Conan the Barbarian

Tags

1980's, Action, Adventure, Arnold Schwarzenegger, Conan the Barbarian, Fantasy, Gerry Lopez, James Earl Jones, John Milius, Mako, Max Von Sydow, Sandahl Bergman

Based on the character in pulp comics and featuring Arnold Schwarzenegger in an early role that put him on the map just before he hit superstardom , Conan the Barbarian is nothing if not a dazzling, testosterone filled action-adventure fantasy that has its share of problems but is still riotously entertaining and a fun ride to experience.

In Ancient times, a young boy by the name of Conan is the son of a blacksmith and a loving mother. Unfortunately, brutality strikes when the followers of the evil cult leader Thulsa Doom( James Earl Jones) attack his village. His father is wounded and then mauled to death by dogs, while Doom himself hypnotises Conan’s mother before beheading her in front of her terrified son. Doom then takes a powerful sword owned by Conan’s father before leaving the carnage in his wake. The children of the village are spared and sold into slavery, being charged with pushing a giant wheel in back breaking fashion. Over the years of pushing the wheel, Conan( now played by Arnold Schwarzenegger) is a muscle bound mountain of a man with incredible strength. He becomes a gladiator of immense renown and is taught many things by his master. Later he is set free into the wild, which is where he starts trying to track down Thulsa Doom, where he discovers an ancient sword, a strange prophecy and encounters three important people in his quest . Firstly he meets thief and archer Subotai(Gerry Lopez) , then he encounters beautiful and lethal bandit Valeria(Sandahl Bergman). Lastly there is Akiro the Wizard(Mako), who provides the narration for the film. Valeria and Subotai are soon faithful friends and in the case of Valeria, a romantic interest who assist Conan on his journey, while Akiro instils wisdom and prophecy. The trio of wonderers hear of a jewel that they decide to steal, mainly because the snake symbol is something that Conan believes will lead him to his nemesis. They are then summoned by the old King Osric( Max Von Sydow), who knows they stole the jewel but doesn’t wish to imprison them, he actually wants their help. His daughter has fell under the influence of Thulsa Doom and he wants Conan and his friends to retrieve her for a good reward. They decide to accept this offer as Conan continues on his path of vengeance hoping to meet Doom and enact brutality upon him as retribution for what he did to his family.

John Milius and his work here are the definition of macho and it’s perfectly suited to this kind of film. He’s the well appointed director of Conan the Barbarian and he keeps events ticking over, even when it gets a bit laboured and indulgent towards the end. got what you want from a swords and sorcery; lots of violent action( standout being the opening raid on Conan’s childhood village), unusual fantasy, well muscled heroes and buxom ladies, alongside traps, tricks and magic. And it’s unapologetic and upfront about it too which is rather refreshing in that way, especially as the violence isn’t sugarcoated . The action set pieces are staged with verve and efficiency, making them very memorable as Conan fights his way across a desolate land. Now at two hours, Conan the Barbarian does feel a bit longwinded in the grand scheme of things and that is a flaw. But for the majority, the adventure, excitement and brutality of the movie is done to a high standard. You don’t need to invest intellect into the story as it’s pretty much what you’d expect. Though that, in my book at least, is not something that should be seen as a fault. Sometimes it’s great to go into a movie that takes you to another place and doesn’t require you to think about it deeply. And I for one don’t mind when a movie does that when it does it as well as Conan the Barbarian. Sure it’s not going to stimulate your mind in a sense of depth, but who can begrudge this swords and sorcery concoction that simply wants to thrill? Saying this however, it feels more rough and gritty than some fantasy and that does make it stand out a bit from the crowd. It’s not Shakespeare by any stretch of the imagination, but nor is it trying to be. So sit back and lap it up the best way you can with enjoyment in mind and thrills by the minute . The largely practical effects are decent for their time, though looking through modern eyes they look rather dated. Still at least the film isn’t overblown when it comes to effects, instead when they are used in scenes of the spirits healing but also attempting to snatch our hero away and a fireside vision by a seductive but lethal witch, they are impactful. And the look of Conan the Barbarian is one of its strongest aspects with the vast open spaces, mountainous terrain and creepy atmosphere of the opulent Snake Cult rendered with great detail. Things feel epic here and this contributes well in keeping the whole highly charged atmosphere alive. One of the finest elements of Conan the Barbarian is the stupendous score from Basil Poledouris. With thundering drums aplenty and a sweeping scope that benefits the action, it’s one score you won’t forget in a hurry.

