Conquest

An old man in a dollar store Santa wig and beard bestows a magic bow on wimpy young adventurer Ilias (Andrea Occhipinti), who ventures into the smoke-shrouded wilderness to fulfil his destiny, which involves befriending barbarian Mace (Jorge Rivero), and fighting evil, topless sun-ruler Ocron (Sabrina Siani) and her beastly minions.

Lucio Fulci, the Italian 'godfather of gore', tackles the then-very-popular fantasy genre in his own distinctive style, keeping splatter fans happy with a wonderfully gory scene early on as Ocron's pig-faced henchmen attack a peaceful tribe, tearing a woman in half by pulling her legs apart and cracking open her skull so that their leader can feast on the brains. A later revolting scene sees Ilias struck by a poisoned dart, his body erupting with oozing sores (cured by a handy dandy magical flower that grows in a nearby valley!). Fulci also throws in not one, but two totally unexpected and gory demises for two of the characters, which makes up somewhat for the remainder of the film, which comprises of a series of not-very-thrilling altercations in which the bad guys launch themselves off trampolines in the direction of the heroes.

In addition to the gore and the tiresome fights, we also get a hilarious moment when a school of friendly dolphins rescue Mace from a watery grave - a silly underwater scene to rival that of the shark vs. Zombie in Zombie Flesheaters.

5/10. Not one of Fulci's better films, but worth a go for fans of the director and for those who enjoy dumb trashy movies.

Crashing in to the craze set-up by "Conan the Barbarian" came quite an amusingly pulp sword and sorcery fable by Italian horror maestro director Lucio Fulci, which might be slender on story, packing a random, if stiff script and looking to be rather cheaply pulled off but he crafts out a lasting atmospheric air of odd imagery (as well as eerie sound effects) and hands out slabs of gusto violence (adding pulsating shocks of bloody violence --- especially to the head). In his latter career he would always be remembered for the excessive gore and nastiness in his features, but I what impressed me more anything is the moody atmospherics he brings aboard. I found "Conquest" to be quite effectively simmering in that regard. Helping out a lot is Claudio Simonetti ticking time bomb of an electronic score too. Rather unhinged, but extremely exhilarating and mystical. Fulci moves through one set-piece after another, either being a quick moving clip or a rather sluggish passage; nonetheless the primitive tailoring with its tacky make-up and chintzy special effects only add to this nightmarish air where a striking surreal edge is presented. Maybe taking away from the story's questionable developments. Some tripped out visuals of swirling mists and dark lighting compositions are caught by some innovative, flowing cinematography that's not afraid to get up close and personal, and also perfectly frames the picturesquely verdant backdrop. The performances are acceptable, but still on the plain side with the likes of Jorge Rivero, Andrea Occhipinti and Sabrina Sellers. I found the feature to get better as it went along, but it seems to make sure everything that occurs comes off too easy without much struggle and that goes for its anticlimactic final showdown. A fun and tatty exploitive tilt at the sword and scandal fantasy faze.

"Conquest" is a typical case of a "love it or hate it" movie. The crossover which Fulci tried was: take some of the barbarian hero stuff popular in the 80s (Conan, Beastmaster), combine it with the splatter horror the director is well known for, and give this a psychedelic edge with blurred, constantly foggy visuals and haunting synthesizer music. Surely not everybody's taste, not even for many fans of Fulci's other works. However, if you are in the right mood, "Conquest" is an experience that compares to no other fantasy horror movie...except maybe Bava's "Ercole al centro della terra"! The story can be given in a few lines: Ilias, a young man from a comparatively civilized country, travels to a barbarian land of many terrors. He meets the warrior Mace, and together they fight an evil sorceress who claims to be responsible for the rising of the sun, and is worshiped like a goddess by everyone who believes her (surprisingly many).

