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100 Horsemen Movie Download In Hd
In medieval times, Spain is occupied by the conquering Moors of North Africa. Within this context, a peaceful Christian village's existence is shaken by the arrival of a Moorish army unit led by Sheik Abengalbon and his son Halaf. The unit occupies the local fortress. It sends out smaller groups of soldiers to collect taxes, grain and other tribute from the conquered Spanish villages and towns. Despite the servility shown by the Alcalde (mayor) of the village of this story, the locals and the peasants grumble and aren't so welcoming towards the invading Moors. Nevertheless, the Moors collect the grain of several villages and leave. On their way to the nearby Moorish-occupied fortress, the unit is ambushed by local brigands who kill the guards and steal the grain and other war booty from the dead Moors. Outraged by the news, Sheik Abengalbon and his son Halaf lead a punishing expedition. They take Spanish hostages and they later execute them in Arab fashion by using the 'water well torture'. The locals react by starting to organize a secret Spanish army in order to evict the Moors from Spanish soil. The volunteer Spanish force is comprised of local peasants, tradesmen, some nobles and even women and children. Children contribute to the effort by stealing weapons from the Moorish fortress and by smuggling necessities to the secret camp. Spanish priests bless the army and teach the soldiers war strategy from Julius Caesar's old books. The rebels are led by Spanish nobleman Don Gonzalo Herrera y Menéndez and his son Fernando. Also aiding the rebels is beautiful Sancha Ordonez whose father, the village mayor, was executed by the vengeful Moors. Unfortunately, the Moors have many spies among the locals, some of them Spanish men who offer their services to the Moors for payment. Aware of the existence of a rebel Spanish army being formed and trained at a secret camp, the Moorish commander decides to rally his troops and attack first. The outcome of the battle could decide whether the Spanish inhabitants will become free again or remain under the harsh Moorish rule.
This minor epic displays action , adventures , humor , luxurious scenarios and results to be quite amusing . ¨Hundred Horsemen¨ deals with a peaceful Christian village is altered in arrival a group of Arabs led by Sheik Abengalbon (Wolfgang Preiss) and his son Halaf (Manuel Gallardo) . The Mayor gives them a great attention and welcome but countrymen carry out a revolt . Fernando (Mark Damon) , the son of Don Gonzalo Herrera y Menéndez (Arnaldo Foa) , rallies peasants and townspeople to overthrow Moorish occupiers in medieval Spain . His enemies only had to fight the legend and he had to live up to it. When 12 Moorish are killed , the Arabs seek vengeance and execute 24 Christians by hanging , including the Mayor . The Mayor's (Antonella Lualdi) daughter , Fernando and his father escape to mountains where create a popular army against Arabs . Meanwhile , some kiddies rob weapons to Moors and various monks led by Frate Carmelo (Gastone Moschin) help the rebels . In fact Carmelo uses the book ¨commentaries of Julius Caesar¨ to proceed the war strategy against Moorish .
Cento Cavalieri (original title) or I Cento Cavalieri packs historical events about invasion Moors over Spain , gorgeous landscapes , glimmer scenarios, and battles well staged with hundreds of people . 100 Horsemen is a fun film plenty of action , humor , tongue in check , fights , entertainment and amusement . The movie has not characterization accuracy neither expectation historic . This is a chronicle about Spanish Medieval time similar to ¨The Cid¨ by Anthony Mann but with lack luster and budget . Being a Spain/Italy production there appears several secondary actors , many of them Peplum and Spaghetti's usual such as Aldo Sambrell , Fernando Bilbao , Jose Canalejas , Rafael Vaquero , Mariano Vidal Molina , Rafael Albaicin , Rafael Hernandez , Alfonso De La Vega and Mirko Ellis , among others . The film was shot in authentic fortresses and strongholds as the castle of Mota , Medina Del Campo . Atmospheric as well as evocative musical score by Antonio Perez Olea . Colorful cinematography by Francisco Marin , being filmed on location in Medina Del Campo , Valladolid , Pedraza, Segovia, Castilla y León , and La Pedriza , Madrid ; interiors shot in CEA studios , Ciudad Lineal , Madrid , Spain . The flick will appeal to minor epic films buffs. Rating : Better than average and entertaining .
This motion picture titled ¨LOs 100 Caballeros¨ is an enjoyable historical flick , being professionally directed by Vittorio Cottafavi (1914-1998) ; he was a complete artist , painter and Peplum expert , as he directed : ¨Conquest of Atlántida¨, ¨Legions of Cleopatra¨,¨Mesallina¨ and ¨rebellion of gladiators¨. He began his professional career in the film industry as a clapper boy. After progressing to write motion picture screenplays and working as assistant director under Alessandro Blasetti and Vittorio De Sica, he became a director in his own right in 1943. Many of his films have been lavishly-produced, sometimes tongue-in-cheek, "sword-and sandal" or ¨Muscleman¨ epics, dealing with mythological subjects involving the Roman Empire or Ancient Egypt . From the mid-60's, Cottafavi concentrated exclusively on directing TV series and mini-series, under contract to RAI , many of them dealing with historic events or known personages such as Oliver Cromwell , Don Giovanni , Napoleone a Sant'Elena , Vita Di Dante and Cristóbal Colon . I first heard of this film when I chanced upon a five-star review of it on an Italian TV listings magazine so I was very grateful to the organizers of the "Italian Kings of the Bs" retrospective at the 61st Venice Film Festival in September 2004 for including it; as it happened, despite tough competition from a couple of its contemporaries, when I finally watched the film on the big screen (with leading man Mark Damon in attendance), I loved it so much that I had no trouble naming it the best film (out of a total of 37) I had seen during that unforgettable fortnight.
