![]() |
Photo by New York Scugnizzo |
September 22, 2025
Happy Autumn!
The Fall Equinox marks the transition of summer into winter. To celebrate the occasion and the season of Autumn, we would like to share a poem by Vittorio Clemente from Dialect Poetry of Southern Italy: Texts and Criticism (A Trilingual Anthology) edited by Luigi Bonaffini, Legas, 1997, p.37.
A tiempe de sorve
Nu gricele alla vite...Me retrove
ancora na cullane
de sorve mmane; e quile piuoppe ancore
remire abballe l'acque chela fronna
gialle che treme e lùcceche, ammussite
mpizze a nu rame nire; e revà ammonte
la voce, pe lu colle: "Quande è tiempe
de sorve, amore amore, già l'estate
ha pigliate la vie d'attraviezze..."
E pure mandemane, chela fronne
se raggruglie a nu fiate
de la muntagne. E dellà da nu vele
de nebbie, nfunne funne alla campagne,
chi ancora chiame? Chi redà na voce?
A chill comes over me... a necklace
of sorbs, even now, in my hands;
even now the poplar
sees in the river
the shimmer of a yellow leaf
dangling from the tip
of a blackened bough... and a voice
surges through the hills: "When sorbs
my love, are in season, summer is already in flight..."
Later this morning the leaf
will shrivel, at a whish
of mountain wind. From across a veil
of fog, from far away across the fields,
who'll call out, even now? Whose voice will ring?
(Translated by Anthony Molino)
September 21, 2025
Remembering Charles V, Holy Roman Emperor
Statue of Carlo V sculpted by Vincenzo Gemito on the western facade of the Royal Palace in the Largo del Palazzo Reale in Naples |
In memory of Holy Roman Emperor Charles V (24 February 1500 – 21 September 1558), Carlo IV of Naples and Carlo V of Sicily, we pray for the happy repose of his soul.
Eternal rest grant unto His Imperial Majesty, O Lord and let perpetual light shine upon him. May his soul, and the souls of all the faithful departed, through the mercy of God, rest in peace. Amen
September 20, 2025
Some Thoughts on the 99th Annual Feast of San Gennaro in Little Italy
![]() |
Sausage and peppers sandwich |
It’s easy to criticize the festival, and the complaints aren't unfounded: the noise is relentless, the crowds overwhelming, and the prices seem to go up every year. The common refrain is always the same: “It used to be better.” “It’s not like it used to be.” “The neighborhood has changed.” And in many ways, all of that is true. But what often gets overlooked is the deeper reality: after 99 years, the Feast of San Gennaro is still alive, still vibrant, still carried forward with the same devotion, fire, and joy that gave birth to it nearly a century ago.
![]() |
More than just food, I found a statue of San Gennaro at the Italian American Emporium and a copy of Gaetano Cipolla's Giovanni Meli: Social Critic (Legas, 2020) at the Italian American Museum |
One thing that rarely makes it into the conversation is how deeply people depend on the festival. Behind the flashing lights and carnival barkers are small business owners whose livelihoods hinge on these eleven days. One longtime shopkeeper confided to me that 80% of his annual income comes from San Gennaro. Without it, his store would close for good. For him—and many others—the feast is not just a tradition, but survival.
There’s an immense amount of blood, sweat, and tears poured into making it all happen. From the crews setting up and managing the stalls to the society volunteers organizing the sacred elements, it’s a monumental effort fueled as much by grit as by faith.
Then there are the characters. Every year brings its own parade of not just floats, but people—some famous, some infamous, all unforgettable. In the span of a few days, I crossed paths with a couple of B-list celebrities, one A-list actress, an NFL quarterback, a former porn star (along with a very creepy fan stalking her), and a steady stream of influencers documenting every fried-dough bite. I even met mayoral hopeful Curtis Sliwa, in his trademark red beret.
![]() |
Soppressata and provolone panini |
Despite all the criticisms and all the ways the feast has “changed,” I can’t help but feel grateful that it continues at all. In a city where so many traditions have vanished under the weight of rising rents and shifting demographics, San Gennaro remains—imperfect, yes, but enduring. It’s a living reminder of the Italian spirit, of faith woven into food and community, of devotion dressed up with neon lights and sausage smoke.
