Lukas Moodysson’s 2013 film, We Are the Best! (Swedish: Vi är bäst!), and Spring, Summer, Autumn, Winter… and Spring, released by Ki-Duk Kim in 2003, are prime examples of how films about the transition from childhood to adulthood are consistently successful. They form a useful duo in the critical assessment of this topic because, despite being from different cultural contexts, Sweden and South Korea, and their releases being separated by a decade, both productions achieved considerable success. Spring, Summer, Autumn, Winter… and Spring earned 9.5 million USD worldwide, while We Are the Best!  only grossed around 1.5 million USD (Box Office Mojo, 2004, 2014) it did receive considerable critical success, receiving 13 awards and 19 nominations (Moodysson et al., 2014),.

Lars Moodysson is described as “a grown man whose tether to teenage bedroom angst has not frayed” (Spitz, 2014, n.p.). Herein lies on of the primary reasons why audiences all over the world want to watch tales about the loss of youthful innocence and the journey into self-discovery—it is reminiscent of our own angst. Indeed, the “coming of age” narrative is very much steeped in nostalgia, as most people can find something to identify with in the typical tropes of such films—bullying, sexuality, identity, these are all treated in films that tackle the transition from childhood to adulthood, and these are universal themes. Nostalgia is an important part of the cinematic process, in that it affords filmmakers an opportunity to draw upon the intense feelings and emotional memories of their audience (Nelmes, 2012, p.267)—this is evidenced by the rise of the “nostalgia film” (Villarejo, 2013, p.149) in contemporary cinema.

This notion of representation is key, as another aspect of these films is that they do not simply play off nostalgia, but rather, seek ways in which they can construct characters in a fashion that subverts typical stereotypes. The female protagonists in We are the best! are seen acting as teenage rebels who choose to start their own punk band as an act of defiance to their boys at their youth centre—the film is a departure from the “gentleness and sympathy” (Bordwell and Thompson, 2013) usually associated with female characters who are coming of age.

Nostalgia is a powerful tool, and can be a major draw for audiences, but the success of this genre is not based on nostalgia alone, it is also successful because it gives viewers an opportunity to see the potential for the events of youth to forge personalities and relationships, and audiences tend to see something of their own formative years reflected in such narratives.

Spring, Summer, Autumn, Winter… and Spring was released internationally at a time when there was a growing interest in foreign cinema, particularly Asian cinema, which stemmed from the global success of Ang Lee’s Crouching Tiger, Hidden Dragon. The film, like We Are the Best!, portrays a transitional journey, not from childhood to adulthood, but from novice to master, again, a universal theme for audiences who themselves would have experienced such a journey, be it professionally or otherwise. These films also help reinforce our own awareness of cultural identity and that of other and distant cultures. Spring, Summer, Autumn, Winter… and Spring follows the spiritual development of a Buddhist monk, and in doing so, introduces foreign
audiences to Buddhist iconography.

Globalisation is a growing problem and film such as these help stem this homogenisation of cultures, although always successful as there will always be aspects of foreign cinema which remain unknown to foreign audiences (Etherington-Wright and Doughty, 2011) these cinematic ambassadors introduce global audiences to new customs, cultures, and symbolism.

Bibliography

Box Office Mojo (2004) Spring, Summer, Fall, Winter… and Spring [online]. Available from: http://www.boxofficemojo.com/movies/?id=springsummerfallwinterandspring.htm (Accessed 13 April 2017).

Box Office Mojo (2014) We Are the Best! [online]. Available from: http://www.boxofficemojo.com/movies/?page=intl&id=wearethebest.htm (Accessed 13 April 2017).

Blatterer, H. (2007) Coming of Age in Times of Uncertainty. London: Berghahn Books.

Bordwell, D. & Thompson, K. (2013) Film Art: An Introduction. New York: McGraw-Hill.

Cook, P. (2004) Screening the Past: Memory and Nostalgia in Cinema. New York: Routledge.

Etherington-Wright, C. & Doughty, R. (2011) Understanding Film Theory. New York: Palgrave Macmillan.

Hogan, P. C. (2009) Understanding Indian Movies: Culture, Cognition, and Cinematic Imagination. Austin: University of Texas Press.

