Oh Italy. Italy, Italy, Italy. Home of so many low-budget B-movie knock-offs of popular genre films. Mad Max 2: The Road Warrior came out in 1981, and I nuovi barari AKA The New Barbarians AKA Warriors of the Wasteland followed soon after in 1983.
So there's this murderous gang of dudes driving around in dune buggies and bikes rampaging across the wasteland. They have big hair, even bigger shoulder pads, and follow a madman who blames humanity for bringing about the apocalypse. For that, their leader, the unimaginatively named One (George Eastman), has decided that Mankind must die. He's assisted by Shadow (Ennio Giorlami as “Thomas Moore”) who has a silly blonde mohawk wig, and Mako (Massimo Vanni), who has an even larger black mohawk wig. And the whole death cult wear white jumpsuits with HUGE shoulder pads.
Standing (well, driving) in their way is Scorpion (Giancarlo Prete as “Timothy Brent”), a wanderer and scavenger, he's also not interested in killing all of humanity. He is interested in killing One's Templars, so he's our hero. He's got a tricked out car with a giant plastic bubble installed on the roof. I don't know why. He rescues Alma (Anna Kanakis) a random wastelander, from the Templars, and looks for medical attention to her. They're rescued from Templars by Nadir, who is easily the best character in the movie. Nadir is ex-football star and B-movie star extraordinaire Fred Williamson, armed with a bow, gold armor, a gold circlet, and a shit-eating grin. He's not a great actor, but he's an enthusiastic one, and seems to be aware of exactly the kind of movie he's in and is happy to cash the paycheck.
The three find a community of peaceful not-Quakers who are led by Father Moses (Nenantino Venantini) and believe in something called god. They also believe in the Signal, which is some kind of radio transmission coming from somewhere in the wasteland and indicates hope that there might be someplace in the world that isn't a rocky quarry.
Directed by Enzo G. Castellari, the movie is obviously a low budget cheapie. Filmed primarily in a gravel pit and a country road. There is one car, a handful of motorcycles and a couple dune buggies with ridiculous metal plates bolted on. A lot of mannequins get shot and blown up. Scorpion and Alma make love in a transparent inflatable tent. As I mentioned, the Templars have absurd costumes with giant shoulder pads and giant hair. For the final battle, Scorpion wears an articulated, transparent plastic cuirasse over his bare torso because...its bulletproof? And yet the movie moves at a rapid clip and doesn't bog down much in exposition before heading to the next ridiculous scene. That makes it noteworthy.
What's more noteworthy, but for different reasons, is the incredibly awkward scene where, oh yeah....
NO REALLY, AWKWARD SPOILERS INVOLVING BUTTS BELOW
After capturing Scorpion, One sodomizes him before the rest of the Templars. Now, you don't see any penetration, but it happens. Its weird, uncomfortable, and comes out of nowhere. What's stranger is that its also the scene that makes the most out of actual direction and cinematography to create an unpleasant atmosphere. There's multiple colored lights in the background, heavy use of shadows, and rapid cuts to extreme close ups of various people. Its the one scene of the film that artistically “goes for it,” and its the sodomizing scene. That is bizarre.
Written by Tito Carpi (of several Sartana movies and various other Spaghetti-Exploitation films), Enzo G. Castellari and Antonio Visone. The plot is lazy but functional, aping standard post-apocalyptic struggle-to-survive stories and conventions.
Then there's the whole “the Templars are genocidal, homosexual atheists” thing. I will say that's not something I've ever really seen before in a movie, so, uh, points for originality. They contrast with the peaceful, god-fearing, heterosexual settlers, but I'm not really sure there's an actual message to that. The caravan people are a stock element fresh out of Westerns, and their faith is alien to Scorpion and Nadir, who side with them because they're not murderous maniacs like the Templars. I honestly think the Templars' “mission statement” was something quickly slapped together to provide them with easy villainous motivation and that's it.
Music by Claudio Simonetti. Its the standard low-budget 80s fare. Synths, guitars, the usual. The guns (which are regular guns) have pew pew noises. Everyone is dubbed over. All of the cars have this phony engine drone dubbed over them, because THE FUTURE.
Warriors of the Wasteland is an awful movie, yet a bizarrely watchable one. It moves quickly, is full of (idiotic) action scenes and car chases, and it lends itself to mockery so well. I wouldn't say its incompetently made, more lazy and cheap. A simple cash in that aspires to little more. Come for the giant shoulder pads, but stay for Fred Williamson, who appears to be the only actor having fun in the film. Oh, but what fun he has.
Why? No reason.