Everything is wrong in this film, but it's a masterpiece. Vestal virgins are mixed up with Vikings, the year is 768, and the Vkings are invading some Arthurian part of Cornwall, it seems, that is very Christian indeed, with bishops and clergy all dressed up like in a Shakespeare play, they use long bows and crossbows long before they were invented, and the Vikings even practice human sacrifices and weddings by bleeding a white bull - this is all anachronisms with myths and rituals and ceremonies all mixed up with bits and pieces from the Trojan war to Robin Hood, but it's the cinematography that counts. This is marvellous all the way, the film being a feast for the eyes from beginning to end, and even the story is quite good. There is nothing wrong with the actors either, they are all common standard picturesque prototypes, and the whole set-up and scenery compositions, the swashbuckling dialogue and the colourful clichés are all so flamboyant, so the acting does not have to be very qualified. Cameron Mitchell, usually villains or cowboys, is always an ace in B-pictures, and here he is allowed to play out his whole register including an infinitely prolonged Bogartian farewell scene. The girls are all overwhelmingly blonde and beautiful, and the queen could have been something for Sophia Loren. Mario Bava is the man both behind the camera and the direction, and it's a splendid combination. Every shot is esthetically delightful to the eye, there are some gprgeous and gory battle scenes, and the finale is equal to the best of Tyrone Power and Errol Flynn. In brief, this is a grossly underrated masterpiece in its very kitschy way, and it could be the best Viking film ever made. It is certainly superior to the Kirk Douglas one.

Mario Bava really outdoes himself with this story of two brothers separated in infancy, who grow to be rival leaders in a battle between Scandanavia and Britian.This yarn, replete with monumental battle sequences on both land and sea, magnificent coastal and interior castle settings, and bravura use of color simply amazes in its ambitious achievements.The film opens with a battle sequence on the seashore, by turns both thrilling and horrifying as the soldiers meet with death by spear while the nearby coastal village is burned, with women and children scattering to their doom.With this breathless sequence, Mr. Bava introduces the audience to a breakneck pace that never lets up.The story such as it is, is played engagingly on the level of an Errol Flynn film, intelligent enough for adults, but close enough to a comic book for whatever youngsters may be in the audience.It is, however, the visuals that linger in the mind: a grotto with an enormous twisted tree upon which are bound two captured adulterers, bathed in that phosphorescent green light that Mr. Bava was so adept at casting; a stunning vista of the seashore at twilight with two women in billowing robes silhouetted against a sky banked with tempestuous cloud formations, Georges Ardisson and his mother flanked by flaming braziers, amidst tall stalagmites, in a setting that might be from Dante's Inferno, (and recalls a similar setting in Orson Welle's "Macbeth" and countless others.Mr. Bava painted his masterpieces not on canvas but on celluloid.The cast is both attractive and serviceable, with Mr. Ardisson and the luscious Kessler Twins deserving of special commendation. Indeed the Misses Kessler, (as Vestal Virgins) perform a sword dance with such delicacy and intricate footwork that it is easy to see why their cabaret act was once the toast of Europe.Highly enjoyable for fans of the genre.

Two very young Viking brothers are separated during a battle that claims the life of their father. One brother, Eron, is brought up to one day take his father's place as the leader of the Viking people. The other brother, Erik, is brought up by his adopted mother Queen Alice to one day rule England. But when Eron and the Vikings invade England and take Queen Alice hostage, these two brothers will lead their armies into battle against one another. What will happen when these two brothers discover their common bond? Erik the Conqueror was one of the few films directed by Mario Bava that I had not seen until last night. Overall, it's a very entertaining, if not overly original, Viking epic. If you've seen the 1958 movie The Vikings with Kirk Douglas, a lot of the plot in Erik the Conqueror will seem similar. Still, with Bava's directorial touches, his eye for color, and his interesting camera movements, there's enough here to keep things feeling fresh and to overcome a limited budget (if you look close enough, you'll see the same extra die at least five times in the opening fight scene). The opening shot alone featuring skulls, two lovers wrapped in barbwire, and dancing girls is as visually pleasing as any of Bava's other movies. The cast is solid. Cameron Mitchell (always a favorite of mine) and his blond crew cut fit the role of the Viking Eron quite nicely. George Ardisson might even be more impressive in the role of Erik. They are joined by the Kessler twins who, while not the greatest thespians to appear on screen, are perfect in their roles. Add to it a slew of extras, some impressively staged fight scenes, and a nice looking castle set, and Erik the Conqueror is a must see for Bava fans like me.

Mario Bava, fresh from the overnight success of BLACK SUNDAY the previous year, emerges as a master of epic cinema in this Viking tale. Brilliant use of color hues and outstanding art direction distinguish this saga of twins separated as young boys during a battle between Anglo-Saxon hordes and Scandinavia's feared Viking tribes. Giorgio Ardisson portrays Erik and imbues his character with great nobility as he rises to fight against the Norsemen led by his brother Aaron (splendidly cast Cameron Mitchell). Andrea Checchi (Dr. Kruvajan in BLACK SUNDAY) is also tremendous as the evil Rutford, the scheming villain in this piece who wishes to use both forces to his own gain and place himself upon a throne he does not deserve. In an unforgettable interview with film historian David Del Valle commented that this film was made on a tiny budget but one would never surmise this from the rich texture and tenor of this major Bava opus. Macabre touches and phospherent Bava lighting place this work in a class by itself. The Kessler twins are used to superior advantage here and Francoise Christophe appears as the dignified and lovely Queen of the British Isles. A must-see for all lovers of The Maestro and for aficionados of epic cinema.