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Conan the Barbarian (1982 film)

January 19, 2023

"The Legend of Conan" redirects here. For the comics, see Conan the Barbarian (comics). For the mythos, see Conan the Barbarian.

Conan the Barbarian is a 1982 American epic sword and sorcery film directed by John Milius and written by Milius and Oliver Stone. Based on Robert E. Howard's Conan, the film stars Arnold Schwarzenegger and James Earl Jones and tells the story of a barbarian warrior named Conan (Schwarzenegger) who seeks vengeance for the death of his parents at the hands of Thulsa Doom (Jones), the leader of a snake cult.

Conan the Barbarian
International theatrical release poster by Renato Casaro
Directed byJohn Milius
Written by
Based onConan the Barbarian
by Robert E. Howard
Produced by
Starring
CinematographyDuke Callaghan
Edited byC. Timothy O'Meara
Music byBasil Poledouris
Production
company
Dino De Laurentiis Corporation[1]
Distributed by
Release dates
  • March 16, 1982 (1982-03-16) (Spain)
  • May 14, 1982 (1982-05-14) (North America)
Running time
129 minutes
CountryUnited States
LanguageEnglish
Budget$20 million[2]
Box office$68.9–79.1 million[3][2]

Ideas for a Conan film were proposed as early as 1970; executive producer Edward R. Pressman and associate producer Edward Summer began a concerted effort to get the film made in 1975. It took them two years to obtain the film rights, after which they recruited Schwarzenegger for the lead role and Stone to draft a script. Pressman lacked capital for the endeavor. In 1979, after having his proposals for investments rejected by the major studios, he sold the project to Dino De Laurentiis; his daughter Raffaella produced the film. Milius was appointed as director and he rewrote Stone's script. The final screenplay integrated scenes from Howard's stories and from the Japanese films Seven Samurai (1954) and Kwaidan (1965). Filming took place in Spain over five months in the regions around Madrid and the province of Almería. The sets, designed by Ron Cobb, were based on Dark Age cultures and Frank Frazetta's paintings of Conan. Milius eschewed optical effects, preferring to realize his ideas with mechanical constructs and optical illusions. Schwarzenegger performed most of his own stunts, and two types of sword, costing $10,000 each, were forged for his character. The editing process took over a year, and several violent scenes were cut out.

Conan the Barbarian was distributed by Universal Pictures in North America and 20th Century Fox in other territories. It premiered on March 16, 1982 in Spain and May 14, 1982 in North America. Upon release, the film received mixed reviews from critics and audiences alike, mainly positive for its action sequences, production design, directing, visual style, and effects, but negatively received for its violent content and screenwriting, as well as some substandard performances. Despite this, the film became a commercial success for its backers, grossing between $68.9 million and $79.1 million at box offices around the world against its budget of only $20 million.

The film earned Schwarzenegger worldwide recognition. Conan the Barbarian has been frequently released on home video, the sales of which had increased the film's gross to more than $300 million by 2007. In the years following its release, it became a cult film, and its success spawned a sequel, titled Conan the Destroyer (1984). It ultimately led to the production of a 2011 reboot of the same name.

Plot

A blacksmith forges a sword and shows it to his son, Conan, as he tells him of the "Riddle of Steel", an aphorism on the importance of the metal to their people, the Cimmerians. One day, a band of raiders, led by Thulsa Doom, massacre the Cimmerians; dogs kill Conan's father, and Doom takes the sword and decapitates Conan's mother. The children are taken into slavery and chained to work a large mill, the Wheel of Pain. Conan survives into adulthood, becoming a massive, muscular man. His master trains him to be a gladiator. After winning countless fights and receiving training and education in the East, Conan is freed. He is soon chased by wild dogs and seeks refuge in an Atlantean colonist warrior's tomb, where he retrieves an ancient sword. Conan wanders the world, encountering a prophetic witch in a hut and then befriends Subotai, a Hyrkanian thief and archer.

Following the witch's advice, Conan and Subotai go to the city of Zamora to seek out Doom. There, they meet Valeria, a female brigand. They raid the Tower of the Serpent, stealing jewels and other valuables (Including the greatest jewel of all: The Eye of the Serpent) from a shrine, and slaying a giant snake in the process. After escaping with their loot, the thieves celebrate, and Conan has sex with Valeria. The city guards capture the trio and bring them to King Osric, who requests they rescue his daughter, Princess Yasimina—now a zealot in Doom's cult—for a handsome reward. Subotai and Valeria refuse to take up the quest; Conan, however, motivated by his hatred for Doom and his desire for vengeance, sets off alone to the villain's Temple of Set, also known as the Mountain of Power.

Disguised as a priest, Conan infiltrates the temple, but he is discovered, captured, and tortured. Doom lectures him on the power of flesh, which he demonstrates by hypnotically enticing a girl to leap to her death. He then orders for Conan to be crucified on the Tree of Woe. The barbarian is on the verge of death when he is discovered by Subotai and brought to Akiro, the Wizard of the Mounds, who lives on a burial site for warriors and kings (and who narrates the movie as Conan's chronicler). The wizard summons spirits to heal Conan and warns that they will "extract a heavy toll", which Valeria is willing to pay. These spirits also try to abduct Conan, but he is restored to health after Valeria and Subotai fend them off.

Subotai and Valeria agree to help Conan complete Osric's quest and infiltrate the Temple of Set. As the cult indulges in a cannibalistic orgy, the thieves attack and flee with the princess, but Conan is unable to engage Doom, who has magically transformed into a large snake and slithered away. Valeria is mortally wounded by Doom after he shoots a stiffened snake as an arrow at her. She dies in Conan's arms, acknowledging the price of the "toll" forewarned by the wizard in exchange for Conan's life, and is cremated at the Mounds, where Conan prepares with Subotai and the wizard to battle Doom. Conan asks Crom, the god of his people, to grant him revenge. By using booby traps and exploiting the terrain, they manage to slay Doom's warriors (including Thorgrim) when they arrive. Just when Doom's lieutenant, Rexor, is about to overcome Conan, Valeria reappears for a brief moment as a Valkyrie to save him from the mortal blow. After losing his men, Doom shoots a stiffened snake-arrow at the princess, but Subotai blocks the shot with his shield and the villain flees to his temple. The battle ends with Conan having recovered his father's sword from his enemies, a sword splintered by his own hand in battle.

Conan and princess Yasimina (who is no longer under Doom's spell and wants revenge for him trying to kill her) sneak back to the temple where Doom is addressing the members of his cult. Conan confronts Doom, who receives him with open arms and attempts to mesmerize him, but the barbarian resists and uses his father's broken sword to behead his nemesis. After the disillusioned cultists disperse, Conan burns down the temple and returns the princess to King Osric.

Characters

The character, Conan, and the world of Hyboria were based on the creations of pulp-fiction writer Robert E. Howard from the 1930s. Published in Weird Tales, his series about the barbarian was popular with the readership; the barbarian's adventures in a savage and mystical world, replete with gore and brutal slayings, satisfied the reader's fantasies of being a "powerful giant who lives by no rules but his own".[4] From the 1960s, Conan gained a wider audience as novels about him, written in imitation of Howard's style by L. Sprague de Camp and Lin Carter, were published. Frank Frazetta's cover art for these novels cemented Conan's image as a "virile, axe-wielding, fur-bearing, cranium-smashing barbarian".[5] John Milius, the film's director, intended the film's Conan to be "a Northern European mythic hero".[6] Danny Peary described Conan as "muscular, majestic, brainy, yet with ambivalent scruples".[7] Don Herron, a scholar on Howard and his stories, disagreed, noting that the personality of Conan in the film differs greatly from that of the literature. The Conan in the books detests restrictions to his freedom and would have resisted slavery in a violent fashion, whereas the film version accepts his fate and has to be freed.[8] Robert Garcia's review of the film in his American Fantasy magazine states, "this Conan is less powerful, less talkative, and less educated than Howard's".[9]

The female lead, Valeria, has her roots in two strong female characters from Howard's Conan stories.[10] Her namesake was Conan's companion in "Red Nails", while her personality and fate were based on those of Bêlit, the pirate queen in "Queen of the Black Coast".[11] According to Kristina Passman, an assistant professor of classical languages and literature, the film's Valeria is a perfect archetype of the "good" Amazon character, a fierce but domesticated female warrior, in cinema.[12][13] Rikke Schubart, a film scholar, said Valeria is a "good" Amazon because she is tamed by love and not because of any altruistic tendencies.[14] Valeria's prowess in battle matches that of Conan, and she is also depicted as his equal in capability and status. The loyalty and love she displays for Conan makes her more than a companion to him;[15] she represents his "possibilities of human happiness".[16] Her sacrifice for Conan and her brief return from death act out the heroic code, illustrating that self-sacrificing heroism brings "undying fame".[15] Valeria's name is spoken in the film only after her death.

Milius based Conan's other companion, Subotai, on Genghis Khan's main general, Subotai, rather than on any of Howard's characters.[17] According to film critic Roger Ebert, Subotai fulfills the role of a "classic literary type—the Best Pal."[18] He helps the barbarian to kill a giant snake and cuts him down from crucifixion; the thief also cries for his companion during Valeria's cremation, with the explanation that "(h)e is Conan, a Cimmerian. He won't cry, so I cry for him."[19]

Conan's enemy, Thulsa Doom, is an amalgamation of two of Howard's creations. He takes his name from the villain in Howard's Kull of Atlantis series of stories, but is closer in character to Thoth-Amon, a Stygian sorcerer in "The Phoenix on the Sword".[6] The Doom in the film reminded critics of Jim Jones, a cult leader whose hold on his followers was such that hundreds of them obeyed his orders to commit suicide.[18][20] Milius said his research on the ancient orders of the Hashishim and the Thuggee was the inspiration for Doom's snake cult.[21] In the original Howard stories, the worship of Set, though all too fearsome, is no sect; rather, it is the centuries-old formalized state religion of Stygia (which is virtually a theocracy).

Production

Background

From the 1970s, licensing problems had stood in the way of producing film versions of the Conan stories. Lancer Books, which had acquired the rights in 1966,[22][23] went into receivership, and legal disputes existed over their disposition of the publishing rights, which ultimately led to them being frozen under injunction.[22][24] Edward Summer suggested Conan as a potential project to executive producer Edward R. Pressman in 1975, and after being shown the comics and Frazetta's artwork, Pressman was convinced.[25] Two years were needed to secure the film rights.[22] The two main parties involved in the lawsuit, Glenn Lord and de Camp, formed Conan Properties Incorporated to handle all licensing of Conan-related material, and Pressman was awarded the film rights shortly afterwards.[26] He spent more than US$100,000 in legal fees to help resolve the lawsuit, and the rights cost him another $7,500.[27] The success of Star Wars in 1977 increased Hollywood's interest in producing films that portray "heroic adventures in supernatural lands of fables".[28] The film industry's attention was drawn to the popularity of Conan among young male Americans, who were buying reprints of the stories with Frazetta's art and adaptations by Marvel Comics.[29]

Development

John Milius first expressed interest in directing a film about Conan in 1978 after completing the filming of Big Wednesday, according to Buzz Feitshans, a producer who frequently worked with Milius.[30] (Milius had long been an admirer of films like 1958's The Vikings.[31]) Milius and Feitshans approached Pressman, but differences over several issues stopped discussions from going further.[30]

 
Oliver Stone (1987 photograph) was brought on to the project as a "name screenwriter".

Oliver Stone joined the Conan project after Paramount Pictures offered to fund the film's initial $2.5 million budget if a "name screenwriter" was on the team.[32] After securing Stone's services, Pressman approached Frank Frazetta to be a "visual consultant", but they failed to come to terms.[33] The producer then engaged Ron Cobb, who had just completed a set design job on Alien (1979).[34] Cobb made a series of paintings and drawings for Pressman before leaving to join Milius on another project.[35]

The estimates to realize Stone's finished script ran to $40 million; Pressman, Summer, and Stone could not convince a studio to finance their project.[32] Pressman's production company was in financial difficulties and in order to keep it afloat he borrowed money from the bank.[36] The failure to find a suitable director was also a problem for the project. Stone and Joe Alves, who was the second unit director on Jaws 2, were considered as possible co-directors, but Pressman said it "was a pretty crazy idea and [they] didn't get anywhere with it".[37] Stone also said that he asked Ridley Scott, who had finished directing Alien, to take up the task, but was rejected.[38]

Cobb showed Milius his work for Conan and Stone's script, which according to him, reignited Milius's interest; the director contacted Pressman,[35] and they came to an agreement: Milius would direct the film if he were allowed to modify the script.[39] Milius was known in the film industry for his macho screenplays for Dirty Harry (1971) and Magnum Force (1973).[40][41] He was, however, contracted to direct his next film for Dino De Laurentiis,[30] an influential producer in the fantasy film industry.[42] Milius raised the idea of taking on Conan with De Laurentiis,[30] and after a year of negotiations, Pressman and De Laurentiis agreed to co-produce.[27] De Laurentiis took over the financing and production, and Pressman gave up all claims to the film's profits, though he retained approval over changes to the script, cast, and director.[27] Dino De Laurentiis assigned the responsibility for production to his daughter, Raffaella, and Feitshans.[22] Milius was formally appointed as director in early 1979, and Cobb was named as the production designer.[43] De Laurentiis convinced Universal Pictures to become the film's distributor for North America.[44] The studio also contributed to the production budget of $17.5 million and prepared $12 million to advertise the film.[45]

Casting

Actor Role
Arnold Schwarzenegger     Conan the Barbarian
Gerry Lopez Subotai
Sandahl Bergman Valeria
James Earl Jones Thulsa Doom
Max von Sydow King Osric
Mako Iwamatsu Wizard of the Mounds
William Smith Conan's Father
Sven-Ole Thorsen Thorgrim
Ben Davidson Rexor
Cassandra Gava Witch
Valérie Quennessen Osric's Daughter
Jorge Sanz Young Conan
Nadiuska Conan's Mother
 
Ed Pressman and his associates considered Arnold Schwarzenegger (1984 photograph) the embodiment of Conan the Barbarian.

While they were working to secure the film rights, Pressman and Summer were also contemplating the lead role. Summer said they considered Charles Bronson, Sylvester Stallone, comedian and ex-rugby player Jethro and William Smith—all of whom had played tough figures,[46] but in 1976, the two producers watched a rough cut of the bodybuilding film, Pumping Iron, and agreed that Arnold Schwarzenegger was perfect for the role of Conan due to his huge, muscular frame.[47] According to Schwarzenegger, Pressman's "low-key" approach and "great inner strength" convinced him to join the project.[48] Paul Sammon, writer for Cinefantastique, said that the former champion bodybuilder was practically the "living incarnation of one of Frazetta's paperback illustrations".[33] Schwarzenegger was paid $250,000 and placed on retainer;[49] the terms of the contract restricted him from starring in other sword-and-sorcery films.[50] Schwarzenegger said Conan was his biggest opportunity to establish himself in the entertainment industry.[51]

Thanks to Pressman's firm belief in him, Schwarzenegger retained the role of Conan even after the project was effectively sold to De Laurentiis.[27] Milius wanted a more athletic look on his lead actor, so Schwarzenegger undertook an 18-month training regimen before shooting began. Besides running and lifting weights, his routines included rope climbing, horseback riding, and swimming. He slimmed down from 240 to 210 pounds (109 to 95 kg).[52] Aside from Conan, two other substantial roles were also played by novice actors. Subotai was Gerry Lopez, a champion surfer, whose only major acting experience was playing himself in Milius's Big Wednesday.[11] Schwarzenegger stayed at Lopez's home for over a month before the start of filming so they could rehearse their roles and build a rapport.[53] Sandahl Bergman, a dancer who had had bit parts in several theater productions and films, played Valeria. She was recommended to Milius by Bob Fosse, who had directed her in All That Jazz (1979), and was accepted after reading for the part.[54][55]

Milius said the actors were chosen because their appearances and personae fitted their roles.[56] He wanted actors who would not have any preconceived notions to project into their roles.[57] Although Milius had reservations when he witnessed the first few takes of the novices at work, he put faith in them improving their skills on the job and altered the script to fit their abilities.[58] Schwarzenegger had studied for weeks in 1980 under Robert Easton, a voice coach for several Hollywood stars, to improve his speech.[59] His first line in the film was a paraphrasing of Mongol emperor Genghis Khan's speech about the good things in life, and the actor delivered it with a heavy Austrian accent; critics later described what they heard as "to crush your enemies—see dem [them] driven before you, and to hear the lamentations of dair vimen [their women]".[59][60][61][nb 1] Subsequently, Schwarzenegger underwent intensive speech training with Milius. Each of his later longer speeches was rehearsed at least 40 times.[61] Lopez's lines were also an issue; although Milius was satisfied with Lopez's work, the surfer's lines were redubbed by the stage actor Sab Shimono for the final cut. A source close to the production said this was done because Lopez failed to "[maintain] a certain quality to his voice."[64]

 
 
James Earl Jones (left, 1991 photograph) and Max von Sydow (right, 1989 photograph) were brought on to the film for their experience.

Sean Connery and John Huston were considered for the other roles.[11][65] James Earl Jones and Max von Sydow were, according to Milius, hired with the hope that they would inspire Schwarzenegger, Bergman, and Lopez.[57] Jones was an award-winning veteran of numerous theater and cinema productions.[66] Von Sydow was a Swedish actor of international renown.[67] The role of Thulsa Doom was offered to Jones while he was considering applying for the role of Grendel in an upcoming feature based on John Gardner's eponymous novel; after learning it was an animation, Jones read Conan's script and accepted the part of Doom.[68] When filming started, Jones was also starring in a Broadway play—Athol Fugard's A Lesson to Aloes. He and the film crew coordinated their schedules to allow him to join the play's remaining performances.[69] Jones took an interest in Schwarzenegger's acting, often giving him pointers on how to deliver his lines.[61]

The Japanese-American actor Mako Iwamatsu, known professionally as "Mako", was brought onto the project by Milius for his experience;[57] he had played roles in many plays and films and had been nominated for Academy Awards and a Tony.[70] In Conan, Mako played the Wizard of the Mounds and voiced the film's opening speech.[9] William Smith, although passed over for the lead role, was hired to play the barbarian's father.[11] Doom's two lieutenants, Thorgrim and Rexor, respectively, were played by Sven-Ole Thorsen, a Danish bodybuilder and karate master, and Ben Davidson, a former American-football player with the Oakland Raiders.[54] Cassandra Gava played the witch. Milius hired more than 1,500 extras in Spain.[71] Professional actors from the European film industry were also hired: Valérie Quennessen was chosen to play Osric's daughter, Jorge Sanz acted as the nine-year-old version of Conan, and Nadiuska played his mother.[72]

Script writing

The drafting of a story for a Conan film started in 1976; Summer conceived a script with the help of Roy Thomas,[32] a comic-book writer and Conan expert who had been writing the character's adventures for years for Marvel Comics.[29] Summer and Thomas's tale, in which Conan would be employed by a "dodgy priest to kill an evil wizard", was largely based on Howard's "Rogues in the House". Their script was abandoned when Oliver Stone joined the project.[73] Stone was, at this time, going through a period of addiction to cocaine and depressants. His screenplay was written under the influence of the drugs[74] and the result was what Milius called a "total drug fever dream", albeit an inspired one.[75] According to Schwarzenegger, Stone completed a draft by early 1978.[76] Taking inspiration from Howard's "Black Colossus" and "A Witch Shall be Born", Stone proposed a story, four hours long,[77] in which the hero champions the defense of a princess's kingdom. Instead of taking place in the distant past, Stone's story was set in a post-apocalyptic future where Conan leads an army in a massive battle against a horde of 10,000 mutants.[40]

 
The idea of painting symbols onto Conan's body to help ward off spirits is taken from the Japanese story "Hoichi the Earless", as depicted in the film Kwaidan (1965).

When Milius was appointed as director, he took over the task of writing the screenplay.[78] Although listed as a co-writer, Stone said Milius did not incorporate any of his suggestions into the final story.[79] Milius discarded the latter half of Stone's story.[80] He retained several scenes from the first half, such as Conan's crucifixion ordeal, which was taken straight out of "A Witch Shall be Born", and the climbing of the Tower of Serpents, which was derived from "The Tower of the Elephant".[81] One of Milius's original changes was to extend Stone's brief exposition of Conan's youth—the raid on the Cimmerian village—into his teens with the barbarian's enslavement at the Wheel of Pain and training as a gladiator.[41] Milius also added ideas gleaned from other films. The Japanese supernatural tale of "Hoichi the Earless", as portrayed in Masaki Kobayashi's Kwaidan (1965), inspired the painting of symbols on Conan's body and the swarm of ghosts during the barbarian's resurrection,[82] and Akira Kurosawa's Seven Samurai (1954) influenced Milius's vision of Conan's final battle against Doom's men.[4] Milius also included scenes from post-Howard stories about Conan; the barbarian's discovery of a tomb during his initial wanderings and acquisition of a sword within were based on de Camp and Carter's "The Thing in the Crypt".[6] According to Derek Elley, Variety's resident film critic, Milius's script, with its original ideas and references to the pulp stories, was faithful to Howard's ideals of Conan.[83]

Milius felt, "all the basic emotions [in the script] are always accessible to audiences. All of the things that Conan does we all feel ourselves. He just acts on them with more intensity than we do. He is a character who relies on the animal. And I always believe that the animal instincts are often the worst part of them. All you do when you evolve is corrupt yourself sooner or later."[84]

Filming

Original introduction in the film

Know, O Prince; that between the years when the oceans drank Atlantis and the rise of the Sons of Aryas, there was an Age undreamed of ... Hither came I, Conan, a thief, a reaver, a slayer, to tread jeweled thrones of the earth beneath my feet. But now my eyes are dim. Sit on the ground with me, for you are but the leavings of my age. Let me tell you of the days of high adventure.

King Conan[85]

Filming started at England's Shepperton Studios in October 1980, with Schwarzenegger, made up to look like Conan as a king in his old age, reading an excerpt from "The Nemedian Chronicles", which Howard had penned to introduce his Conan stories. This footage was initially intended to be a trailer, but Milius decided to use it as the opening sequence of the film, instead.[86] According to Cobb, Laurentiis and Universal Pictures were concerned about Schwarzenegger's accent, so Milius compromised by moving the sequence to the end.[87][88] Schwarzenegger trained with voice coach Robert Easton and with Milius in order to eliminate his accent, but their efforts proved to be unsuccessful, so the planned narration which was intended to begin with this scene was not included in the final film.[89]

The initial location for principal photography was former Yugoslavia, but because of concerns over the country's stability after the death of its head of state, Josip Broz Tito, and the fact that the Yugoslavian film industry proved ill-equipped for large-scale film production, the producers elected to move the project to Spain, which was cheaper and where resources were more easily available. It took several months to relocate;[90] the crew and equipment arrived in September,[91] and filming started on January 7, 1981.[43] The producers allocated $11 million for production in Spain,[92] of which about $3 million were spent on building 49 sets.[93] The construction workforce numbered from 50 to 200; artists from England, Italy, and Spain were also recruited.[94]

A large warehouse 20 miles (32 km) outside Madrid served as the production's headquarters,[90] and it also housed most of the interior sets for the Tower of Serpents and Doom's temple;[95] a smaller warehouse was leased for other interior sets.[72] The remaining interiors for the Tower of Serpents were constructed in an abandoned hangar at Torrejón Air Base.[71] A full-scale, 40-foot (12 m) version of the tower was built in the hangar; this model was used to film Conan and his companions' climb up the structure.[71]

 
The rock formations of Ciudad Encantada (Cuenca, Spain) provided the setting for a supernatural encounter in Conan.

