As a younger whipper snapper my early view of epics were that they were historical stories based on Greek or Roman tales and myths. I cannot tally up how many subtitled Italian “sword and sandal” epics I watched at the local cinema. Romulus and Remus, Helen of Troy, The Wooden Horse of Troy and many others. They were exciting, colourful, wide screen and action-laced. I can’t say, looking back, that any of them had any great merit but for a young lad of 12 years old they stirred the imagination.

But there were two that stood out during this period as worthy contenders for the best epic ever made. The first is Spartacus and I have mentioned this elsewhere in this blog. I can’t remember whether I blagged my way into the cinema as it was an adult certificate or whether my dad took me but anyway…It had all the trappings of a great epic film – wonderful story of one man against Rome, exquisite photography (you would expect that of Stanley Kubrick though), fine leading actor performance by Kirk Douglas (who also produced the film) and tremendous supporting cast filling in the gaps between the battle scenes. Ah, the battle scenes… Whenever I watch the final battle scene with the Roman legions marching I just marvel at it. It looks like a well-oiled machine but you can see every penny up there on the screen. A definite cast of thousands.

The second and perhaps underrated epic film is El Cid. An unusual subject for an epic at the time of its making produced by the maverick Samuel Bronston and directed by Anthony Mann. A Spanish nobleman unites warring kingdoms in medieval Spain to fight the invading Moors from Africa. The story was not well known but still remarkable for that. A complex story involving political intrigue and family jealousy and betrayal interwoven with grand scale conflict. Many reviewers over the years have said that it is the greatest epic film of all time as long as it keeps its mouth shut. Granted some of the dialogue is clunky and jars occasionally. But there is so much more to marvel at. I watched it on television again for the first time in many years the other day and I must say I was still wowed by it overall. The production design was breathtaking, sumptuous colours, designs and fabrics popping out of the screen. Incredible locations and interiors. I used to think that some of the acting was over the top but I now realise that the actors were fighting to be noticed in the midst of such a visual back drop. Nevertheless, with a strong lead performance from the recently-deceased Charlton Heston and excellent supporting cast it was bound to be a winner. The cream on top of the cake was the action. Robust, bloody and spectacular. The scale and grandeur were there to see. The sight of thousands of Moors marching along the sandy crescent towards Valencia was frightening and blood curdling to a young boy immersed in the story. And the ending is unforgettable with The Cid (already dead but strapped to his horse) leading out his men to meet the Moors in battle and riding away along the sand into the distance after the battle is won. If there is a more iconic scene in a film let me know.

I did watch Ben Hur around the same time but it did not have quite the same impact on me as these two films.

As I grew older two more epic films had an impact on me. They were both directed by the same man, Sergei Bondarchuk. The first was his Russian version of War and Peace by Lev Tolstoy. Now I should say at the start this is not my favourite by any means – it is long (I saw it originally it in two three and a half hour segments) and fairly boring in places unless you are fan of the book. But it sprung into life in the battle scenes. His depiction of the battle of Borodino was amazing and the final shot as the camera tracked back and upwards from just a couple of bodies to show literally thousands of bodies on the battlefield was just heart stopping. A similar device was used in Kurosawa’s Kagemusha as the extent of the carnage is shown and the rivers running red with blood. His photography of the cavalrymen riding into battle with their lances created a fantastic tension and during parts of the battle he freeze framed scenes to make them look like portraits that could be hung in an art gallery.

In the second film, Bondarchuk concentrated on his strengths and produced the rousing Waterloo. More battle action and memorable scenes playing out the events that lead to a very detailed and rousing climax. Again the cavalry scenes were brilliantly realised and the choreographed splendour of the infantry made for action on an epic scale. Aerial shots of the battle field show how difficult it must have been to coordinate the action and make it believable. Again, the film doesn’t get into my top three because there are moments in the film where the momentum of the story is lost but for dramatic and full on epic action in the battle scenes it is hard to beat it.

So little time, so many epics…….