502 reviews
In an age of Xena-esque fantasy adventure films (al la the tepid Scorpion King) It is startling to go back and see just how good this movie still is. "Conan" is not for the faint of heart, and not just for gore - there are far more bloody movies out there - but for the uncompromising warrior-ethos John Milius infused into his vision. There is nothing PC about this fantasy world. When he is asked "what is best in life?" Conan paraphrases Genghis Khan: "Crush your enemies, see them driven before you, and hear the lamentations of their women!" We are not led to believe he is kidding. It is true that Arnold is no great actor, but it is also true he has always stuck with parts he can handle, and he does a fine job as Conan, but the real star here is the director. John Milius is one of the greats, totally unappreciated in his time, and his sweeping scope and epic, gritty battle sequences add a dimension lacking from almost every other S&S film. There is a grim aura of doom pervading the movie that fits the original Howard stories to a T, and I think Robert E Howard would have really liked this movie. James Earl Jones gives a killer performance as the evil Thulsa Doom, rivalling Darth Vader himself. A last point in this film's favor is the score. Basil Poledouris turned out his best score ever for this film: Brooding, powerful and operatic, it lends the film a grandeur Hercules could only dream of. I must have seen this film 40 times and I still never get tired of it.
Directed by John Milius, this hugely entertaining slice of sword and sorcery is epic stuff from start to finish, opening with Conan as a young boy witnessing the slaughter of his tribe by the evil snake-cult leader Thulsa Doom (James Earl Jones) and his henchmen, charting Conan's subsequent life as a slave, a gladiator, and a thief, and following him as he and his loyal friend Subotai (Gerry Lopez) and sexy squeeze Valeria (Sandahl Bergman) travel to Thulsa Doom's mountain lair to rescue a king's daughter and exact a little revenge.
As an actor, five times Mr. Universe and seven times Mr. Olympia Arnold Schwarzenegger might only be slightly less wooden than The Tree of Woe to which he is nailed, but with more muscle mass in one arm than the average man has in his entire body, he makes a perfect Conan the Barbarian. As expected, Arnold mauls his dialogue like he's chewing on a vulture's neck, but he gives the role everything he's got, especially when it comes to swinging a sword and slicing up men like they're so much Extrawurst. Arnie flexes his muscles, blood and limbs fly in all directions, and Hollywood's greatest action star is born.
Milius's film might threaten to become mired by a sense of self importance at times, but with bags of atmosphere, superb production design by Ron Cobb, and stunning cinematography, plus oodles of brutal hacking and slashing, all accompanied by a breath-taking symphonic score by Basil Poledouris, Arnie's first major movie ultimately emerges triumphant.
As an actor, five times Mr. Universe and seven times Mr. Olympia Arnold Schwarzenegger might only be slightly less wooden than The Tree of Woe to which he is nailed, but with more muscle mass in one arm than the average man has in his entire body, he makes a perfect Conan the Barbarian. As expected, Arnold mauls his dialogue like he's chewing on a vulture's neck, but he gives the role everything he's got, especially when it comes to swinging a sword and slicing up men like they're so much Extrawurst. Arnie flexes his muscles, blood and limbs fly in all directions, and Hollywood's greatest action star is born.
Milius's film might threaten to become mired by a sense of self importance at times, but with bags of atmosphere, superb production design by Ron Cobb, and stunning cinematography, plus oodles of brutal hacking and slashing, all accompanied by a breath-taking symphonic score by Basil Poledouris, Arnie's first major movie ultimately emerges triumphant.
- BA_Harrison
- Feb 27, 2015
- Permalink
When Conan came out in 1981, critics griped about its elephantine pacing and ponderous dialogue, and long stretches in which nothing much happened, giving evidence that they expected traditional action- adventure in the vein of, say, Sinbad. But director John Milius had set out to create something very different: an epic Aryan myth which translated the qualities of Wagnerian opera to cinema, and in large part he succeeded.
Conan has a sweeping epic feel, and is heavily dependent upon and driven by its setting and music to a degree that is very rare. As important as the deeds of the legendary hero, which are shown in brief and violent spurts of action, are the place and the culture that shaped that legend. The journey that created the myth, in short, is equal to the myth itself, and this is the logic and justification for the setting-heavy approach taken by Milius. And Basil Poledouris' wonderful music, which starts out Wagnerian and brassy, but adds middle Eastern touches as Conan's journey takes him in that direction, tracks along with Conan to show up the breadth of his epic journey while celebrating his heroic achievements.
