#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – Beyond the mists of time, having witnessed the brutal death of his blacksmith father and the massacre of the entire village by the murderous followers of Thulsa Doom, the undead evil wizard and servant of the serpent-god, Set, Conan, the orphaned young Cimmerian, is condemned to a life of slavery. Chained to the perpetual Wheel of Pain, the helpless boy grows into a man, and after years of rigorous training as a fierce gladiator, Conan, now an unstoppable mountain of muscle, regains his precious freedom. But, with the image of the blood-soaked raid etched on his mind, Conan teams up with Subotai, the Hyrkanian thief, and Valeria, the Queen of the Bandits, and embarks on a peril-laden journey to the mysterious Mountain of Power, and the impregnable Snake Cult Temple. Will Conan avenge his parents?
Plot: A film adaptation of the classic sword and sorcery hero, Conan the Barbarian. A horde of rampaging warriors massacre the parents of young Conan and enslave the young child for years on The Wheel of Pain. As the sole survivor of the childhood massacre, Conan is released from slavery and taught the ancient arts of fighting. Transforming himself into a killing machine, Conan travels into the wilderness to seek vengeance on Thulsa Doom, the man responsible for killing his family. In the wilderness, Conan takes up with the thieves Valeria and Subotai. The group comes upon King Osric, who wants the trio of warriors to help rescue his daughter who has joined Doom in the hills.
Smart Tags: #evil_sorcerer #cult #warlord #cult_film #eating_human_flesh #muscleman #sword_and_sorcery #female_nudity #gladiator #actual_animal_killed #harem_eunuch #warrior #snake #avenge #snake_cult #steel #wizard #fight #archer #thief #barbarian
|6.9/10 Votes: 143,090|
|6.8 Votes: 1778 Popularity: 22.09|
Though definitely a guilty pleasure from the cheesy 80’s of which I grew up, this is such outstandingly fun. It’s so unique a cinematic experience, knowing what we know of Schwarzenegger’s life and career the 34 years since, seeing him at this juncture, as he’s just starting out. (No, I haven’t seen ‘Stay Hungry’ yet.)
Part of me always wishes he had simply stuck to these films (as well as the ‘Terminator’ series), and was still making them. In his prime, I dare you to find anyone better at this kind of material. Director Milius has a fine feel for the swords-and-sandals/fantasy worldscape this material requires. An excellent and underrated supporting cast is here at well to help Arnie out, too.
***”Sit here… SIT HERE”***
I was hugely disappointed by “Conan the Barbarian” (1982) when I first viewed it because it deviated too far from the blueprint established by creator Robert E. Howard. Yeah, they got many things right, but the things they got wrong ruined the film for me. Yet I’ve warmed up to it over time because one can’t deny the film’s merits. If you’re a fan of the books and the faithful comics, it’s important to realize going in that this is an ALTERNATIVE Conan, similar to Howard’s, but far from a strict interpretation.
The flaws mostly have to do with John Milius and Oliver Stone’s deviation from Howard. Consider the opening sequence of Conan as a little boy on his father’s knee getting advice about the trustworthiness of the sword: Sorry, but the lad looks like an average soft suburbanite boy, not a tough kid that grew up in the wilds of Cimmeria, land of darkness and deep night.
Secondly, the “wheel of pain” sequence is just dumb. I have a bit more respect for this part now that I realize it’s a metaphor for the cyclical drudgery of grade school but, c’mon, the REAL Conan wouldn’t spend that many years in captivity! He would have escaped long before, not to mention slay his captors. I suppose it helps when consider that Stone & Milius were taking bits from Howard’s other creations, like Kull, who was a slave for a few years.
Thirdly, when they first meet Valeria while robbing the temple of Set the flick cops a decidedly campy tone. Although Sandahl Bergman is great throughout the rest of the picture that initial meeting is pretty cringe-inducing. It was at this point that I really tuned out when I first viewed the film. Fourthly, one of the worst parts is when Conan grovels at Thulsa Doom’s feet crying, “You killed my father; you killed my mother!” This in no way resembles Howard’s Conan. But, in its defense, it does make Conan more human and therefore more relate-able to the viewer.
