| Photos (See all 34 | slideshow) |
Directed by | |||
| John Milius | |||
Writing credits | ||
| Robert E. Howard | (stories) | |
| John Milius | (written by) and | |
| Oliver Stone | (written by) | |
| Edward Summer | story (uncredited) | |
Produced by | |||
| D. Constantine Conte | .... | executive producer | |
| Raffaella De Laurentiis | .... | producer | |
| Buzz Feitshans | .... | producer | |
| Edward R. Pressman | .... | executive producer | |
| Edward Summer | .... | associate producer | |
| Dino De Laurentiis | .... | executive producer (uncredited) | |
Original Music by | |||
| Basil Poledouris | |||
Cinematography by | |||
| Duke Callaghan | |||
Film Editing by | |||
| Carroll Timothy O'Meara | (as C. Timothy O'Meara) | ||
Production Design by | |||
| Ron Cobb | |||
Art Direction by | |||
| Pier Luigi Basile | (as Pierluigi Basile) | ||
| Veljko Despotovic | |||
| Benjamín Fernández | |||
Set Decoration by | |||
| Giorgio Postiglione | |||
Costume Design by | |||
| John Bloomfield | |||
Makeup Department | |||
| Colin Arthur | .... | special effects makeup | |
| Carlo De Marchis | .... | special effects makeup supervisor | |
| Paquita Núñez | .... | chief hair stylist | |
| Pamela Peitzman | .... | makeup artist: Miss Bergman (as Pamela L. Peitzman) | |
| José Antonio Sánchez | .... | hair stylist supervisor | |
| José Antonio Sánchez | .... | makeup supervisor | |
| Ken Horn | .... | makeup effects (uncredited) | |
| Paquita Trench | .... | assistant hair stylist (uncredited) | |
Production Management | |||
| Pepe Escriva | .... | unit manager: second unit | |
| Vicente Escrivá hijo | .... | production manager (as Vicente Escriva Jr.) | |
Second Unit Director or Assistant Director | |||
| Víctor Albarrán | .... | second assistant director | |
| Roberto Cirla | .... | assistant director | |
| José Luis García Berlanga | .... | second assistant director (as Jose Luis Garcia-Berlanga) | |
| Terry Leonard | .... | second unit director (as Terry J. Leonard) | |
| José López Rodero | .... | first assistant director (as Pepe Lopez Rodero) | |
| Kuki López Rodero | .... | first assistant director: second unit (as Kuki Lopez) | |
| Massimo Trabaloo | .... | second assistant director | |
Art Department | |||
| Adolfo Cofiño | .... | construction manager | |
| Tomas Lorenzo | .... | props | |
| Julián Martín | .... | scenic painter (as Julian Martin) | |
| Julián Mateos | .... | property buyer (as Julian Mateos) | |
| Giorgio Palomba | .... | scenic painter | |
| George Peppiatt | .... | props | |
| Aldo Puccini | .... | construction manager | |
| Syd Regan | .... | scenic painter (as Sid Regan) | |
| William Stout | .... | production artist | |
| Graham Sumner | .... | property master | |
| Peter Voysey | .... | chief sculptor | |
Sound Department | |||
| Wayne Artman | .... | sound re-recording mixer | |
| Bub Asman | .... | sound effects editor | |
| Tom Beckert | .... | sound re-recording mixer | |
| Fred J. Brown | .... | supervising sound editor | |
| Shelley Brown | .... | apprentice sound editor | |
| Juno J. Ellis | .... | assistant sound editor | |
| Erick Feitshans | .... | sound department assistant (as Erick J. Feitshans) | |
| Michael Jiron | .... | sound re-recording mixer | |
| Margie O'Malley | .... | foley artist (as Margie Denecke) | |
| Michele Sharp | .... | sound editor (as Michelle Sharp) | |
| Caryl Wickman | .... | loop dialogue editor | |
| Jim Willis | .... | sound mixer | |
Special Effects by | |||
| Nick Allder | .... | special effects supervisor | |
| Antonio Balandín | .... | special effects technician | |
| Richard Conway | .... | special effects technician | |
| George Gibbs | .... | special effects floor supervisor | |
| Ron Hone | .... | special effects technician | |
| John McGoldrick | .... | special effects technician | |
| Roger Nichols | .... | special effects technician | |
| Antonio Parra | .... | special effects chief technician | |
| Giuseppe Tortora | .... | special effects technician | |
| Barry Whitrod | .... | special effects technician | |
Visual Effects by | |||
| Dennis Bartlett | .... | travelling matte consultant | |
| James Hagedorn | .... | animation opticals: R.G.B. Opticals (as James R. Hagedorn) | |
| Katherine Kean | .... | animator: VCE | |
| Peter Kuran | .... | animated visual effects: VCE | |
| Len Morganti | .... | animator: VCE | |
| Emilio Ruiz del Río | .... | miniatures (as Emilio Ruiz del Rio) | |
| Susan Turner | .... | animator: VCE | |
| Frank Van der Veer | .... | special visual effects | |
| Jim Danforth | .... | matte artist (uncredited) | |
