The Hunter Killers: Egyptian Dawn

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The cops arrest him and accuse him of the murder. His only hope is from a secretive intelligence officer, who visits his cell and offers him a deal to secure his freedom. Schaeffer must reform the Hunter Killers, and lead them into the world's number one trouble spot. The mission?

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To hunt down and kill one man. Both Hephaestus and the Cyclopes were said to make thunderbolts; they are combined in other sources. Giovanni Boccaccio cites a lost Latin writer for the story that Orion and Candiope were son and daughter of Oenopion, king of Sicily. While the virgin huntsman Orion was sleeping in a cave, Venus seduced him; as he left the cave, he saw his sister shining as she crossed in front of it.

He ravished her; when his father heard of this, he banished Orion. Orion consulted an oracle, which told him that if he went east, he would regain the glory of kingship. Orion, Candiope, and their son Hippologus sailed to Thrace, "a province eastward from Sicily". There he conquered the inhabitants, and became known as the son of Neptune. His son begat the Dryas mentioned in Statius.

In Ancient Greece, Orion had a hero cult in the region of Boeotia. The number of places associated with his birth suggest that it was widespread. A feast of Orion was held at Tanagra as late as the Roman Empire. The Boeotian school of epic poetry was chiefly concerned with the genealogies of the gods and heroes; later writers elaborated this web. This included the oracular hero Acraephen, who, she sings, gave a response to Asopus regarding Asopus' daughters who were abducted by the gods. Corinna sang of Orion conquering and naming all the land of the dawn.

Orion also has etiological connection to the city of Messina in Sicily.

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Diodorus of Sicily wrote a history of the world up to his own time the beginning of the reign of Augustus. He starts with the gods and the heroes. At the end of this part of the work, he tells the story of Orion and two wonder-stories of his mighty earth-works in Sicily. One tells how he aided Zanclus , the founder of Zancle the former name for Messina , by building the promontory which forms the harbor. Orion built the whole Peloris, the Punta del Faro , and the temple to Poseidon at the tip, after which he settled in Euboea.

He was then "numbered among the stars of heaven and thus won for himself immortal remembrance". Images of Orion in classical art are difficult to recognize, and clear examples are rare. There are several ancient Greek images of club-carrying hunters that could represent Orion, [60] but such generic examples could equally represent an archetypal "hunter", or indeed Heracles.

A tradition of this type has been discerned in 5th century BC Greek pottery — John Beazley identified a scene of Apollo, Delian palm in hand, revenging Orion for the attempted rape of Artemis, while another scholar has identified a scene of Orion attacking Artemis as she is revenged by a snake a counterpart to the scorpion in a funerary group—supposedly symbolizing the hope that even the criminal Orion could be made immortal, as well as an astronomical scene in which Cephalus is thought to stand in for Orion and his constellation, also reflecting this system of iconography.

Orion is also seen on a 4th-century bas-relief, [64] currently affixed to a wall in the Porto neighborhood of Naples. The constellation Orion rises in November, the end of the sailing season, and was associated with stormy weather, [65] and this characterization extended to the mythical Orion—the bas-relief may be associated with the sailors of the city. Mythographers have discussed Orion at least since the Renaissance of classical learning; the Renaissance interpretations were allegorical.

In the 14th century, Boccaccio interpreted the oxhide story as representing human conception; the hide is the womb, Neptune the moisture of semen, Jupiter its heat, and Mercury the female coldness; he also explained Orion's death at the hands of the moon-goddess as the Moon producing winter storms.

He also explains how Orion walked on the sea: "Since the subtler part of the water which is rarefied rests on the surface, it is said that Orion learned from his father how to walk on water. Modern mythographers have seen the story of Orion as a way to access local folk tales and cultic practices directly without the interference of ancient high culture; [70] several of them have explained Orion, each through his own interpretation of Greek prehistory and of how Greek mythology represents it.

There are some points of general agreement between them: for example, that the attack on Opis is an attack on Artemis, for Opis is one of the names of Artemis. There was a movement in the late nineteenth century to interpret all the Boeotian heroes as merely personifications of the constellations; [72] there has since come to be wide agreement that the myth of Orion existed before there was a constellation named for him. Homer, for example, mentions Orion, the Hunter, and Orion, the constellation, but never confuses the two.

The story of Side may well be a piece of astronomical mythology. The Greek word side means pomegranate , which bears fruit while Orion, the constellation, can be seen in the night sky.

Egyptian Dawn

The 19th-century German classical scholar Erwin Rohde viewed Orion as an example of the Greeks erasing the line between the gods and mankind. That is, if Orion was in the heavens, other mortals could hope to be also. He sees this as the remnant of a lost form of the myth in which Merope was Orion's mother converted by later generations to his stepmother and then to the present forms. Orion's blinding is therefore parallel to that of Aegypius and Oedipus.

