1961's "Goliath and the Vampires" marked the transitional period when Gordon Scott left the Tarzan series (six films) for the Italian 'peplum' series, which began with the 1957 "Hercules," featuring Steve Reeves in the title role. The connection is made even clearer by the sultry presence of "Hercules" actress Gianna Maria Canale, here cast as the evil one's consort, as well as an uncredited appearance from Reeves himself, for the bravura finale pitting one Goliath against another. Gianna has quite an edge over Leonora Ruffo, just as lifeless in similar hapless heroine mode in Mario Bava's "Hercules in the Haunted World," which followed this release in Italy by three months, boasting a villain essayed by Christopher Lee. While not as fanciful as the masterful Bava's take, this remains one of the finest examples of the muscleman entries, the barrel chested Scott already a veteran actor capable of greater emotion than most, and an excellent man of action performing his own stunts (called 'Maciste' in the original Italian version). The opening raid on Goliath's village features an arrow through the eye, and the women kidnapped to supply blood for a fiendish creature known as Kobrak, the sole 'vampire' on display, more a hideous sorcerer who appears transparent at will, at other times corporeal when slashing its victims' throats. In fact, there are no guarantees for any of the good guys save Goliath, and no obvious comic relief (unlike one painful character in Bava's feature), making for a stronger dramatic take filled with plentiful action. Pittsburgh's Chiller Theater aired this title on three occasions from 1968-73 (simply titled "The Vampires"), coupled with Larry Buchanan's "Curse of the Swamp Creature" (twice!) and the Japanese Gamera entry "Destroy All Planets," offering up other peplums like Gordon Mitchell's "The Giant of Metropolis" and John Drew Barrymore's "War of the Zombies."

Introducing non-traditional elements into the standard sword-and-sandal formula can be risky. The results often collapse into confusion and absurdity. Here, however, the merging of horror-movie with mythic- strongman motifs results in a "peplum" which stands a notch or two above its competitors. There are, of course, the standard but always-welcome virtues: a lively brawl in a town square and again in a tavern, a hoochy-koochy dance number inside the Sultan's palace, a beefcake-bondage scene in which our sweaty, bare-chested hero struggles with a wooden yoke bound across his brawny shoulders and outstretched arms, etc. Then there are the spooky, supernatural vampire elements -- not as hokey as you'd fear -- and a memorable fight which pits our hero against none other than his clone. Thrown in for good measure is an ear-drum torture scene carried out inside a giant bell which conjures up memories of similar moments in MGM's "The Mask of Fu Manchu" and Rory Calhoun's "Colossus of Rhodes." Finally, a word of approval must be given to this movie's refusal to use the boy, Ciro, for the comic relief usually provided by those annoying Italian midgets.There are, not surprisingly, weaknesses. Leonora Ruffo isn't given much to do as the heroine and, as a result, seems pale, lifeless, and forgettable, especially when compared to the vibrant, dark-haired "bad girl," Gianna Maria Canale. Secondly, the role of the Sultan is so poorly developed that the political situation inside Salmanak remains needlessly muddled. What's more, not enough is done with the character played by Jacques Sernas -- somewhat surprising considering Sernas' star-power.Assets clearly outweigh detriments, however, and towering over everything is the impressive figure of Gordon Scott, an underrated screen presence who was somehow more than just a glorious physique.

