Protraph Lack of good storyline.

GetPapa Far from Perfect, Far from Terrible

Freeman This film is so real. It treats its characters with so much care and sensitivity.

Scarlet The film never slows down or bores, plunging from one harrowing sequence to the next.

DaviK24 The second part of the Sandokan films has more action and more fighting than the first one. The story is the same as in Part 1, maybe a bit less romantic and with a bit less background story but Sandokan and his men fighting for the freedom of his people and country against the even more evil British colonial forces. This time we saw three major battles here. The first one on a Dutch ship, occupied by British soldiers. The pirates attack the Ship where Sandokan is still on board and massacre the British soldiers in series on deck. This continues in the second battle when the imprisoned Sandokan escapes from a labour camp with a mine. Once again the Malayan fighters take over a machine gun and Sandokan begins a mass slaughter of the British soldiers. During the machine gun raid and in a fight after this almost 100 Britsh soldiers (I count 96!) were massacred. Red British uniform en masse lying around in the yard of the camp, completely and one-sided defeated by Sandokan. The is violently stuff but the action is cool and a must have in this kind of movies I think. At the end of the movie there is another battle (or should I say another massacre?). Sandokan and his men free a noble Malayan from a mountain fortress. Once again we saw a mass kill of soldiers, slaughtered everywhere by the natives and this means a final triumph of the natives over the British rule.Tough and violent action in this movie. If you like mass battles and 60's Italo Trash Movies, this is the right one for you.

MARIO GAUCI Out of 8 movies and/or TV mini-series featuring the character of Sandokan currently lying in my unwatched pile, I will most probably end up watching just two – both bearing the original Italian title of I PIRATI DELLA MALESIA – being the film under review and the 1941 original co-starring Massimo Girotti; more than wishing to concentrate on them now that Malaysia is all over the world news due to a mysteriously disappearing plane, I choose not to overdose on any particular character in a short space of time – be it Casanova, The Three Musketeers, The Count of Monte Cristo or what have you – but rather leave the rest for future Epic-themed marathons that I purposely leave for the Easter season...Anyway, this year I also elected to watch the remaining two Steve Reeves movies I had in my collection that fall under this header – the other was Riccardo Freda's THE WHITE WARRIOR (1959); just as had been the case with his professional rival Mark Forest, there is now only one other Steve Reeves film that I have yet to catch up with (not counting his contested cameo in the star-studded war spoof THE SHORTEST DAY {1963}, which I do own a copy of in any case): the Spaghetti Western A LONG RIDE TO HELL (1968) which, luckily, I also have in my collection. This second stab at the mythical adventurer followed hard on the heels of Lenzi's own SANDOKAN THE GREAT (1963) and, alas, proved to be Reeves' penultimate film; if any proof was needed as to how hard it is to break typecasting in the movies is the fact that it took the former "Mr. Universe" 4 years and a self-financed film (which, sadly, left him in a penurious state afterwards due to his unwise choice of business partners!) for him to test his versatility!! Similarly, out of all the other beefcake musclemen who variously took on the mythological roles prevalent in the "Peplum" subgenre, only craggy-faced Gordon Mitchell had any longevity in other "Euro-Cult" areas...In this movie, Sandokan is pitted against the villainous British Lord James Brooke (played here by one Leo Anchoriz – who portrayed a different foe in the preceding film!) that had been the Indian rebel's arch-nemesis in the popular, eponymous Italian TV mini-series starring Kabir Bedi and Adolfo Celi that I fondly remember from my childhood days and I have had the pleasure of revisiting many years later. Although I am familiar with SANDOKAN THE GREAT, it has been some time since I watched it and I cannot justly compare the two movies: suffice to say that, apart from Reeves and Anchoriz, they share director Lenzi (the most charismatic and flamboyant of the "Italian Kings Of The Bs" I met at the 2004 Venice Film Festival), actor Andrea Bosic (as Sandokan's renegade chain-smoking Portuguese ally Yanez De Gomera) and composer Giovanni Fusco. Besides, one welcomes the presence of the lovely Jacqueline Sassard (as a battle-scarred fugitive Princess), genre regulars Mimmo Palmara (as Sandokan's equally-famed acolyte Tremal-Naik, who almost blows the latter's cover when he is forced to shoot an approaching alligator while he is strapped to a wooden pole stuck in the swamp!) and Pierre Cressoy (as an ill-fated riverboat captain who had, at one point, 'promoted' passenger Sandokan to perform unlikely cabin-boy duties!) and cinematographer Angelo Lotti; indeed, this second outing is certainly a handsomely-mounted effort (particularly the costumes of Sandokan and Brooke's troops) that cries to be watched via a pristine print for full enjoyment; under the circumstances, the copy of it I acquired for myself was pretty decent and included such action highlights as a tavern brawl, a shipboard mutiny, a jailbreak from a mining camp (preceded by yet another bare-chested wrestling bout from Reeves!) and the climactic mountaintop swordfight between hero and villain. Incidentally, the characters of Tremal-Naik and Kammamuuri (here employed as Sassard's bodyguard) also feature in another Italian TV adaptation of Sandokan's creator Emilio Salgari's original novel that I watched as a kid: THE MYSTERIES OF THE DARK JUNGLE (1991) in which Kabir Bedi himself appeared. Indeed, Salgari was a very popular writer of adventure hokum on his home ground (if little-known elsewhere) and unsurprisingly proved a reliable source of inspiration to genre film- makers for well-over 50 years; in fact, 13 movies revolving around the Sandokan character alone were made between 1941 and 1998 – apart from the Lenzi/Reeves diptych, there were two with Luigi Pavese in the early 1940s, two non-related Italian flicks starring Ray Danton and two further miniseries with Bedi! For what it is worth, I have initiated proceedings to acquire another Salgari adaptation from Lenzi, TEMPLE OF A THOUSAND LIGHTS (1965) starring Richard Harrison that promises to be good fun in a proto-Indiana Jones vein...but I doubt I will get it in time to be included in this year's Epic batch!

ebiros2 Steve Reeves stars for the second time as Sandokan a pirate who's proving ground is the South China seas.A superb drama filled with action and adventure. The filming seems have taken place in Malaysia and the sceneries are beautiful. This movie about a 19th century adventurer is refreshing in its lack of high tech gadgets or CG based special effects. All the actors are beautiful, and they engage in some of the best action scenes made for movies.One thing I'm curious is where they've filmed the final battle sequence. It looks awfully like the monastery that appeared in James Bond film For Your Eyes Only.Very good action adventure, that is a treat to watch.

PrincessAnanka If you're looking for Steve Reeves to unveil that magnificent torso of his in this movie, then skip it. He's clad from head to toe throughout a decent adventure film that could have starred any number of action stars. Reeves trademark: his phenomenal body remains hidden throughout. Even in the scenes where other men are barechested, Reeves coyly keeps his shirt on. This is akin to movie producers putting Marilyn Monroe in potato sacks to prove her dramatic talents. I loved the earlier Reeves movies, especially his masterpiece, "Giant of Marathon" because it was like studying a marvel of nature: a phenomenal physique with charisma to spare. Perhaps Reeves thought it a good idea to downplay his body to show the world that he could act. In any case, this isn't a typical Reeves movie. In fact, it seems that the more movies he made over the years, the more he tried to hide his torso by cloaking it in capes and tunics and cloaks. So enjoy "Hercules," "Hercules Unbound" and "Giant of Marathon" while you can because his body-beautiful movies began wounding down soon after.