Phenomenal and the Treasure of Tutankhamen | |
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Directed by | Ruggero Deodato |
Screenplay by |
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Story by | Aldo Iginio Capone [1] |
Produced by | Nicola Mauro Parenti |
Cinematography | Roberto Reale [1] |
Edited by | Luciano Cavalieri [1] |
Music by | Bruno Nicolai |
Production company | I.C.A.R. [2] |
Distributed by | Variety Distribution |
Release date |
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Running time | 95 minutes [1] |
Country | Italy |
Phenomenal and the Treasure of Tutankhamen (Italian : Fenomenal e il tesoro di Tutankamen) is a 1968 Italian film directed by Ruggero Deodato. The film was produced by and starred Nicola Mauro Parenti as Fenomenal, a masked superhero who attempts to stop the theft of the mask of Tutankhamun from a museum in Paris.
Phenomenal and the Treasure of Tutankhamen was directed by Ruggero Deodato under the name of Roger Rockfeller. [3] Deodato later stated on his name choice that he thought ""a rich man's name...so who is a rich guy? Rockfeller!" See, I was as dumb as a rock." [4] Deodato has a cameo in the film as the man who falls off a bicycle. [3] The producer of the film was Nicola Mauro Parenti who also starred in the film as the main character Count Guy Norton and Fenomenal. [1] [3] On his acting, Deodato mentioned that he was "too stiff, a dog of an actor; I treated him like shit on the set, but then he called me again for Zenabel ." [4] Deodato mentioned that the producer often dealt with people who requested small roles in the film in exchange for funding. [4]
Among the cast is Parenti's wife Lucretia Love. [4] The film was shot in Rome, Paris and Tunisia. [4] While shooting in Paris on the Champs Elysées, while panning across the crowd gathering to see President Charles de Gaulle, among the crowd was Rex Harrison. [4]
Phenomenal and the Treasure of Tutankhamen was released in Italy in 1968. [1]
Deodato spoke negatively about the film in later interviews, mentioning in 2008 that he "didn't give a shit about the film." [4]
From retrospective reviews, Roberto Curti described it as "one of the lamest, less remarkable entries in the supercriminal/superherotrend of the late 60s" with a storyline "so confused it is difficult to tell what is going on at times." [3] Curti noted that the best thing about the film was the score by Bruno Nicolai. [4]