The only two names us film fans from the English speaking world will recognize is that of Tab Hunter and Rosanna Podesta in The Golden Arrow. This is another of a gazillion epics made in Italy in the late 50s and 60s to take advantage of those Ben-Hur, Quo Vadis, and Cleopatra sets that American companies built for those productions and left for the Italian cinema.

As for Hunter he was one of several B list actors who left for Europe to appear in these and in spaghetti westerns just coming into being at the time. After this one he never did another for which he was grateful no doubt,

It's the usual Arabian Nights type fare with Hunter as a bandit who's really a prince lest how else could he compete for the hand of princess Rosanna Podesta and defeat the evil vizier who's peddling her hand in marriage to an even eviler prince.

But before Hunter can do that he's got to go through a lot of adventures and collect his arsenal which consists of a magic carpet and magic Golden Arrow which always hits what it's aimed at. Like the Lone Ranger, Tab only shoots to wound or disabled. He's got a posse of three wizards who could have been played by the 3 Stooges. Now that might have been interesting.

For reasons only God could imagine they dubbed Hunter's voice with an actor who sounded an awful lot like Stephen Boyd. He might have made more sense than blond All American Tab Hunter in the part.

American actor Tab Hunter is cast as an Arabian prince in Italian director Antonio Margheriti's fourth film "The Golden Arrow," a lavish, sword and sorcery, fantasy yarn about a dashing young gent who sets out to reclaim his rightful position in society after he learns that he is descended from royal blood. Sporting an anachronistic hair-style, Hunter knows nothing about his genuine biological father-the Sultan of Damascus--and remembers only the bandits that raised him from infancy. Scenarists Giorgio Arlorio of "The Mercenary," Augusto Frassinetti & Bruno Vailati of "The Thief of Bagdad," Giorgio Prosperi of "Indiscretion of an American Wife," and Filippo Sanjust of "The Seventh Sword," have cobbled together bits and pieces from other classic tales, such as the Arthurian legend about pulling Excalibur out of a rock, to forge their outrageous, entertaining, but formulaic epic. Hassan (Tab Hunter of "Damned Yankees") plays a man not only seeking to avenge his slain father but also marry an attractive princess and ascend to the throne of Damascus. The slim but muscular Hunter looks fit as a bandit chieftain, and he gets to perform his share of acrobatics in this far-fetch fable. Nevertheless, Hunter's fans may be disappointed to learn that the former teen heartthrob has been dubbed by another actor. Chiefly, the baritone voice of the other actor sounds more appropriate for an individual of his background. Although it is unmistakable everybody has been dubbed, the dubbing matches the lips better than most European adventures in the early 196os.

Hassan and his outcasts manage to enter the palace in Damascus where the festivities are scheduled to occur. A fair-sized crowd has assembled to see who can launch a golden arrow. The golden arrow is indeed unusual. The future ruler of Damascus and future husband to the princess must be physically able to shoot the magic arrow. Furthermore, the arrow acts like a boomerang because it returns to the archer after it has found its mark. Three noble leaders struggle to let the arrow fly. Sadly, they fail in their efforts. Only one man can send the golden arrow streaking aloft. Hassan masquerades as a nobleman from the Islands of Flame, and he exhibits his uncanny power when he propels the arrow successfully into flight. Hassan exploits this ceremony as an opportunity to kidnap Jamila (Rossana Podestà of "Helen of Troy") and hold her for ransom. Ironically, he becomes so enamored of the princess that he double-crosses his cronies and releases her. The three suitors, the Prince of Bassora (Renato Baldini of "Snow Devils") and two others set out to find Jamila something that no other man can give her. She decides to make one of them her future husband when he brings back that something special. Ultimately, these three men fail, and the worst loser of the three is Bassora. Bassora leads his army against Damascus so he can claim Jamila as his bride. Predictably, Jamila has prayed to Allah, and the god dispatches three genies to help Hassan find the golden arrow and save Damascus from Bassora.

The widescreen cinematography of "Valdez is Coming" lenser Gábor Pogány is gorgeous. Every composition could easily accommodate a picture postcard. Mario Serandrei's editing is just as good. He doesn't allow shots to linger to the point of boredom. The production designs and set decoration are equally noteworthy. Everything about "The Golden Arrow" except its charming visual effects and formulaic looks striking. Margheriti directs at a whirlwind pace and his scribes spring a surprise often enough to keep this hokum entertaining, though I suspect that the depiction of the cultures is appropriate. Lastly, composer Mario Nascimbene provides an orchestral soundtrack that underscores each twist and the theme for the genies is memorable. Some parts of the film were shot on location at Mortuary Temple of Hatshepsut, Deir el Bahari, in Egypt. The sprawling, large-scale confrontation between Hassan and his genies on flying carpets bombing the army of the Prince of Bassora is something you don't often see in movies. If you want clean, wholesome, juvenile entertainment, nothing about "The Golden Arrow" should offend you.

The Golden Arrow is an above average Italian adventure fantasy with much to recommend it. Start with lead Tab Hunter, whose portrayal of Hassan the Thief is either the least realistic film portrayal of an Arab character in film history or a refreshing refusal to pander to ethnic stereotype--take your pick. Even though he's dubbed here, he's physically perfect for the role. The Golden Arrow is the tool Hassan must master in order to assume his rightful place on the throne of Damascus, but there's plenty of action, adventure, and magic before a satisfying and amusing denouement featuring flying carpets that, erm, carpet bomb the bad guys. This is not your average, cheapjack sword and sandal 'epic'--though the special effects are showing their age, the lush location work, superb widescreen cinematography, and impressive set design make this one a winner from a technical perspective. And though I can't prove it, some of the location footage seems to take place amidst the same columnar ruins as featured (I think) in 1978's Hercule Poirot mystery Death On the Nile. Or was it Ten Little Indians? Either way, this is a very good fantasy film from underrated auteur Antonio Margheriti.