Arnold Schwarzenegger heads proceedings as the eponymous warrior out for revenge and makes quite an impression. Physically, he is a hulking being that is intimidating and strong from the moment we see him and the fact he doesn’t speak a lot adds to this feeling of immense presence. Schwarzenegger isn’t known for being the finest actor out there, but his work here is an example of fantastic casting as he exudes strength, intense vengeance and physicality throughout. I can’t imagine anyone else filling the role of Conan quite as effectively as Schwarzenegger. Embodying an eerily menacing villainy, James Earl Jones is the ideal counterpart to our hero. He’s got such a chilling presence( mainly through that iconic voice)throughout that comes from his seeming calmness that belies inner psychopathic tendencies. Gerry Lopez provides some comic relief and sense of friendship as the skilled thief Subotai . He works well against with Schwarzenegger; the two of them being opposites physically but in terms of mindset definitely on the ball and understanding of each other. Ferocity and athleticism is provided by Sandahl Bergman with added doses of sex appeal to boot . Though not what you’d call the most versatile or nuanced performer, Bergman nonetheless contributes a physical charm and action to that can’t be denied . Mako and his off the wall appeal that is twinned with his impressive narration adds a layer of epic awesomeness to Conan the Barbarian. The only person who feels wasted is the great Max Von Sydow as the elderly king. Someone of his calibre should at least have been given more to work with, even if his role is small.  Most of the acting isn’t what you’d call award worthy, but not is it trying to be. The cast is called upon to play these characters in a certain way and they each do what the film demands handsomely.

So aside from some flaws along the way, Conan the Barbarian still stands out as a fantastic spectacle of action and fantasy that is enjoyably full of action set pieces and sweeping spectacle.

The Exorcist

Tags

1970's, Ellen Burstyn, Horror, Jason Miller, Lee J. Cobb, Linda Blair, Max Von Sydow, Supernatural Horror, The Exorcist, William Friedkin

Film Title

The Exorcist

Director

William Friedkin

Starring

• Ellen Burstyn as Chris MacNeil
• Jason Miller as Father Karras
• Linda Blair as Regan MacNeil
• Lee J. Cobb as Lieutenant William Kinderman
• Max Von Sydow as Father Merrin

Still a supernatural horror classic that retains its sense of unease, building tension and creepy goings on, The Exorcist provides all the necessary chills along with a focus on themes of faith and religion to examine deeply. Equally disturbing and gruesome, The Exorcist is brought to life under the talented direction of William Friedkin and the exceptional playing of the cast.

Chris is a famous actress who is currently on location in Georgetown filming the last parts of a movie. Her amiable and devoted 12-year-old daughter Regan is with her and though Chris is busy, any time she gets free she so spends with her daughter. Yet strange things begin to slowly take shape after Regan plays with a Ouija board. She exhibits erratic behaviour, she swears constantly and becomes increasingly violent to those around her. Chris, obviously disturbed by all of this, takes her daughter to medical experts. Yet even after extensive tests are performed, there is no explanation for what is happening to Regan. Things get worse as her appearance continues to deteriorate and her violence increases into something very frightening. What no one knows or seems to able to fathom at this point is that Regan is possessed by a demon which takes ever more control of her day by day. A distraught Chris is at the end of her rope as she tries to save her daughter from the horror she is subjected to. As a last resort, she enlists the help of Father Damian Karras, a priest who also has a degree in psychiatry. He himself is going through a crisis of faith as he reels from guilt over his mother’s death and how he wished he had been there for her more. He comes to investigate the case( after having already spoken to Lieutenant William Kinderman , who is himself looking into the strange events after the death of someone close to the family) and is shocked by his findings, as it becomes very clear that a demon has taken residence within the young girl. He considers exorcism to be a last resort, yet when is other ways of getting the demon out fail, he knows that an exorcism is what is needed. The fact is that the faith of Karras is under threat anyway so he knows that he will need to employ the expertise of someone whose faith and will is stronger than his. That person is Father Merrin, who has dealt with exorcism in the past and despite getting on in age, is strong when it comes to doing battle with evil forces. Yet could this case of possession be a step too far for Father Merrin?  Whatever the case, it’s going to take every ounce of strength within both men to drive this demon out.