The crew filmed several exterior scenes in the countryside near Madrid;[72] the Cimmerian village was built in a forest near the Valsaín ski resort, south of Segovia. About one million pesetas ($12,084)[nb 2] worth of marble shavings were scattered on the ground to simulate snow.[97] The Wheel of Pain scene took place in the province of Ávila.[nb 3] Conan's encounter with the witch and Subotai was shot among the Ciudad Encantada rock formations in the province of Cuenca.[99] Most outdoor scenes were shot in the province of Almería,[72] which offered a semiarid climate, diverse terrain (deserts, beaches, mountains), and Roman and Moorish structures that could be adapted for many settings.[100]

Conan's crucifixion was filmed in March 1981 among the sand dunes on the southeastern coast of Almería. The Tree of Woe was layers of plaster and Styrofoam applied onto a skeleton of wood and steel. It was mounted on a turntable, allowing it to be rotated to ensure the angle of the shadows remained consistent throughout three days of filming. Schwarzenegger sat on a bicycle seat mounted in the tree while fake nails were affixed to his wrists and feet.[101] The scene in which Valeria and Subotai fought off ghosts to save Conan and the final battle with Doom's forces were filmed in the salt marshes of Almerimar. "Stonehenge-like ruins" were erected and sand piled into mounds that reached 9 m (30 ft).[102] The changes to the landscape attracted protests from environmentalists and the producers promised to restore the site after filming was completed.[103]

 
The walls of the Alcazaba of Almería, Spain, provided the locale for a bazaar in the movie.

The Temple of Set was built in the mountains, about 12 km (7.5 mi) west of the city of Almería. The structure was 50 meters (160 ft) long and 22 meters (72 ft) high. It was the most expensive of the sets, costing $350,000, and built out of various woods, lacquers, and tons of concrete. Its stairway had 120 steps.[104] Milius and his crew also filmed at historical sites and on sets from previous films. Scenes of a bazaar were filmed at the Moorish Alcazaba of Almería, which was dressed to give it a fictional Hyborian look.[99][105] Shadizar was realized at a pre-existing film set in the Almerían desert; the fort used for the filming of El Condor (1970) refurbished as an ancient city.[99]

It was expensive to build large sets,[106] and Milius did not want to rely on optical effects and matte paintings (painted landscapes). The crew instead adopted miniature effect techniques (playing on perspective) to achieve the illusion of size and grandeur for several scenes. Scale models of structures were constructed by Emilio Ruiz and positioned in front of the cameras so that they appeared as full-sized structures on film; using this technique, the Shadizar set was extended to appear more than double its size.[107] Ruiz built eight major miniature models,[108] including a 4-foot-high (1.2 m) palace and a representation of the entire city of Shadizar that spanned 120 square feet (11 m2).[71]

 
An academic commented that the Tree of Woe resembled a prop from an 1876 staging of Richard Wagner's Die Walküre.

Cobb's direction for the sets was to "undo history", "to invent [their] own fantasy history", and yet maintain a "realistic, historical look".[109] Eschewing the Greco-Roman imagery used heavily in the sword-and-sandal films of the 1960s,[43] he realized a world that was an amalgamation of Dark Age cultures, such as the Mongols and the Vikings.[83] Several scenarios paid homage to Frazetta's paintings of Conan, such as the "half-naked slave girl chained to a pillar, with a snarling leopard at her feet", at the snake cult's orgy.[110] David Huckvale, a lecturer at the Open University and broadcaster for BBC Radio, said the designs of the Tree of Woe and the costumes appeared very similar to those used in Richard Wagner's Ring of the Nibelung operas at the Bayreuth Festspielhaus in 1876.[111] Principal photography was completed in the middle of May 1981.[112] The film crews burned down the Cimmerian village and the Temple of Set after completing filming on each set.[57][113]

Stunts and swords

Several action scenes in Conan were filmed with a "minijib" (a remote-controlled electronic camera mounted on a motorized lightweight crane) that Nick Allder, the special effects supervisor, had devised when he worked on Dragonslayer (1981).[114] The stunts were co-ordinated by Terry Leonard, who had worked on many films, including Milius's previous projects and Steven Spielberg's Raiders of the Lost Ark (1981).[35][115] Leonard said that Schwarzenegger, Bergman, and Lopez performed most of their own stunts, including the fights.[93]

The three actors were given martial arts training ahead of filming. From August 1980,[90] they were tutored by Kiyoshi Yamazaki, a karate black belt and master swordsman,[116] who drilled them in sword-fighting styles that were meant to make them look proficient in using their weapons.[117] They practiced each move in a fight at least 15 times before filming.[118] Yamazaki advised Leonard on the choreography of the sword fights and had a cameo role as one of Conan's instructors.[90]

Tim Huchthausen, the prop maker, worked with swordsmith Jody Samson to create the sturdy weapons Milius thought necessary.[119] Particular attention was paid to two swords wielded by Conan: his father's sword ("Master's sword") and the blade he finds in a tomb ("Atlantean sword"). Both weapons were realized from Cobb's drawings. Their blades were hand ground from carbon steel and heat treated and left unsharpened.[120] The hilts and pommels were sculpted and cast through the lost-wax process; inscriptions were added to the blades by electrical discharge machining.[121] Samson and Huchthausen made four Master's and four Atlantean swords, at a cost of $10,000 per weapon.[119][122] Copies of the Atlantean sword were struck and given to members of the production.[119]

Samson and Huchthausen agreed the weapons were heavy and unbalanced, thus unsuitable for actual combat;[119][122] Lighter versions made of aluminum, fiberglass, and steel were struck in Madrid; these 3 lb (1.4 kg) copies were used in the fight scenes.[119][123] According to Schwarzenegger, the heavy swords were used in close-up shots.[124] The other weapons used in the film were not as elaborate; Valeria's talwar was ground out from an aluminum sheet.[125]

The copious amounts of blood spilled in the fight scenes came from bags of fake blood strapped to the performers' bodies. Animal blood gathered from slaughterhouses was poured onto the floor to simulate puddles of human blood.[126] Most of the times trick swords made from fiberglass were used when the scene called for a killing blow.[127] Designed by Allder, these swords could also retract their blades, and several sprayed blood from their tips.[93] Although the swords were intended to be safer alternatives to metal weapons, they could still be dangerous: in one of the fights, Bergman sparred with an extra who failed to follow the choreography and sliced open her finger.[127]

Accidents also happened in stunts that did not involve weapons. A stuntman smashed his face into a camera while riding a horse at full gallop,[128] and Schwarzenegger was attacked by one of the trained dogs.[129] The use of live animals also raised concerns about cruelty; the American Humane Association placed the film on its "unacceptable list".[130] The transgressions listed by the association included the kicking of a dog, the striking of a camel, and the tripping of horses.[131]

Mechanical effects

 
A dummy with parts from a dead vulture was provided for the shot in which Schwarzenegger bites through the bird's neck.

Carlo De Marchis, the special make-up effects supervisor, and Colin Arthur, former Studio Head of Madame Tussaud's, were responsible for the human dummies and fake body parts used in the film.[99][132] The dummies inflated crowd numbers and stood in as dead bodies,[93] while the body parts were used in scenes showing the aftermath of fights and the cult's cannibalistic feast.[133] In Thulsa Doom's beheading scene, Schwarzenegger hacked at a dummy and pulled a concealed chain to detach its head.[64] The decapitation of Conan's mother was more complex: a Plexiglas shield between Jones and Nadiuska stopped his sword as he swung at her and an artificial head then dropped into the camera's view. A more elaborate head was used for the close-up shots; this prop spurted blood and the movements of its eyes, mouth, and tongue were controlled by cables hidden beneath the snow.[134]

Allder created a $20,000 36-foot (11 m) mechanical snake for the fight scene in the Tower of Serpents. The snake's body had a diameter of 2.5 ft (0.76 m), and its head was 2.5 ft (0.76 m) long and 2 ft (0.61 m) wide. Its skeleton was made from duralumin (an alloy used in aircraft frames) and its skin was vulcanized foam rubber. Controlled by steel cables and hydraulics, the snake could exert a force between 3.5 and 9.0 tons. Another two snakes of the same dimensions were made, one for stationary shots and one for decapitation by Schwarzenegger.[135] The immense size of the mechanical snake meant that it did not fully fit onto the set, so only the front of it could be shown in the film.[89] To create the scene at the Tree of Woe, the crew tethered live vultures to the branches, and created a mechanical bird for Schwarzenegger to bite. The dummy bird's feathers and wings were from a dead vulture, and its control mechanisms were routed inside the false tree.[136]

According to Sammon, "one of the greatest special effects in the film [was] Thulsa Doom's onscreen transformation into a giant snake".[93] It involved footage of fake body parts, live and dummy snakes, miniatures, and other camera tricks combined into a flowing sequence with lap dissolve. After Jones was filmed in position, he was replaced by a hollow framework with a rubber mask that was pushed from behind by a snake head-shaped puppet to give the illusion of Doom's facial bones changing. The head was then replaced with a 6-foot (1.8 m) mechanical snake; as it moved outwards, a crew member pressed a foot pedal to collapse the framework. For the final part of the sequence, a real snake was filmed on a miniature set.[137]

Optical effects

 
VCE's special effects were composited with the live-action reels through a two-headed optical printer to create the final print.

Few optical effects were used in Conan the Barbarian. Milius professed ambivalence to fantasy elements, preferring a story that showcases accomplishments realized through one's own efforts without reliance on the supernatural. He also said that he followed the advice of Cobb and other production members on the matters of special effects.[56][138] Peter Kuran's Visual Concepts Engineering (VCE) effects company was engaged in October 1981 to handle postproduction optical effects for Conan. VCE had previously worked on films such as Raiders of the Lost Ark and Dragonslayer. Among their tasks for Conan were adding glint and sparkle to the Eye of the Serpent and Valeria's Valkyrie armor.[139] Not all of VCE's work made it to the final print; the flames of Valeria's funeral pyre were originally enhanced by the company, but were later restored to the original version.[128]

For the scene in which Valeria and Subotai had to fend off ghosts to save Conan's life, the "boiling clouds" were created by George Lucas’s Industrial Light and Magic, while VCE was given the task of creating the ghosts. Their first attempt filming strips of film emulsion suspended in a vat of a viscous solution—elicited complaints from the producers, who thought the resulting spirits looked too much like those in a scene from Raiders of the Lost Ark, so VCE turned to animation to complete the task. First, they drew muscular warriors in ghostly forms onto cels and printed the images onto film with an Oxberry animation stand and contact printer. The Oxberry was fitted with a used lens that introduced lens flares to the prints; VCE's intention with using the old lens was to make the resultant images of the ghosts seem as if they were of real-life objects filmed with a camera. The final composite was produced by passing the reels of film for the effects and the live-action sequences through a two-headed optical printer and capturing the results with a camera.[139]

Music

 
Anvil of Crom
Blaring French horns and pounding drums distinguish Conan the Barbarian's main theme.
Problems playing this file? See media help.

Milius recruited his friend, Basil Poledouris, to produce the score for Conan; they had had a successful collaboration on Big Wednesday.[140][141] The film industry's usual practice was to contract a composer to start work after the main scenes had been filmed, but Milius hired Poledouris before principal photography had started. The composer was given the opportunity to compose the film's music based on the initial storyboards and to modify it throughout filming before recording the score near the end of production.[142] Poledouris made extensive use of Musync, a music and tempo editing hardware and software system invented by Robert Randles (subsequently nominated for an Oscar for Scientific Achievement), to modify the tempo of his compositions and synchronize them with the action in the film. The system helped make his job easier and faster; it could automatically adjust tempos when the user changed the positioning of beats. In the montage where Conan grows up, for example, Poledouris had Randles prepare, over the phone, a long accelerando that landed on precise moments in the picture along the way. Poledouris would otherwise have had to conduct the orchestra and adjust his compositions on the fly.[143] Conan is the first film to list Musync in its credits.[144]

Milius and Poledouris exchanged ideas throughout production, working out themes and "emotional tones" for each scene.[145] According to Poledouris, Milius envisioned Conan as an opera with little or no dialogue;[146] Poledouris composed enough musical pieces for most of the film (around two hours' worth).[147] This was his first large-scale orchestral score,[147] and a characteristic of his work here was that he frequently slowed down the tempo of the last two bars (segments of beats) before switching to the next piece of music.[148] Poledouris said the score uses a lot of fifths as its most primitive interval; thirds and sixths are introduced as the story progresses.[149] The composer visited the film sets several times during filming to see the imagery his music would accompany. After principal photography was completed, Milius sent him two copies of the edited film: one without music, and the other with its scenes set to works by Richard Wagner, Igor Stravinsky, and Sergei Prokofiev, to illustrate the emotional overtones he wanted.[150]

Poledouris said he started working on the score by developing the melodic line—a pattern of musical ideas supported by rhythms. The first draft was a poem sung to the strumming of a guitar, composed as if Poledouris was a bard for the barbarian.[151] This draft became the "Riddle of Steel",[152] a composition played with "massive brass, strings, and percussion",[153] which also serves as Conan's personal theme.[146] The music is first played when Conan's father explains the riddle to him. Laurence E. MacDonald, Professor of Music at Mott Community College, said the theme stirs up the appropriate emotions when it is repeated during Conan's vow to avenge his parents.[146] The film's main musical theme, the "Anvil of Crom",[153] which opens the film with "the brassy sound of 24 French horns in a dramatic intonation of the melody, while pounding drums add an incessantly driven rhythmic propulsion" is played again in several later scenes.[146]

Poledouris completed the music that accompanies the attack on Conan's village at the beginning of the film in October 1981.[154] Milius initially wanted a chorus based on Carl Orff's Carmina Burana to herald the appearance of Doom and his warriors in this sequence. After learning that Excalibur (1981) had used Orff's work, he changed his mind and asked his composer for an original creation. Poledouris's theme for Doom consists of "energetic choral passages",[153] chanted by the villain's followers to salute their leader and their actions in his name. The lyrics were composed in English and roughly translated into Latin;[155] Poledouris was "more concerned about the way the Latin words sounded than with the sense they actually made."[156] He set these words to a melody adapted from the 13th-century Gregorian hymn, Dies irae,[157] which was chosen to "communicate the tragic aspects of the cruelty wrought by Thulsa Doom."[153]

The film's music mostly conveys a sense of power, energy, and brutality, yet tender moments occur.[158] The sounds of oboes and string instruments accompany Conan and Valeria's intimate scenes, imbuing them with a sense of lush romance and an emotional intensity. According to MacDonald, Poledouris deviated from the practice of scoring love scenes with tunes reminiscent of Romantic period pieces; instead, Poledouris made Conan and Valeria's melancholic love theme unique through his use of "minor-key harmony".[155] David Morgan, a film journalist, heard Eastern influences in the "lilting romantic melodies".[158] Page Cook, audio critic for Films in Review, describes Conan the Barbarian's score as "a large canvas daubed with a colorful yet highly sensitive brush. There is innate intelligence behind Poledouris's scheme, and the pinnacles reached are often eloquent with haunting intensity."[145]

From late November 1981, Poledouris spent three weeks recording his score in Rome.[64][159] He engaged a 90-instrument orchestra and a 24-member choir from the Accademia Nazionale di Santa Cecilia and the RAI National Symphony Orchestra,[160] and conducted them personally.[159] The pieces of music were orchestrated by Greig McRitchie, Poledouris's frequent collaborator.[145] The chorus and orchestra were recorded separately.[161] The 24 tracks of sound effects, music, and dialog were downmixed into a single-channel,[162] making Conan the Barbarian the last film released by a major studio with a mono soundtrack.[163] According to Poledouris, Raffaella De Laurentiis balked at the cost ($30,000) of a stereo soundtrack and was worried over the lack of theaters equipped with stereo sound systems.[164]

Release

In 1980, the producers began advertising to publicize the film. Teaser posters were put up in theaters across the United States. The posters reused Frazetta's artwork that was commissioned for the cover of Conan the Adventurer (1966).[165][166] Laurentiis wanted Conan the Barbarian to start playing in cinemas at Christmas, 1981,[167] but Universal executives requested further editing after they previewed a preliminary version of the film in August. A Hollywood insider said the executives were concerned about the film's portrayal of violence. The premiere was delayed until the following year so changes could be made.[168] Many scenes were excised from Thulsa Doom's attack on Conan's village, including the close-up shots on the severed head of Conan's mother;[64] the late notice of the changes forced Poledouris quickly to adjust his score before recording music for the sequence.[154] Other scenes of violence that were cut included Subotai's slaying of a monster at the top of the Tower of Serpents and Conan chopping off a pickpocket's arm in a bazaar.[169] Milius intended to show a 140-minute story; the final release ran 129 minutes (trimmed to 126 minutes in the United States).[170] According to Cobb, the total production expenses approached $20 million by the time the film was released.[88]

The United States' public was offered a sneak preview on February 19, 1982, in Houston, Texas. In the following month, previews were held in 30 cities across the country. In Washington, D.C., the mass of moviegoers formed long lines that spanned streets, causing traffic jams. Tickets were quickly sold out in Denver, and 1,000 people had to be turned away in Houston. The majority of those in the lines was male; a moviegoer in Los Angeles said, "The audience was mostly white, clean-cut, and high-school or college age. It was not the punk or heavy-leather crowd, but an awful lot of them had bulging muscles."[171] On March 16, Conan the Barbarian had its worldwide premiere at Fotogramas de Plata, an annual cinema awards ceremony in Madrid,[172] and began its general release in Spain and France a month later.[173][174] Twentieth Century Fox handled the foreign distribution of the film.[175] Universal originally scheduled Conan's official release in the United States for the weekend before Memorial Day[176]—the start of the film industry's summer season when schools close for a month-long holiday.[177] To avoid competition with other big-budget, high-profile films, the studio advanced the release of Conan the Barbarian and on May 14, 1982, the film officially opened in 1,400 theaters across North America.[176]

Conan the Barbarian has been released in several different versions on home video. In addition to the 126-minute theatrical print, Universal distributed the film in 115-minute and 123-minute cuts on VHS in the 1980s. A slightly extended version was created for the film's special edition DVD release in 2000; it features five minutes of additional footage for a 131-minute running time. This same version was later released on blu-ray in 2011 with a remixed soundtrack, the version on Amazon Prime however, is the 126 minute US theatrical cut.[178]

Critical response

The media's reactions toward Conan were polarized. Aspects of the film heavily criticized by one side were regarded in a positive light by the other; Professor Kenneth von Gunden wrote, "for every positive review the film garnered, it received two negative ones."[179] The opinions of Roger Ebert of the Chicago Sun-Times and Richard Schickel of Time illustrate their colleagues' divided views. Ebert called Conan the Barbarian "a perfect fantasy for the alienated preadolescent",[18] whereas Schickel said, "Conan is a sort of psychopathic Star Wars, stupid and stupefying."[180] Although reviews were mixed at the time of the film's release, modern genre critics review the film more positively. On review aggregator Rotten Tomatoes, the film has an approval rating of 65% based on 40 reviews, with an average rating of 6.6/10. The site's critical consensus reads, "Though Conan may take itself too seriously for some, this adventure film about a former slave seeking vengeance is full of quotable Schwarzenegger lines and gritty action."[181] On Metacritic, the film received a score of 43 based on 10 reviews, indicating "mixed or average reviews".[182]

 
Blood spews from the severed right arm of a fanged gorilla as Conan latches on to the beast and stabs at it with a sword. A topless woman witnesses the scene. Some critics felt that there was too much violence in the movie, while others felt that the violence failed to match up to Howard's portrayals (as illustrated by Hugh Rankin in Weird Tales).

At the time Conan was released, the media were inclined to condemn Hollywood's portrayals of violence; typical action films showed the hero attaining his goals by killing all who stood in his way.[170][183] Conan was particularly condemned for its violent scenes,[175][183] which Newsweek's Jack Kroll called "cheerless and styleless".[20] In one of his articles for the San Francisco Chronicle, Stu Schreiberg counted 50 people killed in various scenes.[184] Other film critics differed over the film's portrayal of violence. David Denby wrote in his review for New York magazine that the action scenes were one of the film's few positive features; however, exciting as the scenes were, those such as the decapitation of Conan's mother seemed inane.[60] On the other hand, Vincent Canby, Carlos Clarens, and Pascal Mérigeau were unanimous in their opinion that the film's depicted violence failed to meet their expectations: the film's pacing and Howard's stories suggested more gory material.[174][185][186] According to Paul Sammon, Milius's cuts to assuage concerns over the violence made the scenes "cartoon-like".[170]

Comparison with the source material also produced varying reactions among the critics. Danny Peary and Schickel expected a film based on pulp stories and comic books to be light-hearted or corny, and Milius's introduction of Nietzschean themes and ideology did not sit well with them.[7][180] Others were not impressed with Milius's handling of his ideas; James Wolcott called it heavy-handed and Kroll said the material lacked substance in its implementation.[20][187] The themes of individualism and paganism, however, resonated with many in the audience; the concept of a warrior who relies only on his own prowess and will to conquer the obstacles in his way found favor with young males.[188] Wolcott wrote in Texas Monthly that these themes appeal to "98-pound weaklings who want to kick sand into bullies' faces and win the panting adoration of a well-oiled beach bunny".[187] Kroll's opinion was that the audience loved the violence and carnage but were cynical about the "philosophical bombast."[20] While popular with audiences, the theatrical treatment of the barbarian was rejected by certain hardcore fans and scholars of Howard's stories. A particular point of contention was the film's version of Conan's origin, which is at odds with Howard's hints about the character's youth.[189] Their point of view is supported by Kerry Brougher,[190] but Derek Elley, Clarens, and Sammon said Milius was faithful to the ideology behind Howard's work.[83][110][191]

Arnold Schwarzenegger's performance was frequently mentioned in the critiques.[175] Clarens, Peary, Gunden and Nigel Andrews were among those who gave positive assessments of the former bodybuilder's acting: to them, he was physically convincing as the barbarian in his body movements and appearance.[7][186][192][193] Andrews added that Schwarzenegger exuded a certain charm—with his accent mangling his dialog—that made the film appealing to his fans.[194] Fanfare's Royal S. Brown disagreed and was grateful that the actor's dialog amounted to "2 pages of typescript."[195] Schickel summed up Schwarzenegger's acting as "flat",[180] while Knoll was more verbose, characterizing the actor's portrayal as "a dull clod with a sharp sword, a human collage of pectorals and latissimi who's got less style and wit than Lassie."[20] While Sandahl Bergman earned acclaim for injecting grace and dynamism into the film,[20][186] the film's more experienced thespians were not spared criticisms. Gunden said von Sydow showed little dedication to his role,[54] and Clarens judged Jones's portrayal of Thulsa Doom to be worse than camp.[186] However, Ebert praised Jones's performance, saying he brought "power and conviction to a role that seems inspired in equal parts by Hitler, Jim Jones, and Goldfinger."[18] Brougher faulted none of the actors for their performances, laying the blame on Milius's script, instead.[190]

Box office and other media

According to Rentrak Theatrical, a firm of media analysts, Conan debuted at the top spot at the US box office, taking $9,479,373 over the opening weekend.[196][nb 4] Rentrak's data on Conan covered 8 weeks after the film's release; during that period, Conan grossed $38,513,085 at the box office in the United States.[198] Universal Pictures received $22.5 million after deducting the amounts due to the cinema owners.[9] This sum—the rental[199]—was more than the money Universal had invested in making the film, thus qualifying Conan as a commercial success; any further income from the film was pure profit for the studio.[9] Marian Christy, interviewer for the Boston Globe, mentioned that the film was a box-office success in Europe and Japan, as well.[200] Worldwide, Conan the Barbarian grossed between $68.9 million and $79.1 million in ticket sales.[3][2]

David A. Cook, Professor of Film Studies at Emory University, said that Conan's North American performance fell short of the amount returned by blockbusters;[201] the rentals of such films from their release in the continent were supposed to be least $50 million.[202] Conan's rental was the 13th-highest for 1982[9] and when combined with those for E.T. the Extra-Terrestrial (the most successful film in that year with a rental of $187 million),[199] On Golden Pond, and The Best Little Whorehouse in Texas—all distributed by Universal Pictures—constituted 30% of the year's total film rental. According to Arthur D. Murphy, a film-industry analyst, it was the first time that a single distributor captured such a substantial share of the film market.[202]

The videocassette version of the film was released on October 2, 1982. Sales and rental figures of the videocassette were high; from its launch, the title was listed in Billboard's Videocassette Top 40 (Sales and Rental categories) for 23 weeks.[203][204] According to Sammon, sales of the film through frequent home video releases increased the film's gross earnings to more than $300 million by 2007.[205] Conan the Barbarian was novelized by Lin Carter and the de Camps (L. Sprague and his wife, Catherine).[185][206] It was also adapted by Marvel in comic form;[nb 5] scripted by Michael Fleisher and drawn by John Buscema, the comic was one of the rarest paperbacks published by the company.[207]

Accolades

Conan the Barbarian did not receive any film awards, but the Hollywood Foreign Press Association noted Bergman's performance as Valeria and awarded her a Golden Globe Award for New Star of the Year—Actress.[208] Poledouris's score was judged by Films in Review's Page Cook as the second best sound track of the films released in 1982.[145] The film was nominated for a Razzie Award for Worst Actor for Arnold Schwarzenegger.[209]

The film is recognized by American Film Institute in these lists:

Themes

Riddle of Steel

The secret of steel has always carried with it a mystery. You must learn its riddle, Conan. You must learn its discipline. For no one, no one in this world can you trust. Not men, not women, not beasts. [Points to sword] This you can trust.