Frustratingly, I subsequently found very little reading material on director Cottafavi and the film itself (which is unanimously considered his masterpiece) even in this day and age of the Internet and, in fact, the most substantial piece was an essay written by the late Tom Milne on Cottafavi and two of his contemporaries, Riccardo Freda and Mario Bava, and included in the New York Film Festival's co-founder Richard Roud's indispensable two-volume book, "Cinema: A Critical Dictionary - The Major Film-Makers", which I purchased during my first trip to London in 1999; an even shorter piece is to be found in David Thomson's controversial tome, "A Biographical Dictionary Of The Cinema", in which he references a Cahiers Du Cinema critic naming Cottafavi one of the world's four greatest directors along with Fritz Lang, Joseph Losey and Otto Preminger!! Luckily, the afore-mentioned 2004 screening of THE HUNDRED HORSEMEN, ensured that the film be released on R2 DVD in Italy later on and, despite the lack of supplements and online reviews, I eagerly awaited the disc to get discounted so that I would finally add it to my collection. Thankfully, the video quality is great (even if the sound is overly discreet) and the film itself is every bit the masterpiece I remembered it to be.
After this lengthy introduction, I'll get to the film proper even if, frankly, its most notable aspects have so much to do with aesthetics and narrative form that writing about them is a rather thankless exercise - which perhaps explains the lack of critical writing I mentioned earlier - but I will try my best anyway: the still remarkably pertinent plot deals with the 11th Century Moorish invasion (led by a deliciously villainous Wolfgang Preiss) of a Spanish community during a supposed period of truce and the former's subsequent retaliation under the joint leadership of an ex-warrior turned monk (Gastone Moschin) and an amiably loutish landowner (Arnoldo Foa'). The requisite youthful hero here is Foa''s son and, as already mentioned, is played by Mark Damon (who considers the film his favorite among the many he shot in Italy); besides, he shares the romantic interest with the lovely Antonella Lualdi (whose father, the head of the Spanish community, is hanged by the Moors in retaliation along with most of the menfolk in the village).
The amusing trailer (the sole extra on the Italian DVD) has Foa' describing the film to its prospective audience as an "epicaresque" i.e. a picareqsque epic; as it happened, despite the film turning out to be stylistically ahead of its time - and, in hindsight, the zenith of that most disreputable of genres, the peplum - it was a commercial flop on release ensuring that Cottafavi spend the remainder of his career as a distinguished TV director, helming such adaptations as Graham Greene's THIS GUN FOR HIRE (1970; which was shown on Italian TV last month).
Anyway, to get back to the film itself and its picaresque elements: there is the dwarfish painter seen at the beginning who addresses the audience and acts as a narrator; there is Lualdi's comical intended who turns cowardly, bumbling collaborationist but is subsequently reinstated into the Spanish community and made their head - the word "Fine" (Italian for "The End") are written on his fingers as he cheekily waves at the audience in the very last shot of the film; there is a convoluted philosophical speech given (in a broadly theatrical fashion) by a long-fingered Spanish nobleman who dreams of conducting future wars between one super-soldier on each side but when he shows us his 'candidate', he is ridiculously decked out in a cumbersome, clunky armor which makes all movement impossible and, in fact, falls flat on his back when he tries to do so; and, best of all, Foa's Quixotic soldier who tries to recapture his former dignity by leading the rebels but is quickly cut down to his real size by a dwarfish bandit leader who joins their ranks in a hilarious confrontation.
THE HUNDRED HORSEMEN, like so many international epics of its time (this being an Italo-Spanish-German co-production), had an alternate title, SON OF EL CID and, even if the similarities with the celebrated Anthony Mann/Charlton Heston epic are merely of a historical and geographical nature (apart from the duel by sword between Damon and Preiss' son), I decided to reacquaint myself with that film after a long hiatus. Having said that, Cottafavi's film can stand on its own two feet thanks to the dazzlingly fluid direction which, despite the relatively low budget, gives the film a visually arresting look, particularly when pitting the red-cloaked rebels against the blue-clad Moors with the enslaved white-robed monks in the middle. Furthermore, composer Antonio Perez Olea provides a low-key but equally effective music score which goes against the grain of the grandiose ones typical of the genre. After a very funny first half, Cottafavi reserves his most outstanding trick for the climactic battle as he gradually drains all the color from the image and shooting most of it in black-and-white (anticipating Quentin Tarantino's KILL BILL VOL. 1 by 40 years!) thus rendering his depiction of the bleakness and tragedy of war all the more powerful.
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