Kearney, M. C. (2002) ‘Girlfriends and Girlpower’, in Frances K. Gateward & Murray Pomerance (eds.) Sugar, Spice, and Everything Nice: Cinemas of Girlhood. Detroit: Wayne State University Press. pp. 125–142.

Moodysson, L. et al. (2014) We Are the Best! [online]. Available from: http://www.imdb.com/title/tt2364975/awards?ref_=tt_awd.

Nelmes, J. (2012) Introduction to Film Studies. New York: Routledge.

Director: Stephen Daldry

The Graduate (1967) and Y Tu Mama Tambien (2001) are both movies that focus on the experience of sexual awakening within the journey to adulthood, although this is ostensibly all they have in common. An American movie, The Graduate was released during the 1960s, which was an era of significant political activism, shifts in sexual awareness and politics, and challenges to the established socio-cultural order within the United States (Bordwell & Thompson, 2004). This is undoubtedly reflected in Benjamin Braddock’s exploration of sex, women and relationships within the movie. However, the context in which Y Tu Mama Tambien was made and released was significantly different. Set in Mexico just after the turn of the 21st century, it emerged from a socio-political climate that brought unprecedented political change and a greater social inclusion in the region, that challenged the traditional macho stereotype of the Latin American male. Although the situation and location of Julio and Tenoch are entirely divorced from that of Benjamin, there are commonalities that may be identified within the characterisation, personal journey and narrative within the movies. This essay will explore all three of these elements, discussing the intersection of representations in order to test the thesis that location and era may impact upon the way in which sexual awakening is presented on film but the experience of young adults is fundamentally similar, thus demonstrating the universality of the human experience.

The characterisation of the male protagonists within both films is one source of commonality between them. They are all relatively inexperienced, naive and typical of those on the cusp of adulthood in that they are able to brag about their experiences but hesitate when presented with an opportunity to embark upon a sexual relationship with a woman. Furthermore, they are all willing to give up their personal power to a woman. Benjamin does so when Mrs Robinson seduces him because he originally tries to leave the house and ultimately gives into her pursuit of him. Julio and Tenoch do so when they pursue Luisa after she leaves them in the middle of a fight about their girlfriends. These similarities are indicative of masculinity in crisis (Nelmes, 2012) as all three of them pursue identities that emerge from sexual awakening but do so beyond the parameters established by their lives to that point. The narrative of the two movies is also markedly similar, encompassing the pursuit of an older woman by a teenage protagonist. Although Benjamin is aware of girls and Julio and Tenoch have girlfriends who, it later transpires, they have both had sex with, the progress of their relationships with Mrs Robinson and Luisa respectively are indicative of a gradual awakening of desire, bridging the gap between fantasy and reality (Nowell-Smith, 1997).

The personal journey that is often explored in conjunction with sexual awakening is of vital importance in both films as a direct result of their collective need to navigate the process of sexual awakening. The relationships that are established in both films are important here because they are vital in establishing exactly how they discover sexuality and begin to define it in line with their socio-cultural and pleasure-based identities (Villarejo, 2013). Although Cuaron shifts the relationship between Julio and Tenoch to explore sexual freedom when the two kiss passionately during sexual activity with Luisa, this is an extension of awakening and enlightenment via the relationship between the pair rather than a desire to expand upon their sexual orientation. Indeed, the 21st century does have more enlightened attitudes towards homosexuality than previous eras (Nelmes, 2012) but the fact they do not continue their friendship afterwards suggests that the action is indicative of cultural barriers and attitudes. Although this is not a feature of The Graduate, the idea of forbidden sexual relations being a key element of sexual awakening is. In the case of Benjamin Braddock, the forbidden sexual relationship is both that with the older and married Mrs Robinson and then, subsequently, her daughter, Elaine. Of course, this has moral implications as well as cultural ones but it is interesting to note that illicit trysts are a part of both cinematic texts despite the fact that they are very different as a result of the moral and cultural frameworks in place in each nation and in each time. These points also have a further point of interest in terms of the boys’ personal journey. In fact, it is necessary for each of the characters to embark upon such relationships in order to ultimately get to where they end up in the final scenes of both movies. Benjamin’s journey leads him to Elaine as she abandons her wedding for him whereas Julio and Tenoch ultimately catch up a year after their trip having gone their separate ways. Although the outcomes are different, the purpose of the journeys are the same.

