The Slave

Title: The Slave (The Son of Spartacus) (1962) 
Director: Sergio Corbucci 
Writer: Adriano Bolzoni // Giovanni Grimaldi // Bruno Corbucci
Studio: MGM

IMDb Plot: During the power struggle between Caesar and Crassus, a Roman centurion, who is the lost son of Spartacus, rises to repeat the feat of his father, twenty years later.

Joe Says: Fun and slightly silly, Sergio Corbucci’s sword-and-sandals pseudo-sequel The Slave is a highly-enjoyable matinee-flavored classic that cleverly wraps around a timeless morality play.

Fun, epic, and surprisingly moral, Sergio Corbucci’s sword-and-sandals pseudo-sequel The Slave delivers a highly-enjoyable matinee-flavored classic. Of course, with star bodybuilder Steve Reeves at the helm, anything can be successfully delivered off his broad shoulders.

The Slave (aka The Son of Spartacus) fictitiously continues the story of gladiatorial slave Spartacus (originally played by Kirk Douglas in the 1960 Stanely Kubrick movie) by focusing on his son, Roman centurion Randus (Steve Reeves). Randus is unaware of his lineage until an unfortunate shipwreck forces him into captivity by mercenary troops. Yet, Randus wears an amulet given to him by his late mother – an amulet another captive recognizes as once belonging to Spartacus. Randus engineers an escape, and upon returning to the Egyptian stronghold of the Roman Senator Crassus, soon devises a revolt for all slaves.

The Slave has plenty of silly action as it obviously was targeting a younger audience, but Reeves sells the role. His smile is electric; his positivity contagious; and his biceps are awe-inspiring. Truly, this is the epitome of a Silver Screen-era leading man.

Likewise, the story is both simple and refreshingly deep. Co-written by Bruno Corbucci (Django) and Adriano Bolzoni (A Fistful of Dollars) the action distinctly follows the plot of The Mark of Zorro (1940). Here, in similar moves as portrayed by Tyrone Power as Zorro, Randus, a strong and capable man, learns of hidden past, finds a special sword, crafts a mask to hide his face, and rather quickly, rides to take on injustice. Such acts of super-heroism are directed at the wealthy and powerful Crassus, who seeks to wrest power away from Caesar. During one prolonged action sequence where a masked Randus fights back Crassus’s legions, a distinct letter “S” (for Spartacus!) is emblazoned on a wall!

However, the intrigue runs deeper. Initially, Randus is content with rescuing the attractive slave girl Saide (Ombretta Colli) and stopping Crassus’ (Claudio Gora) mercenary army. Yet soon the question is posed to him: should not all slaves be free? And the wheels in Randus’ melon start a’spinning. Randus, after all, is a high-ranking and highly-regarded centurion. One that even Julius Caesar (Ivo Garrani) trusts. And during the setting of this story – circa 48 BCE – slavery was simply a way of life; a life Randus would have been extremely comfortable in. Having Randus to even consider this change of life would have been radical. To actually pull it off? And fight for freedom? That is a monumental for a tiny Italian import.

Corbucci makes it all happen, too. He highlights the daring antics of the Muscles from Montana and flexes in passionate speeches about freedom and rights. Horses give chase, armies clash, bad guys are heaved through the air. Corbucci uses the constant sun and ever-present sand from the beautiful on-location shoot to his advantage giving the principal cast and the hundreds of extras a deodorant-needed air of authenticity. And the action is all in good fun, too. Like Zorro before him and B.A. Baracus afterwards, Randus fights with a twinkle in his eye; a smile on his face. He probably pities the fools, too.

The Slave might not have reached the peak attained in Spartacus, but is suitable enough for a Saturday afternoon sit down. The Slave succeeds with cornball inspiration and super-heroic glee all with a cleverly built-in morality play.