The Blood of Heroes (1990)

I like the storyline of this show,it attract me so much

Plenty to Like, Plenty to Dislike

There are moments in this movie where the great movie it could've been peek out... They're fleeting, here, but they're worth savoring, and they happen often enough to make it worth your while.

True to its essence, the characters remain on the same line and manage to entertain the viewer, each highlighting their own distinctive qualities or touches.

If you like the first two Mad Max movies this one is meant for you - in a post-apocalyptic world the new gladiators called Jugger live like Nomads and play a tough and bloody game in small outposts, honor, women and provisions are the wages. A Jugger's greatest dream is to play in one of the great games in one of the last great cities - where honor and riches can be earned.This one is a fine B-trash movie - a good shot of violence and action, solid acting, and a good production value. Rutger Hauer plays Sallow, a leader of a team of Jugger. Like some of his early works e.g. Flesh + Blood, Ladyhawke and The Hitcher, The Blood of Heroes does not disappoint. A nice snack for the post-apocalyptic fanatic.

One of my most interesting experiences. Alas, the off-camera drama proved far more fascinating than the rather superficial, futuristic, action/adventure, grind-house offering that finally emerged on the screen. I worked on the film for only four days of a ten-week shooting schedule. But, aside from a brief shot of me in the Red City street as I pass by Gandhi on the right of the wide-wide screen, my part was left on the cutting-room floor. An earlier scene in the street in which I was accosted by a young boy, excitedly telling me that he'd just found a magic stone, was eliminated. Indeed, not only was this scene (and another in which I figured as worshiper in a weirdly colorful religious ceremony at a Red City temple), completely deleted, but the whole sub-plot involving this young lad was removed. He's no longer in "Salute of the Jugger" at all. That's a shame, because he was easily the best actor in the movie. A fine acrobat, a naturally gifted, charismatic performer, handsome as they come, with a captivating personality, he looked set for major stardom. I don't even remember his name.I was on the set at the same time as Rutger Hauer, Delroy Lindo, Gandhi McIntyre, Joan Chen, Hugh Keays-Byrne (a wonderful actor in a made-to-order villainous role, which was cut to ribbons in the editing room), and numerous extras in an elaborate opening ceremony to the Red City games. This ceremony was also hacked out of the final cut. And almost as bad as the deletions already mentioned, was the pruning of Joan Chen's part in the climactic game. She bravely performed her own stunts (receiving many spontaneous rounds of applause from the assembled crowd artists), but all her efforts came to nought. They were scissored too. On the other hand, just about all Glenn Ruehland's footage was left in. He doubled for Hauer. It's interesting that the star wasn't even on the set for most of Ruehland's vigorous fighting. He came in right at the end for close- ups.I didn't see much of David Peoples on the set. The first morning he had a set-to with Rutger Hauer. Peoples wanted to end the star's first sequence in a Red City street with Rutger turning his back on the camera, walking away down the bustling thoroughfare and being swallowed up by the unknowing crowd. But Rutger absolutely refused to turn his back on the camera. After nearly an hour of fruitless argument, the producer was sent for. We waited another hour, and when the money- man eventually arrived, he adjudicated in favor of Hauer. Peoples walked off the set. The scene was then directed the Hauer way by Keith Heygate. And in the afternoon, when Peoples had not returned, the jettisoned temple scene (in which Hauer didn't appear anyway) was directed by David Eggby. Peoples, unshaven, bleary-eyed, returned a few days later. He explained that he'd been working on the script. In the meantime, the climactic games sequence had been directed and painstakingly choreographed by Guy Norris. His principal players were Ruehland (who assisted in "co-ordinating" these scenes) and Joan Chen. While the action specialists were busy rehearsing the juggers, photographer David Eggby in close collaboration with the continuity girl (indeed she took charge as the filming progressed) directed two scenes with the spectators.Another interesting point was that a second camera was used for all scenes, except those actually involving the games. Eggby had no connection with the second camera, which had its own crew, and was generally set up behind and to the side of the first. Eggby did supervise the lighting of the set and actually operated his camera himself, with the aid of a focus puller. Cross was in charge of the second camera, which had its own operator and focus puller. These people were completely ignored by both Eggby and Peoples who both acted as if that crew didn't exist. Cross received his instructions from Keith Heygate (who yelled at Cross angrily when Cross asked for time-out to make some camera adjustments). In addition to these duties, the usually pleasant-mannered Heygate also personally directed the placing and blocking of the extras, as well as supervising the special effects men and the animal handler. The main scene that Peoples directed himself, while I was on the set, was the opening ceremony of the games, very elaborately staged, rehearsed and choreographed. I also overheard him telling a visitor that the young lad I mentioned earlier was a "great discovery" and that "Salute of the Jugger" would set the boy firmly on the path to international acclaim.So there you have it. The credits, even the seemingly endless roll-calls attached to modern films, don't tell the whole story. Anything like the whole story. Many people still make important contributions without any credit at all. And some people who are credited actually do either very little to earn that name in lights, or contribute far more than the field in which their name appears!Which brings me to my final point. Salute to the Jugger is a Poverty Row film in reverse. The aim of a Poverty producer is to use every trick in the book to expand his meager budget so that it looks shatteringly lavish on the screen. Jugger's editor evidently had the opposite aim. Make the film look cheap. Although filmed on a money- no-object scale, the on-screen Jugger has the appearance of an inferior American-International. You should have seen the Red City street down which I and about two hundred meticulously costumed extras wandered. The shops. Wow! All filmed with the weirdest, most bizarre, most inventively created produce and goods that highly imaginative designers and set dressers could imagine. And what do we actually see on the screen. Zilch!

Don't buy the hype. This Mad Max-esque film is one of the bleakest films I have seen in a long time. All characters are unhappy souls, surviving in a grim world, unable to improve their lot, prone to an almost genetically determined urge to mess things up. They have egos and the big guns aren't used to working with other people or playing by the rules. The cinematography is stark and bare, with only the soundtrack adding some effect. It's an amazing work and everything I had hoped for. From an artistic standpoint, there were some plot elements and character developments I didn't think were totally needed. They do however drive the story, which seemed to be their purpose, so I can accept them. Verdict: 7/10.

It's a great film. i see the kids growing up today with no appreciation of how beautiful films looked when no computers were involved. there were no cartoon effects are false looking background. it was simple but great film-making and i really wish we would return to such things. The blood of Heros story is simple, but it is a good one. They do not make films like this one these days and if they did. it would be riddled with pop reference and bad CGI because no on takes the effort because it's harder to make a real film that to create one in a computer lab. it feel we've lost something in American film and it s movies like this that should remind us all to wake up.