Conan's father

The central theme in Conan the Barbarian is the Riddle of Steel. At the start of the film, Conan's father tells his son to learn the secret of steel and to trust only it. Initially believing in the power of steel, Thulsa Doom raids Conan's village to steal the Master's sword. Subsequently, the story centers on Conan's quest to recover the weapon in which his father has told him to trust.[213] Weaponry fetish is a device long established in literature; Carl James Grindley, an assistant professor of English, said ancient works such as Homer's Iliad, the Old English poem Beowulf, and the 14th-century tale of Sir Gawain and the Green Knight pay detailed attention to the arsenal of their heroes.[214] Grindley further said that Conan the Barbarian, like most other contemporary action films, uses weapons as convenient plot devices rather than as symbols that mark the qualities of the hero.[215] James Whitlark, an associate professor of English, said the Riddle of Steel makes the film's emphasis on the swords ironic; it gives the illusion that the weapons have powers of their own, but later reveals them to be useless and dependent on the strength of their wielders.[216] In the later part of the film, Doom mocks steel, proclaiming the power of flesh to be stronger. When Conan recovers his father's sword, it is after he has broken it in the hands of Doom's lieutenant during their duel. According to Grindley, that moment—Conan's breaking of his father's sword—"[fulfills] a snickering spectrum of Oedipal conjecture" and asserts Homer's view that "the sword does not make the hero, but the hero makes the sword."[217] The film, as Whitlark says, "offers a fantasy of human power raised beyond mortal limits."[216] Passman and other authors agree, stating the film suggests that human will and determination are in a Nietzschean sense stronger than physical might.[187][218][219]

Another established literary trope found in the plot of Conan the Barbarian is the concept of death, followed by a journey into the underworld, and rebirth. Donald E. Palumbo, the Language and Humanities Chair at Lorain County Community College, noted that like most other sword-and-sorcery films, Conan used the motif of underground journeys to reinforce the themes of death and rebirth.[220] According to him, the first scene to involve all three is after Conan's liberation: his flight from wild dogs sends him tumbling into a tomb where he finds a sword that lets him cut off his chains and stand with newfound power. In the later parts of the film, Conan experiences two underground journeys where death abounds: in the bowels of the Tower of Serpents where he has to fight a giant snake and in the depths of the Temple of Set where the cultists feast on human flesh while Doom transforms himself into a large serpent. Whereas Valeria dies and comes back from the dead (albeit briefly), Conan's ordeal from his crucifixion was symbolic. Although the barbarian's crucifixion might evoke Christian imagery,[221] associations of the film with the religion are roundly rejected. Milius stated his film is full of pagan ideas, a sentiment supported by film critics such as Elley[83] and Jack Kroll.[20] George Aichele, Professor Emeritus of Philosophy and Religion at Adrian College, suggested the filmmaker's intent with the crucifixion scene was pure marketing: to tease the audience with religious connotations.[222] He suggested, however, that Conan's story can be viewed as an analogy of Christ's life and vice versa.[223] Nigel Andrews, a film critic, saw any connections to Christianity related more to the making of the film.[224] The crucifixion is also reminiscent of Odin being nailed to Yggdrasil or the Titan Prometheus chained to the mountainside of the Caucasus.

 
Conan's slaying of Doom's giant snake in the Tower of Serpents recalls Siegfried's slaying of Fafnir the dragon (illustrated) in Wagner's Der Ring des Nibelungen.

Milius's concept of Conan the Barbarian as an opera was picked up by the critics; Elley and Huckvale saw connections to Wagner's operas.[83][111] According to Huckvale, the film's opening sequence closely mirrors a sword forging scene in Siegfried. Conan's adventures and ordeals seem to be inspired by the trials of the opera's titular hero: witnessing his parents' deaths, growing up as a slave, and slaying a giant serpent—dragon. Furthermore, Schwarzenegger's appearance in the role of Conan evoked images of Siegfried, the role model of the "Aryan blonde beast", in the lecturer's mind.[111] The notion of racial superiority, symbolized by this Aryan hero, was a criticism given by J. Hoberman and James Wolcott; they highlighted the film's Nietzschean epigraph and labeled its protagonist as Nietzsche's übermensch.[187][218] Ebert was disturbed by the depiction of a "Nordic superman confronting a black", in which the "muscular blond" slices off the black man's head and "contemptuously [throws it] down the flight of stairs".[18] His sentiment was shared by Adam Roberts, an Arthurian scholar, who also said Conan was an exemplar of the sword-and-sorcery films of the early 1980s that were permeated in various degrees with fascist ideology. According to Roberts, the films were following the ideas and aesthetics laid down in Leni Riefenstahl's directorial efforts for Nazi Germany. Roberts cautioned that any political readings into these sword-and-sorcery films with regards to fascism is subjective.[225] Film critic Richard Dyer said that such associations with Conan were inaccurate and influenced by misconceptions of Nietzschean philosophies,[226] and scholars of philosophy said that the film industry has often misinterpreted the ideas behind the übermensch.[227][228]

Conan is also seen as a product of its time: The themes of the film reflect the political climate of the United States in the 1980s. Ronald Reagan was the country's president and the ideals of individualism were promoted during his two terms in office. He emphasized the moral worth of the individual in his speeches, encouraging his fellow Americans to make the country successful and to stand up against the Soviet Union during the Cold War.[229][230] Dr. Dave Saunders, a film writer and lecturer at South Essex College of Further and Higher Education, linked facets of Conan the Barbarian to aspects of Reaganism[231]—the conservative ideology that surrounded the president's policies.[232] Saunders likened Conan's quest against Doom to the Americans' crusades,[231] his choice of weaponry—swords—to Reagan's and Milius's fondness of resisting the Soviets with only spirit and simple weapons,[233] and Doom's base of operations to the Kremlin.[234] Conan, in Saunder's interpretation, is portrayed as the American hero who draws strength from his trials and tribulations to slay the evil oppressors—the Soviets—and crush their un-American ways.[235] Douglas Kellner and his fellow academic Michael Ryan proposed another enemy for the American individual: an overly domineering federal government.[236] The film's association with individualism was not confined to the United States; Jeffrey Richards, a cultural historian, noticed the film's popularity among the youths of the United Kingdom.[237] Robin Wood, a film critic, suggests that in most cases, there is only a thin veneer between individualism and fascism; he also said that Conan is the only film in that era to dispense with the disguise, openly celebrating its fascist ideals in a manner that would delight Riefenstahl.[238]

"Conan shows a world where there are two kinds of men—one of which has long hair and gorgeous tits."[239]

—F. X. Feeney from L.A. Weekly in 1982[240]

Sexual politics were also examined in thematic studies of the film. The feminist movement experienced a backlash during the opening years of the 1980s and action films then were helping to promote the notions of masculinity.[241][242] Women in these films were portrayed as whores, handmaidens, or warriors and clad in flesh-revealing outfits.[232][243] Conan gave its male audience a manly hero that overcame all odds and adversity, delivering them a fantasy that offered escape from the invasion of radical "bitter feminist women" in their lives.[244][245] Renato Casaro's promotional artwork for the film's release in the United States presents a sexualized portrayal of the two main characters, Conan and Valeria.[246][247] Scantily clad in costumes cut in the styles of underwear, they wear long boots and sport their hair loose. While Conan strides forth in the picture with his sword held high, Valeria "squats in an impossible pose with her leather body-suit [in the shape of a teddy] forming a dark shape between her thighs".[248] According to Schubart, critics did not accept Valeria as a strong female figure, but viewed her as a "sexual spectacle"; to them, she was the traditional male warrior buddy in a sexy female body.[239]

Legacy and impact

Whereas most comic book and pulp adaptations were box office failures in the 1980s, Conan the Barbarian was one of the few that made a profit.[249] According to Sammon, it became the standard against which sword-and-sorcery films were measured until the debut of Peter Jackson's The Lord of the Rings: The Fellowship of the Ring in 2001;[205] several contemporary films of the same genre were judged by critics to be clones of Conan,[201] such as The Beastmaster (1982).[250][251] Conan's success inspired low-budget copycats, such as Ator, the Fighting Eagle (1982) and Deathstalker (1983).[252][253][254] Its sequel, Conan the Destroyer, was produced and released in 1984; only a few of those involved in the first film, such as Schwarzenegger, Mako, and Poledouris, returned.[153][255] Later big- and small-screen adaptations of Robert E. Howard's stories were considered by Sammon to be inferior to the film that started the trend.[110] A spinoff from Conan was a 20-minute live-action show, The Adventures of Conan: A Sword and Sorcery Spectacular, that ran from 1983 to 1993 at Universal Studios Hollywood. Produced at a cost of $5 million, the show featured action scenes executed to music composed by Poledouris.[160][256] The show's highlights were pyrotechnics, lasers, and an 18-foot-tall (5.5 m) animatronic dragon that breathed fire.[257][258]

 
Producer Dino De Laurentiis (2009 photograph) profited from Conan, but had less success with his later films.

Several of those involved in the film reaped short-term benefits. Sandahl Bergman's Golden Globe for her role as Valeria marks her greatest achievement in the film industry; her later roles failed to gain her further recognition.[259] Dino De Laurentiis had produced a string of box office failures since the success of King Kong in 1976; it appeared Conan the Barbarian might be a turning point in his fortunes. The sequel was also profitable, but many of De Laurentiis's later big-budget projects did not recoup their production costs and he was forced to declare bankruptcy in 1988.[260] For John Milius, Conan the Barbarian is his "biggest directorial success" to date;[261] his subsequent endeavors failed to equal its success and popularity.[262]

Pressman did not receive any money from Conan's box office takings, but he sold the film rights for the Conan franchise to De Laurentiis for $4.5 million and 10 percent of the gross of any sequel to Conan the Barbarian.[27] The sale more than paid off his company's debts incurred from producing Old Boyfriends, saving him from financial ruin;[36] Pressman said this deal "made [him] more money by selling out, by not making a movie, than [he] ever have made by making one."[263] He also arranged for Mattel to obtain the rights to produce a range of toys for the film. Although the toy company abandoned the license after its executives decided Conan was "too violent" for children, Pressman convinced them to let him produce a film based on their new Masters of the Universe toy line.[36] The eponymous film cost $20 million to produce and grossed $17 million at the United States box office in 1987.[264][265]

Those who benefited most from the project were Basil Poledouris and Arnold Schwarzenegger. Poledouris's reputation in the film industry increased with the critical acclaim his score received;[266] MacDonald noted Poledouris's work on Conan as "one of the most spectacular film music achievements of the decade",[147] and Page Cook named it as the only reason to watch the film and as the second best film sound track (after E.T.'s) for 1982.[145] After hearing Conan's music, Paul Verhoeven engaged Poledouris to score his films, Flesh and Blood (1985), RoboCop (1987) and Starship Troopers (1997).[267][268] The music in Verhoeven's Total Recall (1990) also bore the influence of Conan's score; its composer, Jerry Goldsmith, used Poledouris's work as the model for his compositions.[269]

Conan brought Schwarzenegger worldwide recognition as an action star[261] and established the model for most of his film roles: "icy, brawny, and inexpressive—yet somehow endearing."[270] The image of him as the barbarian was an enduring one; when he campaigned for George H. W. Bush to be president, he was introduced as "Conan the Republican"[271]—a moniker that stuck with him throughout his political career and was often repeated by the media during his term as Governor of California.[272] Schwarzenegger was aware of the benefits the film had brought to him, acknowledging the role of Conan as "God's gift to [his] career."[273] He embraced the image: when he was Governor of California, he displayed his copy of the Atlantean sword in his office, occasionally flourishing the weapon at visitors and letting them play with it.[272][274] More than once, he spiced up his speeches with Conan's "crush your enemies, see them driven before you and hear the lamentations of their women".[275][276]

Sequels

Conan the Destroyer was released in 1984, with Schwarzenegger and Mako reprising their roles. A planned third entry in the trilogy, Conan the Conqueror, was previewed at the end of Destroyer. The film had been planned for a 1987 release, with the intended director being either Guy Hamilton or John Guillermin. Arnold Schwarzenegger was committed to the film Predator, and De Laurentiis's contract with the star had expired after his obligation to Red Sonja and Raw Deal, and he was not keen to negotiate a new one. The third Conan film fell into development hell, and a derivation of the script eventually was adapted into Kull the Conqueror, released in 1997.[277][278]

In October 2012, Universal Pictures announced plans for Schwarzenegger to return to the role of Conan for the film The Legend of Conan. The planned story was a direct sequel to the original film, "bypassing" Conan the Destroyer and the 2011 film starring Jason Momoa.[279][280] In the years following the announcement, Will Beall, Andrea Berloff, and producer Chris Morgan worked on the script, and Schwarzenegger expressed enthusiasm for the project, affirming plans to star in the film.[281][282][283][284][285] However, in April 2017, Morgan stated that Universal had dropped the project, but that there remains a possibility of a television series.[286]

See also

Notes

  1. ^ The original English quote, as translated by Sir Henry Hoyle Howorth in 1876 from Abraham Constantin Mouradgea d'Ohsson's French version of Genghis Khan's speech: "The greatest pleasure is to vanquish your enemies, to chase them before you, to rob them of their wealth, to see those dear to them bathed in tears, to ride their horses, to clasp to your bosom their wives and daughters."[62][63]
  2. ^ The US dollar figure is derived from the exchange rate (82.7500) between the currency and the peseta on January 31, 1981.[96]
  3. ^ In the surroundings of La Cerca, near the villages of Solosancho, Robledillo and La Hija de Dios.[98]
  4. ^ The average price for a movie ticket in 1982 was $2.94.[197]
  5. ^ Further details of the comic: Fleisher, Michael (Summer 1982). "Conan the Barbarian". Marvel Super Special. Vol. 1, no. 21. New York, United States: Marvel Comics Group. ISBN 0-939766-07-8.

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  • Herron, Don (September 2000) [1984]. The Dark Barbarian—The Writings of Robert E. Howard: A Critical Anthology. New Jersey, United States: Wildside Press. ISBN 1-58715-203-7.
  • Hoberman, James (2000). "Nietzsche's Boy". In Arroyo, José (ed.). Action/Spectacle Cinema. London, United Kingdom: British Film Institute. pp. 29–33. ISBN 0-85170-756-4. This article was originally published in "Nietzsche's Boy". Sight and Sound. Vol. 1, no. 5. London, United Kingdom: British Film Institute. September 1991. pp. 22–25. ISSN 0037-4806.
  • Howorth, Henry Hoyle (1876). "Jingis Khan". History of the Mongols: The Mongols Proper and the Kalmuks. History of the Mongols from the 9th to the 19th Century. Vol. 1. London, United Kingdom: Longmans, Green and Company. pp. 49–115.
  • Jovanovski, Thomas (2008). "Übermensch on Parade". Aesthetic Transformations: Taking Nietzsche at His Word. American University studies. Vol. 204. New York, United States: Peter Lang. pp. 103–110. ISBN 978-0-8204-2002-8.
  • Karlin, Fred (1994). "Planning the Score". Listening to Movies: The Film Lover's Guide to Film Music. California, United States: Wadsworth Group. pp. 3–16. ISBN 0-02-873315-0.
  • Kendrick, James (2009). "Pure Action, Packaged Violence". Hollywood Bloodshed. Illinois, United States: Southern Illinois University Press. pp. 79–105. ISBN 978-0-8093-2888-8.
  • Kurohashi, Yuko (1999). Asian American Culture on Stage: The History of the East West Players. New York, United States: Garland Publishing. ISBN 0-8153-3147-9.
  • Larson, Randall D. (1985). "Classical Music". Musique Fantastique: A Survey of Film Music in the Fantastic Cinema. New Jersey, United States: Scarecrow Press. pp. 347–356. ISBN 0-8108-1728-4.
  • Maltin, Leonard (2008) [1969]. Leonard Maltin's Movie Guide 2009. London, United Kingdom: Penguin Group. ISBN 978-0-452-28978-9.
  • MacDonald, Laurence E (1998). "1982—Basil Poledouris: Conan the Barbarian". The Invisible Art of Film Music: A Comprehensive History. New York, United States: Ardsley House. pp. 291–294. ISBN 1-880157-56-X.
  • Morgan, David (2000). Knowing the Score: Film Composers Talk About the Art, Craft, Blood, Sweat, and Tears of Writing for Cinema. New York, United States: HarperEntertainment. ISBN 0-380-80482-4.
  • Moya, José Enrique Martínez (1999). Almería, un Mundo de Película [Almería, A World of Film]. Almería y Los Almerienses (in Spanish). Vol. 11. Almería, Spain: Almería Studies Institute. ISBN 84-8108-169-8.
  • Nicholls, Peter (1984). The World of Fantastic Films: An Illustrated Survey. New York, United States: Dodd, Mead, and Company. ISBN 0-396-08382-X.
  • Peary, Danny (1986). "Conan the Barbarian". Guide for the Film Fanatic. New York, United States: Simon & Schuster. p. 101. ISBN 0-671-61081-3.
  • Popadiuk, Roman (2009). "Behind the Scenes". The Leadership of George Bush: An Insider's View of the Forty-First President. Joseph V. Hughes, Jr., and Holly O. Hughes Series in the Presidency and Leadership Studies. Texas, United States: Texas A&M University Press. pp. 92–110. ISBN 978-1-60344-112-4.
  • Prince, Stephen (2000). "The Industry at the Dawn of the Decade". In Harpole, Charles (ed.). A New Pot of Gold: Hollywood Under the Electronic Rainbow, 1980–1989. History of the American Cinema. Vol. 10. New York, United States: Charles Scribner's Sons. ISBN 0-684-80493-X.
  • Richards, Jeffrey (1997). Films and British National Identity: From Dickens to Dad's Army. Studies in Popular Culture. Manchester, United Kingdom: Manchester University Press. ISBN 0-7190-4743-9.
  • Riordan, James (1994). Stone: The Controversies, Excesses, and Exploits of a Radical Filmmaker. New York, United States: Hyperion Books. ISBN 0-7868-6026-X.
  • Roberts, Adam (1998). "Arthurian Cinema: Aesthetic Fascism and Its Critique". Silk and Potatoes: Contemporary Arthurian Fantasy. Costerus New Series. Vol. 114. Amsterdam, Netherlands: Rodopi Publishers. pp. 110–131. ISBN 90-420-0306-5.
  • Rossen, Jake (2008). "Nuclear Disaster". Superman vs. Hollywood: How Fiendish Producers, Devious Directors, and Warring Writers Grounded an American Icon. Illinois, United States: Chicago Review Press. pp. 158–173. ISBN 978-1-55652-731-9.
  • Ryan, Michael; Kellner, Douglas (1990) [1988]. "The Triumph of Individualism—From Man to Superman". Camera Politica: The Politics and Ideology of Contemporary Hollywood Film (First Midland Book ed.). Indiana, United States: Indiana University Press. pp. 219–228. ISBN 0-253-20604-9.
  • Sammon, Paul (September 2007). Conan the Phenomenon: The Legacy of Robert E. Howard's Fantasy Icon. Oregon, United States: Dark Horse Books. ISBN 978-1-59307-653-5.
  • Saunders, Dave (2009). "Colossus: Arnold's Hollywood Putsch". Arnold: Schwarzenegger and the Movies. London, United Kingdom: I.B. Tauris. pp. 47–120. ISBN 978-1-84511-948-5.
  • Schubart, Rikke (2007). Super Bitches and Action Babes: The Female Hero in Popular Cinema, 1970–2006. North Carolina, United States: McFarland & Company. ISBN 978-0-7864-2924-0.
  • "Session Two, Auction #7205". Heritage Vintage Movie Posters #7025 (auction catalogue). Texas, United States: Heritage Auctions. 2010. pp. 103–196. ISBN 978-1-59967-471-1.
  • Shaw, Tony (2007). "The Empire Strikes Back". Hollywood's Cold War. Edinburgh, United Kingdom: Edinburgh University Press. pp. 267–300. ISBN 978-1-55849-612-5.
  • Solomon, Robert C. (2003) [1999]. "The Will to Power as Virtue". The Joy of Philosophy: Thinking Thin Versus the Passionate Life. New York, United States: Oxford University Press. pp. 31–35. ISBN 0-19-506759-2.
  • Thomas, Tony (1997). "More Recently—Basil Poledouris". Music for the Movies (2nd ed.). California, United States: Silman-James Press. pp. 322–329. ISBN 1-879505-37-1.
  • Thompson, Graham (2007). "Film and Television". American Culture in the 1980s. Twentieth-Century American Culture. Edinburgh, United Kingdom: Edinburgh University Press. pp. 89–122. ISBN 978-0-7486-1910-8.
  • Twitchell, James B. (1992). "Programming Television: Reflections on the Electronic Midway". Carnival Culture: The Trashing of Taste in America. New York, United States: Columbia University Press. pp. 193–252. ISBN 0-231-07831-5.
  • Vogel, Harold (2011) [1986]. "Movie Macroeconomics". Entertainment Industry Economics: A Guide for Financial Analysis (8th ed.). New York, United States: Cambridge University Press. pp. 71–111. ISBN 978-1-107-00309-5.
  • Weiner, Robert G. (2008). "Marvel and Marvel-Related Paperbacks". Marvel Graphic Novels and Related Publications. North Caroline, United States: McFarland & Company. pp. 215–226. ISBN 978-0-7864-2500-6.
  • Whitlark, James (1988). "Cinematic Magic: From Motion Picture to Comic-Book Adaptation". Illuminated Fantasy: From Blake's Visions to Recent Graphic Fiction. New Jersey, United States: Associated University Presses. pp. 110–117. ISBN 0-8386-3305-6.
  • Wilson, John (2005). The Official Razzie Movie Guide: Enjoying the Best of Hollywood's Worst. Grand Central Publishing. ISBN 0-446-69334-0.
  • Wood, Robin (2003) [1986]. "Papering the Cracks: Fantasy and Ideology in the Reagan Era". Hollywood from Vietnam to Reagan ... and Beyond (Revised and expanded ed.). New York, United States: Columbia University Press. pp. 144–167. ISBN 0-231-12967-X.

