Ten years into his film career, Santo had already faced off against zombies, witches, mummies, mad scientists, vampires of both the male and female variety, hatchet-wielding ghosts, homicidal table lamps, and Martians. So it was only a matter of time before the denizens of Atlantis got to the front of the queue. When that time came, Santo would also find himself mixing it up onscreen for the first time with one of his greatest adversaries from — and I use the term advisedly — the “real world” of lucha libre. And just who would that adversary be? Well, I could try to be coy about it, but the journalistic specificity of Santo vs. Blue Demon in Atlantis‘ title would render the effort redundant.
You can throw rubber fish at us all you want, but that’s not going to stop Doug McClure from punching a giant Octopus in the face, and it’s not going to stop me from a guest appearance on the Hammicus podcast to discuss Warlords of Atlantis.
Ahh, Ruggero Deodato. Is there anything he can’t make weird? Although best known for cannibal atrocity films like Cannibal Holocaust, Deodato was no different than any other workhorse of the Italian exploitation industry, in that he worked in pretty much every genre that required exploiting. He made cop films, kiddie films, sword and sorcery films, horror films, sexploitation, and in the case of Raiders of Atlantis, a film that manages to steal from both Road Warrior and Raiders of the Lost Ark, and maybe a bit of Seatopia from Godzilla vs. Megalon, in a way that keeps the end result unique despite the lack of originality in its individual parts. Deodato certainly keeps his genre films offbeat, if nothing else.