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Ubaratutu (Harry Baird) has just fetched Taur (Joe Robinson) to attend
the wedding of Taur's foster son Syros (Alberto Cevenini) the Illa (Thea
Fleming), the daughter of Ubaratutu's village's king, but when they return
to the village, they find it burned to the ground, with everybody either
killed or enslaved by the Kixos. Taur and Ubaratutu are qick to find the
realm of the Kixos, a vast system of caverns with a gold mine at its
center. Taur and Ubaratutu also have no problems to find and free Syros,
but of course, they want to save everyone enslaved by the Kixos. Eventually,
Taur and company find a woman chained to a wall, Afer (Janine Hendy), who
tells them that years abo the high priest forced her to kill the heir to
the throne to give way to Queen Akiba (Bella Cortez), a puppet of the
local high priest El Kab (Antonio Leonviola), but she preferred to only
abandon him in the woods ... where Taur has eventually found him and
raised him as his son - Syros. Taur and friends decide it's a good idea
to become slaves themselves to mix in with the others and organize an
uprising from within, but thanks to Ararut (Carla Fuscari), a young woman
who wants to take Queen Akiba's place, who knows Syros' real identity and
who plays both sides, El Kab learns about the actual identity of Syros and
Taur, and he makes multiple attempts to kill him - but fails again and
again, also because Queen Akiba has fallen in love with Taur and tries to
make him her toyboy. Eventually, Taur and friends learn about the steam
engine (!) that runs the conveyor belt (!) of the gold mine and that, if
it builds up too much pressure, might explode and cause a volcanic
eruption - which would be a perfect background for the slaves' revolt, and
eventually, that's exactly what frees the slaves, together with an
inflammatory speech by Afer. Akiba though is stabbed to death by Illa, who
was almost forced to kill her own sister (Claudia Capone) by the queen,
while El Kab meets his end under a giant rock hurled by Taur ... It's
not uncommon for peplums (Italian sword and sandal-movies) to not be
pinned down to a specific historical epoch or geographical location, but
this one goes one (or rather several) steps further: While the beginning
suggests a civilisation that has only recently left the stone age behind
it, the sophisticated machinery running the goldmine suggests something
else, and the costumes of the Kixos suggest everything from Zulu warriors
to ancient Egyptians to cheap martial arts movies. Now this all doesn't
make a bad film of course, nor does an entirely wooden cast and obvious
cheap sets and low production values ... and that's exactly why the film
is rather enjoyable, its cheapness coupled with its historical and
geographical paradoxes, fuelled by a clichéed narrative and
less-than-perfect acting make this total fun - fun for all the wrong
reasons of course, but fun still.
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