Hercules (1958) – Review

Before there was Schwarzenegger, before Stallone, there was Steve Reeves, the original cinematic titan who made Greek mythology a muscle-bound spectacle. This isn’t just a sword-and-sandal classic; it’s the film that launched a thousand peplum (Italian muscleman) movies. Directed by Pietro Francisci, this Technicolor epic blends Greek mythology, brawny action, and just enough campy melodrama to make it an enduring cult favourite.

This film was produced in the old-school epic style, with towering pillars, marble temples, and a whole lot of oiled-up dudes in tunics. We meet Hercules (Steve Reeves), the demigod son of Zeus, as he struts into the kingdom of Iolcus, flexing with every step. He’s been summoned to train asshat Prince Iphitus (Mimmo Palmara) in the ways of combat, but let’s be honest, everyone’s too busy gawking at his biceps to pay attention to swordplay. Of course, trouble is brewing because the kingdom is in a bit of a mess. King Pelias (Ivo Garrani) has usurped the throne from his brother, the rightful ruler, and he’s got a problem: his nephew, Jason (Fabrizio Mioni), is the true heir, and a prophecy states that someday a man with one sandal will arrive to reclaim his crown. To make sure that doesn’t happen, Pelias has ordered that anyone filling that description be killed immediately. But as is the case with most prophecy, trying to change the outcome is a lesson in futility.

“What are the odds of Hercules and Jason kicking our assess?”

Of course, this film isn’t all about machismo, revenge and murder – though we do get lots of that – we also have a love story and the key factor in that comes in the form of Princess Iole (Sylva Koscina), the beautiful daughter of King Pelias, who gets a “meet cute” with Hercules as he saves her from a runaway chariot. She’s got the whole “royal damsel” thing down; flowing gowns, dramatic glances, and a tendency to get into trouble, that is, when she’s not pouting about Hercules’ actions. Iole is also important to us, as she provides most of the film’s expository dialogue, not to mention the plot’s important backstory about murder and betrayal, but their romance takes a back seat when Jason finally shows up, missing a sandal and all, and is ready to claim his birthright. Iole does not take this well.

“Sorry, my dear, quests trump love.”

Pelias, being a crafty villain, doesn’t outright refuse Jason his throne. Instead, he sends him on an impossible mission: retrieve the legendary Golden Fleece, a mystical relic said to bestow divine power. Translation? A dangerous quest designed to get Jason out of the picture, permanently. But Jason has an ace up his sleeve: Hercules! Because when you’re up against mythical monsters, treacherous waters, and conniving gods, it helps to have the strongest man in the world backing you up. So begins an epic journey as Hercules, Jason, and a crew of adventurers, including Orpheus (Gino Mattera), who strums a mean lyre, a young Ulysses (Gabriele Antonini), the treacherous Eurysteus (Arturo Dominici) and the rest of the tough-but-lovable Argonauts, set sail on the legendary Argo for adventure, love and danger, but mostly danger and the chance of being marooned.

“I knew we shouldn’t have made Gilligan the first mate.”

This film is loosely based on the legend of Jason and the Argonauts (yes, despite being called Hercules), and the plot follows the titular demigod as he aids Jason in his quest for the Golden Fleece. Needless to say, this narrative takes many liberties with Greek mythology, merging characters and events from different myths to create a more streamlined adventure. Below is a list of a few differences between the myth and what this movie provides.

Hercules’ Labours vs. Jason’s Quest

• In mythology, Hercules (Heracles in Greek) is famous for his Twelve Labours, which include slaying the Nemean Lion and capturing the Erymanthian Boar.
• In the movie, however, Hercules is not focused on these Labours. Instead, he is merged into the story of Jason and the Argonauts, accompanying Jason on his quest for the Golden Fleece—a completely different myth. And though he was a member of the crew in the myth, Hercules was not a central character.

