A young boy, Conan, becomes a slave after his parents are killed and tribe destroyed by a savage warlord and sorcerer, Thulsa Doom. When he grows up he becomes a fearless, invincible fighter. Set free, he plots revenge against Thulsa Doom.
A tough Russian policeman is forced to partner up with a cocky Chicago police detective when he is sent to Chicago to apprehend a Georgian drug lord who killed his partner and fled the country.
Director:
Walter Hill
Stars:
Arnold Schwarzenegger,
Jim Belushi,
Peter Boyle
When a man goes for virtual vacation memories of the planet Mars, an unexpected and harrowing series of events forces him to go to the planet for real - or does he?
Director:
Paul Verhoeven
Stars:
Arnold Schwarzenegger,
Sharon Stone,
Michael Ironside
A fearless, globe-trotting, terrorist-battling secret agent has his life turned upside down when he discovers his wife might be having an affair with a used car salesman while terrorists smuggle nuclear war heads into the United States.
Director:
James Cameron
Stars:
Arnold Schwarzenegger,
Jamie Lee Curtis,
Tom Arnold
A village is attacked by the evil ruler of the Snake Cult, Thulsa Doom (James Earl Jones) and his evil warriors, when Thulsa Doom and his warriors kills his parents, a young boy named Conan (Jorge Sanz) is enslaved. Years later, Conan grows up and becomes a mighty warrior and is trained as a fighter. After years as a slave and as a gladiator, Conan is set free. Conan sets out on a quest as he vows to avenge his parents and solve the riddle of steel. Joined by a archer named Subotai (Gerry Lopez), a beautiful thief who falls in love with Conan, Valeria (Sandahl Bergman) and a Chinese wizard (Mako), Conan and his companions sets out to rescue Princess Yasmina (Valérie Quennessen), daughter of King Osric (Max von Sydow), from the Snake Cult, and get his revenge on Thulsa Doom and avenge his parents.Written by
Daniel Williamson
Despite a long career in short stories, novels, and comic books, the circumstances of Conan's last years and death have yet to be recorded. The only major attempt at a finale to the series remains the novel "Conan of the Isles" (1968) by L. Sprague De Camp and Lin Carter. In the novel, Conan is in his 60s and abdicates the throne of Aquilonia to go on one final quest. He sails to the Western Ocean and has an adventure in Antillia, a chain of islands in the western part of the Western ocean (Hyborian Atlantic Ocean). He survives the tale and sails further west, into uncharted territories. Robert E. Howard wrote in his 1930s notes about Conan's life that Conan would have further adventures following the end of his reign, to Khitai (Hyborian China), Hyrkania and areas to less known areas beyond them. He also noted that Conan also visited "a nameless continent in the western hemisphere, and roamed among the islands adjacent to it.", indicating that Conan visited the Americas during the Hyborian Age. However, he died before writing any tale recording these adventures. Events in Aquilonia following Conan's abdication, set during the reign of Conan II (Conan's son, formerly known as Prince Conn), are recorded in the frame story of the novel "Conan at the Demon's Gate" (1994) by Roland J. Green. However there is no new information about Conan himself. The thought of Conan as his death approaches are recorded in the narrative poem "Death-Song of Conan the Cimmerian" (1972) by Lin Carter, but the poem offers no indication of the time and location of the event. See more »
Goofs
(at around 2h) A few of the devotees holding torches toward the back in the night scenes at the end of the movie are swinging and looping their torches. Obviously they are having fun with the flame while they should be morning the loss of their leader. See more »
Quotes
[first lines]
The Wizard:
Between the time when the oceans drank Atlantis and the rise of the sons of Aryas, there was an age undreamed of. And unto this, Conan, destined to wear the jeweled crown of Aquilonia upon a troubled brow. It is I, his chronicler, who alone can tell thee of his saga. Let me tell you of the days of high adventure!
See more »
UK version is cut by 19 secs to remove horse falls (one of which can still be seen in the accompanying documentary on the UK DVD) and the sex scene with the witch is shortened to remove one brief shot of her bare behind and to reduce her groaning sounds from 6 to 3. The 2007 Definitive Edition DVD remains cut for horsefalls though the sex scene is intact. See more »
When Conan came out in 1981, critics griped about its elephantine pacing and ponderous dialogue, and long stretches in which nothing much happened, giving evidence that they expected traditional action- adventure in the vein of, say, Sinbad. But director John Milius had set out to create something very different: an epic Aryan myth which translated the qualities of Wagnerian opera to cinema, and in large part he succeeded.
Conan has a sweeping epic feel, and is heavily dependent upon and driven by its setting and music to a degree that is very rare. As important as the deeds of the legendary hero, which are shown in brief and violent spurts of action, are the place and the culture that shaped that legend. The journey that created the myth, in short, is equal to the myth itself, and this is the logic and justification for the setting-heavy approach taken by Milius. And Basil Poledouris' wonderful music, which starts out Wagnerian and brassy, but adds middle Eastern touches as Conan's journey takes him in that direction, tracks along with Conan to show up the breadth of his epic journey while celebrating his heroic achievements.
Ultimately the story that gets told is somewhat less worthy of Milius' Wagnerian ambitions than are the music and the visuals, but the overall results more than justify the effort, especially when compared to the Italian sword and sandal knock-offs which followed this much copied but never equaled classic of the fantasy genre.
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When Conan came out in 1981, critics griped about its elephantine pacing and ponderous dialogue, and long stretches in which nothing much happened, giving evidence that they expected traditional action- adventure in the vein of, say, Sinbad. But director John Milius had set out to create something very different: an epic Aryan myth which translated the qualities of Wagnerian opera to cinema, and in large part he succeeded.
Conan has a sweeping epic feel, and is heavily dependent upon and driven by its setting and music to a degree that is very rare. As important as the deeds of the legendary hero, which are shown in brief and violent spurts of action, are the place and the culture that shaped that legend. The journey that created the myth, in short, is equal to the myth itself, and this is the logic and justification for the setting-heavy approach taken by Milius. And Basil Poledouris' wonderful music, which starts out Wagnerian and brassy, but adds middle Eastern touches as Conan's journey takes him in that direction, tracks along with Conan to show up the breadth of his epic journey while celebrating his heroic achievements.
Ultimately the story that gets told is somewhat less worthy of Milius' Wagnerian ambitions than are the music and the visuals, but the overall results more than justify the effort, especially when compared to the Italian sword and sandal knock-offs which followed this much copied but never equaled classic of the fantasy genre.