ragosaal

Perhaps it was after the entertaining and lavish "El Cid" (1961) that classical epic films of the 50's and early 60'started to fade away as big money making films. "Cleopatra" (1963) and "The Fall of the Roman Empire" (1964) -both with some good moments but not great films all in all- showed that things were not being done right in the genre.

"Ghengis Khan" is definitely a bad movie. Leaving aside historical accuracy -there's not much in the film-, it doesn't even work as a high adventure freely based on the Mongol king's whereabouts.

The cast is wrongly chosen starting with Omar Sharif -as the Khan himself- who can't bring power and credibility to the character at any moment. Francoise Dorleac appears as a contemporary woman, in her looks as well as in her personality. Such good actors as James Mason and Robert Morley are totally out of place and even funny here disguised as Chinese characters. Henry Levin's direction lacks imagination and strengh all along as also does the script.

There are no highlights whatsoever in this cheap-looking and dull film that even makes John Wayne's western-like "The Conqueror" (1953) about the same character appear as an acceptable product.

In all, Levin's "Ghemgis Khan" has many chances to be the worst film ever made in its kind.

If you take "300" as an historical film about the heroic battle of the Greek (Spartans really) against the Persians at the Thermopylae pass back in 480 BC many items won't fit and it won't work. If you consider the movie as a fantasy in ancient Greece based on real events and people it turns out as a an enjoyable and entertaining product no doubt.

The main features here are a splendid photography, light -and somehow intense- colour, action sequences carefully shot, some bizarre characters -such as Ephialtes or Xerxes himself- and a couple of mythological animals, all that clearly shows this is a comic book put into an epic film.

On this second focus "300" is surely worth a watch if only to see what "computarized" special effects can do for action movies in our days.

"The Cat O'Nine Tales" is not one of the most celebrated thrillers of Italian director Dario Argento, and yet the film is a very good one in its kind. The plot is rather simple and entertaining -several mysterious murders related with a scientific institute in Rome that deals with human criminal behaviour based on genetics- and it is skilfully handled all along by the director up to the final disclosure.

By the time of this movie (his second one, of the early 70's), Argento still appears more controlled than in his later works were he focused specially on the murder and killing sequences far more sadistic and bloody ("Tenebbre" / 1982 and "Opera" / 1987, for instance); but, on the other hand, his plots were more elaborated and inspired like in "The Bird with the Cristal Plumage" / 1970 or "Deep Red" / 1975).

The masterful handling of cameras and the peaks of high tension that became a trade mark in the Roman director's career will not be missed in this one (the murder sequence at the train station as seen from the eyes of the killer is excellent). The usual internationally recognized actors in the leading roles -surely to benefit world wide markets- and the local (Italian) performers in the supporting parts are also found here; and though acting was never one of Argento's principal items to attend to, the presence of the always convincing and reliable Karl Malden and the correct James Franciscus bring to this film an extra "plus" (in spite of an interesting but wooden Catherine Spaak).

All in all, "The Cat O'Nine Tails" turns out as a fine and most entertaining product in its genre that will surely not disappoint thriller/horror fans.