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Atlas Against the Cyclops

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Atlas Against the Cyclops (1961)

March. 29,1961
|
4.6
| Adventure Fantasy
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Strongman Maciste must battle the one-eyed Cyclops monster that is ravaging the land of Sadok, while at the same time fending off the advances of the evil Queen Capys, who wants to do a little ravaging of her own.

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Reviews

Ehirerapp
1961/03/29

Waste of time

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Lovesusti
1961/03/30

The Worst Film Ever

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NekoHomey
1961/03/31

Purely Joyful Movie!

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ThedevilChoose
1961/04/01

When a movie has you begging for it to end not even half way through it's pure crap. We've all seen this movie and this characters millions of times, nothing new in it. Don't waste your time.

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mark.waltz
1961/04/02

In the decades after Ulysses killed the Cyclops, his followers lead a peaceful life until a vengeful queen sets out to capture his heir. Like all evil queens in these movies, she's a brunette, and the good queen is a blonde. But there's more to the evil queen, pre-destined by fate to seek revenge, and she longs to escape her evil heritage in order to find love and redeem herself. That comes in the form of handsome Gordon Mitchell whose only goal is to prevent the infant heir from becoming hoer devours for the surviving cyclops. The evil queen's obviously over-ambitious and jealous suitor (think "Aladdin's" Jafar in a toga) stands in the way and you'll spend the film's running time looking forward to his come-uppance.Gladiator films are really comedys disguised as sword and sandal adventures. Go into these films with a razor-sharp tongue, because like midnight showings of "The Rocky Horror Picture Show", you'll find yourself yelling sarcastic comments at the screen. That really is the only way to find fun in them as the quality is usually poor, dubbing terrible, and a predictability that some critics must have made a form critique for each of these and edited in individual comments appropriate for each film.

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Edgar Soberon Torchia
1961/04/03

Strange «péplum», a bit on the sadistic side, made me feel terrible for the poor Cyclops, who is described as a captive freak, unlike the busy and aggressive creatures Ray Harryhausen created for «The 7th Voyage of Sinbad». For the proceeding, maestro Mario Serandrei's editing is rather lazy, especially in the action scenes, where the tempo of the cutting is not particularly inspired, and the shots linger on Gordon Mitchell's muscles. Even Chelo Alonso goes through a strange routine, from evil queen to woman in love, excluding the possibility of one of her sensual dance scenes; and Mitchell is one very strange looking fellow, with a gentle personality that seems at odds with his character, supposedly a lonely highlander. But «Maciste in the Land of the Cyclops» has ladies in distress chewing gum, «menacing» lions that resemble rugs, a villain (funny Dante DiPaolo) who is always smiling when he's saying his meanest dialog lines, and lights that follow the characters through kitsch settings and barren exteriors. So don't let it pass you: it has a lot to enjoy. Watch it!

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neopol313
1961/04/04

Pardon my confusion, but I sat down to what this Spaghetti Epic, or Sword and Sandal as they prefer to be called, which was called Atlas In The Land Of The Cyclops, I didn't understand why Atlas was being addressed as Maciste.This was nothing remarkable and not my taste at all, as the well and I mean well-worn story of a Greek hero saving the day and in this case, putting a baby upon his rightful throne. This was part of a huge series of films,. following Maciste, here played by Gordon Mitchell, credited here as Mitchell Gordon. Unfortunately, there was very little to recommended it if you're not already a hardened fan of the genre.The sound dubbing was typical, with one particular moment standing out, as two characters are talking with the baby in the scene, and the baby's crying sounding like another baby had turned up during the recording session and had inadvertently supplied the echoy dub.Personally, I find these films to be hard to watch or enjoy but there is certainly and audience for them. But do I feel that this genre is falling in to the abyss, not only of obscurity but most likely into oblivion. The print quality was appalling, leading me to believe that since these films have fallen out of copyright, that the negatives are but faded, decayed or outright destroyed.This was a 2.35:1 widescreen print in its day I would bet that nobody has seen that print in 40 years and are likely to NEVER see it. The colour was almost gone, faded to the negative's native browns and the sound mix, only mono in the original instance, was also mushy. Granted this was a very cheap DVD, with a 1.33:1 print, clearly, based on the title, the U.S. TV print and no doubt, a 16mm one at that.The Spaghetti Epics where always a cheap Italian alternative to Hollywood's Roman Epics, but with little demand and limited financial return for the genre, I can see the negatives disintegrating and these movies being lost forever. Is that a bad thing? YES: even though I may never willing watch one again, it is a crying shame that the art of these films may lost forever. NO film should be lost, as no book should be either, but unless remastering technology becomes cheap enough and the demand for what could be regarded as cult classics, as horror films such as Dawn Of The Living Dead and The Texas Chainsaw Massacre are, then I see little hope.

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Woodyanders
1961/04/05

Brave and kind he-man Maciste (a winningly sincere portrayal by the brawny and cheerful Gordon Mitchell) must save both Queen Penope (fetching Vira Silenti) and her infant son from the evil clutches of the ruthless and wicked Queen Capys (a perfectly nasty turn by ravishing brunette stunner Chelo Alonso). Director Antonio Leonviola relates the eventful story at a steady pace, maintains a serious tone throughout, and stages the thrilling action scenes with a reasonable amount of vigor (stirring highlights include Maciste wrestling a lion, a fierce rough'n'tumble fight with one of Capys' hulking goons, and the tense and gripping climactic battle between Maciste and an impressively grotesque and monstrous 18-foot-tall cyclops). The cast all give admirably earnest performances, with especially nice contributions from Giotto Tempestini as helpful shepherd Aronio and Massimo Righi as the noble Efros. Carlo Innocenzi's robust, rousing score does the trick. Riccardo Pallottini's expansive widescreen cinematography offers several striking shots of the lovely verdant countryside. The campy dialogue adds plenty of extra unintentional humor to the mix while the bevy of lovely ladies supply lots of yummy eye candy (Alonso in particular is an absolute smoking hot fox!). A fun romp.

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