Princess Iole

• In the film, Iole is presented as Hercules’ love interest, with a more romantic and idealized relationship that lacks the tragic elements of the myth.
• In mythology, Iole was the daughter of King Eurytus. Hercules won her in an archery contest, but Eurytus refused to let him marry her. Later, Hercules killed her brother and took her by force.

Hercules’ Personality

• In myth, Hercules is often depicted as violent, short-tempered, and even tragic due to his madness (inflicted by Hera).
• In the movie, Hercules is more of a noble, wise, and romantic hero, which fits the 1950s heroic archetype rather than the complex figure of myth.

The Amazons

• The film includes a detour with the Amazons, where Hercules and Jason encounter Queen Antea and her bevy of beautiful archers.
• In mythology, Hercules’ most famous Amazon-related task was stealing the girdle of Hippolyta, which is unrelated to Jason’s quest.

“Could you introduce me to Wonder Woman?”

Purists may find these alterations frustrating, but the film’s goal was entertainment rather than accuracy. This version blends myths and simplifies Hercules’ character to make him fit a more traditional Hollywood hero mould. It focuses more on Jason’s adventure, whereas real mythology portrays Hercules as a more tragic and independent figure. The film also removes many supernatural elements and divine influences that are central to the original myths. At one point Hercules renounces his divine powers, apparently, so he can find true love or some such nonsense, but he never seems to suffer from turning his back on his demi-god status; he’s still able to kill the Cretan Bull with one punch, and the film focuses more on the friendship between Hercules and Jason, rather than on either hero’s legendary accomplishments.

“Hercules, would you ever murder your family?”

Now, say what you will about this film’s depictions of the Greek myths, there should be no debate that if there was ever a man born to play the Greek demigod, it was Steve Reeves. With his chiselled physique, effortless charisma, and surprisingly good screen presence, Reeves embodies the role with a mix of stoicism and charm. He’s not just flexing his biceps—though there’s plenty of that—he’s also bringing a certain noble confidence to the part. Reeves wasn’t the greatest actor, but he had presence. When he enters a room, you believe he can take on armies single-handedly.

“And that’s the gospel truth.”

Stray Observations:

• The roar of the dragon guarding the Golden Fleece is actually Godzilla’s roar from 1954’s Godzilla.
• Hercules was the original influencer. Everywhere he goes, people are either asking for his help or falling in love with him. He’s basically the ancient world’s most-followed celebrity.
• The movie was originally in Italian and later dubbed into English, leading to some hilariously mismatched lip movements and overly dramatic line readings. It’s all part of the charm!
• As mentioned, Hercules asked for and was granted the removal of his super strength, yet he was able to pull down two building pillars à la Samson.
• Ray Harryhausen would release a Jason and the Argonauts movie a few years later, with greater special effects and a plot properly centred on Jason. Not that it didn’t also play fairly fast and loose with the mythology.

 

This film could have used some of this Harryhausen magic.

It should be noted that for a film made in 1958, Hercules boasts impressive production values, despite not having the technical marvels of legendary animator Ray Harryhausen.  The film was produced in Italy, and its aesthetic aligns more with European historical epics than with American sword-and-sandal films of the era. The chariot chase is thrilling, the battle scenes are well-staged (if a bit stiff), and the larger-than-life moments, like Herc casually ripping a tree out by its roots or wrestling a lion, are pure pulpy fun. The production design, while obviously low-budget, does a solid job of recreating a mythical world, with sprawling sets and elaborate (if sometimes unconvincing) costumes. Filmed in Technicolor and widescreen, the movie captures the grandeur of ancient Greece with sprawling sets, elaborate costumes, and beautifully framed shots.

It helps a lot if your film’s cinematographer is the legendary Mario Bava.

In conclusion, Hercules is not a deep or thought-provoking film, but it’s an incredibly fun one and was responsible for the Sword & Sandal boom. It’s a movie that embraces its own melodrama, leans into the larger-than-life charisma of its leading man, and delivers an entertaining mix of adventure, romance, and exaggerated mythology.