Ultimately the story that gets told is somewhat less worthy of Milius' Wagnerian ambitions than are the music and the visuals, but the overall results more than justify the effort, especially when compared to the Italian sword and sandal knock-offs which followed this much copied but never equaled classic of the fantasy genre.
Conan has a sweeping epic feel, and is heavily dependent upon and driven by its setting and music to a degree that is very rare. As important as the deeds of the legendary hero, which are shown in brief and violent spurts of action, are the place and the culture that shaped that legend. The journey that created the myth, in short, is equal to the myth itself, and this is the logic and justification for the setting-heavy approach taken by Milius. And Basil Poledouris' wonderful music, which starts out Wagnerian and brassy, but adds middle Eastern touches as Conan's journey takes him in that direction, tracks along with Conan to show up the breadth of his epic journey while celebrating his heroic achievements.
Ultimately the story that gets told is somewhat less worthy of Milius' Wagnerian ambitions than are the music and the visuals, but the overall results more than justify the effort, especially when compared to the Italian sword and sandal knock-offs which followed this much copied but never equaled classic of the fantasy genre.
This is one of my top-ten favorite movies of all time. It's quite easy to dismiss this film based on its genre (barbarian slash-em-up) and the limited acting ability of the star (Schwarzenegger), but Conan is nothing short of a masterpiece.
Ok, the story is fairly standard, and the principal actors (Schwarzenegger, Sandahl Bergman & Gerry Lopez) are competent but not outstanding. There are a few brief but memorable performances from James Earl Jones and Max von Sydow that help lend weight to the film, but the real stars are Poledouris' score and the cinematography. I have never seen a more beautifully-shot film in my life. The costumes, props and art direction are all top-notch. They could take all of the dialog out of the movie, and just have the music and pictures and it would still be worth watching.
To fully appreciate Conan, though, you have to watch it and then watch another barbarian-type film from any era (Beastmaster, Krull, etc.) and the difference will be stunning.
Ok, the story is fairly standard, and the principal actors (Schwarzenegger, Sandahl Bergman & Gerry Lopez) are competent but not outstanding. There are a few brief but memorable performances from James Earl Jones and Max von Sydow that help lend weight to the film, but the real stars are Poledouris' score and the cinematography. I have never seen a more beautifully-shot film in my life. The costumes, props and art direction are all top-notch. They could take all of the dialog out of the movie, and just have the music and pictures and it would still be worth watching.
To fully appreciate Conan, though, you have to watch it and then watch another barbarian-type film from any era (Beastmaster, Krull, etc.) and the difference will be stunning.
Back when it was originally released, CONAN THE BARBARIAN was dismissed by the critics as a disposable Sword & Sorcery B-movie. It was criticized for it's excessive violence and Arnold's wooden performance. It's brilliant score and memorable sets are ignored by reviewers, as is the well choreographed swordplay. Thirteen years later, BRAVEHEART is showered with praise and Oscar respectability. It is embraced by critics despite it's graphically violent battlefield sequences, which are praised as exhilarating and authentic. Many of these battle sequences (as well as some of the costume design) bare just a little resemblance to the ones in CONAN THE BARBARIAN. Eighteen years later, GLADIATOR becomes a box-office blockbuster in a matter of weeks, taking in almost one hundred thirty million thus far. It receives generally good notices from critics despite it's historical inaccuracies, poorly edited action scenes and predictable plot. The basic story is reminiscent to the one told in CONAN, and the films violence is every bit as brutal. Isn't it funny how times change? What was once laughable and disposable is now respectable.
- The_Sun_Toucher
- May 29, 2000
- Permalink
You know, Conan doesn't speak for the first 22 minutes of the movie, but it's worth the wait. "Crush enemies, see them driven before you, hear the lamentations of the women" is Conan's description of what is best in life.
If you're a dialog person, this movie may not be for you. If you never paid attention to the dialog, you might do so now. Sex, drugs, and rock'n'roll! (except, without the rock'n'roll. The soundtrack is pretty awesome, though).
