Raf Baldassarre Movies

The 12 labors of Hercules were not the objective of this film starring Lou Ferrigno as the semi-divine son of Zeus and the mortal Alcmene. Hercules must rescue Princess Cassiopea from her kidnappers, fight off grotesque laser-breathing monsters and in one case, jettison a giant bear up into space where it becomes Ursa Major, the Big Dipper or "Great Bear" constellation. Off-color (many scenes are in dim, bluish stage sets) and low-budget, this incarnation of Hercules may find unconverted viewers a difficult, 13th challenge to conquer. ~ Eleanor Mannikka, Rovi

In this remake of his own La Danza Macabra, director Antonio Margheriti casts Anthony Franciosa as writer Alan Foster, who accepts a bet from Edgar Allan Poe (Klaus Kinski) and his friend Thomas Blackwood (Enrico Osterman). No one has ever survived a night in Blackwood's castle, but the skeptical Foster gladly accepts the dare. The castle is striking and scary, which soon begins to affect Foster's mind. He meets Blackwood's sister Elisabeth (Michele Mercier) and the jealous Julia (Karin Field). Julia's portrait had intrigued him earlier, but it is Elisabeth whom Foster beds, only to see her stabbed by a stranger. The attacker's body vanishes after Foster kills him, and he quickly realizes that the castle is inhabited by vampiric ghosts. Foster must survive the horrors of the night and hold on to not only his life, but his sanity as well. This is an atmospheric film, full of crypts, skulls and mist, and Margheriti's direction is assured. The acting is solid all around, with a fine supporting cast including Peter Carsten, Raf Baldassare, and Silvano Tranquilli, though fans of the original might miss Barbara Steele just a little. Overall, this is a worthy remake with some spooky moments and a well-written script by Bruno Corbucci and Giovanni Grimaldi. The music was composed by the prolific Riz Ortolani. ~ Robert Firsching, Rovi

Cult filmmaker Umberto Lenzi directed this peculiar, horror-tinged spaghetti western starring Peter Lee Lawrence as The Kid, who is imprisoned for a crime he did not commit. Upon his release, The Kid must attempt to clear his name but is betrayed at every turn by Garff (John Ireland), his former partner. Most of the film, however, deals with a prison escape by a group of raving lunatics -- led by genre veteran Eduardo Fajardo -- who charge into town swinging axes and gorily murdering many of the residents. Lenzi's film is wildly uneven in tone, coming across as a hybrid of the western genre and his own blood-drenched horror films of the 1980s. Raf Baldassarre, Piero Lulli, and Andrea Scotti co-star in this Italian-Spanish co-production photographed by Alejandro Ulloa. ~ Robert Firsching, Rovi

In this gory sequel to the spaghetti western Stranger in Town, a mysterious stranger masquerades as a postal inspector and rides out to round up a ring of thieves who are racing across the West in a stage coach made of gold. ~ Sandra Brennan, Rovi

By the time Sergio Leone made this film, Italians had already produced about 20 films ironically labelled "spaghetti westerns." Leone approached the genre with great love and humor. Although the plot was admittedly borrowed from Akira Kurosawa's Yojimbo (1961), Leone managed to create a work of his own that would serve as a model for many films to come. Clint Eastwood plays a cynical gunfighter who comes to a small border town and offers his services to two rivaling gangs. Neither gang is aware of his double play, and each thinks it is using him, but the stranger will outwit them both. The picture was the first installment in a cycle commonly known as the "Dollars" trilogy. Later, United Artists, who distributed it in the U.S., coined another term for it: the "Man With No Name" trilogy. While not as impressive as its follow-ups For a Few Dollars More (1965) and The Good, the Bad, and the Ugly (1966), A Fistful of Dollars contains all of Leone's eventual trademarks: taciturn characters, precise framing, extreme close-ups, and the haunting music of Ennio Morricone. Not released in the U.S. until 1967 due to copyright problems, the film was decisive in both Clint Eastwood's career and the recognition of the Italian western. ~ Yuri German, Rovi

The Secret Mark of D'Artagnan borrows a handful of the characters and little else from the works of Dumas. Like many Italian films of the early 1960s, this swashbuckler stars an American actor, George Nader, in hopes of broadening its market. Nader plays D'Artagnan along more mature lines than most actors; he's even something of a ladies' man, a fact which very nearly gets him killed on several occasions. Confounding D'Artagnan's efforts to work on behalf of Louis XIII is Magali Noel as a buxom Milady De Winter. The Secret Mark of D'Artagnan became an American TV standard in the late 1960s thanks to its sumptuous color photography. ~ Hal Erickson, Rovi

In this adventure set in 6th-century France, two warring tribes call a temporary truce so that the daughter of the Gepidaen king can marry the king of Lombard. Unfortunately, the willful princess doesn't want to marry the king because she is betrothed to another (she has also been impregnated by him, but that is her secret). Her fiancé is imprisoned until she finally agrees to marry the king. Treachery ensues and culminates in a terrible battle. The released prince proves himself a hero by bringing in badly needed troops to bring the Gepidaens to victory. ~ Sandra Brennan, Rovi

In this Italian costume epic chronicles the exploits of an innocent maiden who lives near Thebes. She is in love with a sculptor but cannot marry him when a high-ranking reveals that he is her father and that she was betrothed at birth to a mentally ill prince slated to soon take over the country. The father then hands down a death sentence for the sculptor, but fortunately he escapes to find the prince, who happens to be a friend of his. There he asks for and is granted a pardon. Time passes and the prince becomes king; meanwhile, the maiden undergoes a ritual purification and changes her name to "Nefertiti." The sculptor is now with a gypsy. Unfortunately, he is again imprisoned by Nefertiti's father who threatens to kill him unless his unwilling daughter marries the new king. After the wedding, the sculptor does a bust of his beloved, and she tells him that while she still loves him, she fears for her husband's mind if she leaves. Her manipulative father is well aware of the king's instability and is hoping that eventually he will have all the power. To get closer, he kills the king's best friend, a rival priest, which pushes the king to suicide. Suddenly Nefertiti becomes queen. With the sculptor's help, she rallies the army and wins her power. In the end, the jilted gypsy gets her revenge by killing Nefertiti's father. ~ Sandra Brennan, Rovi