I think many people tend to focus on the graphic and gruesome parts of The Exorcist, forgetting that the build up as orchestrated by Friedkin is actually just as effective. He cranks up the tension in the early stretches as the behaviour of Regan changes, yet doesn’t rush anything. This may surprise many who may have not seen the film and believe it is a scare a minute movie. If anything the scares of The Exorcist are generated by the pain of the characters as well as the horror that colours the second half of the movie. Friedkin’s work is utterly marvellous in the ways it taps into deep fears of loss of faith and the safety of a child, observed best in the pursuit of Chris to save her daughter and the two priests doing everything they can to reclaim her soul from the clutches of evil. Without the arresting direction and measured build up from Friedkin, The Exorcist would have nowhere near the amount of creepy impact it has. By slowly suggesting the horror that will come, when in the last act it lets loose it is damn terrifying to witness. And like with any film of a certain age some of the special effects lessen, The Exorcist surprisingly still stands up in that department; mainly because there is the story underneath it all to back up the gory and malevolent spirit of the piece. And memorable scenes are found in abundance throughout the running of The Exorcist. Regan’s transformation into a foul-mouthed demon that is scarred and vomit’s bile, the arrival of Father Merrin displayed as a lone light casts his shadow on the house where he must confront evil and the climactic exorcism that will no doubt give you shudders of terror. I could go on listing the iconic moments of the film, but then this review would become boring. The use of sound in this film is pretty marvellous, with an ambient atmosphere crafted from the humming but ominous music.

With the script allowing us to get know the characters throughout, the actors present do a commendable job in their respective roles. Ellen Burstyn is marvellous in the part of the terrified mother trying to save her daughter from the darkness. Burstyn delves deep into the pain and shock of the character with intelligence, that helps transfer her maternal fears for her daughter on to the audience in the process. Jason Miller brings a sadness and pathos to Father Karras, who has to face emotional and quite literal demons as his faith comes under fire in the increasing horror of the situation. Then of course there is Linda Blair as the initially friendly Regan whose personality morphs into unspeakable evil when she’s possessed. Largely covered in grotesque make up and confined to a bed for most of the performance, Blair considering how young she was at the time really gives a startling performance of frightening intensity. Part of why it’s so effective is how Blair shows the cherubic niceness of Regan in the beginning that is warm and sweet, then once possessed a force of physical and psychological terror. It really adds a lot to the performance and makes the film in general a great deal more terrifying. Lee J. Cobb plays the part of the wily detective investigating the goings on when murder strikes and he does so with an observational quality and sprinkle of humour. And then there is Max Von Sydow as the eponymous exorcist. His role is a small but incredibly pivotal one that he infuses with dignity and wisdom even as his beliefs are tested by the demon in front of him.

A macabre and deeply unsettling horror film, it’s not hard to discern why The Exorcist is held in such high regard. It simply is a creepy exercise in shocking terror that doesn’t forget the characters and has enough food for thought to last a long time.

