The Golden Arrow (1962)

A Masterpiece!

A Disappointing Continuation

what a terribly boring film. I'm sorry but this is absolutely not deserving of best picture and will be forgotten quickly. Entertaining and engaging cinema? No. Nothing performances with flat faces and mistaking silence for subtlety.

The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

American actor Tab Hunter is cast as an Arabian prince in Italian director Antonio Margheriti's fourth film "The Golden Arrow," a lavish, sword and sorcery, fantasy yarn about a dashing young gent who sets out to reclaim his rightful position in society after he learns that he is descended from royal blood. Sporting an anachronistic hair-style, Hunter knows nothing about his genuine biological father—the Sultan of Damascus--and remembers only the bandits that raised him from infancy. Scenarists Giorgio Arlorio of "The Mercenary," Augusto Frassinetti & Bruno Vailati of "The Thief of Bagdad," Giorgio Prosperi of "Indiscretion of an American Wife," and Filippo Sanjust of "The Seventh Sword," have cobbled together bits and pieces from other classic tales, such as the Arthurian legend about pulling Excalibur out of a rock, to forge their outrageous, entertaining, but formulaic epic. Hassan (Tab Hunter of "Damned Yankees") plays a man not only seeking to avenge his slain father but also marry an attractive princess and ascend to the throne of Damascus. The slim but muscular Hunter looks fit as a bandit chieftain, and he gets to perform his share of acrobatics in this far-fetch fable. Nevertheless, Hunter's fans may be disappointed to learn that the former teen heartthrob has been dubbed by another actor. Chiefly, the baritone voice of the other actor sounds more appropriate for an individual of his background. Although it is unmistakable everybody has been dubbed, the dubbing matches the lips better than most European adventures in the early 196os.Hassan and his outcasts manage to enter to palace in Damascus where the festivities are scheduled to occur. A fair-sized crowd has assembled to see who can launch a golden arrow. The golden arrow is indeed unusual. The future ruler of Damascus as well as husband to the princess must be physically able to shoot the magic arrow. Furthermore, the arrow acts like a boomerang because it returns to the archer after it has found its mark. Three noble leaders struggle to let the arrow fly. Sadly, they fail in their efforts. Only one man can send the golden arrow streaking aloft. Hassan masquerades as a nobleman from the Islands of Flame, and he exhibits his uncanny power when he propels the arrow successfully into flight. Hassan exploits this ceremony as an opportunity to kidnap Jamila (Rossana Podestà of "Helen of Troy") and hold her for ransom. Ironically, he becomes so enamored of the princess that he double-crosses his cronies and releases her. The three suitors, the Prince of Bassora (Renato Baldini of "Snow Devils") and two others set out to find Jamila something that no other man can give her. She decides to make one of them her future husband when he brings back that something special. Ultimately, these three men fail, and the worst loser of the three is Bassora. Bassora leads his army against Damascus so he can claim Jamila as his bride. Predictably, Jamila has prayed to Allah, and the god dispatches three genies to help Hassan find the golden arrow and save Damascus from Bassora.The widescreen cinematography of "Valdez is Coming" lenser Gábor Pogány is gorgeous. Every composition could easily accommodate a picture postcard. Mario Serandrei's editing is just as good. He doesn't allow shots to linger to the point of boredom. The production designs and set decoration are equally noteworthy. Everything about "The Golden Arrow" except its charming visual effects and formulaic looks really striking. Margheriti directs at a whirlwind pace and his scribes spring a surprise often enough to keep this hokum entertaining, though I suspect that the depiction of the cultures are appropriate. Lastly, composer Mario Nascimbene provides an orchestral soundtrack that underscores each twist and the theme for the genies is memorable. Some parts of the film were shot on location at Mortuary Temple of Hatshepsut, Deir el Bahari, in Egypt. The sprawling, large-scale confrontation between Hassan and his genies on flying carpets bombing the army of the Prince of Bassora is something you don't often see in movies. If you want clean, wholesome, juvenile entertainment, nothing about "The Golden Arrow" should offend you.

I was looking forward to this one, being a fan of Arabian Nights fantasies and in view of cult director Margheriti's participation (unusually billed under his real name here, instead of the familiar pseudonym Anthony M. Dawson!); distributed internationally by MGM, the film used to crop up from time to time on the TCM U.K. schedule – but it may have been the 1936 Warner Bros. effort bearing the same title, and which I acquired not too long ago via this very channel, all along!Anyway, the movie is appropriately colourful and intermittently diverting; yet, given the utter lack of originality, the result is mainly dreary – not helped by lifeless treatment, ill-advised star casting (blond Tab Hunter as the proverbial 'prince who was a thief'!) and ropey special effects (the handiwork of the obligatory suppliers of resistible comedy relief, a buffoonish trio of wizards who literally come down to earth to aid the hero regain his throne)!! The current princess (Rossana Podesta', a regular of such costumed fare) is contended by a number of potentates, one of whom is in league with the – what else? – wicked Grand Vizier (for once, though, he does not covet either the girl or the throne himself, apparently content merely to pull the strings at court!). Eventually, she asks them to bring her the most precious gift – but, what they come up with (a crystal ball, a life- restoring potion and a magic carpet), has equal value in her eyes when she is stricken by a 'mysterious' illness and near death!Hunter naturally has a coterie of bandit pals (who initially turn against him when he allows the kidnapped princess to flee rather than demand a ransom for her) – but their role is downplayed in favour of the afore-mentioned magicians. Incidentally, the script is indiscriminate in its borrowings: the titular weapon is first presented as having Excalibur-type powers i.e. only the right person can handle it; while, halfway through, we get thoroughly pointless sections that would have better served the peplum genre involving a cave guarded by flaming monsters and, subsequently, a Theban community – from what I could gather, under some sorcerer's spell – which the hero saves (by destroying a temple in the desert)! The climax, then, features the protagonist's 'supernatural' sidekicks dumping jars from the air on the assailing forces and Hunter adopting the golden arrow to slice up the villains' own flying rug!

The Golden Arrow is an above average Italian adventure fantasy with much to recommend it. Start with lead Tab Hunter, whose portrayal of Hassan the Thief is either the least realistic film portrayal of an Arab character in film history or a refreshing refusal to pander to ethnic stereotype--take your pick. Even though he's dubbed here, he's physically perfect for the role. The Golden Arrow is the tool Hassan must master in order to assume his rightful place on the throne of Damascus, but there's plenty of action, adventure, and magic before a satisfying and amusing denouement featuring flying carpets that, erm, carpet bomb the bad guys. This is not your average, cheapjack sword and sandal 'epic'--though the special effects are showing their age, the lush location work, superb widescreen cinematography, and impressive set design make this one a winner from a technical perspective. And though I can't prove it, some of the location footage seems to take place amidst the same columnar ruins as featured (I think) in 1978's Hercule Poirot mystery Death On the Nile. Or was it Ten Little Indians? Either way, this is a very good fantasy film from underrated auteur Antonio Margheriti.

I mean it. This movie stinks sulphur and brimstone, while being sweet laden with sugar and honey on top –yuck. As if that wasn't enough it makes you feel sticky and wanting to puke afterwards. Even as historically incorrect as absolutely possible. Stating these realities about this movie is actually kinder than it deserves.It is incredible that someone even wanted to finance the making of such ill-conceived tales.It would have been better of, had it been a pornographic setting - because that is just about how yucky this film really is.If you want to have a good time. Skip this one.