Writer/director/producer Joshua Kennedy has proven himself one of the most versatile filmmakers on the scene today, and with his latest Gooey Film production, "Theseus and the Minotaur", he takes his imaginative skills to even greater, spellbinding heights.
This magnificent, sword-and-sandal/peplum homage caters to (as the title more than implies) the great, Greek myth of Theseus, the Athenian
who came to slay the mighty hybrid beast in its labyrinth lair. The Minotaur,
as most know, was conceived as a result of an intricate (and rather perverse)
path, thanks to dear ol’ King Minos' meddling ways. Out of spite, he even sacrificed warriors to the bloodthirsty creature. This legend refashioned in the film, wisely placing emphasis Minos' quest for the Sword of Zeus; his use of the dreaded Minotaur to maintain his sadistic control; and ultimately, Theseus’s journey to defeat the power-hungry despot and his mighty monster to become Athens' king.
The cast is ideal and credible in its execution of the myth, with Marco Munoz as the charismatic and courageous Theseus; Jamie Trevino as the feisty yet coerced Ariadne; Brian Warren as the comical Backhos; Tom Pearson as his equally comical companion, Kastor; Bo Elizondo as the combative but redemptive Deimos; Michael Alebis as the doomed King Aegus; Ana Kennedy (Joshua's mom) as the maternal Aethra; Gus Kennedy (Joshua's dad) as the warm and wise Gregorios (who at one significant point does a remarkable job channeling the great Patrick Troughton); and bestowing his fans with another crisp, grandiose performance, the writer/director/producer, himself, as the crafty King Minos. (I must say, Kennedy does an amazing job, giving his character the ideal air of magical, entitled petulance, worthy of any past, peplum nemesis.)
Story-wise, Kennedy's script covers ground well beyond the Theseus myth, giving his audience aspects of Silvio Amadio's "Minotaur, Wild Beast of Crete"; Ray Harryhausen/Charles H. Schneer's "Jason and the Argonauts" and "Clash of the Titans"; Steve Reeves and Reg Park's Hercules adventures; and all those gutsy (and for the sake of English-speaking audiences), renamed Maciste outings. Kennedy not only mimics the look and feel of those epic endeavors, but does so in such a way that his story falls flawlessly among them. In other words, "Theseus and the Minotaur" isn't just a wannabe; it's the real deal.
To further elaborate, there's an inherent warmth (both in spirit and pigment) in Kennedy’s creations, ideally suited for the sword-and-sandal genre. Sword-and-sandal films are generally ripe in their golden-orange and purplish-crimson hues, to the point where one can't help but fall under their spell. Whether their budgets are of the Italian shoe-string sort or a Kubrick "Spartacus" stature; that sense of warmth (along with the accompanying sweat, blood and fancy decor) prevails in all instances, as does their corresponding, ethical essays on right and wrong. In this regard, the best sword-and-sandal films have no time for pretentious shades of gray or silly, school-room sorcery when a strong arm, a hefty sword and blazing cinematography can do the trick. “Theseus and the Minotaur”
respects and incorporates these distinguishing elements with supreme care, and I believe that's why the film emerges as such an incontestable and successful labor of love. (BTW: From a photographic perspective, the enchanting, Siren sequence captures classic peplum in ways that no fantasy film has in years.)
What also heightens Kennedy’s throwback style is the film's use of stop-motion animation, rendered by Ryan Lengyel. Watching the Minotaur and his titanic costars move about with such tender-loving expression is
something that no CGI (and that means even the best of the big-budget best) could ever hope
to capture. If Hollywood weren't so marred by snobbery, Lengyel would receive an
Oscar for his efforts, and in the same vein, so would Kennedy for permitting this splendid technique into his film. No doubt, stop-motion masters Willis O'Brien, Ray Harryhausen; Peter Peterson; Jim Danforth; and Dave Allen are looking down upon "Theseus and the Minotaur" with immense pride and pleasure.
As I've said before (and I’ll undoubtedly say it again), Kennedy acknowledges
the hallmarks that make movies special (or at least used to), and that’s why his films succeed in delighting those of us who know and love cinema. I thank him from the bottom of my heart for making "Theseus and the Minotaur" part of his prolific legacy and allowing it now to be part of my heroic-fantasy library. I'm happily fated to watch the titular warriors duke it out on limitless occasions, and if that's not a sign that I've gained a new, all-time favorite, I don't know what is.
“Theseus and the Minotaur” can be purchased at
oldies.com: https://www.oldies.com/product-view/1112D.html?c=gbase&gclid=Cj0KCQiAmITRBRCSARIsAEOZmr41kU-0qET3J-xE8G41ENtBiEAG_gJh4PphZEk99gnFzheMA-wU5p8aAqDoEALw_wcB.
BTW: The DVD release also includes Lengyel's brilliant, stop-motion short, "The Night of the Beast (from Twenty Zillion Years Ago)". It brims of fun, excitement and creepy cheer: a perfect supplement for the main feature.