Thankfully, the film has several strengths, starting with the magnificent and awe-inspiring score by Basil Poledouris. The movie’s worth viewing just to hear this score. Secondly, despite acceptable discrepancies (e.g. Conan has black hair not brown), the casting is quite good; although Schwarzenegger doesn’t really reflect the air of REH’s character (Jason Momoa is far better). Thirdly, Milius & Stone show their brilliance by incorporating Genghis Khan’s historical quote in Conan’s response to “What is best in life?” Conan answers: “To crush enemies, see dem driven before you and to hear da lamentation of der women.”
Fourthly, the locations, sets and costuming are superb. They certainly got the LOOK of Robert E. Howard’s Hyborian Age right. Fifthly, As long as one is prepared to accept the deviation from Howard’s Conan, the story keeps your interest throughout (which is my way of determining the worthiness of ANY flick). Sixthly, Sandahl Bergman is super sharp and sexy; she possesses a certain barbaric beauty essential to the role and it’s hard not to gaze at her shapely form in awe when she’s on screen.
Lastly, the overall tone of the film is quite serious and brooding. Despite Valeria’s initial campy sequence mentioned earlier and a couple of amusing scenes with Mako, the film eludes the rut of camp (unfortunately the 1984 sequel cannot boast of this quality).
SPECIAL MOMENTS AND INTERESTING ITEMS:
•The love scene between Conan & Valeria and, later, the death/funeral pyre scenes are reverent, beautiful and moving. The accompanying piece by Poledouris is emotionally potent.
•Conan’s spiritual evolution in regards to sexuality and love is interesting: His first exposure is as a slave when beautiful women are occasionally thrown to him for the amusement of those watching. After he acquires his freedom his first (and presumably only) experience with casual sex goes horribly wrong. Later in Zamora he dismisses the solicitations of prostitutes with a wave and a derogatory word. Finally he meets Valeria and discovers true love and commitment, conveyed well in the love/death/funeral scenes noted above.
•Both the battles inside the mountain fortress and, later, the showdown at the mounds are thrilling with the accompanying score getting your blood pumping.
•Right before the battle at the mounds Conan and Subotai brace themselves as the ‘riders of doom’ trot forth. You can see the bold determination on their faces: They have no other recourse; they will stand and fight as men, come what may. (All men will eventually have to stand and fight in this manner one way or another, and we wuss out at our own peril).
•After their unlikely victory Conan raises his arms (and weapons) in salute to the altar where Valeria was cremated. It gives you goosebumps.
Both “The Complete Quest” and “Collector’s Edition” contain an excellent 55-minute “Making Of” documentary wherein all of the principle actors and creators are interviewed, as well as an excellent commentary by Milius and Schwarzenegger.
FINAL ANALYSIS: Like I said, I’ve finally come to see the magnificence of “Conan the Barbarian,” but I had to get over my hang ups concerning the deviations from Howard’s Conan to see it. As an ALTERNATIVE Conan it’s a nigh masterpiece of cinematic art.
One last thing: Um, don’t use that first line of dialogue (“Sit here… SIT HERE”) on your wife or girlfriend; I tried it and she didn’t take too kindly to it!
The film runs 2 hours, 9 minutes, and was shot in Spain.
John Milius’s great mythological adventure
Conan the Barbarian might be known as an Arnold movie and perhaps correctly so- Arnold is such a hulking presence everything tends to be about him one way or the other. But this is really a John Milius movie first and foremost. He is an exemplary writer, obsessed with the path of righteousness- a zen anarchist and a true maverick. In Conan Milius takes the titular character and creates a mythology about him. The cinematography is astounding and the fight sequences make you aching for a time when practical effects were used primarily. The actors are all really good especially James Earl Jones as the main villain and of course Arnold- there was no question in anyone’s mind that this man would go onto rule Hollywood. Conan the Barbarian is a raw experience as well as poetry at the same time.
Trend-setting sword and sorcery epic
This is it – the big one. The film which spawned twenty or thirty imitations across the world in the following years. The film which gave the fantasy adventure – dormant since the Italians packed in doing their sword and sandal flicks in the mid sixties – new life and a brief resurgence in popularity. Of course, it disappeared as soon as it came, the craze died down and the majority of the films were forgotten, except for cult movie fans to uncover them every now and then and marvel at their “wonders”. There were American imitations – CONAN THE DESTROYER (the sequel in which things degenerated into kiddie level), DRAGONSLAYER; British imitations – HAWK THE SLAYER – and most of all, Italian imitations – THOR THE CONQUEROR, HERCULES, ATOR THE FIGHTING EAGLE to name but a few. Few if any of these films capture the same epic beauty as CONAN THE BARBARIAN, which has the benefit of being an intelligent film (scripted by Oliver Stone with a philosophy behind it) instead of the usual dumb fun.
