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 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
(at around 1h 50 mins) When the princess is chained to the rock, the clasps around her wrist keep changing shapes. Either way, she could easily slip her hands through them at any time. See more »
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!
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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.
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