In conclusion, this essay specifically sought to identify and examine comparable traits between the journey of sexual awakening in The Graduate and Y Tu Mama Tambien. Although the two are ostensibly very different, the analysis has explored several key thematic ideas and issues that link the two, stressing the universality of the experience. The main protagonists are similar in their desire to explore sexual relationships and discover how their sexuality redefines them, with the narrative exploring the metaphorical journey in response to the need to make sense of the transition to adulthood. Although the metaphorical journey is an actual road trip in Cuaron’s movie whereas it manifests in a jaunt to a hotel in The Graduate, this aesthetic difference should not detract from the fact that the protagonists must experience the journey in order to realise their sexual awakening, relinquishing their grip on their naivety and embrace an agency that comes with sexual independence. In short, this reinforces the thesis that location and era may impact upon the way in which sexual awakening is presented on film in a literal sense but the experience of young adults is fundamentally similar when cinematic products are examined in depth, thus demonstrating the universality of the human coming-of-age experience.

Bibliography

Bordwell, D. & Thompson, K., (2004). Film Art: An Introduction. New York: McGraw-Hill.

Ebert, R. (2002). Y Tu Mama Tambien Movie Review (2002) | Roger Ebert. [online] Rogerebert.com. Available at: http://www.rogerebert.com/reviews/y-tu-mama-tambien-2002 [Accessed 4 Apr. 2017].

Ipsnews.net. (2017). LATIN AMERICA: The Traditional Model of Masculinity or ‘Machismo’ | Inter Press Service. [online] Available at: http://www.ipsnews.net/2003/04/latin-america-the-traditional-model-of-masculinity-or-machismo/ [Accessed 4 Apr. 2017].

Nelmes, J., (2012). Gender and Film. In J. Nelmes ed. Introduction to Film Studies. 5th Ed. Abingdon: Routledge, pp. 262-297.

Nowell-Smith, G., (1997). The Oxford History of World Cinema. Oxford: Oxford University Press.

The Graduate, (1967). Dir. by M. Nichols. USA: United Artists.

The-artifice.com. (2014). Revisiting ‘Y Tu Mama Tambien’: A Political Perspective | The Artifice. [online] Available at: https://the-artifice.com/y-tu-mama-tambien-political-perspective/ [Accessed 4 Apr. 2017].

Villarejo, A., (2013). Film Studies: The Basics. Abingdon: Routledge.

Y Tu Mama Tambien, (2001). Dir. by A. Cuaron. Mexico: 20th Century Fox

YouTube. (2017). Y Tu Mama Tambien Trailer. [online] Available at: https://www.youtube.com/watch?v=3Qg6n7V3kO4 [Accessed 4 Apr. 2017].

YouTube. (2017). The Graduate (1967) Official Trailer. [online] Available at: https://www.youtube.com/watch?v=XxJDOkr_UhE [Accessed 4 Apr. 2017].

Heather Donahue in The Blair Witch Project (1999) and Louise in Thelma and Louise (1991), are not the “rampaging female” cliché (Inness, 1999) but they are perceived as strong and independent women.

Examining The Blair Witch Project’s Heather first, she is the strongest character within the movie at the start and appears to be very focused, determined and rather domineering, taking full control of the map, compass and excursion. This is evident in the opening scene, which she completely dictates. Her voice is heard from behind the camera so she is the one in full control of the film at that point, framing the men thus avoiding the point of view of male gaze. They are an extension of her vision instead of her becoming an extension of their vision, as per the traditional representations of women in Hollywood (Nelmes, 2012). She effectively becomes the dominant viewer and therefore dictates their identities whilst imposing hers on the film, thus demonstrating agency that had typically only been afforded to men. Although this does not cast her in the typically male role of the physical hero who essentially shoots all the bad guys, it does render her a tough woman because she asserts herself and bucks typical gender roles. Heather cannot be cast as the female equivalent of the tough guy stereotype but she does adopt a specifically female form of toughness. This is further evidenced by her monologue scene in which she turns the camera on herself. In this scene she accepts responsibility for the project, which is indicative of her mental strength. However, this scene also affirms gender stereotypes because she is perceived as vulnerable and is once again subject the male gaze, her fear rendering her helpless despite the earlier image she constructed. In effect, the tough woman does not appear to be a stable figure and therefore the reversion to type is problematic.

