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La battaglia di Maratona—The Giant of Marathon


Bava’s hand can also be seen in a variety of glass matte paintings: the flame-capped columns that frame the cheering crowd as Philippides is hon- ored at the Olympic games, as well as the Olympian statue at the center of the composition; the exterior of the Temple where Philippides goes to pay his tribute to Athena, with its vast stair- case crowded with onlookers, and col- umned structures crowning the hills in the distance on either side; the second- ary ships in the Athenian fleet, aug- mented by foregrounded, working min- iatures; and a deceptive shot of Philippides riding behind a boulder en route to Sparta, the background of which was extended by Bava’s paint- brush from a small rocky hillside into a believable mountain.


In the most satisfying action films, the dramatic climax usually coincides with the death of the villain. In this case, the battle continues well past the death of Theocritus, only to fade-out after the arrival of the Spartans, accompanied by the surprise return of Huros. A flurry of crossed swords on a beachfront lan- guidly dissolves to a subtle, bittersweet finale that once again suggests the touch of Tourneur. Philippides, dressed in a dark peplum, plants a sword up to its hilt in the soil of his farm, as An- dromeda solemnly watches. Then they walk away, in silhouette, toward a farm- house in the distance as the setting sun gleams on the handle of the planted sword with golden significance. Philip- pides is putting his life as a warrior to rest, to enjoy life as a man. The shot is so striking, so unusual a resolution and so rich in symbolism, that one can overlook the badly staged death of Theocritus and the fact that the final battle has not been won in any visually cemented way. Indeed, this final scene would play the same whether Philip- pides had emerged victorious, or had simply survived defeat. As he very likely did with Caltiki il mostro immortale and as he would certainly do again, editor Mario Serandrei does an exceptional job of organizing the unfinished frag- ments into an effective whole. We fill


in the ellipses with ease, and finish the picture feeling unusually satisfied.


Aftermath


Throughout the filming of La battaglia di Maratona, Steve Reeves was giving one of his best performances off- screen. The damage inflicted to his shoulder muscles during the mak- ing of Gli ultimi giorni di Pompei caused him tremendous pain dur- ing Maratona, which he endured on principle without the aid of prescrip- tion drugs. He performed all of the stunts asked of him,


including


Philippides’ agonizing swim across the rapids, and confided the facts of his condition to no one but his fiancee— Aline Czartjarwitz, a legal secretary in the European film industry whom he had met after the completion of Le fatiche di Ercole. (They would eventu- ally marry in June 1963, and stay to- gether until Aline’s death in 1989.) He celebrated the completion of Maratona by signing an exclusive two-picture contract with American producer Joseph E. Levine, who was then pour- ing a fortune into the US promotion of Hercules and Hercules Unchained. The troubled production of La battaglia di Maratona had encouraged producer Nello Santi to expect the worst, but such was the craft and vi- tality of the picture that, when it was released in Rome over the Christmas holiday, it re-energized the waning “sword and sandal” market in Europe, just when North America was about to discover Hercules and Hercules Un- chained in a big way. These combined events had such impact that Steve Reeves won another competition that must have taken even him by surprise: he became the world’s biggest box- office attraction of 1959. Grossing 690.5 million lire [$430,000] during its initial Italian release, La battaglia di Maratona earned a good deal more than Gli ultimi giorni di Pompei, and a great deal more than Agi Murad il diavolo bianco. Thanks to the combined efforts of Bruno Vailati and (especially) Mario Bava, Galatea had another hit on its hands. Warner Bros.—the US distribu-


9 Bava would later reprise this shot on the same location while directing second unit photography for the miniseries Odissea in 1968.


10 Venturini. 11 Ibid.


tor of both Hercules films, as well as The White Warrior—decided not to handle Gli ultimi giorni di Pompei or Maratona, perhaps dissuaded by


the losses incurred by the Freda film. Quick to step in was Metro- Goldwyn-Mayer, who, remembering Steve Reeves’ cameo appearance in Athena, proclaimed The Giant of Marathon as Reeves’ triumphal re- turn to his “home” on the Metro lot. It is exceedingly difficult to locate boxoffice results for films of this vin- tage, but The Giant of Marathon accrued domestic rentals of $1,300,000 and international rentals of $1,600,000 for a total first annual revenue of $2,900,000—a tremendous success. MGM also thought enough of Bava’s Marathon sequence to can- nibalize it, making it, and its trims, available for resale as stock foot- age. In the early 1960s, shortly before their lives were changed for- ever by Star Trek and Batman, Wil- liam Shatner and Adam West co- starred in an unsold TV pilot called Alexander the Great. Al l of


battlefield scenes in that pilot epi- sode were culled from The Giant of Marathon.


Legend has it that, after Mario Bava had saved the abandoned La battaglia di Maratona for Galatea, Nello Santi rewarded the resourceful cameraman by offering him any property of his choosing for his directorial debut. It’s a great story, but as it goes with most stories, the truth was probably more complicated. According to Massimo De Rita, Santi was principally a money man and never took an active interest in production. “He never helped in the production process,” he said. “Some- times we would invite him to the set; he might come, just once, and it would be great, but he was a very busy man. It was better for him to have people like me on the set instead, otherwise everything to do with the production would come to a dead halt. He invested a great deal of trust in me, in all of us . . . I never had a problem with him. He was like a father to me—a mentor, really—and I always regarded him as a prince.” 10 De Rita—who regarded Bava as “a dear friend, and also a genius”— remembered playing an important role in bringing Bava to Santi’s rec- ognition. “Bava had worked on a few different things for us; he had been


 the


the director of photography for Francisci. So I convinced Santi to give [Bava] a chance to direct for us. He began with Caltiki il mostro immortale . . . he worked for a month on the special effects for that movie. Afterwards, we convinced Santi to let him take charge of a bigger movie, La maschera del demonio. We wanted to make this a more lavish produc- tion, so we asked Santi for a budget of 107 million lire [$67,000], but he said he was only going to grant us 100 million lire [$62,000]—and that much only if he was convinced the picture could make back more than that figure at the boxoffice!” 11 When one realizes how much


money La battaglia di Maratona had bagged for Santi and his partners, the budget he allotted for Bava’s official debut seems a bit parsimonious—and, as De Rita indicates, he had to be persuaded to allot even that much. This account has the unromantic ring of real business, so it probably is the more accurate of the two stories. Bava was not one to boast about how he’d had to cover for other, lazier Galatea directors, and he was not the kind of individual who would go over the heads of his directors to blow the whistle on them to the studio boss. By the same token, as an executive primarily interested in the bottom line, Nello Santi makes a far more believ- able boss than a creative equal. Santi had certainly seen and approved Bava’s work in the past, but he left creative decisions to people like De Rita and may not have even been able, at this point, to connect Bava’s name to specific work he had done for the company without someone else, like De Rita, to jog his memory. Regardless of how these bother- some details complicate a story that has become a recognized legend in horror film circles, it was indeed Nello Santi who ultimately approved Bava’s chance to direct—officially—for the first time. The result was not in the same league as Hercules at the boxoffice, but it has lingered a good deal longer in the memories of many movie-goers. To this day, it is a film that is remembered, loved, feared, and revered as one of the best horror films of the 20th century, and arguably the most stunning directorial debut the genre has ever hosted.


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