Fulci doesn't give any explanations, but lets us dive in head first. Don't ask "why do those zombies exist in the swamp?", "why does Zora appear out of thin air?" or "how can Sabrina Siani be beamed from the mountain top into the cave without Scotty around?". This is not the point. What Fulci shows us is a dream where everything is possible. Meet the creatures that lurk in your nightmares, and when there are no more arrows for the bow, it shoots lightning beams. A dream does not require logic. Even death is not certain here. I perfectly understand when people don't like this movie, because it is opposed to what one normally expects from a movie. However, I don't see this as a dumb or sloppy script - to me it appears to be a purposeful experiment that did not succeed entirely, but is unusual and challenging. As I said at the beginning: love it or hate it.

In an unnamed pre-historic land, a gold-masked sorceress named Ocron (Sabrina Siani) rules all evil. A young archer (Andrea Occhipinti), equipped with a magic bow-and-arrow, sets out to kill her, teaming up with a hardened, animal-loving muscleman (George Rivero) along the way...

This was the first movie Fulci made after breaking his assocation with Fabrizio De Angelis, and is recognised as the one that would stop his career in its tracks. Fulci's quarrels with producer Giovanni De Clemente really show through on screen, with some particularly cheap special-effects and mangy-looking monsters.

To his credit, Fulci tries hard to work up an atmosphere (orange skies, fog, green mossy plains), but gives up towards the end. Some scenes are just plain stupid, such as the wolfmen attacks (they look like Dulux hounds!) and Rivero rescued from drowning by dolphins. As with his earlier CHALLENGE TO WHITE FANG, the sheer nastiness of what goes on weighs against the fantastical, magical backdrop Fulci was trying to create. But FANG had lovely locations, good acting, a pacey storyline and excellent photography to fall back on.

Gore fans do get their money's worth, however. An old man's brain is exposed after receiving a cranial axe-blow, Ocron whacking open a severed head to feast on its brains, various gore-spewing arrow hits, zombies being staked, several graphic burnings, and Ocron's heart blown out after receiving a laser-bolt to her chest. Not forgetting the notorious 'wishbone' sequence, where a naked girl is spread-eagled until she splits right up the middle.

Of course, many video-releases are cut, including the UK and Dutch tapes. Go for the Belgian or Greek release, they're both uncut and LBXed. That is, of course, if you care!

It's not surprising that the Italian spate of CONAN rip-offs only lasted about a year. This unimaginative effort, which is adequate at best, is actually one of the BETTER rip-offs. You don't even want to know what Lenzi's IRON MASTER and Tonino Ricci's THOR THE CONQUEROR are like!

If there's any movie Lucio Fulci made that inspires equal love and hatred, it must be this, the director's lone fore into the Sword and Sorcery subgenre. The general opinion of its detractors seems to be that "Conquest" marked the beginning of Fulci's descent into both commercial and artistic mediocrity, and while the former may be true, I'm not understanding the latter. In light of what Fulci's work aspires to be, "Conquest" can in many ways be seen as a culmination of his style, and if your best criticisms of the movie are that it's "plotless and cheap," I wonder why you're watching a Fulci movie in the first place.

Sure, the plot is a rudimentary blob that in the end amounts mostly to characters wandering back and forth as an excuse to get them into perilous situations involving traps and monsters, but Fulci's visual sensibilities are positively ON FIRE here, so much so that the limitations of the story become pretty much inconsequential. They take a back seat to the otherwordly mythic fantasy environment that Fulci is able to create with the most frugal materials. It is the foreboding fog-shrouded swamps, ancient stone temples, grotesque creatures and lurid-colored alien skies that will linger in the mind as the work of an artist who clearly has an eye for distinctive visuals. You could only accuse this of being a movie derivative of "Conan the Barbarian" if you completely ignored this aspect of it, because I can't think of another film that looks anything like this.

Other aspects of "Conquest" work to its advantage in subtle ways. The spare, monosyllabic dialogue helps to create the sense of a primitive and brutish world and the minimalist pulses of Claudio Simonetti's electronic score mesh well with the stunning visuals. Bizarre details - the villainess' gold mask and fascination with snakes, the enchanted bow that glows blue, the dolphin rescue - border on the surrealistic. The effect achieved, at least to this viewer, is hypnotic. I find myself wondering how so many filmmakers today, when they are given all the resources in the world and can't give us one interesting thing to look at, can be treated so leniently by critics who would jump on the bahnwagon to slam Fulci without a second thought.