An unusual and above-average epic quite unworthy of Leonard Maltin's dismissive *1/2 assessment: the traditional Western theme of gold-digging is here given a Roman-era setting (also seen at the beginning of SPARTACUS {1960}) which, at the finale, has the rich vein just discovered – and that would have secured a tyrant's chances in gaining the throne – being swept away by the waters unleashed from a dam purposefully burst so as to repel an invading army. For the record, co-directors De Toth (curiously omitted on the IMDb credits for this film!) and Freda (his name, then, is not listed on English-language prints) had previously collaborated on another – but superior – Italian epic, namely THE MONGOLS (1961). Incidentally, thanks to the undeserving backlash which met his blue-eyed Jesus in Nicholas Ray's KING OF KINGS (1961), the star of this one – Jeffrey Hunter – was forced to gravitate towards low-brow European productions for employment (of which this was the first) for virtually the rest of his tragically curtailed life!
The remaining principal actors (all of whom, by the way, are present and accounted for in the very first sequence depicting the erection of a new bridge!) are: Mylene Demongeot – turning men's heads with her classical beauty and natural charm – had worked with another significant "Euro-Cult" figure i.e. Mario Bava on THE BATTLE OF MARATHON (1959; which was similarly overseen by a Hollywood veteran, Jacques Tourneur); Massimo Girotti, too, had earlier appeared in one of Italy's most renowned fantasy adventures – Alessandro Blasetti's THE IRON CROWN (1941) – and one of its earliest peplums – Freda's own SINS OF ROME (1953), in which he had actually played Spartacus(!) and whose viewing will follow shortly – whereas, in this, he is Demongeot's master/lover who becomes insanely jealous of her attentions for handsome architect/slave Hunter; Ron Randell, the star's fictional advocate in the afore-mentioned Hollywood Spectacular on the life of Christ, is wasted here in a one-dimensional role as Girotti's whip-wielding lieutenant. Also on hand is Ettore Manni, basically a genre fixture, and whose role is likewise indifferent – in ludicrous barbarian costume, no less – as the hot-headed son of the leader of the hordes opposing the Romans.
The remaining principal actors (all of whom, by the way, are present and accounted for in the very first sequence depicting the erection of a new bridge!) are: Mylene Demongeot – turning men's heads with her classical beauty and natural charm – had worked with another significant "Euro-Cult" figure i.e. Mario Bava on THE BATTLE OF MARATHON (1959; which was similarly overseen by a Hollywood veteran, Jacques Tourneur); Massimo Girotti, too, had earlier appeared in one of Italy's most renowned fantasy adventures – Alessandro Blasetti's THE IRON CROWN (1941) – and one of its earliest peplums – Freda's own SINS OF ROME (1953), in which he had actually played Spartacus(!) and whose viewing will follow shortly – whereas, in this, he is Demongeot's master/lover who becomes insanely jealous of her attentions for handsome architect/slave Hunter; Ron Randell, the star's fictional advocate in the afore-mentioned Hollywood Spectacular on the life of Christ, is wasted here in a one-dimensional role as Girotti's whip-wielding lieutenant. Also on hand is Ettore Manni, basically a genre fixture, and whose role is likewise indifferent – in ludicrous barbarian costume, no less – as the hot-headed son of the leader of the hordes opposing the Romans.