![]() |
Philly cheesesteak sandwich |
~ By Giovanni di Napoli, September 19th, The Feast of San Gennaro
![]() |
(L-R) Charm displays range from simple to ornate |
September 19, 2025
Ponderable Quote from ‘La Monarchia Tradizionale’ by Francisco Elías de Tejada
The Universal Christian Enterprise
To the Kingdom, thus strengthened in its institutions and mature in its culture, those kings entrusted the unequal task of a historic mission: to defend the Catholic truth of Christ against the enemies from the north and the south, against Protestantism and Islamism. Today, when the phrase "intellectual war" holds no meaning for this weak, conformist Catholicism we endure, it will be difficult for many to grasp the historical genius that saved Christianity from being devoured by its enemies, thanks to the sacrifices that, alongside the other peoples of the Spanish Confederation, my ancestors faced courageously.
We were instruments of God. If Protestantism and Islamism were unable to close the circle that would have crushed that Christianity which still survived the European anthropocentric revolution, it was because God used our peoples as instruments of His glory and because our ancestors were able to devote themselves completely to the enterprise of fighting the battles of the Lord in the legendary tercios or on the benches of Trent, in war fleets or in the printing of books.
The highest glory of Neapolitan tradition lies in this missionary spirit, this intellectual war against Islam and against Europe. To ignore or disavow it is to willfully ignore or disown the very essence of the Kingdom of Naples. With this slovenly tendency toward the Creation of Europe, one will only succeed in destroying what remains of the old Parthenopean Kingdom.
To the Kingdom, thus strengthened in its institutions and mature in its culture, those kings entrusted the unequal task of a historic mission: to defend the Catholic truth of Christ against the enemies from the north and the south, against Protestantism and Islamism. Today, when the phrase "intellectual war" holds no meaning for this weak, conformist Catholicism we endure, it will be difficult for many to grasp the historical genius that saved Christianity from being devoured by its enemies, thanks to the sacrifices that, alongside the other peoples of the Spanish Confederation, my ancestors faced courageously.
We were instruments of God. If Protestantism and Islamism were unable to close the circle that would have crushed that Christianity which still survived the European anthropocentric revolution, it was because God used our peoples as instruments of His glory and because our ancestors were able to devote themselves completely to the enterprise of fighting the battles of the Lord in the legendary tercios or on the benches of Trent, in war fleets or in the printing of books.
The highest glory of Neapolitan tradition lies in this missionary spirit, this intellectual war against Islam and against Europe. To ignore or disavow it is to willfully ignore or disown the very essence of the Kingdom of Naples. With this slovenly tendency toward the Creation of Europe, one will only succeed in destroying what remains of the old Parthenopean Kingdom.
* Translated from the Italian of La monarchia tradizionale, Francisco Elías de Tejada, 1963, Controcorrente Edizioni, 2001
September 18, 2025
New Book — Ferdinando Galiani: Economist, Diplomat, and Philosopher in the Age of Enlightenment
A new title that may be of interest to our readers. Available at Amazon.com
• Ferdinando Galiani: Economist, Diplomat, and Philosopher in the Age of Enlightenment by Rosario Patalano
Publisher: Palgrave Macmillan
Publication date: December 12, 2025
Hardback: $139.00
Language: English
Pages: 615
Read description
Click here to see more books
Listing does not imply any endorsement
• Ferdinando Galiani: Economist, Diplomat, and Philosopher in the Age of Enlightenment by Rosario Patalano
Publisher: Palgrave Macmillan
Publication date: December 12, 2025
Hardback: $139.00
Language: English
Pages: 615
Read description
Click here to see more books
Listing does not imply any endorsement
To the Holy Sepulcher: Treasures from the Terra Sancta Museum
October 2, 2025, to January 5, 2026
This groundbreaking exhibition presents more than forty rare objects from the Church of the Holy Sepulcher. Largely unknown to the public until their recent rediscovery, the opulent works range from liturgical objects in gem-encrusted gold and silver to richly decorated vestments in velvet, damask, and other luxurious materials. These treasures were donated by European Catholic monarchs and Holy Roman Emperors in the seventeenth and eighteenth centuries to the church in Jerusalem, the religious center of the Christian faith, and have been safeguarded and used ever since by the Franciscan friars who maintain the site. The works represent the pinnacle of European goldsmithing and textile design of the era, much of which has otherwise been lost or severely damaged. Before the opening of the new Terra Sancta Museum in the next few years, these items from its holdings are traveling to several institutions in Europe and North America, including the Frick, the exhibition’s first venue in the United States.
