Erik the Conqueror (1961) One of Cinema’s best visual artists turns to the Viking movie (Review)

In “Gli Imatori”, a visual essay featured in an uncharacteristically spartan selection of arrow video features, Michael Mackenzie comments on Italian cinema’s propensity to copy (Escape from New York becomes 2019: After the Fall of New York, for example) as this latest Mario Bava title released under the now transatlantic label is an unofficial remake of Richard Fleischer’s [the] Vikings. That film is Erik the Conqueror. Only in this case, the term remake is a bit too generous, rip-off would be closer to reality, however, there’s creativity on display in these titles that makes them somewhere between the official remake and cheap rip off… somehow.

Set in the 9th century, Bava’s film follows the violent lives of King Harald’s offspring, Erik (George Ardisson) and Eron (Cameron Mitchell) as they are separated as children after an unsuccessful Scandinavian raid on the British isles. Erik is raised as the adoptive child of Queen Alice (Françoise Christophe), and Eron climbs to power in his native Scandinavia. 20 years later both men attack each other oblivious to who they are declaring war on. As Mackenzie concludes in his essay, Bava adds an Italian flavour to this tale of Vikings and knights in the shape of the Kessler twins (Ellen and Alice) who play a pair of distinctly Roman vestigial virgins. With this mix of Italian touches, remake and history we already have a plenty convoluted picture, and it goes even further with a series of twists and turns that sees the two brothers reunited and ready to face the British army in their mountaintop castle for a melodramatic climax.

Mario Bava is renowned for making great use out of minimal resources and budgets, through his Giallo films it would be easy to conclude that the Italian legend is of the greatest masters of lighting a scene. As we are introduced to Eron and his compatriots, the film heads for what looks like a deep underground cavern amidst the roots of a great ancient tree. By using deep purples, green’s and an elaborate dance number it transforms this establishing scene from something found in a historical epic to something with more resemblance to fantasy or phantasmagorical sci-fi. A solidly entertaining if played-out 1960s Viking movie becomes an expressive and unpredictable playground for one of cinema’s greatest visual stylists by shifting the style of the film away from its sources.

Contrast is one of Erik the Conqueror’s key platforms, the quietest and most interesting of which is how close Erik and Eron’s societies are. In theory, the world of knights and royalty is classical, humble and thoughtful, especially when compared to the savagery of a race of warriors who sacrifice and kill their own in the name of the gods. Or so the legend goes. Now whether this is intentional it only comes to the fore when the world is stylised to such an extreme remains to be seen, but these worlds are the opposite side of the same coin. As different as these two societies are, there are commonalities shared between the two warring states, an idea exaggerated as the point of contact is two estranged brothers – the result of this is war… inevitably.

The typical Mario Bava film is more of a vehicle for practical effects and style than narrative, and when someone was as masterful as he was it is perfectly understandable why he loaded his work in this way. The story of two siblings separated by violence and fate may be as old as time itself, nonetheless, Bava handles it with supreme ease and turns out an undeniably shallow film but one that is consistently entertaining, romantic and ultimately rather moving. It may not appeal to the typical audience but for a company with such a strong ethos of bringing the cult, oddball and forgotten to the world – expanding their appeal rather than narrowing it is no bad thing.

When you talk or write about Arrow Video releases as much as we do, one of the most common compliments paid is in regards to the mastering. And while that is as true here as it ever was, with all the natural ageing to ensure it maintains its personality – think audio purists and their preference for Vinyl – however as much as that quality gives to Erik the Conqueror it takes away in what is possibly the most important scene in any film. Despite the campiness of the genre, music and costumes, the film reaches its emotional peak then ends all too suddenly. Head over to the extras and you’ll find the reason why the original ending was deleted as the only version that remains is from a burned-out VHS tape. Abrupt it may be but it is explainable.

Thanks for reading our review of Erik The Conqueror

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