| Roy Scheider | ... | Jackie Scanlon - 'Juan Dominguez' | |
| Bruno Cremer | ... | Victor Manzon - 'Serrano' | |
| Francisco Rabal | ... | Nilo | |
| Amidou | ... | Kassem - 'Martinez' | |
| Ramon Bieri | ... | Corlette | |
| Peter Capell | ... | Lartigue | |
| Karl John | ... | 'Marquez' | |
| Friedrich von Ledebur | ... | 'Carlos' (as Fredrick Ledebur) | |
| Chico Martínez | ... | Bobby Del Rios (as Chico Martinez) | |
| Joe Spinell | ... | Spider | |
| Rosario Almontes | ... | Agrippa | |
| Richard Holley | ... | Billy White | |
| Anne-Marie Deschodt | ... | Blanche (as Anne Marie Descott) | |
| Jean-Luc Bideau | ... | Pascal | |
| Jacques François | ... | Lefevre (as Jacques Francois) | |
| André Falcon | ... | Guillot | |
| Gerard Murphy | ... | Donnelly | |
| Desmond Crofton | ... | Boyle | |
| Henry Diamond | ... | Murray | |
| Ray Dittrich | ... | Ben | |
| Frank Gio | ... | Marty | |
| Randy Jurgensen | ... | Vinnie | |
| Cosmo Allegretti | ... | Carlo Ricci (as Gus Allegretti) | |
| rest of cast listed alphabetically: | |||
| Frank Pesce | ... | Married Man (uncredited) | |
| Tom Signorelli | ... | Bystander (uncredited) | |
Directed by | |||
| William Friedkin | |||
Writing credits | ||
| Walon Green | (screenplay) | |
| Georges Arnaud | (novel "The Wages of Fear") | |
Produced by | |||
| William Friedkin | .... | producer | |
| Bud S. Smith | .... | associate producer (as Bud Smith) | |
Original Music by | |||
| Tangerine Dream | |||
Cinematography by | |||
| Dick Bush | |||
| John M. Stephens | |||
Film Editing by | |||
| Robert K. Lambert | (co-editor) | ||
| Bud S. Smith | (as Bud Smith) | ||
Production Design by | |||
| John Box | |||
Art Direction by | |||
| Roy Walker | |||
Set Decoration by | |||
| Robert W. Laing | (as Bob Laing) | ||
Costume Design by | |||
| Anthony Powell | |||
Makeup Department | |||
| Verne Caruso | .... | hair stylist | |
| John Norin | .... | makeup artist | |
| Robert Norin | .... | makeup artist (as Bob Norin) | |
| Ben Nye Jr. | .... | makeup artist | |
Production Management | |||
| Roberto Bakker | .... | production manager | |
| Patrick Gordon | .... | unit production manager | |
| Gerard Murphy | .... | unit manager | |
| Rony Yacov | .... | production manager: Israel | |
| Lindsley Parsons Jr. | .... | executive production manager: Paramount (uncredited) | |
Second Unit Director or Assistant Director | |||
| Newt Arnold | .... | first assistant director (as Newton Arnold) | |
| Miguel Gil | .... | first assistant director | |
| Mark Johnson | .... | second assistant director | |
| Albert M. Shapiro | .... | second assistant director (as Al Shapiro) | |
| Bud S. Smith | .... | second unit director (as Bud Smith) | |
Art Department | |||
| John Alvin | .... | poster artist | |
| Barry Bedig | .... | property master | |
| Leslie Tomkins | .... | draftsman | |
Sound Department | |||
| Gary Alexander | .... | supervising sound re-recording mixer: stereo version | |
| Charles L. Campbell | .... | supervising sound editor | |
| Larry Carow | .... | sound editor | |
| Jean-Louis Ducarme | .... | sound | |
| Robert Glass | .... | sound effects editor | |
| Robert Knudson | .... | sound re-recording mixer | |
| Dennis Maitland | .... | sound mixer | |
| Colin C. Mouat | .... | sound editor | |
| Jean-Paul Mugel | .... | boom operator | |
| James Perdue | .... | boom operator | |
| Roger Sword | .... | sound editor | |
Special Effects by | |||
| Tony Parmelee | .... | special effects | |
Visual Effects by | |||
| Marv Ystrom | .... | optical effects | |
Stunts | |||
| Bud Ekins | .... | stunt coordinator | |
| Nick Dimitri | .... | stunts (uncredited) | |
Camera and Electrical Department | |||
| Pat Blymyer | .... | lighting gaffer (as Patrick R. Blymyer) | |
| Shaun O'Dell | .... | clapper loader | |
| Bernie Schwartz | .... | grip | |
| Michael Simpson | .... | assistant camera | |
Editorial Department | |||
| M. Scott Smith | .... | apprentice film editor (uncredited) | |
Music Department | |||
| Robert K. Lambert | .... | music editor | |
Transportation Department | |||
| Steve Bonner | .... | driver mechanic | |
| Gene Clinesmith | .... | transportation co-captain | |
| Alberto Gutierrez | .... | transportation co-captain | |
| Salvador Gutiérrez | .... | transportation captain (as Salvador Gutierrez) | |
| Hugh Kelly | .... | transportation dispatcher | |
| Ricardo Gallarzo Jr. | .... | driver (uncredited) | |
Other crew | |||
| John Franco | .... | script supervisor | |
| Hugh Kelly | .... | dispatcher | |
| Toni St. Clair Lilly | .... | secretary to the director | |
| Luis Llosa | .... | assistant to director | |
Thanks | |||
| Henri-Georges Clouzot | .... | dedicatee (as H.G. Clouzot) | |
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| The Wages of Fear | The Dark Knight | Munich | Blood Diamond | The Professional: Golgo 13 |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Action section | IMDb USA section |
Sorcerer is a unique, brutal, brilliant film burdened underneath a terrible, wholly unappropriate title. Watching this film, it is not only easy to see why the film was both a huge financial and commercial disaster, it is downright obvious. This is the most un-american/ hollywood/ commercial film backed by a major studio I have ever seen. It is a tough, gruelling 126 minutes that goes nowhere fast, yet holds you firm in its tight grip and beats you senseless throughout. I was exhausted when the film finally arrived at it's rather downbeat ending. The multi-national cast is faultless. Scheider is magnificent. This is an exceptionally demanding, difficult role and he hits it head on, creating an anti-hero who is very, very real: desperate, frightened and desructable. Taking this role, at the height of his fame, was either very brave or very stupid. I'm going with brave. His performance here is a million miles away from his work on Jaws and Jaws 2, yet equally compelling. The photography is in a league of it's own (I only wish the DVD came with an original 2:35:1 print, assuming there is one, as the current disc is presented in a 4:3 full frame), and the music from Tangerine Dream complements the vision perfectly. This is a brilliant piece of film making from the most daring decade of cinema, made by one of cinema's true unpredictable's. Tense, dazzling, dark and fresh, this is an underated film that deserves to be re-evaluated.