zardoz-13 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.

Wizard-8 Italian director Antonio Margheriti is better known these days for the schlock he directed in the 1970s and 1980s, but with this early effort of his, he was working on a higher class project. Clearly having a lavish budget (at least by European standards of the time), Margheriti does manage to make this particular movie look quite good. The sets, props, desert backdrops, and some of the special effects are pretty decent. However, this pretty look does not hide the fact that the movie for the most part is pretty boring. There's nowhere near enough action or suspense to captivate viewers, and as a result the movie plods along very slowly. The little action and suspense there is isn't particularly engaging. The only interest comes from wondering about questionable decisions from Margheriti and his screenwriters, from plot turns that don't make much sense to the fact that the three magical helpers that assist Tab Hunter along his journey were clearly ripped off from the animated Disney movie "Sleeping Beauty", which came out a few years earlier.

MARIO GAUCI 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!

django-1 If you are looking for a mindless but entertaining fantasy film that would be great for children, has a lot of exciting twists and turns and magical happenings, THE GOLDEN ARROW fills the bill nicely. Tab Hunter is perfect visually as the outcast who must prove himself and defeat all foes to win the hand of his love. As this featured a major star, it had a bigger budget than many cheap Italian costume epics with lesser-known Americans (it's comparable to, say , a Steve Reeves movie), so it's colorful and visually exciting. Director Antonio Margheriti (aka Anthony Dawson) turned out all kinds of genre films in the 60s and after--westerns, peplums, horror, spy, erotic, giallo, science fiction, etc--and generally produced an exciting, fast-moving product. The only flaw with this film--and, unfortunately, it's a major one-- is that Tab Hunter did not dub his own voice in the English version of the film (at least in the one I'm watching). That seems odd because Hunter has a distinctive voice that would have been well-known to American audiences of the day (as opposed to, say, Brad Harris or Richard Harrison or even Steve Reeves--who would know what THEIR real voices sounded like?). Also, in other European films that are quite obscure and were certainly NOT made with the US theatrical market in mind--films like SHOTGUN and THE LAST CHANCE-- Hunter DOES do his own voice. He certainly is doing his own voice in Sidney Pink's Spanish-made FICKLE FINGER OF FATE (See my review). Why MGM, a major studio, would not have paid Hunter to spend a few days in post-synchronization I don't understand. The voice assigned him is not TOO ill-fitting for his character, but it clearly is not Tab Hunter. While I enjoy the film and have watched it a few times over the years, I find it difficult to forget this as I'm watching THE GOLDEN ARROW. Still, it's a fun way to kill 90 minutes on a rainy afternoon, and it looks great (my copy is letter-boxed, fortunately). If it had featured Mr. Hunter's own voice, I'd consider it a classic.