thing is that's not always a bad thing. Consider that a movie like A FISTFUL OF DOLLARS was a remake of YOKIMBO, a Japanese samurai film. The same was true of THE MAGNIFICENT SEVEN here in the U.S. Putting your own spin on another film can work and did. Unfortunately not so much in current fare.Director Mario Bava was a man who had one of the best concepts of visualization when it came to cinematography. The images he places on the screen are interesting and captivating. That becomes obvious in this movie, a remake of sorts of the film THE VIKINGS. While I loved that original film I found much to enjoy in this one as well.In 786 AD a Viking king Harald lands on the shores of England willing to make peace with the English, a country he and his kin have plundered for years in the North Sea. King Loter is willing to agree to terms and sends Sir Rutford to negotiate the peace. Instead, Rutford ceases the opportunity to take out the Vikings with an ambush, killing the king leaving only a few to escape. He also uses them as a patsy when he has one of his men kill Loter as well.Some of the Vikings survive. Among those still alive are the Harald's two sons Eron and Erik. Eron is rescued and returned home while Erik is saved by the Queen and raised as her own. Both are raised differently with two opposing views of the world based on their environments.Twenty years pass and the Vikings are now led by Eron (Cameron Mitchell). Once again they set out to plunder the English coastline and seek vengeance for the treachery of the past. Erik has been placed in charge of the English fleet and sets out to confront them, not realizing that Rutford has planted one of his own men onboard to ensure Erik never makes it back. The unknowing brothers battle and Erik is thought lost at sea only to wash ashore on the beaches of the Viking land.Rutford offers the Queen his hand in marriage which she refuses realizing how treacherous he is. Rebuffed he offers his obedience to Enron and becomes his ally instead.We know that eventually the two brothers will face off against one another and that a winner will be determined. If not something else will interfere with their reunion. Rutford will have to pay for his actions. And somehow, the Vikings and the English will have to settle their differences. It is the journey to these things that makes this movie both interesting and entertaining to watch.Growing up in the sixties the sword and sandal movies as they were called were a staple of my TV movie diet. They showed every week on the local VHS channel, everything from Hercules to his many sons to Samson and more. Watching them now I'm surprised how much I enjoyed them but still find something in them. Somehow this movie evaded me back then. Fortunately I made up for it with this release.The acting here isn't nearly as broad as I've seen it in other Italian movies in this genre. Make no mistake, they were the leaders in this sort of film back then. Here the acting is more subdued when needed and widely open in other scenes as called for. Mitchell, an actor mostly associated with the TV western HIGH CHAPPARAL, comes off nicely here. But it is the visual stylings of Bava that take center stage. The movie might not be Oscar worthy but it does offer solid storytelling that holds your interest throughout.I've seen a number of these movies and never have I seen someone capture such colorful and fantastic shots. Bava used brightly colored lights in many of his movies and that usage of light is on display here in scenes taking place in the Vikings main building. He also does an amazing job capturing shorelines, horizons and more. Many of those images would make great pictures to be placed on the wall they are so rich and well done.Once again Arrow Video has taken what was once a washed out scratched up mess and turned it into a gorgeous presentation. It's a beautiful 2k 1080p hi def transfer and it shows. Extras include a new audio commentary track by Tim Lucas the author of MARIO BAVA ALL THE COLORS OF THE DARK, GLI IMITATORI a comparison between this film and its unacknowledged source THE VIKINGS, the original ending and a reversible sleeve featuring original and newly commissioned artwork by Graham Humphreys. I will continue to sing the praises of Arrow Video as long as their output remains as top of the line as this one proves. If you enjoyed the film in the past then by all means pick up this edition. It will be like seeing the film as you've never had the chance before.