The exhibition is organized by Xavier F. Salomon, the Frick’s Deputy Director and Peter Jay Sharp Chief Curator, along with Jacques Charles-Gaffiot and Benoît Constensoux, members of the Terra Sancta Museum’s Scientific Committee. Commented Salomon, “This exhibition presents a completely unique opportunity for visitors, building on the Frick’s successful past presentations highlighting masters of European decorative arts. Displayed for the first time in the United States, the exquisite objects in this show are rare survivals, as similar objects were often severely damaged, melted down, or otherwise lost—nothing like them survives in the countries in which they were created. We are deeply grateful for this collaboration with the Custody of the Holy Land as we look ahead to the opening of the Terra Sancta Museum, which will offer a more permanent public display of these treasures.” For his work on the exhibition, occurring over a period of years, Salomon has been awarded the Cross of Merit (Crucem Ex Merito) by the Equestrian Order of the Holy Sepulcher of Jerusalem. The ceremony for this prestigious honor will take place this fall.
This is Salomon’s last exhibition at The Frick Collection after a tenure of more than a decade at the helm of the museum’s Curatorial Department. Following the show’s opening, Salomon will take up the role of Director of the Calouste Gulbenkian Museum in Lisbon, Portugal, in November.
Major support is provided by Cassie Arison and Niv Alexander, Jim and Alys Garman, and The Christian Humann Foundation.
Additional funding is provided by Margot and Jerry Bogert; Ayesha Bulchandani; The Coby Foundation, Ltd.; David and Julie Tobey; Kathleen Feldstein; The Gladys Krieble Delmas Foundation; Barbara A. Reuter and William J. Williams Jr.; Marie-Josée and Henry R. Kravis; Edward Lee Cave; The Dau Family Foundation; the Equestrian Order of the Holy Sepulchre of Jerusalem, Eastern Lieutenancy; James Marlas and Marie Nugent-Head Marlas†; Denise and Andrew Saul; Mrs. Stanley DeForest Scott; Gabelli Funds; Mrs. Roger Berlind; The Helen Clay Frick Foundation; The Honorable and Mrs. Earle Mack; and an anonymous donor.
Click here for more information
This groundbreaking exhibition presents more than forty rare objects from the Church of the Holy Sepulcher. Largely unknown to the public until their recent rediscovery, the opulent works range from liturgical objects in gem-encrusted gold and silver to richly decorated vestments in velvet, damask, and other luxurious materials. These treasures were donated by European Catholic monarchs and Holy Roman Emperors in the seventeenth and eighteenth centuries to the church in Jerusalem, the religious center of the Christian faith, and have been safeguarded and used ever since by the Franciscan friars who maintain the site. The works represent the pinnacle of European goldsmithing and textile design of the era, much of which has otherwise been lost or severely damaged. Before the opening of the new Terra Sancta Museum in the next few years, these items from its holdings are traveling to several institutions in Europe and North America, including the Frick, the exhibition’s first venue in the United States.
The exhibition is organized by Xavier F. Salomon, the Frick’s Deputy Director and Peter Jay Sharp Chief Curator, along with Jacques Charles-Gaffiot and Benoît Constensoux, members of the Terra Sancta Museum’s Scientific Committee. Commented Salomon, “This exhibition presents a completely unique opportunity for visitors, building on the Frick’s successful past presentations highlighting masters of European decorative arts. Displayed for the first time in the United States, the exquisite objects in this show are rare survivals, as similar objects were often severely damaged, melted down, or otherwise lost—nothing like them survives in the countries in which they were created. We are deeply grateful for this collaboration with the Custody of the Holy Land as we look ahead to the opening of the Terra Sancta Museum, which will offer a more permanent public display of these treasures.” For his work on the exhibition, occurring over a period of years, Salomon has been awarded the Cross of Merit (Crucem Ex Merito) by the Equestrian Order of the Holy Sepulcher of Jerusalem. The ceremony for this prestigious honor will take place this fall.
This is Salomon’s last exhibition at The Frick Collection after a tenure of more than a decade at the helm of the museum’s Curatorial Department. Following the show’s opening, Salomon will take up the role of Director of the Calouste Gulbenkian Museum in Lisbon, Portugal, in November.
Major support is provided by Cassie Arison and Niv Alexander, Jim and Alys Garman, and The Christian Humann Foundation.
