Major Charles Rane comes back from the war and is given a number of gifts from his hometown because he is a war hero. Some greedy thugs decide that they want to steal a number of silver ... See full summary »
Tommy Lee Jones,
A group of outcasts from different backgrounds and nationalities are forced by misfortune to work in an oil-drilling operation in South America. When fire breaks out of control, four of the outcasts are given the opportunity to earn enough money to get out by transporting six crates of unstable dynamite through miles of jungle in two ancient trucks. Written by
Keith Loh <email@example.com>, David Lee (firstname.lastname@example.org)
William Friedkin antagonized Paramount, using a Gulf and Western corporate photo for a scene that featured the evil board of directors of the fictional company which hired the men to deliver nitroglycerin. Walon Green recalled the experience in the following way:
"[Friedkin] put Bluhdorn's picture on the wall in the office in the scene where [the oil company foreman] finds out that the well is blown by terrorists and they can't do anything about it. When Bluhdorn saw his picture on the wall as chairman of the oil company he had a shit hemorrhage!" See more »
In the wide shots of the trucks crossing the bridge you can see the tow cables/anchor lines to the bridge going in and out of the water as the bridge rocks back and forth. See more »
We're carrying three cases each. One is enough to blow out your fire, six cases will blow out the whole field. That means you don't think all the trucks will make it, one of us is a backup.
We want double, and legal residence... or we don't drive.
You leave in four hours.
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At the end of the film as the last of the end credits scroll up, the music fades away and is replaced by the sound of an idling truck. See more »
Friedkin's unacknowledged masterpiece is clearly superior in the 1st and 2nd acts as he gives superb backdrops into the individual stories of the main protagonists. When we see them in the 2nd act, amidst the grit and grime of a backwater Latin American nation, we understand the desperation that would have led them to such a place.
The seering reality of the depravity they now live in was much more effective in Friedkin's movie. You don't expect to see a gorgeous hooker in this environment, unlike the unrealistic Wages of Fear. Oddly enough, Wages of Fear is actually much more Holly-wood like in its storytelling than Sorcerer.
Mind you, I do like Wages of Fear and actually thought it was a great movie, but I have to revise my opinion after seeing a movie that actually does it right.
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