Essays and journals

  • Capella-Miternique, Hugo (July 2002). "A Tale Right Out of Hollywood—Set in the Desert of Almeira, in Spain?". In Jussila, Heikki; Majoral i Moliné, Roser; Cullen, Bradley (eds.). Sustainable Development and Geographical Space: Issues of Population, Environment, Globalization and Education in Marginal Regions. Marginal Regions (and In Association with IGU – Dynamics of Marginal and Critical Regions). Hampshire, United Kingdom: Ashgate Publishing. pp. 270–283. ISBN 0-7546-1860-9.
  • Cook, David (1999) [1998]. "Auteur Cinema and the "Film Generation" in 1970s Hollywood". In Lewis, Jon (ed.). The New American Cinema. North Carolina, United States: Duke University Press. pp. 11–37. ISBN 0-7864-2016-2.
  • Falicov, Tamara L. (Spring 2003). "B-Movies in the Pampas: Roger Corman's Co-Productions in Argentina". Hemisphere. Florida, United States: Florida International University's Latin American and Caribbean Center. 12: 25–27. ISSN 0898-3038.
  • Grindley, Carl James (2004). "The Hagiography of Steel: The Hero's Weapon". In Driver, Martha W.; Ray, Sid (eds.). The Medieval Hero On Screen: Representations from Beowulf to Buffy. North Carolina, United States: McFarland & Company. pp. 151–166. ISBN 0-7864-1926-1.
  • Huckvale, David (1994). "The Composing Machine: Wagner and Popular Culture". In Tambling, Jeremy (ed.). A Night in at the Opera: Media Representations of Opera. London, United Kingdom: John Libbey and Company. pp. 113–144. ISBN 0-86196-466-7.
  • Hunter, Ian (2007). "Post-classical Fantasy Cinema: The Lord of the Rings". In Cartmell, Deborah; Whelehan, Imelda (eds.). The Cambridge Companion to Literature on Screen. Cambridge Companions to Literature. New York, United States: Cambridge University Press. pp. 154–166. doi:10.1017/CCOL0521849624.011. ISBN 978-0-521-61486-3.
  • Irwin, William (2007). "This Search Goes On: Christian, Warrior, Buddhist". Metallica and Philosophy: A Crash Course in Brain Surgery. Oxford, United Kingdom: Blackwell Publishing. pp. 16–28. ISBN 978-1-4051-6348-4.
  • Kellner, Douglas (2004). "Films, Politics, and Ideology: Reflections on Hollywood Film in the Age of Reagan". In Schatz, Thomas (ed.). Hollywood: Cultural Dimensions: Ideology, Identity and Cultural Industry Studies. Hollywood: Critical Concepts in Media and Cultural Studies. Vol. 4. London, United Kingdom: Routledge. pp. 69–92. ISBN 0-415-28131-8.
  • Marklund, Anders (2010). "Swedish Films and Filmmakers Abroad—Introduction". In Larsson, Mariah (ed.). Swedish Film: An Introduction and a Reader. Lund, Sweden: Nordic Academic Press. pp. 306–310. ISBN 978-91-85509-36-2.
  • McDonagh, Maitland (2008). "Dellamorte Dellamore and Michele Soavi". In Atkinson, Michael (ed.). Exile Cinema: Filmmakers at Work Beyond Hollywood. Horizons of Cinema. New York, United States: State University of New York Press. pp. 131–136. ISBN 978-0-7914-7377-1.
  • Palumbo, Donald E (November 11, 1987). "The Underground Journey and the Death and Resurrection Theme in Recent Science Fiction and Fantasy Films". In Morse, Donald E. (ed.). The Fantastic in World Literature and the Arts: Selected Essays from the Fifth International Conference on the Fantastic in the Arts (1984). Contributions to the Study of Science Fiction and Fantasy. Vol. 28. Connecticut, United States: Greenwood Press. pp. 211–228. ISBN 0-313-25526-1.
  • Passman, Kristina (1991). Winkler, Martin (ed.). "The Classical Amazon in Contemporary Cinema". Classics and Cinema. Bucknell Review. Pennsylvania, United States: Bucknell University Press. 35 (1): 81–105. ISBN 0-8387-5198-9.
  • Whitaker, Albert Keith (2003). "In the Classroom: California Dreamin' in the Postmodern Academy". The Journal of Education. Massachusetts, United States: Boston University. 184 (2): 123–124. doi:10.1177/002205740418400208. ISSN 0022-0574. S2CID 191816702.

Newspaper and magazine articles

  • "At Random: Pumping Irony—Lopez Goes Hollywood". Surfing. Vol. 16, no. 10. California, United States: Western Empire Publications. October 1980. p. 27. ISSN 0194-9314.
  • Behar, Richard (April 9, 1990). . Time. Vol. 135, no. 15. New York, United States. p. 63. ISSN 0040-781X. Archived from the original on December 15, 2008.
  • "Blockbuster Risks at the Box Office". BusinessWeek. No. 2746. New York, United States. July 5, 1982. p. 88. ISSN 0007-7135.
  • Brougher, Kerry (August 1982). "Films: Conan Swings a Heavy Sword—and Misses". Orange Coast. California, United States. pp. 102–103. ISSN 0279-0483.
  • Brown, Royal S. (September–October 1982). "Soundtracks". Fanfare. Vol. 6, no. 1. New Jersey, United States. pp. 483–491. ISSN 0148-9364.
  • Bruzenak, Ken (December 1981). "The Making of an Adventure Epic Conan the Barbarian". Mediascene Prevue. Vol. 2, no. 6. Pennsylvania, United States. pp. 51–57, 65. ISSN 0199-9257.
  • Canby, Vincent (May 23, 1982a). "Film View—Thoughts While Held Captive by an 'Escapist' Movie". The New York Times. Retrieved July 17, 2010.
  • Canby, Vincent (June 6, 1982b). "Film View—Questions Grown in the Dark". The New York Times. section 2, p. 19, col. 1.
  • Carney, Thomas (September 29, 1987). "The Maverick Producer". The New York Times Magazine. The Business World. pp. 65–66, 72, 74. ISSN 0028-7822.
  • Christy, Marian (May 9, 1982). "Conversations—Winning According to Arnold Schwarzenegger". The Boston Globe. p. 1. ISSN 0743-1791. ProQuest 294151457.
  • Churcher, Sharon (August 31, 1981). "Intelligencer—Studio Brass Said to Cringe at 'Barbarian' Movie". New York. Vol. 14, no. 34. pp. 11–13. ISSN 0028-7369.
  • Clarens, Carlos (May–June 1982). "Barbarians Now". Film Comment. Vol. 18, no. 3. New York, United States: Film Society of Lincoln Center. pp. 26–28. ISSN 0015-119X.
  • "Conan el Bárbaro" [Conan the Barbarian] (PDF). ABC (in Spanish). Madrid, Spain. April 15, 1982. p. 7.
  • Cook, Page (1983). "The Sound Track—1982's Best Sound Tracks". Films in Review. Vol. 34. New York, United States: National Board of Review of Motion Pictures. pp. 118–122. ISSN 0015-1688.
  • Denby, David (May 24, 1982). "Sweat and Strain". New York. Vol. 15, no. 21. pp. 68, 70. ISSN 0028-7369.
  • "Fotogramas de Plata" [Silver Frames] (PDF). ABC (in Spanish). Madrid, Spain. March 6, 1982. p. 48 El mundo del espectáculo.
  • Franck, Loren (November 1985). "The Crash Course in Sword Training: It Works for the Stars, but How About Martial Artists?". Black Belt. Vol. 23, no. 11. California, United States. pp. 20–24, 98. ISSN 0277-3066.
  • Galindo, Carlos (March 11, 1981). ""Conan, el Bárbaro", Una Superproducción Internacional en Los Estudios Españoles" ["Conan the Barbarian", a Spanish Study of an International Blockbuster] (PDF). ABC (in Spanish). Madrid, Spain. p. 11 aerial edition.
  • Geringer, Dan (December 7, 1987). . Sports Illustrated. Vol. 67, no. 25. New York, United States. pp. 80–84, 86–90. ISSN 0038-822X. Archived from the original on April 4, 2012.
  • Harmetz, Aljean (March 16, 1982a). "Reporter's Notebook—Crowded Previews Thrust Universal's 'Conan' into Spotlight". The New York Times, United States. section C, p. 11, col. 1.
  • Harmetz, Aljean (January 25, 1983). "1982 A Bonanza Year at Movie Box Offices". The New York Times. section C, p. 11, col. 1.
  • Helman, Christopher (November 24, 2003). . Forbes. Vol. 172, no. 11. New York, United States. pp. 276–280. ISSN 0015-6914. Archived from the original on February 6, 2012. Retrieved August 30, 2011.
  • Kilday, Gregg (June 1999). "The Industry—The Selling of Summer". Los Angeles. Vol. 44, no. 4. pp. 38, 40, 42, 44, 46, 48, 50. ISSN 1522-9149.
  • Kroll, Jack (May 17, 1982). "A Cut-up Called Conan". Newsweek. Vol. 99, no. 20. California, United States. p. 100. ISSN 0028-9604.
  • Mérigeau, Pascal (1982). "Analyses des Longs Métrages: Conan le Barbare" [Feature Films Analysis: Conan the Barbarian]. La Saison Cinématographique. La revue du cinéma (in French). Vol. 26. Paris, France: L'Ufoléis. p. 82. ISSN 0019-2635.
  • Moleski, Linda, ed. (October 5, 1985). "Video Track". Billboard. Vol. 97, no. 40. New York, United States. p. 36A. ISSN 0006-2510.
  • "Musync: Computerized Music Editing". American Cinematographer. Vol. 63, no. 8. California, United States: American Society of Cinematographers. August 1982. pp. 783–786. ISSN 0002-7928.
  • "New on the Charts". Billboard. Vol. 94, no. 39. New York, United States. October 2, 1982. p. 42. ISSN 0006-2510.
  • Pulleine, Tim (June 1986). "Edward R. Pressman: From Phantom of the Paradise to Plenty and Beyond". Films and Filming. No. 381. London: Brevet Publishing. p. 21. ISSN 0015-167X.
  • Rees, Matt (May 25, 1992). "Corporate America's Most Powerful People—Arnold Schwarzenegger". Forbes. Vol. 149, no. 11. New York, United States. pp. 159–160. ISSN 0015-6914.
  • Robb, David (May 10, 1994). "Does AHA Have Enough Bite?". The Hollywood Reporter. Vol. 332, no. 9. California, United States. pp. 1, 6, 90. ISSN 0018-3660.
  • Sammon, Paul (September 1981). "Nine Days in Cimmeria". Cinefantastique. Vol. 11, no. 3. Illinois, United States. pp. 16–37. ISSN 0145-6032.
  • Sammon, Paul (April 1982a). "Conan the Barbarian". Cinefantastique. Vol. 12, no. 2 and 3. Illinois, United States. pp. 28–63. ISSN 0145-6032.
  • Sammon, Paul (May–June 1982b). "Reviews—Conan the Barbarian". Cinefantastique. Vol. 12, no. 4. Illinois, United States. p. 49. ISSN 0145-6032.
  • Sammon, Paul (September 1984). "Conan II". Cinefantastique. Vol. 14, no. 4 and 5. Illinois, United States. pp. 4–7. ISSN 0145-6032.
  • Schickel, Richard (May 24, 1982). . Time. Vol. 119, no. 21. New York, United States. p. 76. ISSN 0040-781X. Archived from the original on January 13, 2005.
  • Segaloff, Nat (August 30, 1981). "Special to The Globe". The Boston Globe. p. 1. ISSN 0743-1791. ProQuest 294163877.
  • Turan, Kenneth (January 1980) [August 27, 1979]. "The Barbarian in Babylon". Savage Sword of Conan. Vol. 1, no. 48. New York, United States: Marvel Comics. pp. 56–66. This article was first published in New West. Vol. 4, no. 18. California, United States. August 27, 1979. pp. 16–25. ISSN 0362-1146. {{cite magazine}}: Missing or empty |title= (help)
  • Universal Studios (June 24, 1983). "Movie Making Magic". The Herald (Everett). Washington, United States. p. 10A.
  • "Videocassette Top 40". Billboard. Vol. 95, no. 9. New York, United States. March 5, 1983. p. 31. ISSN 0006-2510.
  • Williams, Owen (May 2010). "Conan the Unmade". Empire. No. 251. London, United Kingdom: Bauer Media. pp. 114–120. ISSN 0957-4948.
  • Wolcott, James (July 1982). "Movies". Texas Monthly. Vol. 10, no. 7. Texas, United States. pp. 154, 156, 158, 160. ISSN 0148-7736.
Interviews
  • Gallagher, John Andrew; Milius, John (subject) (1989). "John Milius". Film Directors on Directing. London, United Kingdom: Praeger Publishers. pp. 169–181. ISBN 0-275-93272-9.
  • Koppl, Rudy; Poledouris, Basil (subject) (July 2, 2009). . CinemaScore · Soundtrack · Archives. Archived from the original on August 3, 2011. This interview was originally published in Soundtrack!. Belgium: Luc Van de Ven. 16 (64). December 1997. ISSN 0771-6303. {{cite journal}}: Missing or empty |title= (help)
  • Larson, Randall (Fall 1982). "The Music of Conan". CinemaScore: The Film Music Journal. California, United States: Randall D. Larson (10): 7–8. ISSN 0277-9803.
  • Larson, Randall D.; Poledouris, Basil (subject) (2008). . CinemaScore · Soundtrack · Archives. Archived from the original on August 3, 2011. This interview was originally published in CinemaScore. California, United States: Randall D. Larson (13/14). Winter–Summer 1985. ISSN 0277-9803. {{cite journal}}: Missing or empty |title= (help)
  • McGilligan, Pat; Stone, Oliver (subject) (2001) [1987]. "Point Man". In Silet, Charles L. P (ed.). Oliver Stone: Interviews. Conversations with Filmmakers. Mississippi, United States: University Press of Mississippi. pp. 10–38. ISBN 1-57806-303-5. This interview first appeared in Film Comment. Vol. 23, no. 1. New York, United States: Film Society of Lincoln Center. February 1987. ISSN 0015-119X. {{cite magazine}}: Missing or empty |title= (help)
  • Mitchell, Blake; Ferguson, Jim; Cobb, Ron (subject) (June 1982). "Conan, the Barbarian". Fantastic Films. Vol. 4, no. 5. Illinois, United States: Michael Stein. pp. 10–22. ISSN 0273-7043.
  • Sammon, Paul; Cobb, Ron (subject) (April 1982). "Cobb the Designer". Cinefantastique. Vol. 12, no. 2 and 3. Illinois, United States: Frederick S. Clarke. pp. 64–71. ISSN 0145-6032.
  • Sammon, Paul; Milius, John (subject) (April 1982). "Milius the Director". Cinefantastique. Vol. 12, no. 2 and 3. Illinois, United States: Frederick S. Clarke. pp. 22–27. ISSN 0145-6032.
  • Steranko, James; Bergman, Sandahl (subject) (September 1982). "Sandahl Bergman—Sensational Sexy Warrior Woman of Conan". Mediascene Prevue. Vol. 2, no. 9. Pennsylvania, United States: James Steranko. pp. 41–46, 73. ISSN 0199-9257.
  • Steranko, James; Milius, John (subject) (July 1982). . Mediascene Prevue. Vol. 2, no. 8. Pennsylvania, United States: James Steranko. ISSN 0199-9257. Archived from the original on August 5, 2002.
  • Steranko, James; Schwarzenegger, Arnold (subject) (May 1982). "An Exclusive Conversation With Arnold Schwarzenegger on the Power and Peril of Playing Conan". Mediascene Prevue. Vol. 2, no. 7. Pennsylvania, United States: James Steranko. pp. 26–32, 39. ISSN 0199-9257.
  • Waterman, Edward; Samson, Jody (subject) (2002). "Jody Samon—Master Sword Maker". from the original on October 13, 2002. This article is an updated excerpt from The Barbarian Keep. No. 1. Texas, United States: Robert E. Howard United Press Association. April 1997. {{cite magazine}}: Missing or empty |title= (help)

Online

  • (PDF). California, United States: American Film Institute. 2003. Archived from the original (PDF) on November 4, 2013. Retrieved August 5, 2010.
  • (PDF). California, United States: American Film Institute. September 23, 2005. Archived from the original (PDF) on November 6, 2013. Retrieved August 5, 2010.
  • (PDF). California, United States: American Film Institute. January 2008. Archived from the original (PDF) on August 7, 2011. Retrieved August 5, 2010.
  • Baxter, Joseph (May 24, 2015). "Conan The Barbarian Sequel Will Bring Back 4 Characters, Including Arnold's Hero". Cinema Blend.
  • Brenner, Marie (January 2005). . Vanity Fair. Archived from the original on October 8, 2011. This is an online version of the article in "Mr. and Mrs. California". Vanity Fair. Vol. 47, no. 533. New York, United States: Louis Cona. ISSN 0733-8899.
  • Dornbush, Jonathan (January 28, 2016). "Arnold Schwarzenegger reveals new title, plot details about Conan sequel". Entertainment Weekly. Retrieved January 31, 2016.
  • Ebert, Roger (January 1, 1982). "Conan the Barbarian". Chicago Sun-Times. from the original on April 30, 2007. This is an online version of the article in "Conan the Barbarian". Chicago Sun-Times. 1982.
  • Fox, Stuart (March 1, 2011). "Schwarzenegger: Get Real About Climate Change". NBC News. Retrieved July 17, 2011.
  • Grover, Ronald; Palmeri, Christopher (July 5, 2004). . BW Online. Bloomberg. Archived from the original on September 7, 2008. This is an online version of the article in "Arnold Is Hitting His Marks". BusinessWeek. No. 3890. New York, United States: William P. Kupper, Jr. July 5, 2004. pp. 42–44. ISSN 0007-7135.
  • "H.10—Foreign Exchange Rates, Spain Historical Rates". Federal Reserve Statistical Release. Federal Reserve System. December 29, 1989. from the original on June 26, 2002. Retrieved August 2, 2011.
  • . Hollywood Foreign Press Association. 2011. Archived from the original on December 15, 2009. Retrieved June 10, 2011.
  • Jennings, Randy (May 24, 2015). "Exclusive: Conan Script is Ready & Arnold Reteams with Barbarian Cast in The Legend of Conan!". TheArnoldFans.com.
  • Jennings, Randy (August 4, 2014). "Exclusive: Polished "Conan" Script Submitted Next Month! Conan Following Terminator!". TheArnoldFans.com. Retrieved August 5, 2014.
  • Larson, Randall D. (November 16, 2006). . Mania.com. Demand Media. Archived from the original on April 10, 2008. Retrieved August 8, 2010.
  • LeDuff, Charlie; Broder, John M. (June 24, 2004). . The New York Times. Archived from the original on October 11, 2011. Retrieved July 17, 2011.
  • Rentrak Corporation (2011a). "Weekend Box Office for May 14 – May 16, 1982". Variety. New York, United States. Archived from the original on October 11, 2011. Retrieved March 29, 2011.
  • Rentrak Corporation (2011b). "Weekly Box Office—Jul 02 – Jul 08, 1982". Variety. New York, United States. Archived from the original on October 11, 2011. Retrieved March 29, 2011.
  • Schaefer, Sandy (January 25, 2016). "Arnold Schwarzenegger Offers Legend of Conan Title & Director Update". ScreenRant.com. Retrieved January 27, 2016.
  • Steinbeiser, Andrew (May 28, 2015). "Arnold Schwarzenegger's The Legend Of Conan Could Lead To Cinematic Universe Of Robert E. Howard's Creations". ComicBook.com.

External links

 
Wikiquote has quotations related to Conan the Barbarian (1982 film).