Needful Things

Tags

1990's, Amanda Plummer, Bonnie Bedelia, Ed Harris, Fraser C. Heston, Horror, J. T. Walsh, Max Von Sydow, Needful Things, Shane Meier, Stephen King

Film Title

Needful Things

Director

Fraser C. Heston

Starring

• Max Von Sydow as Leland Gaunt
• Ed Harris as Sheriff Alan Pangborn
• Bonnie Bedelia as Polly Chalmers
• J. T. Walsh as Danforth Keeton
• Amanda Plummer as Nettie Cobb
• Shane Meier as Brian Rusk

The dark forces of the Devil comes to a small town with malice in mind in this sadly sub par adaptation of the Stephen King book. It has a lot of promise and at least the actors keep you watching, but falters deeply because of how uneven it is , a long time and how it can’t decide on what kind of movie it wants to be.

The quiet and sleepy town of Castle Rock is changed when one day a mysterious man arrives. The man in question is Leland Gaunt; a sardonic and seemingly benevolent older man who sets about opening a shop. This shop, given the name Needful Things, is a cornucopia of objects that hold deeper  promise with the residents than they realise. As people flock to the shop, the objects seem to be just unusually perfect for each and every person as if expertly picked out for their personal longings. But Gaunt is not interested in making a profit of his stock as he charges ridiculously low prices for his produce. Instead, the crafty man has his customers play tricks on others as a way to pay him back. At first, the playful pranks are somewhat amusing but as time goes on they morph into much darker deeds. This arouses the suspicions of the decent Sheriff Alan Pangborn, who seems to be the only person able to resist the allure of the shop that promises wonders to every resident of Castle Rock. Bewildered by the events surrounding him, he digs into the past of Gaunt and discovers that he may not be human at all. As the town is torn apart by violence, murder and unrest, it is up to Alan to bring down Gaunt, who is enjoying manipulating the ordinary people of the town into shocking acts of horror and carnage, all for the desired trinkets he entices them with.

Needful Things is one of those movies that has some good ideas but can’t quite put them across successfully on the screen. The main fault lies with the direction from Fraser C. Heston. He can’t quite make his mind up on whether he wants Needful Things to be a grisly supernatural horror or a fantasy stuffed with black comedy. There are only a few moments that really work in the film, but the rest is not thrilling, scary or darkly amusing in the slightest. The story itself could have been extremely intriguing with the subject of what people are willing to do when tempted by their heart’s desire, but a weakly written script stops any chance of that. Which brings me on to the next flaw which is the pace and running time. Now I don’t mind long movies as long as they keep me entertained, sadly Needful Things drags like a snail and becomes something of a chore to view. Everything about this movie just seems to take way too long to get going and when it does, it is too late to make up for the flaws in pacing. The score which does bring something of a fiendish quality to the dark events provides at least some sense of tone, yet it feels overly bombastic and doesn’t gel with the story.

The one thing that shines in Needful Things and stops you from switching the movie off is the cast assembled. As the devil in disguise whose benevolent demeanor and welcoming air entices curious customers to their doom, Max Von Sydow is obviously having a good time. And it must be said he contributes a charming but very sinister presence to the film that brings at least some effectiveness to proceedings. Ed Harris is very good( then again, when isn’t Ed Harris good?) as the honest but firm Sheriff who is the first to see the wicked game being played by Gaunt. It is then up to him to prevent further destruction as he goes up against the devil incarnate. Bonnie Bedelia does just fine in an underwritten role as the love interest, bringing just the right amount of sweetness to the part to cover up how undeveloped the character is. Then there is J. T. Walsh, quite effective as the slime ball boat salesman who gets his comeuppance by becoming the loyal servant of Gaunt. Standing out in the cast is Amanda Plummer, all nervous tics and wide eyes as the kooky but vulnerable baker Nettie, whose good nature is turned to murderous rage. She isn’t in the film for long, but she makes an impact on it and lends some creepiness to this film that is devoid of it. As the 11-year-old kid who is the first to encounter the evil of Gaunt, Shane Meier does a credible job at showing how his innocence is ultimately manipulated into something darker.

Neither particularly scary or engaging, it’s only a commendable cast that keeps Needful Things afloat. And even with the talented cast, it isn’t enough to make a great movie and sadly it becomes one of the not so good King adaptations.