Conan il barbaro

You know, Conan doesn't speak for the first 22 minutes of the movie, but it's worth the wait. "Crush enemies, see them driven before you, hear the lamentations of the women" is Conan's description of what is best in life.

If you're a dialog person, this movie may not be for you. If you never paid attention to the dialog, you might do so now. Sex, drugs, and rock'n'roll! (except, without the rock'n'roll. The soundtrack is pretty awesome, though).

What can I say? It's a classic. Intense blood and gore, Eighties-esquire special effects, intense sensuality with were-vixens, magic, revenge, true love...sounds like the Princess Bride with an R rating. Just kidding.

Back when it was originally released, CONAN THE BARBARIAN was dismissed by the critics as a disposable Sword & Sorcery B-movie. It was criticized for it's excessive violence and Arnold's wooden performance. It's brilliant score and memorable sets are ignored by reviewers, as is the well choreographed swordplay. Thirteen years later, BRAVEHEART is showered with praise and Oscar respectability. It is embraced by critics despite it's graphically violent battlefield sequences, which are praised as exhilarating and authentic. Many of these battle sequences (as well as some of the costume design) bare just a little resemblance to the ones in CONAN THE BARBARIAN. Eighteen years later, GLADIATOR becomes a box-office blockbuster in a matter of weeks, taking in almost one hundred thirty million thus far. It receives generally good notices from critics despite it's historical inaccuracies, poorly edited action scenes and predictable plot. The basic story is reminiscent to the one told in CONAN, and the films violence is every bit as brutal. Isn't it funny how times change? What was once laughable and disposable is now respectable.

Before CGI allowed filmmakers to cheaply create any fantasy world they can think of fantasy films had to rely on real locations, practical effects, and deep imagination to bring those worlds to life before the camera rather than in post-production. It may not be bestowed with Oscars, but Conan The Barbarian is just as classy as Ben Hur and more brutal than Gladiator.

In an almost wordless set-up, a young Conan is orphaned by the androgynous warlord Thulsa Doom (James Earl Jones) and dragged off to some kind of weird labor camp where children are exploited and punished, kinda like a primitive version of Disneyland Paris. Years go by and Conan grows up into a huge, bloated and bulging muscle-bound killing machine.

At this point, he is used as a money-making tool by his captors, who set up death matches with other killing machines. Soon, he becomes the most honored fighter in the land, so his captors set him free as he can win no more tournaments. In the opening act alone we see him transition from innocent child, to orphan, slave, gladiator, warrior, adventurer, and thief.

He has a hard time surviving on his own until he finds a special sword, makes a new best friend in Subotai (Gerry Lopez) and finds a girlfriend in Valeria (Sandahl Bergman). Together, they live the high life of barbarians, mainly involving robbing, grunting, and clubbing people. All goes well until Conan makes it his personal quest to go after Thulsa Doom for revenge.

James Earl Jones appears threatening, even though he doesn't even look like the kind of guy who would say boo to a goose. Imagine Oprah Winfrey in Hells Angels biker gear and you'll have an accurate description of Thulsa Doom. He's not a totally formidable foe for Conan in the larger-than-life sense, but psychologically he's a scary dude.

Schwarzenegger does a great job. There really is only one person in the world who could play Conan, as sympathetic and brutal as he is, and Arnie definitely pulls it off, in this, his first major starring role. Of course, there is not much acting going on - he says only five words to Valeria in the whole movie - but it's all about physical presence, rather than thespianism. Most of the dialogue is unspoken. Conan was brought up to be a killing machine, but he learns humanity through feeling his own mortality.

Producer Dino De Laurentiis, a veteran movie-maker, brought a whole load of money to give Conan a massive scale. John Milius stages some h-u-g-e scenes, with excellent production values, and his cinematographer Duke Callaghan uses widescreen framing brilliantly. The gore and violence is on a par with Paul Verhoeven and is so frequent that after a while it becomes almost comical. Basil Poledouris, who wrote wonderful music for RoboCop and many others, creates a truly majestic score that is absolutely spellbinding.

As a tribute to Robert E. Howard's pulp hero, as a stand-alone movie, as an Arnie vehicle and cult picture, Conan is now almost a classic. Sure, there are faults, but you'll be too damn entertained to care.

Arnie in the lead role. James Earl Jones as the villain. Clear effort and care, that shows, in every department. Really, what more could you ask of this film? I have not read any of Howard's stories, so all I know about Conan is how many times the character has been done, and of course what this film told me. Be forewarned, there is some sexuality(not many places, but when it's there, it can be strong), a lot of violence, and a seemingly endless stream of death throughout this, and you should only watch this if you are prepared for(and able to tolerate) such. The plot is quite good, and I understand it does incorporate several elements and occurrences from the original stories by Howard(R.I.P.). The pacing is pretty much flawless, I was never bored. The action is well-done, intense and with great choreography. Acting is spot-on, more or less. Jones is a more intimidating presence elsewhere, but he's not bad at all. Schwarzenegger does rather well. Production values are of notably high quality for the entire feature. No expense seems spared. Vast sets and locations, detailed costumes and props, countless extras. Special effects are magnificent, and not just for the time it was made. Sound is reasonable, a lot of lines seem ADR'ed, but the music is masterful. Dialog varies, but most of it is marvelous, both writing and delivery. Cinematography and editing are top-notch. This builds atmosphere skillfully, and the amount of dialog and where it occurs is chosen with care. I would advise against reading the Trivia entries, or at least all of them, before the viewing, as they do give some things away. I recommend this to any fan of the genre, Arnie, and possibly Jones and/or Sydow, as well. 7/10

When Conan came out in 1981, critics griped about its elephantine pacing and ponderous dialogue, and long stretches in which nothing much happened, giving evidence that they expected traditional action- adventure in the vein of, say, Sinbad. But director John Milius had set out to create something very different: an epic Aryan myth which translated the qualities of Wagnerian opera to cinema, and in large part he succeeded.

Conan has a sweeping epic feel, and is heavily dependent upon and driven by its setting and music to a degree that is very rare. As important as the deeds of the legendary hero, which are shown in brief and violent spurts of action, are the place and the culture that shaped that legend. The journey that created the myth, in short, is equal to the myth itself, and this is the logic and justification for the setting-heavy approach taken by Milius. And Basil Poledouris' wonderful music, which starts out Wagnerian and brassy, but adds middle Eastern touches as Conan's journey takes him in that direction, tracks along with Conan to show up the breadth of his epic journey while celebrating his heroic achievements.

Ultimately the story that gets told is somewhat less worthy of Milius' Wagnerian ambitions than are the music and the visuals, but the overall results more than justify the effort, especially when compared to the Italian sword and sandal knock-offs which followed this much copied but never equaled classic of the fantasy genre.