January 19, 2023
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The Legend of Conan redirects here For the comics see Conan the Barbarian comics For the mythos see Conan the Barbarian Conan the Barbarian is a 1982 American epic sword and sorcery film directed by John Milius and written by Milius and Oliver Stone Based on Robert E Howard s Conan the film stars Arnold Schwarzenegger and James Earl Jones and tells the story of a barbarian warrior named Conan Schwarzenegger who seeks vengeance for the death of his parents at the hands of Thulsa Doom Jones the leader of a snake cult Conan the BarbarianInternational theatrical release poster by Renato CasaroDirected byJohn MiliusWritten byJohn Milius Oliver StoneBased onConan the Barbarianby Robert E HowardProduced byBuzz Feitshans Raffaella De LaurentiisStarringArnold Schwarzenegger James Earl Jones Sandahl Bergman Ben Davidson Cassandra Gaviola Gerry Lopez Mako Valerie Quennessen William Smith Max von SydowCinematographyDuke CallaghanEdited byC Timothy O MearaMusic byBasil PoledourisProductioncompanyDino De Laurentiis Corporation 1 Distributed byUniversal Pictures North America 20th Century Fox International Release datesMarch 16 1982 1982 03 16 Spain May 14 1982 1982 05 14 North America Running time129 minutesCountryUnited StatesLanguageEnglishBudget 20 million 2 Box office 68 9 79 1 million 3 2 Ideas for a Conan film were proposed as early as 1970 executive producer Edward R Pressman and associate producer Edward Summer began a concerted effort to get the film made in 1975 It took them two years to obtain the film rights after which they recruited Schwarzenegger for the lead role and Stone to draft a script Pressman lacked capital for the endeavor In 1979 after having his proposals for investments rejected by the major studios he sold the project to Dino De Laurentiis his daughter Raffaella produced the film Milius was appointed as director and he rewrote Stone s script The final screenplay integrated scenes from Howard s stories and from the Japanese films Seven Samurai 1954 and Kwaidan 1965 Filming took place in Spain over five months in the regions around Madrid and the province of Almeria The sets designed by Ron Cobb were based on Dark Age cultures and Frank Frazetta s paintings of Conan Milius eschewed optical effects preferring to realize his ideas with mechanical constructs and optical illusions Schwarzenegger performed most of his own stunts and two types of sword costing 10 000 each were forged for his character The editing process took over a year and several violent scenes were cut out Conan the Barbarian was distributed by Universal Pictures in North America and 20th Century Fox in other territories It premiered on March 16 1982 in Spain and May 14 1982 in North America Upon release the film received mixed reviews from critics and audiences alike mainly positive for its action sequences production design directing visual style and effects but negatively received for its violent content and screenwriting as well as some substandard performances Despite this the film became a commercial success for its backers grossing between 68 9 million and 79 1 million at box offices around the world against its budget of only 20 million The film earned Schwarzenegger worldwide recognition Conan the Barbarian has been frequently released on home video the sales of which had increased the film s gross to more than 300 million by 2007 In the years following its release it became a cult film and its success spawned a sequel titled Conan the Destroyer 1984 It ultimately led to the production of a 2011 reboot of the same name Contents 1 Plot 2 Characters 3 Production 3 1 Background 3 2 Development 3 3 Casting 3 4 Script writing 3 5 Filming 3 5 1 Stunts and swords 3 5 2 Mechanical effects 3 5 3 Optical effects 4 Music 5 Release 5 1 Critical response 5 2 Box office and other media 5 3 Accolades 6 Themes 7 Legacy and impact 8 Sequels 9 See also 10 Notes 11 References 11 1 Citations 11 2 General sources 11 2 1 Books 11 2 2 Essays and journals 11 2 3 Newspaper and magazine articles 11 2 4 Online 12 External linksPlot EditA blacksmith forges a sword and shows it to his son Conan as he tells him of the Riddle of Steel an aphorism on the importance of the metal to their people the Cimmerians One day a band of raiders led by Thulsa Doom massacre the Cimmerians dogs kill Conan s father and Doom takes the sword and decapitates Conan s mother The children are taken into slavery and chained to work a large mill the Wheel of Pain Conan survives into adulthood becoming a massive muscular man His master trains him to be a gladiator After winning countless fights and receiving training and education in the East Conan is freed He is soon chased by wild dogs and seeks refuge in an Atlantean colonist warrior s tomb where he retrieves an ancient sword Conan wanders the world encountering a prophetic witch in a hut and then befriends Subotai a Hyrkanian thief and archer Following the witch s advice Conan and Subotai go to the city of Zamora to seek out Doom There they meet Valeria a female brigand They raid the Tower of the Serpent stealing jewels and other valuables Including the greatest jewel of all The Eye of the Serpent from a shrine and slaying a giant snake in the process After escaping with their loot the thieves celebrate and Conan has sex with Valeria The city guards capture the trio and bring them to King Osric who requests they rescue his daughter Princess Yasimina now a zealot in Doom s cult for a handsome reward Subotai and Valeria refuse to take up the quest Conan however motivated by his hatred for Doom and his desire for vengeance sets off alone to the villain s Temple of Set also known as the Mountain of Power Disguised as a priest Conan infiltrates the temple but he is discovered captured and tortured Doom lectures him on the power of flesh which he demonstrates by hypnotically enticing a girl to leap to her death He then orders for Conan to be crucified on the Tree of Woe The barbarian is on the verge of death when he is discovered by Subotai and brought to Akiro the Wizard of the Mounds who lives on a burial site for warriors and kings and who narrates the movie as Conan s chronicler The wizard summons spirits to heal Conan and warns that they will extract a heavy toll which Valeria is willing to pay These spirits also try to abduct Conan but he is restored to health after Valeria and Subotai fend them off Subotai and Valeria agree to help Conan complete Osric s quest and infiltrate the Temple of Set As the cult indulges in a cannibalistic orgy the thieves attack and flee with the princess but Conan is unable to engage Doom who has magically transformed into a large snake and slithered away Valeria is mortally wounded by Doom after he shoots a stiffened snake as an arrow at her She dies in Conan s arms acknowledging the price of the toll forewarned by the wizard in exchange for Conan s life and is cremated at the Mounds where Conan prepares with Subotai and the wizard to battle Doom Conan asks Crom the god of his people to grant him revenge By using booby traps and exploiting the terrain they manage to slay Doom s warriors including Thorgrim when they arrive Just when Doom s lieutenant Rexor is about to overcome Conan Valeria reappears for a brief moment as a Valkyrie to save him from the mortal blow After losing his men Doom shoots a stiffened snake arrow at the princess but Subotai blocks the shot with his shield and the villain flees to his temple The battle ends with Conan having recovered his father s sword from his enemies a sword splintered by his own hand in battle Conan and princess Yasimina who is no longer under Doom s spell and wants revenge for him trying to kill her sneak back to the temple where Doom is addressing the members of his cult Conan confronts Doom who receives him with open arms and attempts to mesmerize him but the barbarian resists and uses his father s broken sword to behead his nemesis After the disillusioned cultists disperse Conan burns down the temple and returns the princess to King Osric Characters EditThe character Conan and the world of Hyboria were based on the creations of pulp fiction writer Robert E Howard from the 1930s Published in Weird Tales his series about the barbarian was popular with the readership the barbarian s adventures in a savage and mystical world replete with gore and brutal slayings satisfied the reader s fantasies of being a powerful giant who lives by no rules but his own 4 From the 1960s Conan gained a wider audience as novels about him written in imitation of Howard s style by L Sprague de Camp and Lin Carter were published Frank Frazetta s cover art for these novels cemented Conan s image as a virile axe wielding fur bearing cranium smashing barbarian 5 John Milius the film s director intended the film s Conan to be a Northern European mythic hero 6 Danny Peary described Conan as muscular majestic brainy yet with ambivalent scruples 7 Don Herron a scholar on Howard and his stories disagreed noting that the personality of Conan in the film differs greatly from that of the literature The Conan in the books detests restrictions to his freedom and would have resisted slavery in a violent fashion whereas the film version accepts his fate and has to be freed 8 Robert Garcia s review of the film in his American Fantasy magazine states this Conan is less powerful less talkative and less educated than Howard s 9 The female lead Valeria has her roots in two strong female characters from Howard s Conan stories 10 Her namesake was Conan s companion in Red Nails while her personality and fate were based on those of Belit the pirate queen in Queen of the Black Coast 11 According to Kristina Passman an assistant professor of classical languages and literature the film s Valeria is a perfect archetype of the good Amazon character a fierce but domesticated female warrior in cinema 12 13 Rikke Schubart a film scholar said Valeria is a good Amazon because she is tamed by love and not because of any altruistic tendencies 14 Valeria s prowess in battle matches that of Conan and she is also depicted as his equal in capability and status The loyalty and love she displays for Conan makes her more than a companion to him 15 she represents his possibilities of human happiness 16 Her sacrifice for Conan and her brief return from death act out the heroic code illustrating that self sacrificing heroism brings undying fame 15 Valeria s name is spoken in the film only after her death Milius based Conan s other companion Subotai on Genghis Khan s main general Subotai rather than on any of Howard s characters 17 According to film critic Roger Ebert Subotai fulfills the role of a classic literary type the Best Pal 18 He helps the barbarian to kill a giant snake and cuts him down from crucifixion the thief also cries for his companion during Valeria s cremation with the explanation that h e is Conan a Cimmerian He won t cry so I cry for him 19 Conan s enemy Thulsa Doom is an amalgamation of two of Howard s creations He takes his name from the villain in Howard s Kull of Atlantis series of stories but is closer in character to Thoth Amon a Stygian sorcerer in The Phoenix on the Sword 6 The Doom in the film reminded critics of Jim Jones a cult leader whose hold on his followers was such that hundreds of them obeyed his orders to commit suicide 18 20 Milius said his research on the ancient orders of the Hashishim and the Thuggee was the inspiration for Doom s snake cult 21 In the original Howard stories the worship of Set though all too fearsome is no sect rather it is the centuries old formalized state religion of Stygia which is virtually a theocracy Production EditBackground Edit From the 1970s licensing problems had stood in the way of producing film versions of the Conan stories Lancer Books which had acquired the rights in 1966 22 23 went into receivership and legal disputes existed over their disposition of the publishing rights which ultimately led to them being frozen under injunction 22 24 Edward Summer suggested Conan as a potential project to executive producer Edward R Pressman in 1975 and after being shown the comics and Frazetta s artwork Pressman was convinced 25 Two years were needed to secure the film rights 22 The two main parties involved in the lawsuit Glenn Lord and de Camp formed Conan Properties Incorporated to handle all licensing of Conan related material and Pressman was awarded the film rights shortly afterwards 26 He spent more than US 100 000 in legal fees to help resolve the lawsuit and the rights cost him another 7 500 27 The success of Star Wars in 1977 increased Hollywood s interest in producing films that portray heroic adventures in supernatural lands of fables 28 The film industry s attention was drawn to the popularity of Conan among young male Americans who were buying reprints of the stories with Frazetta s art and adaptations by Marvel Comics 29 Development Edit John Milius first expressed interest in directing a film about Conan in 1978 after completing the filming of Big Wednesday according to Buzz Feitshans a producer who frequently worked with Milius 30 Milius had long been an admirer of films like 1958 s The Vikings 31 Milius and Feitshans approached Pressman but differences over several issues stopped discussions from going further 30 Oliver Stone 1987 photograph was brought on to the project as a name screenwriter Oliver Stone joined the Conan project after Paramount Pictures offered to fund the film s initial 2 5 million budget if a name screenwriter was on the team 32 After securing Stone s services Pressman approached Frank Frazetta to be a visual consultant but they failed to come to terms 33 The producer then engaged Ron Cobb who had just completed a set design job on Alien 1979 34 Cobb made a series of paintings and drawings for Pressman before leaving to join Milius on another project 35 The estimates to realize Stone s finished script ran to 40 million Pressman Summer and Stone could not convince a studio to finance their project 32 Pressman s production company was in financial difficulties and in order to keep it afloat he borrowed money from the bank 36 The failure to find a suitable director was also a problem for the project Stone and Joe Alves who was the second unit director on Jaws 2 were considered as possible co directors but Pressman said it was a pretty crazy idea and they didn t get anywhere with it 37 Stone also said that he asked Ridley Scott who had finished directing Alien to take up the task but was rejected 38 Cobb showed Milius his work for Conan and Stone s script which according to him reignited Milius s interest the director contacted Pressman 35 and they came to an agreement Milius would direct the film if he were allowed to modify the script 39 Milius was known in the film industry for his macho screenplays for Dirty Harry 1971 and Magnum Force 1973 40 41 He was however contracted to direct his next film for Dino De Laurentiis 30 an influential producer in the fantasy film industry 42 Milius raised the idea of taking on Conan with De Laurentiis 30 and after a year of negotiations Pressman and De Laurentiis agreed to co produce 27 De Laurentiis took over the financing and production and Pressman gave up all claims to the film s profits though he retained approval over changes to the script cast and director 27 Dino De Laurentiis assigned the responsibility for production to his daughter Raffaella and Feitshans 22 Milius was formally appointed as director in early 1979 and Cobb was named as the production designer 43 De Laurentiis convinced Universal Pictures to become the film s distributor for North America 44 The studio also contributed to the production budget of 17 5 million and prepared 12 million to advertise the film 45 Casting Edit Actor RoleArnold Schwarzenegger Conan the BarbarianGerry Lopez SubotaiSandahl Bergman ValeriaJames Earl Jones Thulsa DoomMax von Sydow King OsricMako Iwamatsu Wizard of the MoundsWilliam Smith Conan s FatherSven Ole Thorsen ThorgrimBen Davidson RexorCassandra Gava WitchValerie Quennessen Osric s DaughterJorge Sanz Young ConanNadiuska Conan s Mother Ed Pressman and his associates considered Arnold Schwarzenegger 1984 photograph the embodiment of Conan the Barbarian While they were working to secure the film rights Pressman and Summer were also contemplating the lead role Summer said they considered Charles Bronson Sylvester Stallone comedian and ex rugby player Jethro and William Smith all of whom had played tough figures 46 but in 1976 the two producers watched a rough cut of the bodybuilding film Pumping Iron and agreed that Arnold Schwarzenegger was perfect for the role of Conan due to his huge muscular frame 47 According to Schwarzenegger Pressman s low key approach and great inner strength convinced him to join the project 48 Paul Sammon writer for Cinefantastique said that the former champion bodybuilder was practically the living incarnation of one of Frazetta s paperback illustrations 33 Schwarzenegger was paid 250 000 and placed on retainer 49 the terms of the contract restricted him from starring in other sword and sorcery films 50 Schwarzenegger said Conan was his biggest opportunity to establish himself in the entertainment industry 51 Thanks to Pressman s firm belief in him Schwarzenegger retained the role of Conan even after the project was effectively sold to De Laurentiis 27 Milius wanted a more athletic look on his lead actor so Schwarzenegger undertook an 18 month training regimen before shooting began Besides running and lifting weights his routines included rope climbing horseback riding and swimming He slimmed down from 240 to 210 pounds 109 to 95 kg 52 Aside from Conan two other substantial roles were also played by novice actors Subotai was Gerry Lopez a champion surfer whose only major acting experience was playing himself in Milius s Big Wednesday 11 Schwarzenegger stayed at Lopez s home for over a month before the start of filming so they could rehearse their roles and build a rapport 53 Sandahl Bergman a dancer who had had bit parts in several theater productions and films played Valeria She was recommended to Milius by Bob Fosse who had directed her in All That Jazz 1979 and was accepted after reading for the part 54 55 Milius said the actors were chosen because their appearances and personae fitted their roles 56 He wanted actors who would not have any preconceived notions to project into their roles 57 Although Milius had reservations when he witnessed the first few takes of the novices at work he put faith in them improving their skills on the job and altered the script to fit their abilities 58 Schwarzenegger had studied for weeks in 1980 under Robert Easton a voice coach for several Hollywood stars to improve his speech 59 His first line in the film was a paraphrasing of Mongol emperor Genghis Khan s speech about the good things in life and the actor delivered it with a heavy Austrian accent critics later described what they heard as to crush your enemies see dem them driven before you and to hear the lamentations of dair vimen their women 59 60 61 nb 1 Subsequently Schwarzenegger underwent intensive speech training with Milius Each of his later longer speeches was rehearsed at least 40 times 61 Lopez s lines were also an issue although Milius was satisfied with Lopez s work the surfer s lines were redubbed by the stage actor Sab Shimono for the final cut A source close to the production said this was done because Lopez failed to maintain a certain quality to his voice 64 James Earl Jones left 1991 photograph and Max von Sydow right 1989 photograph were brought on to the film for their experience Sean Connery and John Huston were considered for the other roles 11 65 James Earl Jones and Max von Sydow were according to Milius hired with the hope that they would inspire Schwarzenegger Bergman and Lopez 57 Jones was an award winning veteran of numerous theater and cinema productions 66 Von Sydow was a Swedish actor of international renown 67 The role of Thulsa Doom was offered to Jones while he was considering applying for the role of Grendel in an upcoming feature based on John Gardner s eponymous novel after learning it was an animation Jones read Conan s script and accepted the part of Doom 68 When filming started Jones was also starring in a Broadway play Athol Fugard s A Lesson to Aloes He and the film crew coordinated their schedules to allow him to join the play s remaining performances 69 Jones took an interest in Schwarzenegger s acting often giving him pointers on how to deliver his lines 61 The Japanese American actor Mako Iwamatsu known professionally as Mako was brought onto the project by Milius for his experience 57 he had played roles in many plays and films and had been nominated for Academy Awards and a Tony 70 In Conan Mako played the Wizard of the Mounds and voiced the film s opening speech 9 William Smith although passed over for the lead role was hired to play the barbarian s father 11 Doom s two lieutenants Thorgrim and Rexor respectively were played by Sven Ole Thorsen a Danish bodybuilder and karate master and Ben Davidson a former American football player with the Oakland Raiders 54 Cassandra Gava played the witch Milius hired more than 1 500 extras in Spain 71 Professional actors from the European film industry were also hired Valerie Quennessen was chosen to play Osric s daughter Jorge Sanz acted as the nine year old version of Conan and Nadiuska played his mother 72 Script writing Edit The drafting of a story for a Conan film started in 1976 Summer conceived a script with the help of Roy Thomas 32 a comic book writer and Conan expert who had been writing the character s adventures for years for Marvel Comics 29 Summer and Thomas s tale in which Conan would be employed by a dodgy priest to kill an evil wizard was largely based on Howard s Rogues in the House Their script was abandoned when Oliver Stone joined the project 73 Stone was at this time going through a period of addiction to cocaine and depressants His screenplay was written under the influence of the drugs 74 and the result was what Milius called a total drug fever dream albeit an inspired one 75 According to Schwarzenegger Stone completed a draft by early 1978 76 Taking inspiration from Howard s Black Colossus and A Witch Shall be Born Stone proposed a story four hours long 77 in which the hero champions the defense of a princess s kingdom Instead of taking place in the distant past Stone s story was set in a post apocalyptic future where Conan leads an army in a massive battle against a horde of 10 000 mutants 40 The idea of painting symbols onto Conan s body to help ward off spirits is taken from the Japanese story Hoichi the Earless as depicted in the film Kwaidan 1965 When Milius was appointed as director he took over the task of writing the screenplay 78 Although listed as a co writer Stone said Milius did not incorporate any of his suggestions into the final story 79 Milius discarded the latter half of Stone s story 80 He retained several scenes from the first half such as Conan s crucifixion ordeal which was taken straight out of A Witch Shall be Born and the climbing of the Tower of Serpents which was derived from The Tower of the Elephant 81 One of Milius s original changes was to extend Stone s brief exposition of Conan s youth the raid on the Cimmerian village into his teens with the barbarian s enslavement at the Wheel of Pain and training as a gladiator 41 Milius also added ideas gleaned from other films The Japanese supernatural tale of Hoichi the Earless as portrayed in Masaki Kobayashi s Kwaidan 1965 inspired the painting of symbols on Conan s body and the swarm of ghosts during the barbarian s resurrection 82 and Akira Kurosawa s Seven Samurai 1954 influenced Milius s vision of Conan s final battle against Doom s men 4 Milius also included scenes from post Howard stories about Conan the barbarian s discovery of a tomb during his initial wanderings and acquisition of a sword within were based on de Camp and Carter s The Thing in the Crypt 6 According to Derek Elley Variety s resident film critic Milius s script with its original ideas and references to the pulp stories was faithful to Howard s ideals of Conan 83 Milius felt all the basic emotions in the script are always accessible to audiences All of the things that Conan does we all feel ourselves He just acts on them with more intensity than we do He is a character who relies on the animal And I always believe that the animal instincts are often the worst part of them All you do when you evolve is corrupt yourself sooner or later 84 Filming Edit Original introduction in the film Know O Prince that between the years when the oceans drank Atlantis and the rise of the Sons of Aryas there was an Age undreamed of Hither came I Conan a thief a reaver a slayer to tread jeweled thrones of the earth beneath my feet But now my eyes are dim Sit on the ground with me for you are but the leavings of my age Let me tell you of the days of high adventure King Conan 85 Filming started at England s Shepperton Studios in October 1980 with Schwarzenegger made up to look like Conan as a king in his old age reading an excerpt from The Nemedian Chronicles which Howard had penned to introduce his Conan stories This footage was initially intended to be a trailer but Milius decided to use it as the opening sequence of the film instead 86 According to Cobb Laurentiis and Universal Pictures were concerned about Schwarzenegger s accent so Milius compromised by moving the sequence to the end 87 88 Schwarzenegger trained with voice coach Robert Easton and with Milius in order to eliminate his accent but their efforts proved to be unsuccessful so the planned narration which was intended to begin with this scene was not included in the final film 89 The initial location for principal photography was former Yugoslavia but because of concerns over the country s stability after the death of its head of state Josip Broz Tito and the fact that the Yugoslavian film industry proved ill equipped for large