CONAN THE BARBARIAN

US, 1981, 129 minutes, Colour.
Arnold Schwarzenegger, James Earl Jones, Max Von Sydow, Sandahl Bergman, Ben Davidson, Cassandra Gaviola, Gerry Lopez, Mako, Valerie Quinnessen, William Smith.
Directed by John Milius.

Conan the Barbarian is a lavish costume epic based on cartoon characters and books by Robert E. Howard. The film was co-written and directed by John Milius - writer of Life and Times of Judge Roy Bean, Jeremiah Johnson and Apocalypse Now and director of such films as Dillinger, Big Wednesday, The Wind and the Lion. Milius think big - and is interested in creating screen myths, strong heroes confronted by desperate situations and the kind of heroism that emerges. He harks back to the protests of the '60s as well as the involvement in Vietnam. The ambiguity of his respect for involvement in Vietnam as well as its repercussions is seen best in the light touch of Big Wednesday and the operatics of Apocalypse Now. Milius is usually interested in Americana. Here he takes an American comic strip character from the Dark Ages and enhances him with larger-than-life prowess, feats of enormous derring-do - but as one watches the film they are very reminiscent of American history e.g. the example the focus on the taking of drugs, the super cool type heroism, laughter and cynicism and, finally, a re-working of the Jonestown obsessions and massacre and the leadership of Jim Jones.

The film is extraordinary to look at - Todd-AO, barbaric locations from snow country to deserts to the East. There is much violence and excellent special effects work. However, this Dark Ages combining with contemporary styles leaves the audience with an ambiguous response. This is not helped by the poor acting - fortunately most of the characters do not have much to say. Conan is played by Mr. Universe, Arnold Schwarzenegger who appeared to good effect in the documentary Pumping Iron but to poor effect acting in Scavenger Hunt and woefully in Hal Needham's Cactus Jack. Even Max Von Sydow is poor in this film.

The film comes in the aftermath of Excalibur and resembles in some ways The Sword and The Sorcerer and Beastmaster, all of which were released in 1982. Beastmaster is probably the most enjoyable of the films, Conan the Barbarian certainly the most lavish and technically well produced.

1. The action saga tradition? Blending with the matinee tradition? The background of comic strips and comic strip heroes? Transformed into epics? The '80s and the sword and sorcery genre? Adventure, violence, bloodthirstiness? The presentation and quality of this film?

2. How serious is John Milius in his writing and directing of Conan? Does he successfully blend the epic and the comic strip? The visual impact, staging compared with writing and acting? The ageless and traditional material blended with the jargon and attitudes of the '60s and '70s?


3. The Todd-AO colour photography? Grandeur, locations, compositions? striking beauty? Ruggedness? The period and the Middle Ages? The variety of landscapes from snow to desert? The world of the barbarian? Isolated communities, towns and exotic cities? The contribution of special effects e.g. with the spirits, with the witch, Valeria's ghost? Editing and continuity? A pageant comic strip? A musical score and its range and orchestration?

4. Presuppositions about the comic strip: acceptance of stereotypes, direct characterisation and dialogue? The type of response - and allowances made by the audience?

5. The epic background: the quotation from Nietzsche at the beginning: "That which does not kill us makes us stronger"? The narration by the wizard and his comments on Conan and his experience? The man and superman world of the barbaric Dark Ages? Violence, war, slavery, the gladiator and his struggle for freedom, violence for freedom? The background of religion and superstition? Nature gods and fanaticism? The epic themes of revenge, the quest for vengeance and love? The blend of roguery with the hero? Comic rogues? Gigantic villains for the gigantic hero? Spirits, confrontations? The achievement by Conan and the aftermath? How seriously does the film ask to be taken? The satiric aspects? A satisfying blend of the serious and comic?

6. John Milius and his films, the epic confrontations? The interest in Nietzsche and the superman theme? His world, order and anarchy, survival and quest? The theme of the forging of steel as a weapon? The theme of flesh and flesh conquering steel?