Stunts | |||
| José Luis Ayestarán | .... | stunts | |
| Bettina Brenner | .... | stunts | |
| Tony Brubaker | .... | stunts | |
| Jim Burk | .... | stunts | |
| José Luis Chinchilla | .... | stunts (as Chinchilla) | |
| Ricardo Cruz | .... | stunts | |
| Corrie Jansen | .... | stunts | |
| Terry Leonard | .... | stunt coordinator (as Terry J. Leonard) | |
| Juan Maján | .... | stunt coordinator (as Juan Majan) | |
| Larry Randles | .... | stunts (as Larry Randales) | |
| Ben Scott | .... | stunts | |
| John-Clay Scott | .... | stunts (as John Scott) | |
| Walter Scott | .... | stunts | |
| Bob Terhune | .... | stunts | |
| Lightning Bear | .... | stunts (uncredited) | |
| Terry Leonard | .... | stunts (uncredited) | |
Camera and Electrical Department | |||
| José Luis Aguilar | .... | assistant camera (as Jose Luis Aguilar) | |
| John Cabrera | .... | director of photography: second unit | |
| José Luis Criado | .... | assistant camera: second unit (as Jose Luis Criado) | |
| Antonio Fernández Santamaría | .... | key grip (as Antonio Fernandez) | |
| Julián Fernández | .... | key grip (as Julian Fernandez) | |
| Rafael García Martos | .... | chief electrician (as Rafael Garcia Martos) | |
| Salvador Gómez Calle | .... | assistant camera: second unit (as Salvador Gomez) | |
| Gerhard Hentschel | .... | camera maintenance | |
| Julio Leyva | .... | assistant camera (as Julio Martin Leyva) | |
| Julio Madurga | .... | camera operator: second unit | |
| Ricardo Navarrete | .... | camera operator | |
| Bob Penn | .... | still photographer | |
| Herbert Smith | .... | camera operator | |
| Tote Trenas | .... | assistant camera (as Jose Pedro Trenas) | |
| George Whitear | .... | still photographer | |
| Micky Wilson | .... | gaffer | |
Casting Department | |||
| Rosa García | .... | casting associate | |
Costume and Wardrobe Department | |||
| Franco Antonelli | .... | wardrobe supervisor | |
| Martín Díaz | .... | wardrobe master (as Martin Diaz) | |
| María Eugenia Escrivá | .... | assistant costume designer (as Maria Eugenia Escriva) | |
| Andrés Fernández | .... | wardrobe master (as Andres Fernandez) | |
| Stephen Jackson | .... | wardrobe assistant | |
| Michael Jones | .... | head dress-maker | |
Editorial Department | |||
| Rafaela Andújar | .... | apprentice film editor (as Rafaela Andujar) | |
| Donah Bassett | .... | negative cutter | |
| Marisa Del Pino | .... | assistant film editor | |
| Conrad M. Gonzalez | .... | supervising assistant film editor (as Conrad Gonzales) | |
| Carl Graham | .... | apprentice film editor | |
| Christopher Holmes | .... | additional editor | |
| Darren T. Holmes | .... | assistant film editor (as Darren Holmes) | |
| Frank E. Jimenez | .... | apprentice film editor (as Frank Jimenez) | |
| Patricia Lee | .... | assistant film editor | |
| Peck Prior | .... | assistant film editor | |
| Richard Ritchie | .... | color timer | |
| Fred Stafford | .... | additional editor | |
Music Department | |||
| Greig McRitchie | .... | orchestrator (as Greg McRitchie) | |
| Basil Poledouris | .... | conductor | |
| Robert Randles | .... | music editor | |
| Steven Scott Smalley | .... | orchestrator | |
| Lucie Svehlova | .... | orchestra leader (Prometheus re-recording ) (uncredited) | |
Transportation Department | |||
| Emilio Marquerie | .... | transportation manager | |
| Fernando Marqueríe | .... | transportation manager (as Fernando Marquerie) | |
| Manuel Paredes Murillo | .... | driver (uncredited) | |
| Alfonso Paredes | .... | driver (uncredited) | |
| Carlos Ponce de León | .... | transportation captain (uncredited) | |
Other crew | |||
| Miguel Ángel Alonso | .... | production office assistant | |
| Paco Ardura | .... | animal handler (as Francisco Ardura) | |
| Yvonne Axeworthy | .... | script supervisor (as Yvonne Axworthy) | |
| Barbara Back | .... | production office coordinator | |
| Ludy Camacho | .... | production accountant assistant (as Ludi Camacho) | |
| Roberto Cirla | .... | crowd coordinator | |
| L. Sprague De Camp | .... | technical advisor | |
| Vues de Vestel Tiva | .... | snake trainer | |
| Santiago DeBenito | .... | production accountant (as Santiago de Benito) | |
| Francesca DeLaurentiis | .... | continuity: second unit (as Francesca de Laurentiis) | |
| Francisco García | .... | assistant crowd coordinator (as Francisco Garcia) | |
| Brian Gibbs | .... | supervising accountant | |
| Martha Gibbs | .... | production accountant assistant | |
| Michael B. Gladych | .... | production research | |
| Carl Graham | .... | location coordinator | |