Thelma and Louise’s Louise, is perceived as a strong and independent woman in a way that is sharply different to the characterisation of Heather, although Louise does not initially appear to be an archetypal tough guy. She is self-sufficient, working to support herself and making decisions based on her own desires and needs. This reaffirms her status as an independent woman who is not dependent on a man. However, Louise does occupy the male-dominated role of the outlaw after she shoots and kills Harlan (Sartelle, 1997); and rescuer when she prevents Thelma from being raped. In this sense, she becomes a female version of the tough guy, acting only when forced to do so and becoming a reluctant hero who is physically able to take care of herself and those she loves. However, this is undermined when she later becomes dependent on Thelma when JD steals from them and leaves them penniless. Their relationship that is essentially grounded in the notion of dependency, reinforcing stereotypical female traits but in a context, thus presenting Louise as a tough woman with female rather than archetypal masculine qualities.

These points challenge the stereotypical female traits of Hollywood cinema. No longer are they physically unable to endure hardship because they are able to take measures in order to survive. However, that is not to say that the strong, independent woman is in the same vein as the male tough guy. The toughness exhibited by Louise and Heather is typically female, drawing upon paradigms of control and rationality over and above physical capabilities. There is a specifically female version of toughness that emerges from these films, which is one that does allow for some moments of weakness and insecurity in line with a realistic portrayal of problems that the modern woman faces.

Bibliography

Inness, S., (1999). Tough Girls: Women Warriors and Wonder Women in Popular Culture. Philadelphia: University of Pennsylvania Press.

Nelmes, J., (2012). Gender and Film. In J. Nelmes ed. Introduction to Film Studies. 5th Ed. Abingdon: Routledge, pp. 262-297.

Sartelle, J., (1997). Dreams and Nightmares in the Hollywood Blockbuster. In G. Nowell-Smith ed. The Oxford History of World Cinema. Oxford: Oxford University Press, pp. 516-526.

The Blair Witch Project, (1999). Dir. by D. Myrick & E. Sanchez. USA: Artisan Entertainment.

Thelma & Louise, (1991). Dir. by R. Scott. USA: Metro-Goldwyn-Mayer.

Villarejo, A., (2013). Film Studies: The Basics. Abingdon: Routledge.

“rite of passage”

noun

1. a ceremony performed to facilitate or mark a person’s change of status upon any of several highly important occasions, as at the onset of puberty or upon entry into marriage or into a clan.

2. any important act or event that serves to mark a passage from one stage of life to another.

Rites of passage are theme that run through many movies; however, they are very prevalent in film from a mythological nature, for example, The Legend of Hercules (Dir Renny Harlin, 2014) or one of my favourites Jason and the Argonauts (Dir. Don Chaffey 1963) and within films set at a time of conflict such as the The Deer Hunter (Dir. Michael Cimino 1978) and recently Hacksaw Ridge (Dir. Mel Gibson 2016).

Mythological films tend to feature a traditional masculine hero, are heavy patriarchal in nature and the female characters can often be little more setting dressing being portrayed as stereotypically feminine. While The Legend of Hercules is, in many ways a modern film, telling the story of Hercules as an origins story still falls firmly into the hyper-masculine, patriarchal world of the mythological film of the 50’s and 60’s.

Hercules is a demi-God, son of Zeus and mortal woman portrays the classic hyper-masculine behaviours of the traditional military hero. The other male characters also exhibit this hyper-masculine trait, particularly Amphitryon (Hercules stepfather) who in the is shown reacting violently went ever his masculinity is challenged. The female characters within The Legend of Hercules tend to exhibit stereotypically feminine, behaviours and are of course always portrayed as visually and sexually attractive.