What can I say? It's a classic. Intense blood and gore, Eighties-esquire special effects, intense sensuality with were-vixens, magic, revenge, true love...sounds like the Princess Bride with an R rating. Just kidding.
If you're a dialog person, this movie may not be for you. If you never paid attention to the dialog, you might do so now. Sex, drugs, and rock'n'roll! (except, without the rock'n'roll. The soundtrack is pretty awesome, though).
What can I say? It's a classic. Intense blood and gore, Eighties-esquire special effects, intense sensuality with were-vixens, magic, revenge, true love...sounds like the Princess Bride with an R rating. Just kidding.
- garyoldmanisgod
- Aug 14, 2006
- Permalink
- LordBlacklist
- Sep 6, 2005
- Permalink
Arnie in the lead role. James Earl Jones as the villain. Clear effort and care, that shows, in every department. Really, what more could you ask of this film? I have not read any of Howard's stories, so all I know about Conan is how many times the character has been done, and of course what this film told me. Be forewarned, there is some sexuality(not many places, but when it's there, it can be strong), a lot of violence, and a seemingly endless stream of death throughout this, and you should only watch this if you are prepared for(and able to tolerate) such. The plot is quite good, and I understand it does incorporate several elements and occurrences from the original stories by Howard(R.I.P.). The pacing is pretty much flawless, I was never bored. The action is well-done, intense and with great choreography. Acting is spot-on, more or less. Jones is a more intimidating presence elsewhere, but he's not bad at all. Schwarzenegger does rather well. Production values are of notably high quality for the entire feature. No expense seems spared. Vast sets and locations, detailed costumes and props, countless extras. Special effects are magnificent, and not just for the time it was made. Sound is reasonable, a lot of lines seem ADR'ed, but the music is masterful. Dialog varies, but most of it is marvelous, both writing and delivery. Cinematography and editing are top-notch. This builds atmosphere skillfully, and the amount of dialog and where it occurs is chosen with care. I would advise against reading the Trivia entries, or at least all of them, before the viewing, as they do give some things away. I recommend this to any fan of the genre, Arnie, and possibly Jones and/or Sydow, as well. 7/10
- TBJCSKCNRRQTreviews
- Mar 8, 2008
- Permalink
I have a soft spot in my heart for this movie, being that this is one of the first movies I can remember seeing. As I grew up I never stopped enjoying this movie and could come away with something new every time I watched it (now around 50+ times). The movie is multi-layered. On one level there is the action (which is very graphic). There is also philosophical layer (why am i here ?? that which doesn't kill you....). Mix that in with some wonderful cinematography (filmed in Spain) and very appropriately accompanied by dark, serious, foreboding music (by Basil Poledouris - who also did the music for Hunt for Red October) and you get the ultimate action movie (that is more than just an action movie - its the thinking man's action movie).
Conan is based on the work of Robert E. Howard. Howard once described writing the Conan stories (which were published in Weird Tales) as this : At sunset, he could feel the presence of Conan coming into his room, looming over him and compelling or forcing him to write the stories. The movie captures the spirit of Conan, as portrayed in the stories. He is one who has lived a harsh existence, yet endures. He has been everything from a barbarian, to a swashbuckler, to a soldier, to a thief, to a general and eventually to even king. He is considered a barbarian by all the people he meets, include those considered to be "civilized". Conan plays by his own rules and morals. Even though he kills, he does so in much the same way a tiger eats its prey. At the same time, he displays more humanity, mercy and honor than most of the civilized world. This movie is perfect in the above respects. John Milius (the director and co-writer) does an excellent job along with Oliver Stone (co-writer) in getting the feel of the stories into the movie world. Schwarzenegger is cast perfectly in the role of Conan. I don't think anyone else would have been able to pull it off as well as he could have and still kept the role in the way it was meant to be. Conan does not say much, but when he does you better listen because it is important. Along with Schwarzenegger, the rest of the cast does a brilliant job to support the story. James Earl Jones is wickedly evil and Mako is perfect as the reluctant sorcerer.
