The young orphans Kutchek and Gore have been adopted by a tribe of clowns, jugglers, and entertainers. The tribe is led by the queen Canary and its wealth stems from her magical belly stone. The evil ruler Kadar desires Canary and her stone, and attacks her clan’s caravan to gain possession of them. Before the clan’s defeat one of the clansmen sneak away to hide the stone. Canary is locked up in Kadar’s harem, Kutchek and Gore in his quarry to be trained as gladiators, and the rest of the clan is to live as outlaws in the woods. When Kutchek and Gore have grown up to VERY big gladiators, they run away and break into Kadar’s harem with the aid of the young woman Lemone. Canary quests them to find “The Old King’s Weapons” and with these kill the dragon that guards the hidden belly stone. Afterwards they should find a new queen and give her the stone, to restore the tribe to its former glory. —IMDb
Growing up in Rome’s Parioli region, home to many of Italian cinema’s most notable figures of the 1950s, Ruggero Deodato naturally found an interest in cinema, as his friendship with the son of director Roberto Rossellini led to an assistant director job on Il Generale della Rovere in 1959. Over the next eight years, Deodato’s talents led him to assist on more than 40 films for such luminaries as Mauro Bolognini, Riccardo Freda, and Joseph Losey, and in 1968 he was rewarded with his first official film as director, Fenomenal e il Tesoro di Tutankamen (earlier, he had completed the direction of Antonio Margheriti’s 1964 film Ursus il Terrore dei Kirghisi but his contributions were uncredited). Deodato dabbled in many different genres over his lengthy career, from romantic dramas (L’Ultimo Sapore dell’Aria) to violent police thrillers (Uomini si Nasce, Poliziotti si Muore) to disaster epics (Concorde Affair ‘79), but it is in the realm of ultraviolent horror that he is best known. Creator… read more
If no one's written a book on Deodato's filmmaking, purely his craft and mise-en-scene, then they ought to. This film proves that what Deodato really brought to any given project wasn't seriousness, cruelty or realism but capital C Commitment. To commit 100% to the milieu of a project is not easy but he dug in deep every time. Here he indulges in every cliche and reaches for more; anything less would be unacceptable.