The first thing you notice about this film is the crisp, colourful and breathtaking scenes of deserts, plains, mountains, swamp lands and ancient cities. These were brought to life in the widescreen version I watched and really served to make the film feel real and the world in which it is set an existing place. The wonderful musical score from Basil Poledouris also helps greatly in setting the scene and giving this movie a majestic feel. However, there are a few serious flaws which one has to consider when reviewing this film. Firstly the plot – sometimes it’s muddled, sometimes it makes no sense and sometimes it seems to go nowhere. Secondly, the dialogue – especially Arnold’s minimal words – is somewhat overstated and ripe, and often unintentionally amusing.
The cast, though, is an interesting one. Leading is that man-mountain, Schwarzenegger, in what was his breakthrough role. Although his acting is limited, I do think he was in the right place at the right time when this was made, and the role, which requires him to look strong and fight hard, is tailor-made for his physique and physical skills. If you’re not convinced, remember that he did all of his own stunts as they couldn’t find a stunt double the same size as him. Schwarzenegger seems to get better as the running time goes on, his journey in the movie paralleling his on-screen transformation from bemused non-actor at the outset to iconic hero and future star at the end.
Schwarzenegger is supported by the fiery but unmemorable Sandahl Bergman, who would go on to take the leading role in SHE, another bizarre adventure from Italy. Again, Bergman’s acting is limited but she’s fine in the action scenes. Lopez is good as the Mongol friend, while Mako is suitably weird and makes a wonderful impression as the bald-headed wizard who aids our hero’s quest. However, acting honours go to James Earl Jones, who is actually one of the most frightening screen villains in a long time. He achieves much of his screen power simply through his hypnotic eyes and impassive face, and of course that voice which made Darth Vader famous. Look hard and you’ll see Max Von Sydow in a small cameo too, as a forlorn king.
From the impressive opening scene – which gives that of GLADIATOR a run for its money – you know that this film is going to be brutal, with the eating of Conan’s dad by dogs and the decapitation of his mum. The high violence level is another thing I like about this film, as that and the frequent sex and nudity help to convey life in a cruder, less sophisticated world. Action scenes in which arterial blood sprays everywhere and people’s heads are cut off are some of the most visually impressive I’ve ever seen and enjoyed. And occasionally, John Milius manages to transcend the film’s pulp origins. The rescue scene is absolutely sublime thanks to the suspenseful music (thanks to Basil Poledouris for the great score) and the editing.
The special effects are primitive but effective, and in particular I like the massive snake which briefly attacks Arnie in an underground cavern. Another good scene is where animated demons appear to try and take a dying Arnie away and must be batted off by his friends. The transformation of James Earl Jones into a snake is also very creepy and well done. This is a film packed with memorable genre scenes; from the opening montage which charts Conan’s progression from a slave to a gladiator to a free man, to the superb ending which seems him finally get his revenge, there are many good bits to watch. These include the robbery of the snake eye crystal from a temple, Conan’s entry into an underground tomb of an ancient king and the battle among the standing stones on the desert plain. Highly enjoyable and only mildly flawed, CONAN THE BARBARIAN is a film everybody should see at least once.
Original Language en
Runtime 2 hr 9 min (129 min)
Genre Action, Adventure, Fantasy
Director John Milius
Writer Robert E. Howard, John Milius, Oliver Stone
Actors Arnold Schwarzenegger, James Earl Jones, Max von Sydow
Country United States, Mexico, Spain
Awards 2 wins & 9 nominations
Production Company N/A
Sound Mix Mono
Aspect Ratio 2.39 : 1
Camera Arriflex 35 BL, Todd-AO Lenses
Laboratory Technicolor, Hollywood (CA), USA
Film Length N/A
Negative Format 35 mm (Eastman 100T 5247)
Cinematographic Process Todd-AO 35 (anamorphic)
Printed Film Format 35 mm