- LULU / PANDORA'S BOX
- DAPHNIS AND CHLOE
- FEDRA
- THE FUGITIVE KIND
- THE TESTAMENT OF ORPHEUS
- PHAEDRA
- HERCULES CONQUERS ATLANTIS
- YOUNG APHRODITES
- CONTEMPT
- PROMETHEUS FROM THE VISEVICE ISLAND
- SANDRA OF A THOUSAND DELIGHTS
- THE GOLDEN THING
- THE TRAVELLING PLAYERS
- EURIDICE BA 2037
- IPHIGENIA
- A DREAM OF PASSION
- CLASH OF THE TITANS
- THE YEARS OF THE BIG HEAT
- ENIOCHUS - THE CHARIOTEER
- ANTIGONE
- EDIPO ALCADE
- THAT'S LIFE
- BLADE RUNNER
- VERTIGO
- MOURNING BECOMES ELECTRA
- ORPHEUS
- PANDORA AND THE FLYING DUTCHMAN
- ULYSSES
- HERACLES AND THE QUEEN OF LYDIA
- BLACK ORPHEUS
- ANTIGONE
- ELECTRA
- JASON AND THE ARGONAUTS
- ‘«Ň GORGON
- OEDIPUS REX
- ‘«Ň ILLIAC PASSION
- THE CANNIBALS
- ŐEDEA
- NOTES FOR AN AFRICAN ORESTEIA
- FOR ELECTRA
- PROMETHEUS IN THE SECOND PERSON
- VOYAGE TO CYTHERA
- ULYSSES' GAZE
- ‘«Ň MATRIX
- O BROTHER, WHERE ART THOU?

CLASH OF THE TITANS
USA, 1980


Directed by: Desmond Davis. Screenplay: Beverley Cross. Director of Photography: Ted Moore. Production designer: Frank White. Art direction: Don Picton, Peter Howitt, Giogio Desideri, Fernando Gonzalez. Costume designer: Emma Porteus. Special effects: Ray Harryhausen. Music: Laurence Rosenthal. Film editor: Timothy Gee. Cast: Harry Hamlin (Perseus), Judi Bowker (Andromache), Laurence Olivier (Zeus), Maggie Smith (Thetis), Claire Bloom (Hera), Ursula Andres (Aphrodite), Burgess Meredith (Ammon), Sian Phillips (Cassiope), Neil Mc Carthy (Calimbos). Production: Charles H. Schneer, Ray Harryhausen, John Palmer for MGM. Duration: 114 minutes. Colour.

Acrisius, King of Argos, closes his daughter, Danae, and her son, Perseus, in a coffin and throws them in the sea rousing Zeus’ anger. The father of the gods asks Poseidon to free Titan Kraken in order to destroy Argos. Danae and Perseus arrive on the island of Serifos, where Perseus grows up under the protection of his father, Zeus. Twenty years later, Zeus punishes Calimbos, son of Thetis, for killing all the winged horses, except Pegasus. Calimbos is transformed into a monster and he cannot marry Andromache, princess of Iopi. Perseus with a shield, a sword and a helmet that makes him invisible, all gifts from the gods, catches Pegasus, wins Calimbos and asks Andromache to marry him. However, Thetis forces Cassiope, Queen of Iopi, to offer Andromache to Kraken. Perseus, following the advice of the three old women, goes to the kingdom of the dead, cuts off Medusa’s head and petrifies Kraken with it.

The Magical Tradition of MéliŹs
by Olivier Assayas

Ray Harryhausen, whose style, though somewhat out-dated, remains one of the greatest experts in special effects. Today, the authenticity of Harryhausen’s work lies in the handmade approach and in the personal attention to every detail. Therefore, it is not surprising that the film preparation took two years. Although Harryhausen was an innovator in the past, this time, in order to remain faithful to his style, he preferred not to use a camera directed by a computer. Hence, the singularity of his effects lies in the fact that we always see them in steady shots; a technique that, in this cinema genre, makes them appear rich and impressive.
Harryhausen’s demand is not negligible; does not suffice to produce his films but he insists on always producing the same film. His world is that of Greek mythology in which he makes his own interventions. However, we always find the Olympian gods in white setting, drinking ambrosia, wearing their white robes and moving the mortals like pieces on a chessboard. This inspiration perfectly matches Harryhausen’s technique who, above all, is a master of the art of giving life to statues – the appearance of his wonderful creations: Medusa, Cerberus, Haron, Pegasus are scenes deserve to be recorded in the annals of cinematography.
Yet why is this film not very convincing? Seventeen years prior to this film, Harryhausen filmed Jason and the Argonauts with fewer means and the result was magnificent. Undoubtedly, the similarity of the two themes partially destroyed the charm of the later film. Moreover, since the screenplay consists of various, more or less impressive, episodes it lacks a firm narrative structure.
In addition, some scenes do not impress; the finale, for instance, where the influence of King Kong is obvious, or the ride on Pegasus’ back in a stormy sky. However, apart from these remarks, the poetry, anachronisms and its festive atmosphere made the Clash of the Titans a rare film that continues the magical tradition of MéliŹs.

Les Cahiers du Cinéma, issue no. 326, July-August 1981