There are so many wonderful scenes that stick out in my mind. So many in fact that you should go out and see the movie for yourself (make sure you get the special edition DVD since it has extra footage and a great making of with all the cast including Schwarzenegger). By far my two favorite scenes/sequences of the movie are : 1) Prior to the battle in the desert, Conan says a little prayer to his god, Crom. This prayer embodies everything that Conan stands for. WHAT A PRAYER !!!. 2) The sequence thats starts from Conan's return to the Tower of Power to confront Thulsa Doom all the way to the end. It is wrought with meaning and some great cinematography. This movie is an absolute must see. 10/10
-Celluloid Rehab
Conan is based on the work of Robert E. Howard. Howard once described writing the Conan stories (which were published in Weird Tales) as this : At sunset, he could feel the presence of Conan coming into his room, looming over him and compelling or forcing him to write the stories. The movie captures the spirit of Conan, as portrayed in the stories. He is one who has lived a harsh existence, yet endures. He has been everything from a barbarian, to a swashbuckler, to a soldier, to a thief, to a general and eventually to even king. He is considered a barbarian by all the people he meets, include those considered to be "civilized". Conan plays by his own rules and morals. Even though he kills, he does so in much the same way a tiger eats its prey. At the same time, he displays more humanity, mercy and honor than most of the civilized world. This movie is perfect in the above respects. John Milius (the director and co-writer) does an excellent job along with Oliver Stone (co-writer) in getting the feel of the stories into the movie world. Schwarzenegger is cast perfectly in the role of Conan. I don't think anyone else would have been able to pull it off as well as he could have and still kept the role in the way it was meant to be. Conan does not say much, but when he does you better listen because it is important. Along with Schwarzenegger, the rest of the cast does a brilliant job to support the story. James Earl Jones is wickedly evil and Mako is perfect as the reluctant sorcerer.
There are so many wonderful scenes that stick out in my mind. So many in fact that you should go out and see the movie for yourself (make sure you get the special edition DVD since it has extra footage and a great making of with all the cast including Schwarzenegger). By far my two favorite scenes/sequences of the movie are : 1) Prior to the battle in the desert, Conan says a little prayer to his god, Crom. This prayer embodies everything that Conan stands for. WHAT A PRAYER !!!. 2) The sequence thats starts from Conan's return to the Tower of Power to confront Thulsa Doom all the way to the end. It is wrought with meaning and some great cinematography. This movie is an absolute must see. 10/10
-Celluloid Rehab
- CelluloidRehab
- Jul 17, 2004
- Permalink
Arnold has entertained me in many movies over the years (The Terminator, Terminator 2: Judgment Day, True Lies, Collateral Damage, Eraser), so I can forgive his pitiful acting in this film and just sit back and enjoy it.
Of course, the best thing about the film was the presence of Sandahl Bergman, originally a Golddigger from "The Dean Martin Show". She can act and did a very good job of it.
I also enjoyed Mako (The Sand Pebbles) and Gerry Lopez, who I guess gave up acting for surfing.
It is just a plain guilty pleasure that shows some great sword fighting.
Of course, the best thing about the film was the presence of Sandahl Bergman, originally a Golddigger from "The Dean Martin Show". She can act and did a very good job of it.
I also enjoyed Mako (The Sand Pebbles) and Gerry Lopez, who I guess gave up acting for surfing.
It is just a plain guilty pleasure that shows some great sword fighting.
- lastliberal
- Apr 19, 2008
- Permalink
In 1982, a movie was supposed to serve as the breakout device for an adventure fiction icon. Instead we got a two-decade pop-culture phenomenon named Ah-nold.
Even though I've come to like Arnold Schwarzenegger, and find things in this, his first big action role, to enjoy, I felt shortchanged then and still do now. A character brimming with intrigue and life like Robert E. Howard's Conan deserved better than a rote tale that highlights the director's fixation with Nietzsche and will-to-power thematics over realizing a compelling alternate world of fantasy and magic.
Something's wrong the moment we meet our main character as played by Schwarzenegger. He's walking around in circles amid a high arid landscape, pushing something called "The Wheel of Pain" that seems to be a mill of some kind but serves no apparent function. He's literally stuck in the middle of nowhere, walking in circles to no apparent purpose.
This continues for much of the film. Picking up bits of stories that would be known to Howard readers in a kind of mash-up form, we see Conan at work as pit warrior, thief, and avenger, the latter being the main business of this film. Years ago, when he was a boy, Conan watched a warlord named Thulsa Doom (James Earl Jones) ride into Conan's village and kill his parents. After about an hour of grunting, running, and stabbing, Conan discovers a clue as to where this Thulsa Doom might be, and sets out to settle a score.
