*. Does anyone still read the original Conan stories by Robert E. Howard? I’m sure there’s still a fan base, and the character has been spun off in countless ways, but from the few of them I’ve read I don’t think the originals are very good. Nevertheless, a big dude with a big sword gets people’s attention.
*. Oliver Stone and John Milius? I can certainly understand the latter name, but I was a little surprised to see Stone had a co-writer credit on the screenplay. I’d forgotten his involvement with the project. As it turns out, his initial draft was far from canonical, being set in a post-apocalyptic wasteland. It was also going to run 4 hours and involve a lot of special monster effects. The producers wanted something more orthodox and less expensive. Mainly less expensive.
*. Milius, on the other hand, was definitely the man for the job. He’d already written Dirty Harry and Magnum Force and as far as I can tell took all of this shit seriously. This is a comic book movie before comic book movies discovered irony. We begin with a quote from Nietzsche, though what the philosopher would think of Conan is hard to say. I doubt he would approve of Conan’s crude recipe for happiness. I think Nietzsche meant something a little more by amor fati than just crushing your enemies and hearing the lamentation of their women. And I’m not sure he would have cared much for Crom either.
*. Conan does, however, get to beat up a bunch of hippies and flower children. Milius must have loved that, and knocking the fruity cult priest on the head. This is a world where men are men and women are (a) valkyries; (b) pleasure slaves; (c) breeding units; or (d) witches.
*. Milius had also written Apocalypse Now, and the end of this movie seems a clear echo of the end of that earlier film, with Conan as Willard ritually beheading the cult leader Thulsa Doom/Colonel Kurtz at the top of the stairs.
*. Come to think of it, there’s something of the end of De Palma’s Scarface (written by Stone) there too. It seems to have been a bit of a motif at the time.
*. Shouldn’t a he-man like Conan have been able to chop Thulsa Doom’s head off with one swing of that mighty broadsword? It looks like he’s up there chopping wood.
*. The design of the film was inspired by the art of Frank Frazetta, who I guess is pretty much the only visual source for this kind of material. It looks nice in the traditional fantasy style, with lots of corkscrew stone pillars and scantily-clad slave girls. Aside from the crowd scenes though I don’t think there’s anything else much to be impressed by. Conan’s swords apparently cost $10,000 a piece but they might have been made out of plastic for all I could tell. The giant snake is a bit of a yawn. The ghosts are hardly worth the trouble.
*. Milius took the business of painting magic words on Conan’s body from Kwaidan. Influence is a funny thing.
*. Sandahl Bergman is pretty good, in what was to be her biggest role. She really had a striking look. And for parts like this, what else did she need?
*. Maybe she just plays well against Arnold. Schwarzenegger went on to get a bit better, or at least more comfortable, with acting, but really he’s just terrible here. The only thing he can do is pose (which is something he does a lot). He delivers his lines as though he doesn’t even understand what he’s saying, much less anything about their timing. This was to be a breakout movie for him, but at the time it was hard to see much in the way of promise. He was just another hunk of beefcake.
*. I immediately recognized Basil Poledouris’s familiar stirring score, but it might not have been from this movie. Apparently it has been sampled extensively by other epics. This is understandable, as it’s very good.
*. I guess I’ve been pretty negative here, but to be honest I was actually quite surprised at how well this movie has held up. It’s a bit ponderous and could have really used some more humour, but for its genre it manages to stand out. Mind you, there were a lot of terrible swords-and-sandals movies that came out around this time so that’s not saying much. Still, I enjoyed seeing it again — for the first time in probably thirty years — and I think I might even end up watching it again sometime. I mean, James Earl Jones turns into a snake! That’s something you can never forget.