Additional funding is provided by Margot and Jerry Bogert; Ayesha Bulchandani; The Coby Foundation, Ltd.; David and Julie Tobey; Kathleen Feldstein; The Gladys Krieble Delmas Foundation; Barbara A. Reuter and William J. Williams Jr.; Marie-Josée and Henry R. Kravis; Edward Lee Cave; The Dau Family Foundation; the Equestrian Order of the Holy Sepulchre of Jerusalem, Eastern Lieutenancy; James Marlas and Marie Nugent-Head Marlas†; Denise and Andrew Saul; Mrs. Stanley DeForest Scott; Gabelli Funds; Mrs. Roger Berlind; The Helen Clay Frick Foundation; The Honorable and Mrs. Earle Mack; and an anonymous donor.
Click here for more information
September 17, 2025
A Bittersweet Portrait
![]() |
Painted portrait |
Finis vitae sed non amoris. [1]
I do not mean to sound melancholy, but as the years pass, I find myself ever more often pondering both the life I have lived and the death that awaits me. This truth, so often ignored by the world, presses upon me—suddenly and unbidden—when I least expect it. Recently, it was an old oil painting of me as a small child, clutching a harmonica, that drew me into this meditation.
From what I was told, my father commissioned a local artist to paint it as a gift for my mother. The portrait cost him fifty dollars, which was a great sacrifice at the time. My mother, expecting my younger brother, received it with joy, though she worried that the new child would feel forgotten. So, a year or so later, my father sought out the artist and had a companion portrait made of him.
These two portraits adorned my parents’ wall until their deaths. Then, as was fitting, my brother and I inherited our respective canvases.
His painting will almost certainly pass on to his children. Mine, having no heirs, will likely be discarded, its ornate frame perhaps salvaged. Now and then, I joke to myself that it deserves a place in a Museum of Counter-Revolutionary Heroes, though of course no such museum exists, and I would hardly merit a place in it even if it did.
But the worth of the portrait lies not in me, nor even in the skill of the unknown artist. I love it because my parents once loved it. It recalls the years when their life together was full of hope, when they still looked toward the future with the serene confidence of youth. It is, in a way, a relic of their devotion, a visible testimony of the hidden sacrifices that sustain a family.
When I gaze upon it now, I am confronted not only with memories but with judgment. It whispers of my many failings, of the ways I may have disappointed those who gave me life. Yet this sorrow becomes, through grace, a spur toward repentance. For in honoring our fathers and mothers, we fulfill God’s commandment. Even after their deaths, we owe them fidelity, gratitude, and the striving to live rightly, lest their sacrifices be in vain.
Thus, the portrait becomes a Memento mori (remember you must die). It teaches me that my life is not my own possession, but a link in a chain of faith and love that stretches back to my ancestors and forward, God willing, into eternity. It reminds me that death is not the end, but a passage. And above all, it urges me to live in such a way that when I, too, am painted before the Throne of God, the likeness may not be one of failure, but of a son who, however weak, sought always to be faithful.
~ By Giovanni di Napoli, September 16th, Feast of Saints Cornelius and Cyprian
[1] The end of life, but not of love.
From what I was told, my father commissioned a local artist to paint it as a gift for my mother. The portrait cost him fifty dollars, which was a great sacrifice at the time. My mother, expecting my younger brother, received it with joy, though she worried that the new child would feel forgotten. So, a year or so later, my father sought out the artist and had a companion portrait made of him.
These two portraits adorned my parents’ wall until their deaths. Then, as was fitting, my brother and I inherited our respective canvases.
His painting will almost certainly pass on to his children. Mine, having no heirs, will likely be discarded, its ornate frame perhaps salvaged. Now and then, I joke to myself that it deserves a place in a Museum of Counter-Revolutionary Heroes, though of course no such museum exists, and I would hardly merit a place in it even if it did.
But the worth of the portrait lies not in me, nor even in the skill of the unknown artist. I love it because my parents once loved it. It recalls the years when their life together was full of hope, when they still looked toward the future with the serene confidence of youth. It is, in a way, a relic of their devotion, a visible testimony of the hidden sacrifices that sustain a family.
When I gaze upon it now, I am confronted not only with memories but with judgment. It whispers of my many failings, of the ways I may have disappointed those who gave me life. Yet this sorrow becomes, through grace, a spur toward repentance. For in honoring our fathers and mothers, we fulfill God’s commandment. Even after their deaths, we owe them fidelity, gratitude, and the striving to live rightly, lest their sacrifices be in vain.