It's around here that the story, written by director John Milius and Oliver Stone, finds its groove. Jones is a cool villain, the kind who can make one of Milius's philosophical exposition scenes work with a single jab of his finger. Never mind that the guy looks like a Breck girl with his long, straight hair, he's the class of the production.
Schwarzenegger makes an impression, too. First it's his physique, as a lot of labored, stretchy scenes call upon him to do little else but flex his muscles and mutter "Crom!" now and then. But Schwarzenegger's considerable charm and way with a camera come across as the film rolls on. He is not a strong actor here, but from the moment he punches a camel in a crowded street, a kind of gonzo energy works its way into Schwarzenegger's performance, a sense that he's making us laugh on purpose and enjoying it.
As to the rest of the cast, Sandahl Bergman looks good, moves better, but can't deliver a line convincingly as Conan's lover Valeria, while Max Von Sydow overplays a silly scene as a vexed king. Better are Mako as a wily wizard and Gerry Lopez, apparently a full-time surfer from what Milius says on the DVD commentary, who plays the thief Subotai and brings some badly needed charm and sympathy to the proceedings before the Arnold we all know finally shows up.
The film builds to a gripping conclusion, if one borrowed from Milius's "Apocalypse Now" script like other reviewers here have noted. Of course, when the blood flows as thick as it does in the last half-hour of this movie, it's not hard getting and keeping an audience's attention.
As a Conan fan, I would have liked more development of the world Conan lived in and the people around him, if not as conceived by Howard at least re-imagined convincingly by Milius. Here you get some visually arresting sets, a rich Basil Poledouris score, and Arnold in his youthful prime, but none of it really comes together, except a little near the end. It's not a bad film, but it's not a world I want to go back to like I do that of Howard's Conan.
Even though I've come to like Arnold Schwarzenegger, and find things in this, his first big action role, to enjoy, I felt shortchanged then and still do now. A character brimming with intrigue and life like Robert E. Howard's Conan deserved better than a rote tale that highlights the director's fixation with Nietzsche and will-to-power thematics over realizing a compelling alternate world of fantasy and magic.
Something's wrong the moment we meet our main character as played by Schwarzenegger. He's walking around in circles amid a high arid landscape, pushing something called "The Wheel of Pain" that seems to be a mill of some kind but serves no apparent function. He's literally stuck in the middle of nowhere, walking in circles to no apparent purpose.
This continues for much of the film. Picking up bits of stories that would be known to Howard readers in a kind of mash-up form, we see Conan at work as pit warrior, thief, and avenger, the latter being the main business of this film. Years ago, when he was a boy, Conan watched a warlord named Thulsa Doom (James Earl Jones) ride into Conan's village and kill his parents. After about an hour of grunting, running, and stabbing, Conan discovers a clue as to where this Thulsa Doom might be, and sets out to settle a score.
It's around here that the story, written by director John Milius and Oliver Stone, finds its groove. Jones is a cool villain, the kind who can make one of Milius's philosophical exposition scenes work with a single jab of his finger. Never mind that the guy looks like a Breck girl with his long, straight hair, he's the class of the production.
Schwarzenegger makes an impression, too. First it's his physique, as a lot of labored, stretchy scenes call upon him to do little else but flex his muscles and mutter "Crom!" now and then. But Schwarzenegger's considerable charm and way with a camera come across as the film rolls on. He is not a strong actor here, but from the moment he punches a camel in a crowded street, a kind of gonzo energy works its way into Schwarzenegger's performance, a sense that he's making us laugh on purpose and enjoying it.
As to the rest of the cast, Sandahl Bergman looks good, moves better, but can't deliver a line convincingly as Conan's lover Valeria, while Max Von Sydow overplays a silly scene as a vexed king. Better are Mako as a wily wizard and Gerry Lopez, apparently a full-time surfer from what Milius says on the DVD commentary, who plays the thief Subotai and brings some badly needed charm and sympathy to the proceedings before the Arnold we all know finally shows up.
The film builds to a gripping conclusion, if one borrowed from Milius's "Apocalypse Now" script like other reviewers here have noted. Of course, when the blood flows as thick as it does in the last half-hour of this movie, it's not hard getting and keeping an audience's attention.
