[Review] The Sword and The Claw (Kili̤ Aslan) (Groovy Gory Gruesome Gold, 1975): A Trippy Turkish Delight Рby Paul Cardullo

Groovy Gory Gruesome Gold

In this edition of Groovy Gory Gruesome Gold, Paul Cardullo gets his first taste of 1970s Turkish Action Cinema with the funky classic  The Sword and The Claw  (aka  Kiliç Aslan  and  Lionman) (1975). The film  is an unusual mix of Tarzan and a sword-and-sandal epic.  While Tarzan is raised by apes, Süleyman (Turkish megastar Cüneyt Arkin), the hero of  The Sword and The Claw, is raised by lions. This helps him to develop his fighting technique, which mostly consists of slashing as his opponent’s faces with his hands. This “Turkish Tarzan” is the long-lost son of King Solomon, who was murdered by an evil prince. Now, Süleyman must team with the resistance to overcome the usurper. Words almost cannot do justice the whacked-out action in this film, which features much acrobatic work choreographed to the repeated strains of the Adagio from Aram Khachaturian’s classical ballet Spartacus. There is fun action throughout, but the highlight is the true wackadoodle ten-minute finale wherein good guys and bad guys  go flying through the air, presumably  propelled by unseen trampolines, and much blood is spilled.  Is it a good film? Probably not. Is it an entertaining film? Most definitely. Paul has a ball relating to Doc the experience of watching  The Sword and The Claw  which is being released on January 23, 2018,   by American Genre Film Archive (AGFA) in a new 4K restoration on Blu-ray made from the only surviving 35-millimeter  print.  Listen to his review below and see why you too just  may become a fan of 1970s Turkish Action Cinema.

The Sword and The Claw (Kiliç Aslan) (1975) 3.5 out of 5 stars (3.5 / 5)

Paul Cardullo
Paul Cardullo is a North Carolina indy filmmaker and horror fan. His tastes range from art-house horror to low-budget schlock to indie gems to Slovenia killer hillbilly flicks. When not watching films, he helps make them. From actor to boom operator to doughnut wrangler, he makes himself useful wherever he can. Paul believes it is sometimes necessary to suffer for one’s art. He has endured being covered in [censored], having [censored] thrown at him, and spending over a year with muttonchops and a 70’s-style mustache. When not being abused for the sake of his craft, Paul works on computers and watches as many obscure (and not so obscure) movies as he can fit in.