Thus, the portrait becomes a Memento mori (remember you must die). It teaches me that my life is not my own possession, but a link in a chain of faith and love that stretches back to my ancestors and forward, God willing, into eternity. It reminds me that death is not the end, but a passage. And above all, it urges me to live in such a way that when I, too, am painted before the Throne of God, the likeness may not be one of failure, but of a son who, however weak, sought always to be faithful.
~ By Giovanni di Napoli, September 16th, Feast of Saints Cornelius and Cyprian
[1] The end of life, but not of love.
September 16, 2025
The Warrior Prelate: Cardinal Fabrizio Ruffo
Today we remember and honor the great counter-revolutionary hero Cardinal Fabrizio Ruffo, the warrior prelate who liberated the Kingdom of Naples from Franco-Jacobin tyranny.
When Napoleon’s Grande Armée invaded the Kingdom of Naples in December 1798 and installed the Jacobin satellite state (Repubblica Partenopea), Ruffo followed the Bourbon Royal Family to Palermo, Sicily. Named vicar-general on January 25th, 1799, the grey-haired Cardinal crossed the Strait of Messina to his native Calabria with just seven companions to recapture the Kingdom.
On February 8th they landed at Punta del Mezzo in Reggio, Calabria. Armed with only a banner emblazoned with the royal coat-of-arms and a cross, Ruffo began to raise an army. Issuing an encyclical letter commanding the clergy and magistrates to preach the crusade, men from all walks of life readily rallied to defend their faith and traditions, and to restore their legitimate rulers, King Ferdinand IV and Queen Maria Carolina. In less than a month 17,000 Calabrese, including many soldiers from the disbanded Bourbon army, joined the burgeoning ranks of his Royal Christian Army of the Holy Faith (Sanfedisti). Continue reading
September 15, 2025
Simple Pleasures: Enjoying a Beer
Even months after Napoli’s historic fourth Scudetto, the joy still lingers—and we’re still raising crisp, cold Neapolitan beer in celebration. Forza Napoli Sempre!
Join Us in Honoring Our Lady of the Rosary of Pompeii
On Sunday, October 5, 2025, the faithful of St. Bernadette’s will gather in devotion to Our Lady of the Rosary of Pompeii for a special celebration of prayer, faith, and fellowship.
The day begins at 11:30 a.m. with Mass at the Shrine Church of St. Bernadette (8201 13th Ave., Brooklyn, NY 11228), where the powerful Supplica prayer will be offered to our Blessed Mother. Traditionally invoked on May 8 and the first Sunday of October, the Supplica is a moving petition for Mary’s intercession, uniting us in prayer and trust in her maternal care.
Following the liturgy, all are invited to continue the celebration at a festive Italian Dinner Dance at Sirico’s, 8023 13th Ave., beginning at 1:00 p.m. Guests will enjoy a delicious Southern Italian meal, music, and lively fellowship with parishioners, friends, and honored guests.
Tickets are $90 per adult and $35 per child.
Reservations and payment may be made at the rectory by September 29.
Please make checks payable to: Holy Name Society of St. Bernadette.
Come be part of this beautiful tradition of faith and culture, honoring Our Lady of the Rosary of Pompeii and celebrating the bonds of community that unite us. Evviva Maria!
September 14, 2025
Simple Pleasures: Painting of Maria Sofia di Wittelsbach, Queen of the Two Sicilies
I was absolutely thrilled to see the latest addition to my friend’s painting collection — Maria Sofia di Wittelsbach, Queen of the Two Sicilies, visiting the soldiers at Gaeta. The canvas, inscribed “M. de Villefrance, 1862” in the lower left, is a striking oil on canvas (98 x 130 cm). Although no documented artist by that name is known, the inscription and date beautifully anchor the work in its historical context. In fact, Maria Sofia became legendary for her courage during the Siege of Gaeta (1860–61), when she stood beside her troops as the Bourbon stronghold faced the forces of Italian unification. This makes the painting an especially fascinating and remarkable addition to the collection!
September 13, 2025
Little Italy Lights Up for the 99th Annual Feast of San Gennaro
![]() |
San Gennaro, ora pro nobis |
Remembering Maria Isabella of Spain, Queen of the Two Sicilies
6 July, 1789 — 13 September, 1848 |
In memory of Maria Isabella of Spain, Queen of the Two Sicilies, we pray for the happy repose of her soul. Viva ‘a Reggina!
