A woman gives birth to the devils messenger's child abomination, Morak, who is destined to sit on the Thorne of Fire at any cost and marry Princess Valkari, only Siegfried, a mighty barbarian warrior stands in his way.
The late director Francesco Prosperi returns with another a swords and sorcery film. Prosperi and writers Giuseppe Buricchi and Nino Marino move away from the Conan copies of the time, opting for a more generic fantasy. It plods along like some films made 20 years prior. Disappointingly, there's a few jarring exposition voice overs and unnecessary slow motion scenes synonyms with Prosperi's work.
Lead Pietro Torrisi, in perfect He-Man-esque shape, handles the sword fights and action well, as he hacks his way through the flick, he has plenty of presence despite a lack of lines. Harrison Muller's heartless cocky Morak isn't the usual ugly old evil villian which makes a refreshing change. Although lacking screen time Sabrina Siani as Valkari is on form here and gets some sword play action. To Siani's credit she injects some much needed energy into the film, stealing every scene she's in.
The locations, castles, courtyards and sets; corridors, well/cave offer weight. The stuntmen set on fire and the effects are adequate enough (if dated even for 1983), the devils child puppet, burning throne, Moraks true zombie-like face, opticals visuals in 'the well of madness' to name a few.
Prosperi delivers a film that is reminiscent of swords and sandals old films of the 50s and 60s on a smaller B-movie scale. Due to the direction, pacing and cinematography it uncannily feels of that period, Carlo Rustichelli and Paolo Rustichelli biblical epic score (for the most part), the look of the cast only compounds the feeling.
On the whole, it's a vast improvement on Gunan il guerriero (1982). Intentionally or not, it's callback or homage to mythical tales of films gone by. Torrisi, Siani and Muller work wonders with what they are given. Despite its flaws, more importantly Francesco Prosperi goes out on a final movie high.