Italian composer Angelo Francesco Lavagnino furnishes "Hercules Against the Moon Men" director Giacomo Gentilomo with a flavorful, atmospheric score for his above-average, but predictable spear and sandal saga "Goliath and the Vampires," starring muscle-bound Gordon Scott as the legendary champion. Like the Reg Park outing "Hercules in the Haunted World," Goliath confronts a supernatural adversary called Kobrak. Pirates from another kingdom attack a defenseless village without mercy. They raze the village, slaughter the men, abduct the nubile young women and transport them across the sea into slavery. So wicked are these heartless sea raiders that they feed the older women to the sharks. The eponymous strongman travels to the faraway island to rescue the women. Outnumbered as always, Goliath tangles with dozens of soldiers, but he exploits his strength to compensate in his battles against superior numbers. No, Kobrak doesn't qualify as the standard vampire with fangs, a regal wardrobe, and beguiling eyes. He materializes like an apparition from nowhere, kills with his clawed fists, and reduces his victims to lifeless mummies. Moreover, the evil Kobrak shows no qualms about dispatching his own subordinates. Gentilomo and scenarists Sergio Corbucci of "The Mercenary" and Duccio Tessari of "Duck You Sucker" have contrived one of the better peplums, with several elaborately staged combat scenes. Indeed, a couple of counterfeit looking little monsters cheese up a scene or two, but they are quickly forgotten. Meantime, our brawny hero has his hands full most of his time struggling with his opponents. Bare-chested Gordon Scott is appropriately stalwart and purpose-driven as the male lead. The beautiful, hour-glass shaped women wear big hair. Gianna Maria Canale looks as gorgeous as she is treacherous, and producer Dino De Laurentiis seems to have spared no expense.The opening scene solidly establishes the protagonist's character. Goliath (Gordon Scott of "Tarzan's Greatest Adventure") trudges behind two oxen and a plow, gouging grooves in an inhospitable field. Typically, the peplum hero is an outsider, sometimes a wandering adventurer, who enters a society and delivers it from tyranny, but Goliath is not an outsider here. Later, when he enters Salminak, he is an outsider. Gentilomo depicts Goliath as a peaceful farmer, using his incredible strength to uproot and remove a stump from the field. Clearly, though the most convincing but mundane scene, this modest display of brute force illustrates Goliath's determination to let nothing stand in his way. He uses his brawn to solve his problems. No sooner has Goliath gotten rid of stump than he hears cries of alarm. The young boy, Ciro (Rocco Vitolazzi), that Goliath brought with him, is drowning. Plunging from a high mountain cliff, Goliath saves the lad from a watery grave. Some kind of sea monster may have figured in Ciro's near drowning, but the fight has been mysteriously edited. As he takes Ciro back to their village on his white horse, Goliath reminds the youth that his sister would never have forgiven him if Goliath had let him die. Ciro chastises Goliath because he has kept putting his impending marriage to sister, Guja (Leonora Ruffo of ""Goliath and the Dragon") on hold. Gentilomo and his scenarists sketch more depth into Goliath's character than the typical peplum. As they approach the village, they see clouds of dark smoke gathering. They arrive too late to thwart the pirates. Ciro's mother and father lay dead, while Goliath's mother (Emma Baron of "Aphrodite, Goddess of Love") dies in his brawny arms."I shall avenge them," Goliath vows. "I shall free Guja and the others and those responsible will pay for their crimes." Moreover, Goliath is puzzled by the raiders. "Their ferocity and cruelty make no sense. Why do they murder like this without plundering. Why take nothing from the houses? Only the women are kidnapped and the men are thrown in the fire." An elderly man who survived the carnage informs Goliath that the raiders hail from the faraway island Salminak. Meanwhile, aboard their ship, the pirates slash the women, drawing plasma from all them but Guja, to fill a goblet for Kobrak to quench his thirst for blood. Kobrak's initial appearance aboard the ship is rather sinister. The leader of the raiders enters a chamber and a hideous looking hand wreathed in smoke emerges from behind a curtain and grasps the goblet. Gentilomo heightens the tension as the interior turns blood red and the curtain billow after Kobrak has drunk the blood. The captain scrambles out of the room, happy to be alive. Later, we learn Kobrak is assembling an army of faceless zombies to conquer the world. Peplum lenser Alvaro Mancori of "Ulysses against the Son of Hercules" captures the larger-than-life splendor and savagery of "Goliath and the Vampires" with his widescreen cinematography. The violence is somewhat abrasive, but it remains primarily bloodless during the commission of the act with blood visible afterward. One scene shows a marauder firing an arrow into a man's face, while other shows a spear hurled into the villainess' stomach. The Corbucci & Tessari screenplay boasts a surprise or two, especially during the finale when Goliath confronts a foe that matches his strength. The filmmakers put our hero in several tight spots. One fantastic scene has Goliath with his wrists shackled to a huge wooden yoke behind his neck and across his shoulders. Goliath's captor challenges him to escape. Exerting his superhuman strength, Goliath snaps the yoke in half, removes the shackles, and then dislodges a pillar that brings part of the dungeon crashing down on his captors. An earlier scene in the town square has our hero dismantles a torture device with giant spikes in it and wields it as a weapon against armed horsemen. According to the Wild East blurbs, Corbucci helped out Gentilomo helming a scene or two, but Gentilomo directed the lion's share of the action. He keeps the action moving briskly along in this trim 91-minute opus."Goliath and the Vampires" ranks as a better-than-average peplum.

This is a late night trash-o-rama joy. Its about a vampire that steals woman and Goliath who goes to get them back. This is one of those so goofy its great movies that hooks you and makes you watch all the way to then when you realize that its made no sense what so ever but which you've enjoyed more than some of the good for you films people gush over. Its got weird monsters, good fights, great pacing, decent sets and a bunch of Blue Men that make me wonder if the Blue Man Group ever saw this movie. If you're in the mood for silly fun give it a shot.