7. The background of the second half of the 20th century the emergence of the hero the enjoyment of the role of the rogue? Themes of law and order? Might and right? Religious cults and fanaticism? The drug culture? The background of male chauvinism and feminist reaction? The quest for self-knowledge and religious movements? Sex and violence? The background of Jonestown (and Jams Earl Jones' ironic surname?)?

8. The narration and its tone? The wizard not making his appearance until late? The epic tones with the touches of mockery? The speaking to the audience? The appearance of the wizard - and his type, contribution? The ending with the further adventures of Conan?

9. The impact of the opening, Conan as a child, the barbarian world, the forging of steel swords and the symbol of civilisation? Conan's relationship with his father and learning from him? The barbarity of the attack, the build-up and its fear, the massacre? The taking of the sword? The lead to the callous murder of Conan's mother? The effect on Conan and on the audience? The build-up to the vengeance them - the leader and his later reappearance as Thulsa Doom? His sign of the two serpents?

10. The march of the children into slavery? Conan growing up in slavery and the relentless turning of the wheel? His life as a gladiator and the brutality - for him, for those watching, the victim? The effect on him, winning at all cost, training and his being ready for further conquest? Fate and his winning the fights after being provoked? His being given freedom and his being hunted by the dogs? The chance hiding in the cave, the discovery of the skeleton, the sword? The hero destined for the completion of the vengeance theme? The emergence of the adult Conan in the form of Arnold Schwarzenegger and his size and strength? A gigantic figure?

11. The episode with the witch - the masculine-feminine encounter? Sexuality? The initiation of Conan? The seduction and destructive nature of the witch?

12. Conan and his encounter with his friend Subotai? Thieving, the adventures together, the variety of terrains they covered - an impression of the ancient world? Their running through the countrysides? The city? The encounters in the taverns, the drinking? The experience with the drugs - and the comment on the contemporary scene? The rivalry with Valeria in the robbing of the temple? The combining of forces - the climbing of the tower, the robbing of the jewel, the encounter with the gigantic snake? The escape? Action adventure - and the significance for the development of the plot?

13. The presentation of the cult, the snakes, religion and superstition, the fanaticism of the victims? The jewel and the quest? The caravan group, the encounter with the initiates of the cult, Conan and the homosexual religious man and taking his disguise? Conan entering with the pilgrims, with the crowds? Thulsa Doom and his henchmen - their role in the massacre, their place in the temple and the worship? The apprehension of Conan - interrogation, torture? The Princess resisting Conan? The orgy sequence and Thulsa Doom becoming the snake? The mesmerising of the devotees?

14. The background to Conan's mission and the arrest by King Osrik's men, Max von Sydow as Osrik? His story, the mission? Valeria and the jewels? The encounter with the wizard and the struggles with him? The Land of the Tombs? The wizard accompanying the group?

15. Conan and his crucifixion? Symbolic saviour-figure? The vultures? The rescue? Valeria and the invocation of the spirits? The role of the wizard? Conan being given his life again - and Valeria giving her life? Her death and her spirit reappearing?

16. The adventure ingredients of the achievement of the mission: Conan's infiltration, the atmosphere of the orgy, the cellar and the red light. the fights, the deaths? Valeria's death and the motivation for Conan's final preparation? The build-up to the final confrontation and deaths?

17. The siege, Thulsa Doom's henchmen attacking and their violent deaths? Thulsa Doom's attempt to mesmerise the crowd? To hypnotise Conan? The attempt of the flesh to conquer steel? Conan's beheading of Thulsa Doom?

18. The world view of old sagas and myths? The background of Nordic sagas and the Germanic tones? Religion? Conan's belief in the Nature god Krome? His prayer and his faith? Conan presented as pagan god figure, superman, Christ-figure?

19. The work of John Millius and entertainment and themes for the '80s?