The film is very linear in its progression, it is clearly obvious from the beginning of the film; how the film will end and this is not because the story of Hercules is so well known. It is a pure good versus evil tale, where the progression is the hero coming to terms with his lineage and destiny and if not literally follow in his father footstep, at least follow the path set out for him by Zeus and become the hero of his people and of course win the girl. The traditional happy ending

In contrast, if we look at the flawed masterpiece of 1970’s cinema, The Deer Hunter, we have seen on the surface the same hyper-masculine traits. Starting in the late 1960’s in follows friends from a tough working-class background, finishing their final shift in steel works and going on a final deer hunt before leaving to fight in the Vietnam War (as volunteers, not conscripts). However, this is where the hypermasculinity ends, for the film boldly lays out the emotional tragedy l that war brings not only those directly involved but there families and friends.

The film uses the metaphors of Deer-hunting and Russian roulette to illustrate the control we have over our lives and how we change within ourselves to keep this control. The main characters change greatly over the film, De Niro’s Michael is the quiet, controlled loner but at times unable to express himself traditionally masculine. Nick happy go lucky one of the group, happy with his girlfriend quietly in awe if Michael but will never admit it – traditionally masculine and Steven, who’s wedding take up the first act of the film, who is marrying his pregnant girlfriend before he goes to Vietnam even though he’s not the father. However, their experiences as prisoners at the hand of the Viet Cong change the all profoundly, Steven is mentally broken and physically damaged so that he finds it hard to return to his wife, Happy go lucky Nick is enveloped in PTSD changed beyond recognition and quiet Michael slowly lets out the quieter more compassionate side.

Taking Michael as an example as the film progresses he does not portray any of the hyper-masculinity usually associated with military characters, although clearly, he is a war hero, he shuns and cowers away from the hero’s welcome, watching quietly and only returning once he know everyone has gone, he is very immodest with the praise and adoration showered on his from his home town and perhaps most tellingly he back away from the advances of Meryl Streep’s Linda in the fact that is Linda that pursues him.

His rite of passage is that he really does not see himself as a hero and this compounded that he is the only real survivor from the 3 friends, Steven is both mentally and physically damaged having lost both his legs and Nick is missing, similar to the traditional mythological story Michael must follow a predetermined path fulfill and promise to never leave Nick behind, it it clearly emotion that is driving his not masculine bravado.

There is no happy ending to The Deer Hunter, Michael cries – a traditionally feminine trait in Hollywood, as he cradles the dying Nick in his arms futilely try to stop the bleeding from a Nicks gunshot, would to the head. Michael does indeed fulfill his promise not to leave Nick in Vietnam, but at what cost to his own mental state.

Summary: In Mexico, two teenage boys and an attractive older woman embark on a road trip and learn a thing or two about life, friendship, sex, and each other.

Review and Reflection:

Y Tu Mamá También (or And you Mother too!) is a very a well craft exploration of not only teenage sexuality and the socio – economic/political atmosphere on the turn of the millennium Latin America but of death.

Director Alfonso Cuaron takes on a journey with the protagonist with is both a literal and metaphorical road trip. On this journey, the director plays with the traditional fantasy of the younger man infatuated with, the older woman. Both the teenage protagonist like to show their experience, they have girlfriends and the film shows clearly they are intimate with them, but in their interactions with the older Luisa, it shows they are still vastly physically and emotionally inexperienced.

Luisa joins the boys, Julio & Tenoch, on their journey and it is through her light-hearted teasing about their sex lives that the two boys begin to explore their sexuality until there are no secrets left between them. However, Luisa also wants to teach the boys that sex something to be treasured between partners; not how the boys see it, the pursuit of their gratification. The director, through the actions of Luisa shifts the relationship between Tenoch and Julio, to explore sexual freedom and although they do kiss during a drunken night with Luisa this is more an extension of their awakening than a desire to shift their sexual orientation, however, the fact that this is the beginning of the end of their friendship does highlight the cultural barriers towards male homosexuality in Latin America.

The film is also is a reflection upon death which is not immediately apparent throughout the movie, it is unexpected that Luisa readily agrees to join the boys on their road trip – even considering that her husband has been cheating. It only when you heat or Luisa death shortly after the road trip from cancer that thing drop into place, that she has as well as having a final few weeks of fun she has set out to educate the boys about how they should treat women and leaves a great epilogue to the film.

