With the release of 1958's Hercules, starring American bodybuilder Steve Reeves, the Italian film industry gained entree to the American film market.
These films, many with mythological or Bible themes, were low-budget costume/adventure dramas, and had immediate appeal with both European and American audiences.
Besides the many films starring a variety of muscle men as Hercules, heroes such as Samson and Italian fictional hero Maciste were common.
Sometimes dismissed as low-quality escapist fare, the Peplums allowed newer directors such as Sergio Leone and Mario Bava a means of breaking into the film industry.
Some, such as Mario Bava's Hercules in the Haunted World (Italian: Ercole Al Centro Della Terra) are considered seminal works in their own right.
As the genre matured, budgets sometimes increased, as evidenced in 1962's I sette gladiatori (The Seven Gladiators in 1964 US release), a wide-screen epic with impressive sets and matte-painting work.
Most Peplum films were in color, whereas previous Italian efforts had often been black and white.
With the release of 1958's Hercules, starring American bodybuilder Steve Reeves, the Italian film industry gained entree to the American film market. These films, many with mythological or Bible themes, were low-budget costume/adventure dramas, and had immediate appeal with both European and American audiences. Besides the many films starring a variety of muscle men as Hercules, heroes such as Samson and Italian fictional hero Maciste were common. Sometimes dismissed as low-quality escapist fare, the Peplums allowed newer directors such as Sergio Leone and Mario Bava a means of breaking into the film industry. Some, such as Mario Bava's Hercules in the Haunted World (Italian: Ercole Al Centro Della Terra) are considered seminal works in their own right. As the genre matured, budgets sometimes increased, as evidenced in 1962's I sette gladiatori (The Seven Gladiators in 1964 US release), a wide-screen epic with impressive sets and matte-painting work. Most Peplum films were in color, whereas previous Italian efforts had often been black and white.
Cinema of Italy