As a Conan fan, I would have liked more development of the world Conan lived in and the people around him, if not as conceived by Howard at least re-imagined convincingly by Milius. Here you get some visually arresting sets, a rich Basil Poledouris score, and Arnold in his youthful prime, but none of it really comes together, except a little near the end. It's not a bad film, but it's not a world I want to go back to like I do that of Howard's Conan.
This is really an amazing movie! It is so passionate and intense. It all feels so genuine as well.
During my childhood this was my all-time favorite! From an adult (25) perspective, his movie is as damn amazing as I remember. Thee story and dialog are really damn good. There are so many classic scenes. I got my girlfriend to watch it. She was convinced it was going to be a stupid Arnold muscle movie (it seems almost everyone thinks this) but she loved it.
It's such a change to see such an un-ironic passionate movie. I can't see a movie like this being made today. The nudity and violence were great and added realism without ever being flatly gratuitous.
Don't see Destroyer though, that was absolutely awful.
During my childhood this was my all-time favorite! From an adult (25) perspective, his movie is as damn amazing as I remember. Thee story and dialog are really damn good. There are so many classic scenes. I got my girlfriend to watch it. She was convinced it was going to be a stupid Arnold muscle movie (it seems almost everyone thinks this) but she loved it.
It's such a change to see such an un-ironic passionate movie. I can't see a movie like this being made today. The nudity and violence were great and added realism without ever being flatly gratuitous.
Don't see Destroyer though, that was absolutely awful.
Sword-and-sorcery epic with incredible adventures , spectacular battles and strong scenes . This is an epic adventure set in Hyborian Age based on Robert E. Howard's pulp tales with screenplay by Oliver Stone and the same director John Milius . It stars Arnold Schwarzenegger in the title role, as the Hyborian Age hero fighting against ominous and heinous nasties . Conan seeks vengeance when being kid (Jorge Sanz) he saw as his mother (Nadiuska) was decapitated by a sorcerer (James Earl Jones), subsequently his village was slaughtered and he enslaved . Many years later , Conan undertakes a perilous travel with the help his partner (Gerry Lopez), a magician (Mako, who repeats his role as wizard in the sequel ¨Conan the destroyer ¨ by Richard Fleischer), a gorgeous warrior (Sandhal Bergman) who is also sidekick and lover , all of them are assigned by a king (Max Von Sidow) to free a young princess (Valerie Quennessen) from the claws a satanic witch . They undergo on a risked trip to find the princess , contending the cult leader and his giant hoodlum (Ben Davidson) and leading a vibrant ending.
This violent sword-and-witchery story packs noisy action, blood-thirsty battles at every turn , full-blooded adventure, thrills, crude scenes and rip-roaring fights. The picture is unbelievably brutal and sexist though also displays some love scenes and raunchy images . Made on a grand scale , approx 20 million of dollars , with spectacular production design by Ron Cobb and colorful cinematography by Duke Callaham , mostly filmed in Almeria (Spain) where in the 60s and 70s were shot innumerable Spaghetti Western . Big budget and lavishly produced by the great producer Dino and Rafaella De Laurentis, Dino's daughter. Impressive and groundbreaking musical score composed and conducted by Basil Poledouris . Conan fans will be delighted with this breathtaking and bloody epic . Followed by a sequel titled ¨Conan the destroyer¨ with Wilt Chamberlain , Grace Jones , Sarah Douglas and Olivia D'Abo that contains some dumb images and is unintentionally hilarious but amusing ; furthermore several low-grade imitations and rip offs, and spawned TV series starred by Ralph Moller. Plus a similar film realized in old-fashioned and lightweight style also directed by Richard Fleischer titled ¨Red Sonja¨ with Brigette Nielsen as female lead , Sandahl Bergman and of course Arnold Schwarzenegger has a brief guest spot. And in production a new ¨Conan¨ by Marcus Nispel with Jason Momoa, Rose McGowan and Ron Perlman
This violent sword-and-witchery story packs noisy action, blood-thirsty battles at every turn , full-blooded adventure, thrills, crude scenes and rip-roaring fights. The picture is unbelievably brutal and sexist though also displays some love scenes and raunchy images . Made on a grand scale , approx 20 million of dollars , with spectacular production design by Ron Cobb and colorful cinematography by Duke Callaham , mostly filmed in Almeria (Spain) where in the 60s and 70s were shot innumerable Spaghetti Western . Big budget and lavishly produced by the great producer Dino and Rafaella De Laurentis, Dino's daughter. Impressive and groundbreaking musical score composed and conducted by Basil Poledouris . Conan fans will be delighted with this breathtaking and bloody epic . Followed by a sequel titled ¨Conan the destroyer¨ with Wilt Chamberlain , Grace Jones , Sarah Douglas and Olivia D'Abo that contains some dumb images and is unintentionally hilarious but amusing ; furthermore several low-grade imitations and rip offs, and spawned TV series starred by Ralph Moller. Plus a similar film realized in old-fashioned and lightweight style also directed by Richard Fleischer titled ¨Red Sonja¨ with Brigette Nielsen as female lead , Sandahl Bergman and of course Arnold Schwarzenegger has a brief guest spot. And in production a new ¨Conan¨ by Marcus Nispel with Jason Momoa, Rose McGowan and Ron Perlman
I read the previous comments on this movie, and I am quite shocked. Did I see the same movie as these other folks?
