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Synopsis

Rather than telling a dramatized version of the exploits of the Greek runner Phidippides (or Philippides, as used here), this standard Italian costume drama has the great athlete almost single-handedly defeating the Persians. Set in 490 B.C. when the Persian armies were ready to finish conquering Greece and head into Europe, Phidippides (Steve Reeves, who else?) rallies the Athenians and they fight a series of spectacular, massive battles. In reality, Phidippides had run 140 miles to Sparta and back to ask for their help before any battles began. The Persians had already landed on the plains of Marathon, 26 miles from Athens but thanks to Phidippides forewarning, they were defeated by advancing Athenian forces. Phidippides’ final run from Marathon back to Athens to warn them about a second attack by the Persian forces is not depicted in this drama — that last run on top of the futile, 280-mile round trip to Sparta, cost him his life. —AMC

Director

Original

Jacques Tourneur

The first director Val Lewton hired for his RKO unit was Jacques Tourneur, and the first picture made by that unit was Cat People, an original screenplay by DeWitt Bodeen.

When Tourneur’s father, Maurice, returned to Paris after a number of years in America, Jacques had gone with him, working as assistant director and editor for his father. In 1933, he made a few directorial solos in the French language and then returned to Hollywood, where he became an assistant director at MGM. It was at this time that he first met Val Lewton, and the two young men worked as special unit directors for Jack Conway on A Tale of Two Cities ; it was Lewton and Tourneur who staged the storming of the Bastille sequence for that film.

Tourneur remained at MGM, directing over 20 short subjects, and Lewton eventually went on to become David O. Selznick’s story editor. When Lewton left Selznick to head his own production unit at RKO, he had already made up his mind that Tourneur would direct his… read more

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Francisco Pedro

18Feb12

Worth watching for the spectacular underwater climax (staged and directed by Mario Bava) that ends the film. It is a prime example of how Bava could achieve so much with so little. A shame we have to endure to painfully slow first half with a dreadful love story and uninteresting plot development. Reeves and Demongeot are good looking leads and the film has moments of visual power.

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