scale film production the producers elected to move the project to Spain which was cheaper and where resources were more easily available It took several months to relocate 90 the crew and equipment arrived in September 91 and filming started on January 7 1981 43 The producers allocated 11 million for production in Spain 92 of which about 3 million were spent on building 49 sets 93 The construction workforce numbered from 50 to 200 artists from England Italy and Spain were also recruited 94 A large warehouse 20 miles 32 km outside Madrid served as the production s headquarters 90 and it also housed most of the interior sets for the Tower of Serpents and Doom s temple 95 a smaller warehouse was leased for other interior sets 72 The remaining interiors for the Tower of Serpents were constructed in an abandoned hangar at Torrejon Air Base 71 A full scale 40 foot 12 m version of the tower was built in the hangar this model was used to film Conan and his companions climb up the structure 71 The rock formations of Ciudad Encantada Cuenca Spain provided the setting for a supernatural encounter in Conan The crew filmed several exterior scenes in the countryside near Madrid 72 the Cimmerian village was built in a forest near the Valsain ski resort south of Segovia About one million pesetas 12 084 nb 2 worth of marble shavings were scattered on the ground to simulate snow 97 The Wheel of Pain scene took place in the province of Avila nb 3 Conan s encounter with the witch and Subotai was shot among the Ciudad Encantada rock formations in the province of Cuenca 99 Most outdoor scenes were shot in the province of Almeria 72 which offered a semiarid climate diverse terrain deserts beaches mountains and Roman and Moorish structures that could be adapted for many settings 100 Conan s crucifixion was filmed in March 1981 among the sand dunes on the southeastern coast of Almeria The Tree of Woe was layers of plaster and Styrofoam applied onto a skeleton of wood and steel It was mounted on a turntable allowing it to be rotated to ensure the angle of the shadows remained consistent throughout three days of filming Schwarzenegger sat on a bicycle seat mounted in the tree while fake nails were affixed to his wrists and feet 101 The scene in which Valeria and Subotai fought off ghosts to save Conan and the final battle with Doom s forces were filmed in the salt marshes of Almerimar Stonehenge like ruins were erected and sand piled into mounds that reached 9 m 30 ft 102 The changes to the landscape attracted protests from environmentalists and the producers promised to restore the site after filming was completed 103 The walls of the Alcazaba of Almeria Spain provided the locale for a bazaar in the movie The Temple of Set was built in the mountains about 12 km 7 5 mi west of the city of Almeria The structure was 50 meters 160 ft long and 22 meters 72 ft high It was the most expensive of the sets costing 350 000 and built out of various woods lacquers and tons of concrete Its stairway had 120 steps 104 Milius and his crew also filmed at historical sites and on sets from previous films Scenes of a bazaar were filmed at the Moorish Alcazaba of Almeria which was dressed to give it a fictional Hyborian look 99 105 Shadizar was realized at a pre existing film set in the Almerian desert the fort used for the filming of El Condor 1970 refurbished as an ancient city 99 It was expensive to build large sets 106 and Milius did not want to rely on optical effects and matte paintings painted landscapes The crew instead adopted miniature effect techniques playing on perspective to achieve the illusion of size and grandeur for several scenes Scale models of structures were constructed by Emilio Ruiz and positioned in front of the cameras so that they appeared as full sized structures on film using this technique the Shadizar set was extended to appear more than double its size 107 Ruiz built eight major miniature models 108 including a 4 foot high 1 2 m palace and a representation of the entire city of Shadizar that spanned 120 square feet 11 m2 71 An academic commented that the Tree of Woe resembled a prop from an 1876 staging of Richard Wagner s Die Walkure Cobb s direction for the sets was to undo history to invent their own fantasy history and yet maintain a realistic historical look 109 Eschewing the Greco Roman imagery used heavily in the sword and sandal films of the 1960s 43 he realized a world that was an amalgamation of Dark Age cultures such as the Mongols and the Vikings 83 Several scenarios paid homage to Frazetta s paintings of Conan such as the half naked slave girl chained to a pillar with a snarling leopard at her feet at the snake cult s orgy 110 David Huckvale a lecturer at the Open University and broadcaster for BBC Radio said the designs of the Tree of Woe and the costumes appeared very similar to those used in Richard Wagner s Ring of the Nibelung operas at the Bayreuth Festspielhaus in 1876 111 Principal photography was completed in the middle of May 1981 112 The film crews burned down the Cimmerian village and the Temple of Set after completing filming on each set 57 113 Stunts and swords Edit Several action scenes in Conan were filmed with a minijib a remote controlled electronic camera mounted on a motorized lightweight crane that Nick Allder the special effects supervisor had devised when he worked on Dragonslayer 1981 114 The stunts were co ordinated by Terry Leonard who had worked on many films including Milius s previous projects and Steven Spielberg s Raiders of the Lost Ark 1981 35 115 Leonard said that Schwarzenegger Bergman and Lopez performed most of their own stunts including the fights 93 The three actors were given martial arts training ahead of filming From August 1980 90 they were tutored by Kiyoshi Yamazaki a karate black belt and master swordsman 116 who drilled them in sword fighting styles that were meant to make them look proficient in using their weapons 117 They practiced each move in a fight at least 15 times before filming 118 Yamazaki advised Leonard on the choreography of the sword fights and had a cameo role as one of Conan s instructors 90 Tim Huchthausen the prop maker worked with swordsmith Jody Samson to create the sturdy weapons Milius thought necessary 119 Particular attention was paid to two swords wielded by Conan his father s sword Master s sword and the blade he finds in a tomb Atlantean sword Both weapons were realized from Cobb s drawings Their blades were hand ground from carbon steel and heat treated and left unsharpened 120 The hilts and pommels were sculpted and cast through the lost wax process inscriptions were added to the blades by electrical discharge machining 121 Samson and Huchthausen made four Master s and four Atlantean swords at a cost of 10 000 per weapon 119 122 Copies of the Atlantean sword were struck and given to members of the production 119 Samson and Huchthausen agreed the weapons were heavy and unbalanced thus unsuitable for actual combat 119 122 Lighter versions made of aluminum fiberglass and steel were struck in Madrid these 3 lb 1 4 kg copies were used in the fight scenes 119 123 According to Schwarzenegger the heavy swords were used in close up shots 124 The other weapons used in the film were not as elaborate Valeria s talwar was ground out from an aluminum sheet 125 The copious amounts of blood spilled in the fight scenes came from bags of fake blood strapped to the performers bodies Animal blood gathered from slaughterhouses was poured onto the floor to simulate puddles of human blood 126 Most of the times trick swords made from fiberglass were used when the scene called for a killing blow 127 Designed by Allder these swords could also retract their blades and several sprayed blood from their tips 93 Although the swords were intended to be safer alternatives to metal weapons they could still be dangerous in one of the fights Bergman sparred with an extra who failed to follow the choreography and sliced open her finger 127 Accidents also happened in stunts that did not involve weapons A stuntman smashed his face into a camera while riding a horse at full gallop 128 and Schwarzenegger was attacked by one of the trained dogs 129 The use of live animals also raised concerns about cruelty the American Humane Association placed the film on its unacceptable list 130 The transgressions listed by the association included the kicking of a dog the striking of a camel and the tripping of horses 131 Mechanical effects Edit A dummy with parts from a dead vulture was provided for the shot in which Schwarzenegger bites through the bird s neck Carlo De Marchis the special make up effects supervisor and Colin Arthur former Studio Head of Madame Tussaud s were responsible for the human dummies and fake body parts used in the film 99 132 The dummies inflated crowd numbers and stood in as dead bodies 93 while the body parts were used in scenes showing the aftermath of fights and the cult s cannibalistic feast 133 In Thulsa Doom s beheading scene Schwarzenegger hacked at a dummy and pulled a concealed chain to detach its head 64 The decapitation of Conan s mother was more complex a Plexiglas shield between Jones and Nadiuska stopped his sword as he swung at her and an artificial head then dropped into the camera s view A more elaborate head was used for the close up shots this prop spurted blood and the movements of its eyes mouth and tongue were controlled by cables hidden beneath the snow 134 Allder created a 20 000 36 foot 11 m mechanical snake for the fight scene in the Tower of Serpents The snake s body had a diameter of 2 5 ft 0 76 m and its head was 2 5 ft 0 76 m long and 2 ft 0 61 m wide Its skeleton was made from duralumin an alloy used in aircraft frames and its skin was vulcanized foam rubber Controlled by steel cables and hydraulics the snake could exert a force between 3 5 and 9 0 tons Another two snakes of the same dimensions were made one for stationary shots and one for decapitation by Schwarzenegger 135 The immense size of the mechanical snake meant that it did not fully fit onto the set so only the front of it could be shown in the film 89 To create the scene at the Tree of Woe the crew tethered live vultures to the branches and created a mechanical bird for Schwarzenegger to bite The dummy bird s feathers and wings were from a dead vulture and its control mechanisms were routed inside the false tree 136 According to Sammon one of the greatest special effects in the film was Thulsa Doom s onscreen transformation into a giant snake 93 It involved footage of fake body parts live and dummy snakes miniatures and other camera tricks combined into a flowing sequence with lap dissolve After Jones was filmed in position he was replaced by a hollow framework with a rubber mask that was pushed from behind by a snake head shaped puppet to give the illusion of Doom s facial bones changing The head was then replaced with a 6 foot 1 8 m mechanical snake as it moved outwards a crew member pressed a foot pedal to collapse the framework For the final part of the sequence a real snake was filmed on a miniature set 137 Optical effects Edit VCE s special effects were composited with the live action reels through a two headed optical printer to create the final print Few optical effects were used in Conan the Barbarian Milius professed ambivalence to fantasy elements preferring a story that showcases accomplishments realized through one s own efforts without reliance on the supernatural He also said that he followed the advice of Cobb and other production members on the matters of special effects 56 138 Peter Kuran s Visual Concepts Engineering VCE effects company was engaged in October 1981 to handle postproduction optical effects for Conan VCE had previously worked on films such as Raiders of the Lost Ark and Dragonslayer Among their tasks for Conan were adding glint and sparkle to the Eye of the Serpent and Valeria s Valkyrie armor 139 Not all of VCE s work made it to the final print the flames of Valeria s funeral pyre were originally enhanced by the company but were later restored to the original version 128 For the scene in which Valeria and Subotai had to fend off ghosts to save Conan s life the boiling clouds were created by George Lucas s Industrial Light and Magic while VCE was given the task of creating the ghosts Their first attempt filming strips of film emulsion suspended in a vat of a viscous solution elicited complaints from the producers who thought the resulting spirits looked too much like those in a scene from Raiders of the Lost Ark so VCE turned to animation to complete the task First they drew muscular warriors in ghostly forms onto cels and printed the images onto film with an Oxberry animation stand and contact printer The Oxberry was fitted with a used lens that introduced lens flares to the prints VCE s intention with using the old lens was to make the resultant images of the ghosts seem as if they were of real life objects filmed with a camera The final composite was produced by passing the reels of film for the effects and the live action sequences through a two headed optical printer and capturing the results with a camera 139 Music Edit Anvil of Crom source source Blaring French horns and pounding drums distinguish Conan the Barbarian s main theme Problems playing this file See media help Milius recruited his friend Basil Poledouris to produce the score for Conan they had had a successful collaboration on Big Wednesday 140 141 The film industry s usual practice was to contract a composer to start work after the main scenes had been filmed but Milius hired Poledouris before principal photography had started The composer was given the opportunity to compose the film s music based on the initial storyboards and to modify it throughout filming before recording the score near the end of production 142 Poledouris made extensive use of Musync a music and tempo editing hardware and software system invented by Robert Randles subsequently nominated for an Oscar for Scientific Achievement to modify the tempo of his compositions and synchronize them with the action in the film The system helped make his job easier and faster it could automatically adjust tempos when the user changed the positioning of beats In the montage where Conan grows up for example Poledouris had Randles prepare over the phone a long accelerando that landed on precise moments in the picture along the way Poledouris would otherwise have had to conduct the orchestra and adjust his compositions on the fly 143 Conan is the first film to list Musync in its credits 144 Milius and Poledouris exchanged ideas throughout production working out themes and emotional tones for each scene 145 According to Poledouris Milius envisioned Conan as an opera with little or no dialogue 146 Poledouris composed enough musical pieces for most of the film around two hours worth 147 This was his first large scale orchestral score 147 and a characteristic of his work here was that he frequently slowed down the tempo of the last two bars segments of beats before switching to the next piece of music 148 Poledouris said the score uses a lot of fifths as its most primitive interval thirds and sixths are introduced as the story progresses 149 The composer visited the film sets several times during filming to see the imagery his music would accompany After principal photography was completed Milius sent him two copies of the edited film one without music and the other with its scenes set to works by Richard Wagner Igor Stravinsky and Sergei Prokofiev to illustrate the emotional overtones he wanted 150 Poledouris said he started working on the score by developing the melodic line a pattern of musical ideas supported by rhythms The first draft was a poem sung to the strumming of a guitar composed as if Poledouris was a bard for the barbarian 151 This draft became the Riddle of Steel 152 a composition played with massive brass strings and percussion 153 which also serves as Conan s personal theme 146 The music is first played when Conan s father explains the riddle to him Laurence E MacDonald Professor of Music at Mott Community College said the theme stirs up the appropriate emotions when it is repeated during Conan s vow to avenge his parents 146 The film s main musical theme the Anvil of Crom 153 which opens the film with the brassy sound of 24 French horns in a dramatic intonation of the melody while pounding drums add an incessantly driven rhythmic propulsion is played again in several later scenes 146 Poledouris completed the music that accompanies the attack on Conan s village at the beginning of the film in October 1981 154 Milius initially wanted a chorus based on Carl Orff s Carmina Burana to herald the appearance of Doom and his warriors in this sequence After learning that Excalibur 1981 had used Orff s work he changed his mind and asked his composer for an original creation Poledouris s theme for Doom consists of energetic choral passages 153 chanted by the villain s followers to salute their leader and their actions in his name The lyrics were composed in English and roughly translated into Latin 155 Poledouris was more concerned about the way the Latin words sounded than with the sense they actually made 156 He set these words to a melody adapted from the 13th century Gregorian hymn Dies irae 157 which was chosen to communicate the tragic aspects of the cruelty wrought by Thulsa Doom 153 The film s music mostly conveys a sense of power energy and brutality yet tender moments occur 158 The sounds of oboes and string instruments accompany Conan and Valeria s intimate scenes imbuing them with a sense of lush romance and an emotional intensity According to MacDonald Poledouris deviated from the practice of scoring love scenes with tunes reminiscent of Romantic period pieces instead Poledouris made Conan and Valeria s melancholic love theme unique through his use of minor key harmony 155 David Morgan a film journalist heard Eastern influences in the lilting romantic melodies 158 Page Cook audio critic for Films in Review describes Conan the Barbarian s score as a large canvas daubed with a colorful yet highly sensitive brush There is innate intelligence behind Poledouris s scheme and the pinnacles reached are often eloquent with haunting intensity 145 From late November 1981 Poledouris spent three weeks recording his score in Rome 64 159 He engaged a 90 instrument orchestra and a 24 member choir from the Accademia Nazionale di Santa Cecilia and the RAI National Symphony Orchestra 160 and conducted them personally 159 The pieces of music were orchestrated by Greig McRitchie Poledouris s frequent collaborator 145 The chorus and orchestra were recorded separately 161 The 24 tracks of sound effects music and dialog were downmixed into a single channel 162 making Conan the Barbarian the last film released by a major studio with a mono soundtrack 163 According to Poledouris Raffaella De Laurentiis balked at the cost 30 000 of a stereo soundtrack and was worried over the lack of theaters equipped with stereo sound systems 164 Release EditIn 1980 the producers began advertising to publicize the film Teaser posters were put up in theaters across the United States The posters reused Frazetta s artwork that was commissioned for the cover of Conan the Adventurer 1966 165 166 Laurentiis wanted Conan the Barbarian to start playing in cinemas at Christmas 1981 167 but Universal executives requested further editing after they previewed a preliminary version of the film in August A Hollywood insider said the executives were concerned about the film s portrayal of violence The premiere was delayed until the following year so changes could be made 168 Many scenes were excised from Thulsa Doom s attack on Conan s village including the close up shots on the severed head of Conan s mother 64 the late notice of the changes forced Poledouris quickly to adjust his score before recording music for the sequence 154 Other scenes of violence that were cut included Subotai s slaying of a monster at the top of the Tower of Serpents and Conan chopping off a pickpocket s arm in a bazaar 169 Milius intended to show a 140 minute story the final release ran 129 minutes trimmed to 126 minutes in the United States 170 According to Cobb the total production expenses approached 20 million by the time the film was released 88 The United States public was offered a sneak preview on February 19 1982 in Houston Texas In the following month previews were held in 30 cities across the country In Washington D C the mass of moviegoers formed long lines that spanned streets causing traffic jams Tickets were quickly sold out in Denver and 1 000 people had to be turned away in Houston The majority of those in the lines was male a moviegoer in Los Angeles said The audience was mostly white clean cut and high school or college age It was not the punk or heavy leather crowd but an awful lot of them had bulging muscles 171 On March 16 Conan the Barbarian had its worldwide premiere at Fotogramas de Plata an annual cinema awards ceremony in Madrid 172 and began its general release in Spain and France a month later 173 174 Twentieth Century Fox handled the foreign distribution of the film 175 Universal originally scheduled Conan s official release in the United States for the weekend before Memorial Day 176 the start of the film industry s summer season when schools close for a month long holiday 177 To avoid competition with other big budget high profile films the studio advanced the release of Conan the Barbarian and on May 14 1982 the film officially opened in 1 400 theaters across North America 176 Conan the Barbarian has been released in several different versions on home video In addition to the 126 minute theatrical print Universal distributed the film in 115 minute and 123 minute cuts on VHS in the 1980s A slightly extended version was created for the film s special edition DVD release in 2000 it features five minutes of additional footage for a 131 minute running time This same version was later released on blu ray in 2011 with a remixed soundtrack the version on Amazon Prime however is the 126 minute US theatrical cut 178 Critical response Edit The media s reactions toward Conan were polarized Aspects of the film heavily criticized by one side were regarded in a positive light by the other Professor Kenneth von Gunden wrote for every positive review the film garnered it received two negative ones 179 The opinions of Roger Ebert of the Chicago Sun Times and Richard Schickel of Time illustrate their colleagues divided views Ebert called Conan the Barbarian a perfect fantasy for the alienated preadolescent 18 whereas Schickel said Conan is a sort of psychopathic Star Wars stupid and stupefying 180 Although reviews were mixed at the time of the film s release modern genre critics review the film more positively On review aggregator Rotten Tomatoes the film has an approval rating of 65 based on 40 reviews with an average rating of 6 6 10 The site s critical consensus reads Though Conan may take itself too seriously for some this adventure film about a former slave seeking vengeance is full of quotable Schwarzenegger lines and gritty action 181 On Metacritic the film received a score of 43 based on 10 reviews indicating mixed or average reviews 182 Blood spews from the severed right arm of a fanged gorilla as Conan latches on to the beast and stabs at it with a sword A topless woman witnesses the scene Some critics felt that there was too much violence in the movie while others felt that the violence failed to match up to Howard s portrayals as illustrated by Hugh Rankin in Weird Tales At the time Conan was released the media were inclined to condemn Hollywood s portrayals of violence typical action films showed the hero attaining his goals by killing all who stood in his way 170 183 Conan was particularly condemned for its violent scenes 175 183 which Newsweek s Jack Kroll called cheerless and styleless 20 In one of his articles for the San Francisco Chronicle Stu Schreiberg counted 50 people killed in various scenes 184 Other film critics differed over the film s portrayal of violence David Denby wrote in his review for New York magazine that the action scenes were one of the film s few positive features however exciting as the scenes were those such as the decapitation of Conan s mother seemed inane 60 On the other hand Vincent Canby Carlos Clarens and Pascal Merigeau were unanimous in their opinion that the film s depicted violence failed to meet their expectations the film s pacing and Howard s stories suggested more gory material 174 185 186 According to Paul Sammon Milius s cuts to assuage concerns over the violence made the scenes cartoon like 170 Comparison with the source material also produced varying reactions among the critics Danny Peary and Schickel expected a film based on pulp stories and comic books to be light hearted or corny and Milius s introduction of Nietzschean themes and ideology did not sit well with them 7 180 Others were not impressed with Milius s handling of his ideas James Wolcott called it heavy handed and Kroll said the material lacked substance in its implementation 20 187 The themes of individualism and paganism however resonated with many in the audience the concept of a warrior who relies only on his own prowess and will to conquer the obstacles in his way found favor with young males 188 Wolcott wrote in Texas Monthly that these themes appeal to 98 pound weaklings who want to kick sand into bullies faces and win the panting adoration of a well oiled beach bunny 187 Kroll s opinion was that the audience loved the violence and carnage but were cynical about the philosophical bombast 20 While popular with audiences the theatrical treatment of the barbarian was rejected by certain hardcore fans and scholars of Howard s stories A particular point of contention was the film s version of Conan s origin which is at odds with Howard s hints about the character s youth 189 Their point of view is supported by Kerry Brougher 190 but Derek Elley Clarens and Sammon said Milius