| Humberto Gurza | .... | animal wrangler | |
| Miguel Gurza | .... | animal wrangler | |
| Beth Hickman | .... | assistant: Mr. Feitshans | |
| Manuel Jimenez | .... | production accountant | |
| Steven Kilroy | .... | production office assistant | |
| Mareva Mapuhi | .... | secretary: Miss De Laurentiis | |
| Margarita McDermott | .... | production secretary | |
| Trilby Norton | .... | production secretary | |
| Juan Clemente Prosper | .... | location manager (as Juan Clemente) | |
| Fred L. Rexer | .... | spiritual advisor | |
| Jody Samson | .... | sword maker | |
| Saralo | .... | secretary: Mr. Milius | |
| Anne Strick | .... | unit publicist | |
| John Trehy | .... | chief production accountant | |
| Debbie Van Hoek | .... | production accountant | |
| Kiyoshi Yamasaki | .... | sword master | |
| Angelica De Leon | .... | publicity assistant (uncredited) | |
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| Conan the Barbarian | The Lord of the Rings: The Return of the King | Beowulf | Machete | Solomon Kane |
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| Full cast and crew | Company credits | External reviews |
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People have preconceptions of what makes a good move and more often than not they get tangled up in their own web of closed mindedness. It is no one thing that makes a movie great but a combination of all to create a feeling, and that is one thing that Conan has always done for me.
This was the first film that introduced me to "the goosebump effect" or rather seeing scenes of such emotional and thematic power that they give you chills. After watching this film over and over again it still doesn't disappoint. The scene immediately following the raid on Conan's village is a true masterpiece of visual storytelling. without a single line of dialogue everything that is to come in the next two hours is set up with the Murder of Conan's parents before his eyes. The look of disbelief on his face as his mother's lifeless body falls before him. Staring at his hand and then toward Thulsa Doom. the Villain saluting his freshly stolen steel. It is a perfectly executed scene that were this film not so unjustly written off as a hack and slash "sword and sorcery" picture would be rightfully remembered as one of the great scenes in film history.
The best way to describe Conan would be to call it a philosophical epic. There are real ideas and philosophies at play in the narrative. Conan's father's teachings of steel...the opening scene forging the sword becoming a metaphor for Conan's life. He is a character created by hardship and grief, and like the opening quote says "That which does not kill us makes us stronger" Conan becomes more powerful with the more hardships he overcomes. The film is very well put together. Many scenes and images from the movie are as visually layered and well thought out as any Ridley Scott picture. The prelude to the opening battle in the snow is stunning with great visual flair, a single scout stands atop a boulder breathing heavy, anticipating battle as vibrant rays of sunlight pour through the trees.
There is a ritualistic quality to many of the scenes in the film such as the finding of the atlantean sword, or the lead up to Conan's duel with the snake which is carried through right to the end where after Conan drops his sword the followers of doom extinguish their flames in the fountain. Everyone in the film manages to give a good performance but the big mistake that most people make in judging them is that they do not understand that acting is not simply saying lines of dialogue, it is behavior. Arnold Schwarzenegger and the rest of the cast give outstanding performances without saying all that much. The scene at the funeral pyre where Conan runs his hand through the hair of his fallen love...the subtle look of grief withheld combined with the eloquent score is enough to get the idea across, no dialogue is needed. Basil Poledouris' score for the film has to be one of, if not, the greatest score ever composed and it plays an integral part in creating the rich emotional landscape of John Milius' epic film. Conan the barbarian is a film I saw when I was very young, and through the years as I have gotten a little older and wiser the film has gotten richer and more rewarding with each subsequent viewing.
This is a film of great resonance and subtlety. Most audiences today cannot appreciate a film that requires a bit of deep thinking, but this is one of the rare films that is even more rewarding if you look beneath the surface.