As most of us know from our childhood or film and TV Hercules (or Heracles) is a mythical Greek hero who is the illegitimate son of Zeus and Alcmene. The mortal son of a God, estranged from his father whose feats of strength, courage and his sexual conquests have been a fascination to both men and women for thousands of years.

Most famous for his 12 labours:

1. Slay the Nemean Lion.
2. Slay the nine-headed Lernaean Hydra.
3. Capture the Golden Hind of Artemis.
4. Capture the Erymanthian Boar.
5. Clean the Augeanstables in a single day.
6. Slay the Stymphalian Birds.
7. Capture the Cretan Bull.
8. Steal the Mares of Diomedes.
9. Obtain the girdle of Hippolyta, Queen of the Amazons.
10. Obtain the cattle of the monster Geryon.
11. Steal the apples of the Hesperides(he had the help of Atlas to pick them after Hercules had slain Ladon).
12. Capture and bring back Cerberus

He was an Argonaut on Jason’s quest for the golden fleece (one of my all-time favourite films by the way) and many other adventures. Hercules story is a classic tale of the rites of passage that has fascinated film and television leading to many retellings and I have found this brief research fasimating as to how many times this story has been retold.

Below I have compiled a list from brief research using mainly Wikipedia (accepted not always the most reliable but adequate for this quick and dirty summary).

Italian Sword and Scandal movies – films are listed below by their American release titles, and the titles in parentheses are the original Italian titles with English translation.

• Hercules(Le fatiche di Ercole / The Labors of Hercules, 1957) starring Steve Reeves
• Hercules Unchained(Ercole e la regina di Lidia / Hercules and the Queen of Lydia, 1959) starring Steve Reeves
• Goliath and the Dragon(La vendetta di Ercole / The Revenge of Hercules, 1960) starring Mark Forest (this Hercules film had its title changed to Goliath when it was distributed in the U.S.)
• Hercules Vs The Hydra(Gli amori di Ercole / The Loves of Hercules, 1960) co-starring Mickey Hargitay & Jayne Mansfield
• Hercules and the Captive Women(Ercole alla conquista di Atlantide / Hercules at the Conquest of Atlantis, 1961) starring Reg Park (alternate U.S. title: Hercules and the Haunted Women)
• Hercules in the Haunted World(Ercole al centro della terra / Hercules at the Center of the Earth) 1961 (directed by Mario Bava) starring Reg Park
• Hercules in the Valley of Woe(Maciste contro Ercole nella valle dei guai / Maciste vs Hercules in the Vale of Woe) starring Frank Gordon as Hercules, 1961
• Ulysses Against the Son of Hercules(Ulisse contro Ercole / Ulysses vs Hercules) starring Mike Lane, 1962
• The Fury of Hercules(La furia di Ercole / The Fury of Hercules) starring Brad Harris, 1962 (alternate U.S. title: The Fury of Samson)
• Hercules, Samson and Ulysses(Ercole sfida Sansone / Hercules Challenges Samson) starring Kirk Morris, 1963
• Hercules vs Moloch(Ercole contro Molock / Hercules vs Molock) starring Gordon Scott, 1963 (a.k.a. The Conquest of Mycenae)
• Son of Hercules in the Land of Darkness(Ercole l’invincibile / Hercules the Invincible) starring Dan Vadis, 1964. (This was originally a Hercules film retitled “Son of Hercules” for inclusion in the U.S. syndicated television package The Sons of Hercules).
• Hercules vs The Giant Warriors(il trionfo di Ercole / The Triumph of Hercules) starring Dan Vadis, 1964 (alternate U.S. title: Hercules and the Ten Avengers)
• Hercules Against Rome(Ercole contro Roma / Hercules vs Rome) starring Alan Steel, 1964
• Hercules Against the Sons of the Sun(Ercole contro i figli del sole / Hercules vs the Sons of the Sun) starring Mark Forest, 1964
• Samson and His Mighty Challenge(Ercole, Sansone, Maciste e Ursus: gli invincibili / Hercules, Samson, Maciste and Ursus: The Invincibles) starring Alan Steel as Hercules, 1964 (a.k.a. Combate dei Gigantes or Le Grand Defi)
• Hercules and the Tyrants of Babylon(Ercole contro i tiranni di Babilonia / Hercules vs the Tyrants of Babylon) starring Rock Stevens, 1964
• Hercules and the Princess of Troy(No Italian title) starring Gordon Scott, 1965 (a.k.a. Hercules vs the Sea Monster) — This U.S./ Italian co-production was made as a pilot for a Charles Band-produced TV series that never materialized & it was later distributed as a feature film.
• Hercules the Avenger(Sfida dei giganti / Challenge of the Giants) starring Reg Park, 1965 (This film was composed mostly of re-edited footage from the two 1961 Reg Park Hercules films.