was faithful to the ideology behind Howard s work 83 110 191 Arnold Schwarzenegger s performance was frequently mentioned in the critiques 175 Clarens Peary Gunden and Nigel Andrews were among those who gave positive assessments of the former bodybuilder s acting to them he was physically convincing as the barbarian in his body movements and appearance 7 186 192 193 Andrews added that Schwarzenegger exuded a certain charm with his accent mangling his dialog that made the film appealing to his fans 194 Fanfare s Royal S Brown disagreed and was grateful that the actor s dialog amounted to 2 pages of typescript 195 Schickel summed up Schwarzenegger s acting as flat 180 while Knoll was more verbose characterizing the actor s portrayal as a dull clod with a sharp sword a human collage of pectorals and latissimi who s got less style and wit than Lassie 20 While Sandahl Bergman earned acclaim for injecting grace and dynamism into the film 20 186 the film s more experienced thespians were not spared criticisms Gunden said von Sydow showed little dedication to his role 54 and Clarens judged Jones s portrayal of Thulsa Doom to be worse than camp 186 However Ebert praised Jones s performance saying he brought power and conviction to a role that seems inspired in equal parts by Hitler Jim Jones and Goldfinger 18 Brougher faulted none of the actors for their performances laying the blame on Milius s script instead 190 Box office and other media Edit According to Rentrak Theatrical a firm of media analysts Conan debuted at the top spot at the US box office taking 9 479 373 over the opening weekend 196 nb 4 Rentrak s data on Conan covered 8 weeks after the film s release during that period Conan grossed 38 513 085 at the box office in the United States 198 Universal Pictures received 22 5 million after deducting the amounts due to the cinema owners 9 This sum the rental 199 was more than the money Universal had invested in making the film thus qualifying Conan as a commercial success any further income from the film was pure profit for the studio 9 Marian Christy interviewer for the Boston Globe mentioned that the film was a box office success in Europe and Japan as well 200 Worldwide Conan the Barbarian grossed between 68 9 million and 79 1 million in ticket sales 3 2 David A Cook Professor of Film Studies at Emory University said that Conan s North American performance fell short of the amount returned by blockbusters 201 the rentals of such films from their release in the continent were supposed to be least 50 million 202 Conan s rental was the 13th highest for 1982 9 and when combined with those for E T the Extra Terrestrial the most successful film in that year with a rental of 187 million 199 On Golden Pond and The Best Little Whorehouse in Texas all distributed by Universal Pictures constituted 30 of the year s total film rental According to Arthur D Murphy a film industry analyst it was the first time that a single distributor captured such a substantial share of the film market 202 The videocassette version of the film was released on October 2 1982 Sales and rental figures of the videocassette were high from its launch the title was listed in Billboard s Videocassette Top 40 Sales and Rental categories for 23 weeks 203 204 According to Sammon sales of the film through frequent home video releases increased the film s gross earnings to more than 300 million by 2007 205 Conan the Barbarian was novelized by Lin Carter and the de Camps L Sprague and his wife Catherine 185 206 It was also adapted by Marvel in comic form nb 5 scripted by Michael Fleisher and drawn by John Buscema the comic was one of the rarest paperbacks published by the company 207 Accolades Edit Conan the Barbarian did not receive any film awards but the Hollywood Foreign Press Association noted Bergman s performance as Valeria and awarded her a Golden Globe Award for New Star of the Year Actress 208 Poledouris s score was judged by Films in Review s Page Cook as the second best sound track of the films released in 1982 145 The film was nominated for a Razzie Award for Worst Actor for Arnold Schwarzenegger 209 The film is recognized by American Film Institute in these lists 2003 AFI s 100 Years 100 Heroes amp Villains Conan Nominated Hero 210 2005 AFI s 100 Years of Film Scores Nominated 211 2008 AFI s 10 Top 10 Nominated Fantasy Film 212 Themes EditRiddle of Steel The secret of steel has always carried with it a mystery You must learn its riddle Conan You must learn its discipline For no one no one in this world can you trust Not men not women not beasts Points to sword This you can trust Conan s father The central theme in Conan the Barbarian is the Riddle of Steel At the start of the film Conan s father tells his son to learn the secret of steel and to trust only it Initially believing in the power of steel Thulsa Doom raids Conan s village to steal the Master s sword Subsequently the story centers on Conan s quest to recover the weapon in which his father has told him to trust 213 Weaponry fetish is a device long established in literature Carl James Grindley an assistant professor of English said ancient works such as Homer s Iliad the Old English poem Beowulf and the 14th century tale of Sir Gawain and the Green Knight pay detailed attention to the arsenal of their heroes 214 Grindley further said that Conan the Barbarian like most other contemporary action films uses weapons as convenient plot devices rather than as symbols that mark the qualities of the hero 215 James Whitlark an associate professor of English said the Riddle of Steel makes the film s emphasis on the swords ironic it gives the illusion that the weapons have powers of their own but later reveals them to be useless and dependent on the strength of their wielders 216 In the later part of the film Doom mocks steel proclaiming the power of flesh to be stronger When Conan recovers his father s sword it is after he has broken it in the hands of Doom s lieutenant during their duel According to Grindley that moment Conan s breaking of his father s sword fulfills a snickering spectrum of Oedipal conjecture and asserts Homer s view that the sword does not make the hero but the hero makes the sword 217 The film as Whitlark says offers a fantasy of human power raised beyond mortal limits 216 Passman and other authors agree stating the film suggests that human will and determination are in a Nietzschean sense stronger than physical might 187 218 219 Another established literary trope found in the plot of Conan the Barbarian is the concept of death followed by a journey into the underworld and rebirth Donald E Palumbo the Language and Humanities Chair at Lorain County Community College noted that like most other sword and sorcery films Conan used the motif of underground journeys to reinforce the themes of death and rebirth 220 According to him the first scene to involve all three is after Conan s liberation his flight from wild dogs sends him tumbling into a tomb where he finds a sword that lets him cut off his chains and stand with newfound power In the later parts of the film Conan experiences two underground journeys where death abounds in the bowels of the Tower of Serpents where he has to fight a giant snake and in the depths of the Temple of Set where the cultists feast on human flesh while Doom transforms himself into a large serpent Whereas Valeria dies and comes back from the dead albeit briefly Conan s ordeal from his crucifixion was symbolic Although the barbarian s crucifixion might evoke Christian imagery 221 associations of the film with the religion are roundly rejected Milius stated his film is full of pagan ideas a sentiment supported by film critics such as Elley 83 and Jack Kroll 20 George Aichele Professor Emeritus of Philosophy and Religion at Adrian College suggested the filmmaker s intent with the crucifixion scene was pure marketing to tease the audience with religious connotations 222 He suggested however that Conan s story can be viewed as an analogy of Christ s life and vice versa 223 Nigel Andrews a film critic saw any connections to Christianity related more to the making of the film 224 The crucifixion is also reminiscent of Odin being nailed to Yggdrasil or the Titan Prometheus chained to the mountainside of the Caucasus Conan s slaying of Doom s giant snake in the Tower of Serpents recalls Siegfried s slaying of Fafnir the dragon illustrated in Wagner s Der Ring des Nibelungen Milius s concept of Conan the Barbarian as an opera was picked up by the critics Elley and Huckvale saw connections to Wagner s operas 83 111 According to Huckvale the film s opening sequence closely mirrors a sword forging scene in Siegfried Conan s adventures and ordeals seem to be inspired by the trials of the opera s titular hero witnessing his parents deaths growing up as a slave and slaying a giant serpent dragon Furthermore Schwarzenegger s appearance in the role of Conan evoked images of Siegfried the role model of the Aryan blonde beast in the lecturer s mind 111 The notion of racial superiority symbolized by this Aryan hero was a criticism given by J Hoberman and James Wolcott they highlighted the film s Nietzschean epigraph and labeled its protagonist as Nietzsche s ubermensch 187 218 Ebert was disturbed by the depiction of a Nordic superman confronting a black in which the muscular blond slices off the black man s head and contemptuously throws it down the flight of stairs 18 His sentiment was shared by Adam Roberts an Arthurian scholar who also said Conan was an exemplar of the sword and sorcery films of the early 1980s that were permeated in various degrees with fascist ideology According to Roberts the films were following the ideas and aesthetics laid down in Leni Riefenstahl s directorial efforts for Nazi Germany Roberts cautioned that any political readings into these sword and sorcery films with regards to fascism is subjective 225 Film critic Richard Dyer said that such associations with Conan were inaccurate and influenced by misconceptions of Nietzschean philosophies 226 and scholars of philosophy said that the film industry has often misinterpreted the ideas behind the ubermensch 227 228 Conan is also seen as a product of its time The themes of the film reflect the political climate of the United States in the 1980s Ronald Reagan was the country s president and the ideals of individualism were promoted during his two terms in office He emphasized the moral worth of the individual in his speeches encouraging his fellow Americans to make the country successful and to stand up against the Soviet Union during the Cold War 229 230 Dr Dave Saunders a film writer and lecturer at South Essex College of Further and Higher Education linked facets of Conan the Barbarian to aspects of Reaganism 231 the conservative ideology that surrounded the president s policies 232 Saunders likened Conan s quest against Doom to the Americans crusades 231 his choice of weaponry swords to Reagan s and Milius s fondness of resisting the Soviets with only spirit and simple weapons 233 and Doom s base of operations to the Kremlin 234 Conan in Saunder s interpretation is portrayed as the American hero who draws strength from his trials and tribulations to slay the evil oppressors the Soviets and crush their un American ways 235 Douglas Kellner and his fellow academic Michael Ryan proposed another enemy for the American individual an overly domineering federal government 236 The film s association with individualism was not confined to the United States Jeffrey Richards a cultural historian noticed the film s popularity among the youths of the United Kingdom 237 Robin Wood a film critic suggests that in most cases there is only a thin veneer between individualism and fascism he also said that Conan is the only film in that era to dispense with the disguise openly celebrating its fascist ideals in a manner that would delight Riefenstahl 238 Conan shows a world where there are two kinds of men one of which has long hair and gorgeous tits 239 F X Feeney from L A Weekly in 1982 240 Sexual politics were also examined in thematic studies of the film The feminist movement experienced a backlash during the opening years of the 1980s and action films then were helping to promote the notions of masculinity 241 242 Women in these films were portrayed as whores handmaidens or warriors and clad in flesh revealing outfits 232 243 Conan gave its male audience a manly hero that overcame all odds and adversity delivering them a fantasy that offered escape from the invasion of radical bitter feminist women in their lives 244 245 Renato Casaro s promotional artwork for the film s release in the United States presents a sexualized portrayal of the two main characters Conan and Valeria 246 247 Scantily clad in costumes cut in the styles of underwear they wear long boots and sport their hair loose While Conan strides forth in the picture with his sword held high Valeria squats in an impossible pose with her leather body suit in the shape of a teddy forming a dark shape between her thighs 248 According to Schubart critics did not accept Valeria as a strong female figure but viewed her as a sexual spectacle to them she was the traditional male warrior buddy in a sexy female body 239 Legacy and impact EditWhereas most comic book and pulp adaptations were box office failures in the 1980s Conan the Barbarian was one of the few that made a profit 249 According to Sammon it became the standard against which sword and sorcery films were measured until the debut of Peter Jackson s The Lord of the Rings The Fellowship of the Ring in 2001 205 several contemporary films of the same genre were judged by critics to be clones of Conan 201 such as The Beastmaster 1982 250 251 Conan s success inspired low budget copycats such as Ator the Fighting Eagle 1982 and Deathstalker 1983 252 253 254 Its sequel Conan the Destroyer was produced and released in 1984 only a few of those involved in the first film such as Schwarzenegger Mako and Poledouris returned 153 255 Later big and small screen adaptations of Robert E Howard s stories were considered by Sammon to be inferior to the film that started the trend 110 A spinoff from Conan was a 20 minute live action show The Adventures of Conan A Sword and Sorcery Spectacular that ran from 1983 to 1993 at Universal Studios Hollywood Produced at a cost of 5 million the show featured action scenes executed to music composed by Poledouris 160 256 The show s highlights were pyrotechnics lasers and an 18 foot tall 5 5 m animatronic dragon that breathed fire 257 258 Producer Dino De Laurentiis 2009 photograph profited from Conan but had less success with his later films Several of those involved in the film reaped short term benefits Sandahl Bergman s Golden Globe for her role as Valeria marks her greatest achievement in the film industry her later roles failed to gain her further recognition 259 Dino De Laurentiis had produced a string of box office failures since the success of King Kong in 1976 it appeared Conan the Barbarian might be a turning point in his fortunes The sequel was also profitable but many of De Laurentiis s later big budget projects did not recoup their production costs and he was forced to declare bankruptcy in 1988 260 For John Milius Conan the Barbarian is his biggest directorial success to date 261 his subsequent endeavors failed to equal its success and popularity 262 Pressman did not receive any money from Conan s box office takings but he sold the film rights for the Conan franchise to De Laurentiis for 4 5 million and 10 percent of the gross of any sequel to Conan the Barbarian 27 The sale more than paid off his company s debts incurred from producing Old Boyfriends saving him from financial ruin 36 Pressman said this deal made him more money by selling out by not making a movie than he ever have made by making one 263 He also arranged for Mattel to obtain the rights to produce a range of toys for the film Although the toy company abandoned the license after its executives decided Conan was too violent for children Pressman convinced them to let him produce a film based on their new Masters of the Universe toy line 36 The eponymous film cost 20 million to produce and grossed 17 million at the United States box office in 1987 264 265 Those who benefited most from the project were Basil Poledouris and Arnold Schwarzenegger Poledouris s reputation in the film industry increased with the critical acclaim his score received 266 MacDonald noted Poledouris s work on Conan as one of the most spectacular film music achievements of the decade 147 and Page Cook named it as the only reason to watch the film and as the second best film sound track after E T s for 1982 145 After hearing Conan s music Paul Verhoeven engaged Poledouris to score his films Flesh and Blood 1985 RoboCop 1987 and Starship Troopers 1997 267 268 The music in Verhoeven s Total Recall 1990 also bore the influence of Conan s score its composer Jerry Goldsmith used Poledouris s work as the model for his compositions 269 Conan brought Schwarzenegger worldwide recognition as an action star 261 and established the model for most of his film roles icy brawny and inexpressive yet somehow endearing 270 The image of him as the barbarian was an enduring one when he campaigned for George H W Bush to be president he was introduced as Conan the Republican 271 a moniker that stuck with him throughout his political career and was often repeated by the media during his term as Governor of California 272 Schwarzenegger was aware of the benefits the film had brought to him acknowledging the role of Conan as God s gift to his career 273 He embraced the image when he was Governor of California he displayed his copy of the Atlantean sword in his office occasionally flourishing the weapon at visitors and letting them play with it 272 274 More than once he spiced up his speeches with Conan s crush your enemies see them driven before you and hear the lamentations of their women 275 276 Sequels EditConan the Destroyer was released in 1984 with Schwarzenegger and Mako reprising their roles A planned third entry in the trilogy Conan the Conqueror was previewed at the end of Destroyer The film had been planned for a 1987 release with the intended director being either Guy Hamilton or John Guillermin Arnold Schwarzenegger was committed to the film Predator and De Laurentiis s contract with the star had expired after his obligation to Red Sonja and Raw Deal and he was not keen to negotiate a new one The third Conan film fell into development hell and a derivation of the script eventually was adapted into Kull the Conqueror released in 1997 277 278 In October 2012 Universal Pictures announced plans for Schwarzenegger to return to the role of Conan for the film The Legend of Conan The planned story was a direct sequel to the original film bypassing Conan the Destroyer and the 2011 film starring Jason Momoa 279 280 In the years following the announcement Will Beall Andrea Berloff and producer Chris Morgan worked on the script and Schwarzenegger expressed enthusiasm for the project affirming plans to star in the film 281 282 283 284 285 However in April 2017 Morgan stated that Universal had dropped the project but that there remains a possibility of a television series 286 See also Edit Film portal 1980s portalArnold Schwarzenegger filmography List of American films of 1982Notes Edit The original English quote as translated by Sir Henry Hoyle Howorth in 1876 from Abraham Constantin Mouradgea d Ohsson s French version of Genghis Khan s speech The greatest pleasure is to vanquish your enemies to chase them before you to rob them of their wealth to see those dear to them bathed in tears to ride their horses to clasp to your bosom their wives and daughters 62 63 The US dollar figure is derived from the exchange rate 82 7500 between the currency and the peseta on January 31 1981 96 In the surroundings of La Cerca near the villages of Solosancho Robledillo and La Hija de Dios 98 The average price for a movie ticket in 1982 was 2 94 197 Further details of the comic Fleisher Michael Summer 1982 Conan the Barbarian Marvel Super Special Vol 1 no 21 New York United States Marvel Comics Group ISBN 0 939766 07 8 References EditCitations Edit Conan the Barbarian American Film Institute Archived from the original on March 22 2020 Retrieved March 21 2020 a b c Conan the Barbarian 1982 The Numbers Archived from the original on October 17 2019 Retrieved November 19 2019 a b Conan the Barbarian 1982 Box Office Mojo Archived from the original on October 26 2019 Retrieved November 19 2019 a b Gunden 1989 p 28 Helman 2003 p 276 a b c Williams 2010 p 116 a b c Peary 1986 Herron 2000 p 177 a b c d e Gunden 1989 p 14 Herron 2000 pp 125 173 a b c d Sammon 1982a p 37 Passman 1991 pp 90 93 Schubart 2007 p 36 Schubart 2007 p 232 a b Passman 1991 pp 91 93 Passman 1991 p 104 Sammon 1981 p 33 a b c d e Ebert 1982 Gunden 1989 pp 17 19 a b c d e f g Kroll 1982 Gallagher amp Milius 1989 pp 177 178 a b c d Sammon 1982a p 31 Ashley 2007 p 138 Turan 1980 pp 60 61 Sammon 2007 pp 98 100 Sammon 2007 pp 100 101 a b c d e Carney 1987 p 72 Hunter 2007 p 156 a b Turan 1980 p 62 a b c d Sammon 1981 p 25 Pollock Dale May 14 1982 MILIUS MIGHT MAKES A RITE JOHN MILIUS Los Angeles Times p h1 a b c Sammon 1982a p 32 a b Sammon 1982a p 30 Sammon amp Cobb 1982 p 65 a b c Sammon 1981 p 26 a b c Carney 1987 p 74 Riordan 1994 p 99 McGilligan amp Stone 2001 p 18 Gunden 1989 p 20 a b Beaver 1994 p 50 a b Gunden 1989 p 21 Nicholls 1984 pp 86 88 a b c Bruzenak 1981 p 53 Sammon 2007 p 103 Flynn 1996 p 45 Sammon 2007 p 100 Sammon 2007 p 101 Turan 1980 p 63 Andrews 1995 p 101 Gallagher amp Milius 1989 p 26 Turan 1980 pp 63 66 Gunden 1989 pp 23 24 Western Empire 1980 a b c Gunden 1989 p 24 Steranko amp Bergman 1982 p 41 a b Sammon amp Milius 1982 p 26 a b c d Gallagher amp Milius 1989 p 178 Steranko amp Milius 1982 a b Andrews 1995 p 107 a b Denby 1982 p 68 a b c Gunden 1989 p 26 Irwin 2007 p 19 Howorth 1876 p 110 a b c d Sammon 1982a p 62 Turan 1980 p 66 Bebenek 2004 Marklund 2010 p 309 Sammon 1981 p 20 Sammon 1981 p 19 Kurohashi 1999 pp 27 118 a b c d Sammon 1982a p 50 a b c d Sammon 1982a p 42 Williams 2010 p 115 Riordan 1994 p 126 Riordan 1994 p 102 Steranko amp Schwarzenegger 1982 p 26 Williams 2010 pp 115 116 Beaver 1994 p 51 McGilligan amp Stone 2001 p 19 Riordan 1994 p 101 Gunden 1989 p 22 Sammon 1982a p 55 a b c d e Elley 1984 p 151 Anthea Sylbert doesn t just drop director John Milius name Boston Globe August 30 1981 p 1 Sammon 1982a p 29 Sammon 1982a p 40 Saunders 2009 p 58 a b Mitchell Ferguson amp Cobb 1982 p 20 a b Arnold T Blumberg Scott A Woodard May 16 2017 Cinema amp Sorcery The Comprehensive Guide to Fantasy Film Green Ronin Publishing ISBN 9780399181771 a b c d Sammon 1982a p 38 Sammon 1981 p 32 Galindo 1981 a b c d e Sammon 1982a p 56 Sammon amp Cobb 1982 p 67 Sammon 1981 p 22 Federal Reserve 1989 Sammon 1981 p 34 Conan el abulense Diario de Avila in Spanish July 20 2014 Archived from the original on April 19 2016 Retrieved April 6 2016 a b c d Sammon 1982a p 47 Capella Miternique 2002 pp 272 273 277 280 Sammon 1982a p 51 Sammon 1982a p 71 Moya 1999 pp 212 218 Sammon 1982a pp 53 54 Sammon 1982a p 69 Sammon amp Cobb 1982 pp 70 71 Sammon 1982a pp 47 48 Sammon 1981 p 31 Sammon 2007 p 104 a b c Sammon 2007 p 108 a b c Huckvale 1994 p 133 Sammon 1981 p 37 Sammon 1982a p 54 Sammon 1982a p 59 Sammon 1981 pp 37 38 Franck 1985 p 20 Franck 1985 pp 20 22 24 90 Franck 1985 p 24 a b c d e Sammon 1982a p 35 Sammon 1982a pp 35 39 Sammon 1982a p 39 a b Waterman amp Samson 2002 Sammon 2007 p 105 Steranko amp Schwarzenegger 1982 p 31 Sammon 1982a pp 35 36 Sammon 1982a pp 56 60 a b Sammon 1981 p 23 a b Sammon 1982a p 60 Steranko amp Schwarzenegger 1982 p 32 Conan The Barbarian Humane Hollywood Archived from the original on November 22 2015 Retrieved November 22 2015 Robb 1994 p 6 Sammon 1981 pp 24 31 Sammon 1981 p 24 Sammon 1982a pp 42 45 Sammon 1982a p 46 Sammon 1982a pp 51 55 Sammon 1982a pp 57 59 Sammon 1981 p 36 a b Sammon 1982a pp 55 63 MacDonald 1998 pp 291 292 Thomas 1997 pp 324 325 Thomas 1997 p 328 ASC 1982 ASC 1982 p 783 a b c d e Cook 1983 p 120 a b c d MacDonald 1998 p 292 a b c MacDonald 1998 p 294 ASC 1982 p 785 Morgan 2000 pp 171 172 MacDonald 1998 pp 292 293 Morgan 2000 p 171 Larson 2006 a b c d e Thomas 1997 p 326 a b ASC 1982 p 786 a b MacDonald 1998 p 293 Morgan 2000 pp 170 171 Larson 1985 p 349 a b Morgan 2000 p 167 a b Morgan 2000 p 228 a b Koppl amp Poledouris 2009 Morgan 2000 p 175 Morgan 2000 pp 172 173 Morgan 2000 pp 167 168 Morgan 2000 pp 173 174 Heritage Auctions 2010 p 118 Sammon 2007 pp 26 27 Segaloff 1981 Churcher 1981 p 12 Gunden 1989 p 27 a b c Sammon 1982b Harmetz 1982 ABC 1982b ABC 1982a a b Merigeau 1982 a b c Flynn 1996 p 48 a b BusinessWeek 1982 Kilday 1999 pp 40 42 Conan the Barbarian Blu ray Release Date August 2 2011 retrieved October 21 2020 Gunden 1989 p 15 a b c Schickel 1982 Conan the Barbarian Rotten Tomatoes Retrieved July 28 2022 Conan The Barbarian Metacritic June 26 2020 Retrieved June 26 2020 a b Andrews 1995 pp 108 109 Andrews 1995 p 141 a b Canby 1982a a b c d Clarens 1982 p 28 a b c d Wolcott 1982 p 160 Richards 1997 p 170 Sammon 2007 pp 103 104 108 a b Brougher 1982 p 103 Clarens 1982 p 27 Gunden 1989 pp 15 16 26 Andrews 1995 pp 100 105 106 Andrews 1995 p 106 Brown 1982 p 486 Rentrak Corporation 2011a Vogel 2011 p 91 Rentrak Corporation 2011b a b Prince 2000 p 3 Christy 1982 a b Cook 1999 p 32 a b Harmetz 1983 Billboard 1982 Billboard 1983 a b Sammon 2007 p 107 Canby 1982b Weiner 2008 p 216 HFPA 2011 Wilson 2005 AFI s 100 Years 100 Heroes amp Villains Nominees PDF Archived PDF from the original on November 4 2013 Retrieved August 12 2016 AFI s 100 Years of Film Scores Nominees PDF Archived PDF from the original on November 6 2013 Retrieved August 12 2016 AFI s 10 Top 10 Nominees PDF Archived from the original on July 16 2011 Retrieved August 19 2016 a href Template Cite web html title Template Cite web cite web a CS1 maint bot original URL status unknown link Grindley 2004 p 159 Grindley 