Eternal rest grant unto Her Majesty, O Lord and let perpetual light shine upon her. May her soul, and the souls of all the faithful departed, through the mercy of God, rest in peace. Amen.
September 12, 2025
Movie Review: Red Sonja (2025)
Spoiler Alert!
Fire and Fury in the Age of Conan. ~ Tagline from Red Sonja comics
I’m not sure what possessed me, but I sat down to watch M.J. Bassett’s Red Sonja (2025), fully aware it was going to be bad. Not “good-bad” (like the campy fun found in Flash Gordon (1980), Barbarella (1968), or even the zany cult oddity Forbidden Zone (1980)), but truly bad-bad—in the same vein as Conan the Barbarian (2011) starring Jason Mamoa, The Green Knight (2021) starring Dev Patel, and Amazon’s The Rings of Power (2022– ). My childhood obsession with Robert E. Howard’s Hyborian Age is no doubt to blame for why I subjected myself to it.
As a boy, I devoured Sword and Sorcery, High Fantasy, Sci-Fi, and Horror fiction. The stories of Robert E. Howard (Conan, Bran Mak Morn, etc.), J.R.R. Tolkien (The Hobbit, LOTR), Michael Moorcock (Elric, Corum), Edgar Rice Burroughs (Tarzan, Barsoom), H.P. Lovecraft (Cthulhu, etc.), Frank Herbert (Dune), and even John Norman (Gor) were my favorites. While my friends stuck with mainstream superhero comics (The X-Men, The Avengers), I gravitated toward the darker, more pulpier titles: Savage Sword of Conan, Vampirella, Savage Tales, Creepy, Eerie, and of course, Red Sonja. I even collected the full fifteen-issue self-titled run in the ‘70s, though truth be told, I always preferred Conan’s swashbuckling paramours—Bêlit and Valeria.
Despite being a stickler for lore, I can forgive liberties in adaptation when they serve the story. John Milius’s Conan the Barbarian (1982) starring Arnold Schwarzenegger took plenty, but still captured the spirit and to this day remains one of my all-time favorite fantasy films. [1] But Red Sonja (2025) goes far beyond creative license. It doesn’t just take liberties, it guts the character entirely. By rewriting her origins, the film strips away the mythic weight that made the "she-devil with a sword" compelling and replaces it with a confused, hollow “girl-boss” caricature.
In Marvel’s original story “The Day of the Sword,” written by Roy Thomas, Sonja’s family is slaughtered by a group of mercenaries, and she is raped by their leader. Left to die, a mysterious “vision of madness” offers her a chance for revenge by granting her supernatural martial prowess, on the condition she never allows herself to be touched by another man unless he first defeats her in fair battle. It’s grim, tragic, and mythic. In the movie, by contrast, the red-haired hellion is a natural-born warrior, slaughtering her opponents with ease, without any training.
As a boy, I devoured Sword and Sorcery, High Fantasy, Sci-Fi, and Horror fiction. The stories of Robert E. Howard (Conan, Bran Mak Morn, etc.), J.R.R. Tolkien (The Hobbit, LOTR), Michael Moorcock (Elric, Corum), Edgar Rice Burroughs (Tarzan, Barsoom), H.P. Lovecraft (Cthulhu, etc.), Frank Herbert (Dune), and even John Norman (Gor) were my favorites. While my friends stuck with mainstream superhero comics (The X-Men, The Avengers), I gravitated toward the darker, more pulpier titles: Savage Sword of Conan, Vampirella, Savage Tales, Creepy, Eerie, and of course, Red Sonja. I even collected the full fifteen-issue self-titled run in the ‘70s, though truth be told, I always preferred Conan’s swashbuckling paramours—Bêlit and Valeria.
![]() |
My collection of Red Sonja comics |
In Marvel’s original story “The Day of the Sword,” written by Roy Thomas, Sonja’s family is slaughtered by a group of mercenaries, and she is raped by their leader. Left to die, a mysterious “vision of madness” offers her a chance for revenge by granting her supernatural martial prowess, on the condition she never allows herself to be touched by another man unless he first defeats her in fair battle. It’s grim, tragic, and mythic. In the movie, by contrast, the red-haired hellion is a natural-born warrior, slaughtering her opponents with ease, without any training.