Also, the following Italian films were released with Hercules names attached although there was no intention them being Hercules film buy the Italian filmmakers.

• Hercules Against the Moon Men, Hercules Against the Barbarians, Hercules Against the Mongolsand Hercules of the Desert were all originally Maciste films in Italy. (See “Maciste” section below)
• Hercules and the Black Pirateand Hercules and the Treasure of the Incas were both originally Samson movies in Italy. (See “Samson” section below)
• Hercules, Prisoner of Evilwas originally an Ursus film in Italy. (See “Ursus” section below)
• Hercules and the Masked Riderwas actually originally a Goliath movie in Italy. (See “Goliath” section below)

Other non-Italian and Hollywood films featuring Hercules:

• The Warrior’s Husband(1933), directed by Walter Lang, in which Hercules, played by Tiny Sandford, is a clumsy, cowardly, comic character.
• The Three Stooges Meet Hercules(1962), American comedy with the Three Stooges and Samson Burke playing Hercules.
• Jason and the Argonauts(1963), with Hercules as a member of crew of the Argo, searching for the golden fleece but leaving before they get there.
• Hercules in New York(1970), with Arnold Schwarzenegger.
• Hercules(1983) and its sequel The Adventures of Hercules (1985) with Lou Ferrigno as the title character.
• Hercules(1997), American animated feature, produced by Walt Disney Feature Animation.
• The Amazing Feats of Young Hercules(1997), in which Hercules must complete four feats of heroism with his weasel companion Falina.
• Jason and the Argonauts(2000), in which Hercules (Brian Thompson) travels all the way to Colchis with the Argonauts.
• Little Hercules(2009), Little Hercules travels from Mt. Olympus to live life as a mortal in Los Angeles played by Richard Sandrak.
• Immortals(2011), in which Heracles is played as one of the Olympian gods by Steve Byers.
• The Legend of Hercules(2014), directed by Renny Harlin and played by Kellan Lutz.
• Hercules(2014), directed by Brett Ratner and played by Dwayne Johnson. Based on the comic series by Steve Moore.
• Hercules Reborn(2014), directed by Nick Lyon and played by John Morrison.
• Hercules(2014), a Bengali film where the timid lead is called Hercules in jest

Television too has featured Hercules, perhaps most famously Hercules: The Legendary Journeys and its spin off Xena: Warrior Princess, although a comprehensive list is below:

• The Mighty Hercules, an animated series produced in 1963 byAdventure Cartoon Productions in connection with Trans-Lux Television.
• The Sons of Hercules, a 1970s television series
• Hercules(1995), based upon Hercules’s fulfillment of the twelve labours.
• Hercules: The Legendary Journeys, a TV series and several made-for-television movies in 1995–1999 starringKevin Sorbo.
• Hercules: The Animated Series, a TV series based upon the 1997Disney
• Young Hercules, a spin-off ofHercules: The Legendary Journeys which aired on Fox Kids from September 12, 1998 to May 12, 1999, starring Ryan Gosling.
• Hercules(TV miniseries), a 2005 television mini-series done by Hallmark Entertainment.
• Hercules is the mentor and ancestor of Herry Hercules fromClass of the Titans.
• Hercules appears in theBBC One series Atlantis where he is portrayed by Mark Addy.
• Hercules appears in theABC fantasy drama Once Upon a Time, portrayed by Jonathan Whitesell.