Hercules’ teenage son is seriously injured in a hunting accident. A jealous goddess takes the opportunity to punish the legendary hero by sending the boy’s soul down to Hades, and he has to travel to the underworld to retrieve it. Meanwhile, the goddess encourages her own son to take Hercules’ place on Earth…
It’s Hercules’ Greatest Hits! Yes, rather than create an entirely new film, director Maurice Bright (real name, Mauricio Lucidi), lifts almost 40 minutes of Reg Park’s two previous appearances in the title role and stitches them together with a wrap-around story instead. Although this sounds like a recipe for complete disaster, the adventures of Hercules were always somewhat episodic, so it’s not as woeful an exercise as you might expect.
When we join Hercules (Park), he has settled down to the quiet life with wife Deyanira (Adrianna Ambesi) and his eager young blade of a son, Xantos (Luigi Barbini). These early scenes would appear to have been filmed specifically for this project as neither Ambesi nor Barbini had appeared in either of Park’s other two appearances as Hercules and there’s no technical tomfoolery placing them all in these scenes together. In total, Park’s new footage amounts to just over 10 minutes and a lot of it is in these establishing scenes.
Once Barbini has been injured after his chariot trips on a rabbit hole (or something), it’s up to Park to hightail it for Hades to get his soul back. He does this, thanks to the voyage from ‘Hercules Conquers Atlantis’ (1961) and the labours he completed in Mario Bava’s ‘Hercules In The Haunted World’ (1962). Eventually, more footage is used from the former as this film incorporates its fiery climax.
Meanwhile, Queen Leda of Syracuse (Gia Sandri) has a problem. Recently widowed, she’s now besieged by princes from the surrounding kingdoms who want her hand in marriage. It’s nothing to do with love, of course, it’s just a matter of territory, and she wants none of it. It’s a situation strangely reminiscent of Penelope’s plight when waiting for Odysseus’ return after the fall of Troy but, if you have to steal from somewhere when making a Hercules picture, why not from Homer’s Odyssey? Anyway, on the advice of the local Oracle, Leda seeks out Hercules, instead of just hanging about. However, with the big man away from home, she has to settle for Anteus (Giovanni Cianfriglia) who is the second strongest man in the world. He also happens to be the son of the mischief-making goddess who is messing with our hero and a nasty piece of work.
Sandri makes the best of it, and the two join forces, telling everyone that Cianfriglia is Hercules himself. This is quite obviously a blatant lie because, right from the beginning, the man is such an utter bounder. He slays Sandri’s handmaidens to protect his identity and pretty much assumes control of the kingdom, levying ridiculous taxes to fill the palace coffers. Of course, this will not stand and, when Park returns from his little trip, it’s time for the real thing to bring the pain to Hercules 2.0
Expectations are bound to be low with such a ‘copy and paste’ kind of project, but it works surprisingly well. Principally, this is because Lucidi is using footage from undoubtedly the best two Italian ‘Hercules’ films of their time. Arguably, there still hasn’t been anyone better in the role than Park even after all these years. Also, Lucidi (who, not surprisingly, is also credited as the editor), utilises the footage wisely. The story makes sense, and the joins aren’t too noticeable.
Cianfraglia’s impressive physique brought him roles in action movies and Peplum from the late 1950s onwards. To begin with, he was mostly uncredited, and this was certainly his first significant role. His breakthrough came as crime-fighter SuperArgo in two movies based on that character. Appearing under the name Ken Wood, he tackled supervillain Gérard Tichy in ‘SuperArgo Against Diabolicus’ (1966) and then went head to head with more physical opposition in ‘SuperArgo and the Faceless Giants’ (1968). He played several second leads in Spaghetti Westerns, but, by the 1970s, he was often playing uncredited heavies as well. Still, he remained busy and was still showing up regularly in genre cinema in the 1980s, with roles in ‘Road Warrior’ knock offs and action flicks like ‘2019: After the Fall of New York’ (1983).
Of course, this is nothing but a cheap cash-grab and was never going to be anything else but, considering its origins, it hangs together surprisingly well if you’re in a forgiving mood.