From this association he turns Orion into a representative of the old mead -drinking cultures, overcome by the wine masters Oenopion and Oeneus. The Greek for "wine" is oinos. The contrast gets specifically strong when the director explains how Egyptian medical students do part of their training in London, in the same moment that the head of the archaeologist drops from above Quite a different experience with this audio comment!

The film itself is very Egyptian - except for a few NYC street shots, most locations and sets, as well as many actors, and of course the director, were Egyptian. The other thing I really liked were the scenes in the tomb - whenever something gory happened, the camera went to the painted clay statues of goddesses, full face, and those faces seemed to express indignation or sometimes pity for the unseen horrors. I thought that was remarkably subtle, and provided me with lasting images. But in comparison with Karloff's Mummy, I found this one lacked empathy with the horrible - the mummy here is just evil and dangerous, while the precedent was at least ambiguous, where one could understand his point of view at least a little bit Justin-Fog 2 April One of the worst horror movies I've ever seen.

During the first few minutes everybody who didn't read the credits and rather smooched with his girlfriend would recognize this movie as Italian-made. Poor atmosphere, poor effects, and lots of talking. Despite other Italian horror movies there are no scenes of nudity, the beautiful actresses even get to take a moonlight bath clad with bikinis - maybe the director didn't want to shock the mummy with the view of naked girls? Well, as soon as the mummy awakes and goes on a rampage strangling its victims to death, its long-dead servants awake as well and go on a rampage eating people in a zombie-style manner.

Now, why would they feast on their victims and the mummy wouldn't? The special effects are poor, the showdown is poor a burning shed and a mummy that wouldn't burn Shy away from it, folks, as you would from an ancient Egyptian tomb! This movie gives you nightmares - but not about the mummy but about the money you wasted renting or buying it and the time you wasted watching it. Jasper P. The acting is just awful, with hardly a shred of unchewed scenery by the end. For instance, one of the leading ladies finds a severed head in the desert, and begins to screetch and whoop while running in a circle around the head as opposed to running away from it until she finally launches herself at one of the guys and slides down his body like a cheap party dress.

The story and effects are pretty threadbare. The wacky gang of thieves keeps talking insanely about the gold they are looking for until they finally pull out two or three small gilded thingies from the mummy's body. The thieves are so thrilled to find three little pieces of gold they whoop, they beat the lid, they dance, they laugh. Oh yeah, they're in the money now. Once they sit up, they immediately shamble around like extras from one of the Living Dead movies. Are they mummies?

Pretty soon, things finally get icky. Classic scenarios abound, like opening the door to the room where a bride is getting ready for her wedding and finding three or four mumbies chowing down on her. Finally, a building burns, a group of bad actors limp away, and a cloth-covered hand rises in the foreground. The end? To hell with the movie, just fast forward to the end credits! Unremittingly amateurish home-movie but with one kick-ass aoundtrack over the closing credits!

A quartet of foxy US models hightail it to a forgotten village on the edge of the Sahara for a major fashion-shoot.

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They stumble across the violated tomb of one King Safirman presumably he after whom the Safir hotel in Cairo itself is named? Levi and allegedly still available on the soundtrack album - if they ever printed more than half a dozen! Its THAT good! I'm amazed no other critique mentioned it.

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More than likely I'm the first person ever to have sat through the entire film and no one but me therefore has ever heard it! Stevieboy 30 September Usual plot of an ancient Egyptian prince having his tomb broken into - this time by gold hunters AND a group of American models on a fashion shoot - and wreaking his revenge.

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The good points are that this was actually shot in Egypt, the sight of the Prince's zombie servants rising out of the sand is really good and there is, eventually, a fair smattering of gore. The soundtrack is pretty groovy too. The film was seized by police under Section 3 in Britain during the Video Nasties era, before being passed with cuts.

Now uncut. It is pretty tame by today's gore standards.

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No question, this is a bad movie but for those of us who enjoy an Italian gorefest then it makes fun viewing. I watched it uncut on pre cert VHS which adds to the experience. A photographer and his bevy of models arrive in Egypt for a photoshoot and run into a treasure hunter who is searching for mummy gold. They all inadvertently revive the bandaged baddie who then proceeds to slaughter everyone, with the help of his equally undead minions.

The production went into the locations, the costumes and the special effects makeup sparing none for the cast, since no one acting in this film was by any means a familiar face.

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The Hunter Killers: Egyptian Dawn The Hunter Killers: Egyptian Dawn
The Hunter Killers: Egyptian Dawn The Hunter Killers: Egyptian Dawn
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