The plot doesn’t help. Reimagined as an eco-warrior, Sonja wages war against Emperor Dragan (Robert Sheehan), who is clear-cutting Hyrkania’s forests in his quest for an ancient, arcane manual of world-conquering technology. Along the way, she’s captured by the baboon-faced General Karlak (Martyn Ford), thrown into gladiatorial games, and forced to battle a giant cyclops. To give you an idea of what passes as dialogue, armed with only a wooden sword and wondering what they’ll face, a fellow gladiator says, "Well, you best hope it's not a giant beaver."
Naturally, Sonja breaks the creature's magical bonds with ease, convinces it to rebel against the emperor, and brings the cyclopean coliseum (no pun intended) crashing down. From there, the film devolves into a slog of poor performances, awkward fight scenes, and flat dialogue, with cheesy costumes and an uninspired score. By comparison, the much-maligned Red Sonja (1985) adaptation starring Brigitte Nielsen looks like a cinematic masterpiece.
If I’m being charitable, I’ll admit this much: Matilda Lutz looks the part. Though less ample than the original comic character, she still projects a certain Sonja-esque presence. While the film tones down the fighting first lady of sword and sorcery’s iconic assets, her provocative chain-mail bikini—to the chagrin of misandrists everywhere—still drew my male gaze. That’s the single compliment I can offer before the whole enterprise collapses under the weight of mediocrity.
Hollywood keeps trying to retrofit sword-and-sorcery pulp into contrived modern formulas, memory-holing its brutality, primal masculinity, and tragic grandeur. Strip those elements away, and you’re left with something empty—like this film. Red Sonja deserved better. So did we.
~ By Giovanni di Napoli, September 11th, Feast of Beato Carlo Spinola
Notes:
[1] To give a sense of my cinematic taste across these genres, here are my top five picks I can always revisit: Excalibur (1981), Clash of the Titans (1981), Conan the Barbarian (1982), Blade Runner (1982), and Dune (1984).
Naturally, Sonja breaks the creature's magical bonds with ease, convinces it to rebel against the emperor, and brings the cyclopean coliseum (no pun intended) crashing down. From there, the film devolves into a slog of poor performances, awkward fight scenes, and flat dialogue, with cheesy costumes and an uninspired score. By comparison, the much-maligned Red Sonja (1985) adaptation starring Brigitte Nielsen looks like a cinematic masterpiece.
![]() |
My collectible Red Sonja pint glasses |
Hollywood keeps trying to retrofit sword-and-sorcery pulp into contrived modern formulas, memory-holing its brutality, primal masculinity, and tragic grandeur. Strip those elements away, and you’re left with something empty—like this film. Red Sonja deserved better. So did we.
~ By Giovanni di Napoli, September 11th, Feast of Beato Carlo Spinola
Notes:
[1] To give a sense of my cinematic taste across these genres, here are my top five picks I can always revisit: Excalibur (1981), Clash of the Titans (1981), Conan the Barbarian (1982), Blade Runner (1982), and Dune (1984).
September 11, 2025
A Prayer for the Victims of the September 11 Terrorist Attacks
![]() |
Christ embracing the Twin Towers, St. Ephrem Church, Dyker Heights, Brooklyn Photo by New York Scugnizzo |
Our thoughts and prayers are with the victims and families of the September 11, 2001 Islamist terrorist attacks—we still remember. May Our Lady of the Immaculate Conception protect and watch over you.
Prayer for Victims of Terrorism
Loving God, welcome into your arms the victims of violence and terrorism. Comfort their families and all who grieve for them. Help us in our fear and uncertainty, and bless us with the knowledge that we are secure in your love. Strengthen all those who work for peace, and may the peace the world cannot give reign in our hearts. Amen.
Italian American Emporium Opens in Little Italy – Just in Time for the Feast of San Gennaro
The wait is over! The Italian American Emporium officially opens its doors today, September 11th, in the heart of Little Italy, New York. Celebrating the rich traditions of Southern Italy and Italian American culture, the shop offers “everything you need to be Italian” — from t-shirts, housewares, candles, and perfumes to fine leather goods and more. Arriving just in time for the Feast of San Gennaro, the Emporium is set to become the neighborhood’s newest destination for authentic products and pride-filled finds.
Italian American Emporium
155 Mulberry Street, Little Italy, NYC
Subscribe to:
Posts (Atom)