2004 pp 151 155 Grindley 2004 pp 155 159 a b Whitlark 1988 p 115 Grindley 2004 p 160 a b Hoberman 2000 p 30 Passman 1991 p 92 Palumbo 1987 p 212 Palumbo 1987 pp 213 214 Aichele 2002 pp 7 8 Aichele 2002 p 8 Andrews 1995 p 104 Roberts 1998 pp 110 111 Dyer 2002 p 265 Jovanovski 2008 p 105 Solomon 2003 p 33 Shaw 2007 pp 267 269 Saunders 2009 pp 48 49 a b Saunders 2009 p 51 a b Kellner 2004 p 73 Saunders 2009 pp 51 52 Saunders 2009 p 57 Saunders 2009 pp 53 58 Ryan amp Kellner 1990 p 226 Richards 1997 pp 23 170 Wood 2003 p 152 a b Schubart 2007 p 18 Schubart 2007 p 326 Cross 2008 p 191 Thompson 2007 pp 103 104 Passman 1991 p 91 Cross 2008 pp 155 156 Wood 2003 p xxxvi Sammon 2007 pp 96 97 Schubart 2007 p 224 Schubart 2007 pp 224 225 Rossen 2008 p 127 Gunden 1989 p 247 Maltin 2008 p 97 McDonagh 2008 p 135 Andrews 2006 p 101 Falicov 2003 p 26 Sammon 1984 p 5 Sammon 2007 pp 114 117 Universal Studios 1983 Moleski 1985 Flynn 1996 pp 79 80 Behar 1990 a b Kendrick 2009 p 87 Cook 1999 pp 32 33 Pulleine 1986 Twitchell 1992 p 248 Rossen 2008 p 169 Thomas 1997 p 325 Larson amp Poledouris 2008 Morgan 2000 p 55 Karlin 1994 p 6 Rees 1992 p 1992 Popadiuk 2009 p 96 a b Grover amp Palmeri 2004 Geringer 1987 pp 89 90 Brenner 2005 p 3 LeDuff amp Broder 2004 p 1 Fox 2011 Jamie Lovett May 20 2007 Arnold Schwarzenegger Updates Status Of Next Conan Movie Pop Culture Media Archived from the original on March 31 2019 Retrieved October 21 2019 Eric Snider November 27 2008 Eric s Bad Movies Kull the Conqueror 1997 MTV Archived from the original on September 16 2019 Retrieved October 21 2019 Schwarzenegger returns to Conan role films Ten CNN com Archived from the original on March 30 2013 Retrieved October 26 2012 According to Deadline the 65 year old actor politician author will be back as Conan the Barbarian the role that he first portrayed in the 1982 film Cornet Roth January 29 2014 The Legend of Conan Producer Chris Morgan Says Arnold Schwarzenegger s Return to the Role is Going to be Their Unforgiven Archived February 14 2014 at the Wayback Machine IGN com Retrieved February 11 2014 Schaefer 2016 Barton Steve June 13 2013 Arnold Schwarzenegger Confirms Terminator Role Talks King Conan and Twins 2 No Really Twins 2 DreadCentral com Archived from the original on June 16 2013 Retrieved June 14 2013 Mike Fleming Jr October 1 2013 Legend Of Conan Lands Andrea Berloff To Script Arnold Schwarzenegger Epic Reprise Deadline Archived from the original on March 21 2019 Retrieved March 16 2019 Legend of Conan Writer Teases Opening Shot amp Worthy Conan Sequel Archived November 27 2016 at the Wayback Machine Susan Schaefer August 16 2016 What s Happening With The Legend of Conan IGN February 7 2015 Archived from the original on February 22 2015 Retrieved February 23 2015 Arnold Schwarzenegger s The Legend of Conan May Not Happen After All slashfilm com April 6 2017 Archived from the original on April 7 2017 Retrieved April 7 2017 General sources Edit Books Edit Aichele George 2002 Foreword In Kreitzer Larry Joseph ed Gospel Images in Fiction and Film On Reversing the Hermeneutical Flow Biblical Seminar Vol 84 Sheffield United Kingdom Sheffield Academic Press pp 7 10 ISBN 1 84127 343 0 OCLC 783055726 Andrews David 2006 Spicy but Not Obscene Soft in the Middle The Contemporary Softcore Feature in its Contexts Ohio United States Ohio State University Press pp 77 109 ISBN 0 8142 1022 8 OCLC 65978656 Andrews Nigel 1995 True Myths The Life and Times of Arnold Schwarzenegger London United Kingdom Bloomsbury Publishing ISBN 0 7475 2126 3 OCLC 722665367 Ashley Michael 2007 The Depths of Infinity Gateways to Forever The Story of the Science Fiction Magazines from 1970 to 1980 Liverpool United Kingdom Liverpool University Press pp 135 139 ISBN 978 1 84631 002 7 OCLC 607814774 via Google Books Beaver Frank 1994 Writing for the Establishment Conan the Barbarian Scarface Year of the Dragon 8 Million Ways to Die Oliver Stone Wakeup Cinema Twayne s Filmmakers Series New York United States Twayne Publishers pp 48 66 ISBN 0 8057 9332 1 Bebenek Chris 2004 Jones James Earl In Gates Henry Louis Higginbotham Evelyn Brooks eds African American Lives New York United States Oxford University Press pp 473 474 ISBN 0 19 516024 X Cross Gary 2008 Men to Boys The Making of Modern Immaturity New York United States Columbia University Press ISBN 978 0 231 14430 8 Dyer Richard 2002 The White Man s Muscles In Adams Rachel Savran David eds The Masculinity Studies Reader Oxford United Kingdom Blackwell Publishers pp 262 273 ISBN 0 631 22660 5 This was originally printed in White London United Kingdom Routledge 1997 pp 145 153 155 165 230 231 ISBN 0 415 09537 9 Elley Derek 1984 Early Medieval Norsemen Saxons and the Cid The Epic Film Myth and History Cinema and Society London United Kingdom Routledge amp Kegan Paul pp 136 159 ISBN 0 7100 9656 9 Flynn John L 1996 1993 The Films of Arnold Schwarzenegger Citadel Press Book Revised and updated ed New York United States Carol Publishing Group ISBN 0 8065 1645 3 Gunden Kenneth von 1989 Conan the Barbarian Sword and Sorcery Flights of Fancy The Great Fantasy Films North Carolina United States McFarland amp Company pp 14 29 ISBN 0 7864 1214 3 Herron Don September 2000 1984 The Dark Barbarian The Writings of Robert E Howard A Critical Anthology New Jersey United States Wildside Press ISBN 1 58715 203 7 Hoberman James 2000 Nietzsche s Boy In Arroyo Jose ed Action Spectacle Cinema London United Kingdom British Film Institute pp 29 33 ISBN 0 85170 756 4 This article was originally published in Nietzsche s Boy Sight and Sound Vol 1 no 5 London United Kingdom British Film Institute September 1991 pp 22 25 ISSN 0037 4806 Howorth Henry Hoyle 1876 Jingis Khan History of the Mongols The Mongols Proper and the Kalmuks History of the Mongols from the 9th to the 19th Century Vol 1 London United Kingdom Longmans Green and Company pp 49 115 Jovanovski Thomas 2008 Ubermensch on Parade Aesthetic Transformations Taking Nietzsche at His Word American University studies Vol 204 New York United States Peter Lang pp 103 110 ISBN 978 0 8204 2002 8 Karlin Fred 1994 Planning the Score Listening to Movies The Film Lover s Guide to Film Music California United States Wadsworth Group pp 3 16 ISBN 0 02 873315 0 Kendrick James 2009 Pure Action Packaged Violence Hollywood Bloodshed Illinois United States Southern Illinois University Press pp 79 105 ISBN 978 0 8093 2888 8 Kurohashi Yuko 1999 Asian American Culture on Stage The History of the East West Players New York United States Garland Publishing ISBN 0 8153 3147 9 Larson Randall D 1985 Classical Music Musique Fantastique A Survey of Film Music in the Fantastic Cinema New Jersey United States Scarecrow Press pp 347 356 ISBN 0 8108 1728 4 Maltin Leonard 2008 1969 Leonard Maltin s Movie Guide 2009 London United Kingdom Penguin Group ISBN 978 0 452 28978 9 MacDonald Laurence E 1998 1982 Basil Poledouris Conan the Barbarian The Invisible Art of Film Music A Comprehensive History New York United States Ardsley House pp 291 294 ISBN 1 880157 56 X Morgan David 2000 Knowing the Score Film Composers Talk About the Art Craft Blood Sweat and Tears of Writing for Cinema New York United States HarperEntertainment ISBN 0 380 80482 4 Moya Jose Enrique Martinez 1999 Almeria un Mundo de Pelicula Almeria A World of Film Almeria y Los Almerienses in Spanish Vol 11 Almeria Spain Almeria Studies Institute ISBN 84 8108 169 8 Nicholls Peter 1984 The World of Fantastic Films An Illustrated Survey New York United States Dodd Mead and Company ISBN 0 396 08382 X Peary Danny 1986 Conan the Barbarian Guide for the Film Fanatic New York United States Simon amp Schuster p 101 ISBN 0 671 61081 3 Popadiuk Roman 2009 Behind the Scenes The Leadership of George Bush An Insider s View of the Forty First President Joseph V Hughes Jr and Holly O Hughes Series in the Presidency and Leadership Studies Texas United States Texas A amp M University Press pp 92 110 ISBN 978 1 60344 112 4 Prince Stephen 2000 The Industry at the Dawn of the Decade In Harpole Charles ed A New Pot of Gold Hollywood Under the Electronic Rainbow 1980 1989 History of the American Cinema Vol 10 New York United States Charles Scribner s Sons ISBN 0 684 80493 X Richards Jeffrey 1997 Films and British National Identity From Dickens to Dad s Army Studies in Popular Culture Manchester United Kingdom Manchester University Press ISBN 0 7190 4743 9 Riordan James 1994 Stone The Controversies Excesses and Exploits of a Radical Filmmaker New York United States Hyperion Books ISBN 0 7868 6026 X Roberts Adam 1998 Arthurian Cinema Aesthetic Fascism and Its Critique Silk and Potatoes Contemporary Arthurian Fantasy Costerus New Series Vol 114 Amsterdam Netherlands Rodopi Publishers pp 110 131 ISBN 90 420 0306 5 Rossen Jake 2008 Nuclear Disaster Superman vs Hollywood How Fiendish Producers Devious Directors and Warring Writers Grounded an American Icon Illinois United States Chicago Review Press pp 158 173 ISBN 978 1 55652 731 9 Ryan Michael Kellner Douglas 1990 1988 The Triumph of Individualism From Man to Superman Camera Politica The Politics and Ideology of Contemporary Hollywood Film First Midland Book ed Indiana United States Indiana University Press pp 219 228 ISBN 0 253 20604 9 Sammon Paul September 2007 Conan the Phenomenon The Legacy of Robert E Howard s Fantasy Icon Oregon United States Dark Horse Books ISBN 978 1 59307 653 5 Saunders Dave 2009 Colossus Arnold s Hollywood Putsch Arnold Schwarzenegger and the Movies London United Kingdom I B Tauris pp 47 120 ISBN 978 1 84511 948 5 Schubart Rikke 2007 Super Bitches and Action Babes The Female Hero in Popular Cinema 1970 2006 North Carolina United States McFarland amp Company ISBN 978 0 7864 2924 0 Session Two Auction 7205 Heritage Vintage Movie Posters 7025 auction catalogue Texas United States Heritage Auctions 2010 pp 103 196 ISBN 978 1 59967 471 1 Shaw Tony 2007 The Empire Strikes Back Hollywood s Cold War Edinburgh United Kingdom Edinburgh University Press pp 267 300 ISBN 978 1 55849 612 5 Solomon Robert C 2003 1999 The Will to Power as Virtue The Joy of Philosophy Thinking Thin Versus the Passionate Life New York United States Oxford University Press pp 31 35 ISBN 0 19 506759 2 Thomas Tony 1997 More Recently Basil Poledouris Music for the Movies 2nd ed California United States Silman James Press pp 322 329 ISBN 1 879505 37 1 Thompson Graham 2007 Film and Television American Culture in the 1980s Twentieth Century American Culture Edinburgh United Kingdom Edinburgh University Press pp 89 122 ISBN 978 0 7486 1910 8 Twitchell James B 1992 Programming Television Reflections on the Electronic Midway Carnival Culture The Trashing of Taste in America New York United States Columbia University Press pp 193 252 ISBN 0 231 07831 5 Vogel Harold 2011 1986 Movie Macroeconomics Entertainment Industry Economics A Guide for Financial Analysis 8th ed New York United States Cambridge University Press pp 71 111 ISBN 978 1 107 00309 5 Weiner Robert G 2008 Marvel and Marvel Related Paperbacks Marvel Graphic Novels and Related Publications North Caroline United States McFarland amp Company pp 215 226 ISBN 978 0 7864 2500 6 Whitlark James 1988 Cinematic Magic From Motion Picture to Comic Book Adaptation Illuminated Fantasy From Blake s Visions to Recent Graphic Fiction New Jersey United States Associated University Presses pp 110 117 ISBN 0 8386 3305 6 Wilson John 2005 The Official Razzie Movie Guide Enjoying the Best of Hollywood s Worst Grand Central Publishing ISBN 0 446 69334 0 Wood Robin 2003 1986 Papering the Cracks Fantasy and Ideology in the Reagan Era Hollywood from Vietnam to Reagan and Beyond Revised and expanded ed New York United States Columbia University Press pp 144 167 ISBN 0 231 12967 X Essays and journals Edit Capella Miternique Hugo July 2002 A Tale Right Out of Hollywood Set in the Desert of Almeira in Spain In Jussila Heikki Majoral i Moline Roser Cullen Bradley eds Sustainable Development and Geographical Space Issues of Population Environment Globalization and Education in Marginal Regions Marginal Regions and In Association with IGU Dynamics of Marginal and Critical Regions Hampshire United Kingdom Ashgate Publishing pp 270 283 ISBN 0 7546 1860 9 Cook David 1999 1998 Auteur Cinema and the Film Generation in 1970s Hollywood In Lewis Jon ed The New American Cinema North Carolina United States Duke University Press pp 11 37 ISBN 0 7864 2016 2 Falicov Tamara L Spring 2003 B Movies in the Pampas Roger Corman s Co Productions in Argentina Hemisphere Florida United States Florida International University s Latin American and Caribbean Center 12 25 27 ISSN 0898 3038 Grindley Carl James 2004 The Hagiography of Steel The Hero s Weapon In Driver Martha W Ray Sid eds The Medieval Hero On Screen Representations from Beowulf to Buffy North Carolina United States McFarland amp Company pp 151 166 ISBN 0 7864 1926 1 Huckvale David 1994 The Composing Machine Wagner and Popular Culture In Tambling Jeremy ed A Night in at the Opera Media Representations of Opera London United Kingdom John Libbey and Company pp 113 144 ISBN 0 86196 466 7 Hunter Ian 2007 Post classical Fantasy Cinema The Lord of the Rings In Cartmell Deborah Whelehan Imelda eds The Cambridge Companion to Literature on Screen Cambridge Companions to Literature New York United States Cambridge University Press pp 154 166 doi 10 1017 CCOL0521849624 011 ISBN 978 0 521 61486 3 Irwin William 2007 This Search Goes On Christian Warrior Buddhist Metallica and Philosophy A Crash Course in Brain Surgery Oxford United Kingdom Blackwell Publishing pp 16 28 ISBN 978 1 4051 6348 4 Kellner Douglas 2004 Films Politics and Ideology Reflections on Hollywood Film in the Age of Reagan In Schatz Thomas ed Hollywood Cultural Dimensions Ideology Identity and Cultural Industry Studies Hollywood Critical Concepts in Media and Cultural Studies Vol 4 London United Kingdom Routledge pp 69 92 ISBN 0 415 28131 8 Marklund Anders 2010 Swedish Films and Filmmakers Abroad Introduction In Larsson Mariah ed Swedish Film An Introduction and a Reader Lund Sweden Nordic Academic Press pp 306 310 ISBN 978 91 85509 36 2 McDonagh Maitland 2008 Dellamorte Dellamore and Michele Soavi In Atkinson Michael ed Exile Cinema Filmmakers at Work Beyond Hollywood Horizons of Cinema New York United States State University of New York Press pp 131 136 ISBN 978 0 7914 7377 1 Palumbo Donald E November 11 1987 The Underground Journey and the Death and Resurrection Theme in Recent Science Fiction and Fantasy Films In Morse Donald E ed The Fantastic in World Literature and the Arts Selected Essays from the Fifth International Conference on the Fantastic in the Arts 1984 Contributions to the Study of Science Fiction and Fantasy Vol 28 Connecticut United States Greenwood Press pp 211 228 ISBN 0 313 25526 1 Passman Kristina 1991 Winkler Martin ed The Classical Amazon in Contemporary Cinema Classics and Cinema Bucknell Review Pennsylvania United States Bucknell University Press 35 1 81 105 ISBN 0 8387 5198 9 Whitaker Albert Keith 2003 In the Classroom California Dreamin in the Postmodern Academy The Journal of Education Massachusetts United States Boston University 184 2 123 124 doi 10 1177 002205740418400208 ISSN 0022 0574 S2CID 191816702 Newspaper and magazine articles Edit At Random Pumping Irony Lopez Goes Hollywood Surfing Vol 16 no 10 California United States Western Empire Publications October 1980 p 27 ISSN 0194 9314 Behar Richard April 9 1990 Star Of His Own Dubious Epic Time Vol 135 no 15 New York United States p 63 ISSN 0040 781X Archived from the original on December 15 2008 Blockbuster Risks at the Box Office BusinessWeek No 2746 New York United States July 5 1982 p 88 ISSN 0007 7135 Brougher Kerry August 1982 Films Conan Swings a Heavy Sword and Misses Orange Coast California United States pp 102 103 ISSN 0279 0483 Brown Royal S September October 1982 Soundtracks Fanfare Vol 6 no 1 New Jersey United States pp 483 491 ISSN 0148 9364 Bruzenak Ken December 1981 The Making of an Adventure Epic Conan the Barbarian Mediascene Prevue Vol 2 no 6 Pennsylvania United States pp 51 57 65 ISSN 0199 9257 Canby Vincent May 23 1982a Film View Thoughts While Held Captive by an Escapist Movie The New York Times Retrieved July 17 2010 Canby Vincent June 6 1982b Film View Questions Grown in the Dark The New York Times section 2 p 19 col 1 Carney Thomas September 29 1987 The Maverick Producer The New York Times Magazine The Business World pp 65 66 72 74 ISSN 0028 7822 Christy Marian May 9 1982 Conversations Winning According to Arnold Schwarzenegger The Boston Globe p 1 ISSN 0743 1791 ProQuest 294151457 Churcher Sharon August 31 1981 Intelligencer Studio Brass Said to Cringe at Barbarian Movie New York Vol 14 no 34 pp 11 13 ISSN 0028 7369 Clarens Carlos May June 1982 Barbarians Now Film Comment Vol 18 no 3 New York United States Film Society of Lincoln Center pp 26 28 ISSN 0015 119X Conan el Barbaro Conan the Barbarian PDF ABC in Spanish Madrid Spain April 15 1982 p 7 Cook Page 1983 The Sound Track 1982 s Best Sound Tracks Films in Review Vol 34 New York United States National Board of Review of Motion Pictures pp 118 122 ISSN 0015 1688 Denby David May 24 1982 Sweat and Strain New York Vol 15 no 21 pp 68 70 ISSN 0028 7369 Fotogramas de Plata Silver Frames PDF ABC in Spanish Madrid Spain March 6 1982 p 48 El mundo del espectaculo Franck Loren November 1985 The Crash Course in Sword Training It Works for the Stars but How About Martial Artists Black Belt Vol 23 no 11 California United States pp 20 24 98 ISSN 0277 3066 Galindo Carlos March 11 1981 Conan el Barbaro Una Superproduccion Internacional en Los Estudios Espanoles Conan the Barbarian a Spanish Study of an International Blockbuster PDF ABC in Spanish Madrid Spain p 11 aerial edition Geringer Dan December 7 1987 Pex Sell Tix Sports Illustrated Vol 67 no 25 New York United States pp 80 84 86 90 ISSN 0038 822X Archived from the original on April 4 2012 Harmetz Aljean March 16 1982a Reporter s Notebook Crowded Previews Thrust Universal s Conan into Spotlight The New York Times United States section C p 11 col 1 Harmetz Aljean January 25 1983 1982 A Bonanza Year at Movie Box Offices The New York Times section C p 11 col 1 Helman Christopher November 24 2003 Schwarzenegger s Sargent Forbes Vol 172 no 11 New York United States pp 276 280 ISSN 0015 6914 Archived from the original on February 6 2012 Retrieved August 30 2011 Kilday Gregg June 1999 The Industry The Selling of Summer Los Angeles Vol 44 no 4 pp 38 40 42 44 46 48 50 ISSN 1522 9149 Kroll Jack May 17 1982 A Cut up Called Conan Newsweek Vol 99 no 20 California United States p 100 ISSN 0028 9604 Merigeau Pascal 1982 Analyses des Longs Metrages Conan le Barbare Feature Films Analysis Conan the Barbarian La Saison Cinematographique La revue du cinema in French Vol 26 Paris France L Ufoleis p 82 ISSN 0019 2635 Moleski Linda ed October 5 1985 Video Track Billboard Vol 97 no 40 New York United States p 36A ISSN 0006 2510 Musync Computerized Music Editing American Cinematographer Vol 63 no 8 California United States American Society of Cinematographers August 1982 pp 783 786 ISSN 0002 7928 New on the Charts Billboard Vol 94 no 39 New York United States October 2 1982 p 42 ISSN 0006 2510 Pulleine Tim June 1986 Edward R Pressman From Phantom of the Paradise to Plenty and Beyond Films and Filming No 381 London Brevet Publishing p 21 ISSN 0015 167X Rees Matt May 25 1992 Corporate America s Most Powerful People Arnold Schwarzenegger Forbes Vol 149 no 11 New York United States pp 159 160 ISSN 0015 6914 Robb David May 10 1994 Does AHA Have Enough Bite The Hollywood Reporter Vol 332 no 9 California United States pp 1 6 90 ISSN 0018 3660 Sammon Paul September 1981 Nine Days in Cimmeria Cinefantastique Vol 11 no 3 Illinois United States pp 16 37 ISSN 0145 6032 Sammon Paul April 1982a Conan the Barbarian Cinefantastique Vol 12 no 2 and 3 Illinois United States pp 28 63 ISSN 0145 6032 Sammon Paul May June 1982b Reviews Conan the Barbarian Cinefantastique Vol 12 no 4 Illinois United States p 49 ISSN 0145 6032 Sammon Paul September 1984 Conan II Cinefantastique Vol 14 no 4 and 5 Illinois United States pp 4 7 ISSN 0145 6032 Schickel Richard May 24 1982 Cinema Overkill Time Vol 119 no 21 New York United States p 76 ISSN 0040 781X Archived from the original on January 13 2005 Segaloff Nat August 30 1981 Special to The Globe The Boston Globe p 1 ISSN 0743 1791 ProQuest 294163877 Turan Kenneth January 1980 August 27 1979 The Barbarian in Babylon Savage Sword of Conan Vol 1 no 48 New York United States Marvel Comics pp 56 66 This article was first published in New West Vol 4 no 18 California United States August 27 1979 pp 16 25 ISSN 0362 1146 a href Template Cite magazine html title Template Cite magazine cite magazine a Missing or empty title help Universal Studios June 24 1983 Movie Making Magic The Herald Everett Washington United States p 10A Videocassette Top 40 Billboard Vol 95 no 9 New York United States March 5 1983 p 31 ISSN 0006 2510 Williams Owen May 2010 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Archives Archived from the original on August 3 2011 This interview was originally published in CinemaScore California United States Randall D Larson 13 14 Winter Summer 1985 ISSN 0277 9803 a href Template Cite journal html title Template Cite journal cite journal a Missing or empty title help McGilligan Pat Stone Oliver subject 2001 1987 Point Man In Silet Charles L P ed Oliver Stone Interviews Conversations with Filmmakers Mississippi United States University Press of Mississippi pp 10 38 ISBN 1 57806 303 5 This interview first appeared in Film Comment Vol 23 no 1 New York United States Film Society of Lincoln Center February 1987 ISSN 0015 119X a href Template Cite magazine html title Template Cite magazine cite magazine a Missing or empty title help Mitchell Blake Ferguson Jim Cobb Ron subject June 1982 Conan the Barbarian Fantastic Films Vol 4 no 5 Illinois United States Michael Stein pp 10 22 ISSN 0273 7043 Sammon Paul Cobb Ron subject April 1982 Cobb the Designer Cinefantastique Vol 12 no 2 and 3 Illinois United States Frederick S Clarke pp 64 71 ISSN 0145 6032 Sammon Paul Milius John subject April 1982 Milius the Director Cinefantastique Vol 12 no 2 and 3 Illinois United States Frederick S Clarke pp 22 27 ISSN 0145 6032 Steranko James Bergman Sandahl subject September 1982 Sandahl Bergman Sensational Sexy Warrior Woman of Conan Mediascene Prevue Vol 2 no 9 Pennsylvania United States James Steranko pp 41 46 73 ISSN 0199 9257 Steranko James Milius John subject July 1982 John Milius Behind the Scenes Interview with the Writer Director of Conan Mediascene Prevue Vol 2 no 8 Pennsylvania United States James Steranko ISSN 0199 9257 Archived from the original on August 5 2002 Steranko James Schwarzenegger Arnold subject May 1982 An Exclusive Conversation With Arnold Schwarzenegger on the Power and Peril of Playing Conan Mediascene Prevue Vol 2 no 7 Pennsylvania United States James Steranko pp 26 32 39 ISSN 0199 9257 Waterman Edward Samson Jody subject 2002 Jody Samon 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Brenner Marie January 2005 Mr and Mrs California Vanity Fair Archived from the original on October 8 2011 This is an online version of the article in Mr and Mrs California Vanity Fair Vol 47 no 533 New York United States Louis Cona ISSN 0733 8899 Dornbush Jonathan January 28 2016 Arnold Schwarzenegger reveals new title plot details about Conan sequel Entertainment Weekly Retrieved January 31 2016 Ebert Roger January 1 1982 Conan the Barbarian Chicago Sun Times Archived from the original on April 30 2007 This is an online version of the article in Conan the Barbarian Chicago Sun Times 1982 Fox Stuart March 1 2011 Schwarzenegger Get Real About Climate Change NBC News Retrieved July 17 2011 Grover Ronald Palmeri Christopher July 5 2004 Arnold Is Hitting His Marks BW Online Bloomberg Archived from the original on September 7 2008 This is an online version of the article in Arnold Is Hitting His Marks BusinessWeek No 3890 New York United States William P Kupper Jr July 5 2004 pp 42 44 ISSN 0007 7135 H 10 Foreign Exchange Rates Spain Historical Rates Federal Reserve Statistical Release Federal Reserve System December 29 1989 Archived from the original on June 26 2002 Retrieved August 2 2011 HFPA Awards Search Sandahl Bergman Hollywood Foreign Press Association 2011 Archived from the original on December 15 2009 Retrieved June 10 2011 Jennings Randy May 24 2015 Exclusive Conan Script is Ready amp Arnold Reteams with Barbarian Cast in The Legend of Conan TheArnoldFans com Jennings Randy August 4 2014 Exclusive Polished Conan Script Submitted Next Month Conan Following Terminator TheArnoldFans com Retrieved August 5 2014 Larson Randall D November 16 2006 Remembering Basil Mania com Demand Media Archived from the original on April 10 2008 Retrieved August 8 2010 LeDuff Charlie Broder John M June 24 2004 Schwarzenegger Confident and Ready for Prime Time The New York Times Archived from the original on October 11 2011 Retrieved July 17 2011 Rentrak Corporation 2011a Weekend Box Office for May 14 May 16 1982 Variety New York United States Archived from the original on October 11 2011 Retrieved March 29 2011 Rentrak Corporation 2011b Weekly Box Office Jul 02 Jul 08 1982 Variety New York United States Archived from the original on October 11 2011 Retrieved March 29 2011 Schaefer Sandy January 25 2016 Arnold Schwarzenegger Offers Legend of Conan Title amp Director Update ScreenRant com Retrieved January 27 2016 Steinbeiser Andrew May 28 2015 Arnold Schwarzenegger s The Legend Of Conan Could Lead To Cinematic Universe Of Robert E Howard s Creations ComicBook com External links Edit Wikiquote has quotations related to Conan the Barbarian 1982 film Universal Studios s page for Conan the Barbarian Conan the Barbarian at IMDb Conan the Barbarian at AllMovie Conan the Barbarian at the TCM Movie Database Conan the Barbarian at the American Film Institute Catalog Conan the Barbarian at Box Office Mojo Conan the Barbarian at Rotten Tomatoes Conan the Barbarian at 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