I found "Conan the Barbarian" to be painfully slow. Very little happens until the final twenty minutes, and by that point, I was fighting to keep my eyes open. I enjoy trashy, B-films more than the average film fan, so I was surprised at how much I disliked this turkey. The sequel is much sillier and over-the-top, and consequently, much more enjoyable.
I get the distinct impression that the filmmakers wanted to distance themselves from the oft-mocked "sword and sandal" flicks of earlier decades, so they tried to make this a "serious fantasy" film. I think they failed miserably. Way too much drama, way too much romance, and far too little violence.
I found "Conan the Barbarian" to be painfully slow. Very little happens until the final twenty minutes, and by that point, I was fighting to keep my eyes open. I enjoy trashy, B-films more than the average film fan, so I was surprised at how much I disliked this turkey. The sequel is much sillier and over-the-top, and consequently, much more enjoyable.
I get the distinct impression that the filmmakers wanted to distance themselves from the oft-mocked "sword and sandal" flicks of earlier decades, so they tried to make this a "serious fantasy" film. I think they failed miserably. Way too much drama, way too much romance, and far too little violence.
This is by far the best "Sword and Sorcery" film produced to date. Being a Robert E. Howard fan years before this film was made I have to say I liked it and I hated it. Accounting for these plusses and minuses I give this film a rating of 7 out of 10; mainly because one of the positives is extremely positive.
The extremely positive factor is the musical score by Basil Poledouris which I believe to be one of the finest musical scores ever to grace the silverscreen.
Other things tip the scale toward the positive, too.
Milius is a gifted filmmaker who pays homage to my favorite director of all time, Akira Kurosawa and relies heavily on visuals to show the film's story turning to the captivating voice of James Earl Jones, playing the antagonist, only when narrative exposition is absolutely required. This is a wise decision since the cast is mostly green. The aforementioned Jones is the only veteran actor in a key role although Max von Sydow and William Smith are good in their cameo roles as King Osric and Conan's father respectively.
Milius also pays homage to the stunning art of Frank Frazetta in the costumes/sets and scatters "Howard moments" throughout the film; such as the scene where Conan beds a witch taken from a Bran Mak Morn tale titled "Worms of the Earth", sneaky thievery reminiscent of "The Tower of the Elephant", Conan's crucifixion from "A Witch Shall be Born", and Valeria (a name from "Red Nails") returns from the grave to protect Conan evoking Belit, the "Queen of the Black Coast".
The film's ultimate treatment of Robert E. Howard's Hyborian Age tips the scale back in the negative direction, though.
Milius paints the Cimmerians as a peaceful agrarian culture while Howard's Cimmerians are strong, grim and war-like. Milius provides a history of a young Conan that completely contradicts Howard's.
The Milius Conan is sold into slavery at a tender age after seeing his parents brutally murdered while Howard's Conan apparently never even had a tender age; born on a battlefield and respected by the Cimmerian war council when he was not yet fifteen years old.
Howard's treatment of the character Black Turlough who was tossed into a snow-drift at birth "to test his right to survive" in "The Dark Man" is an indication of how Conan may have actually been raised in Howard's Hyborian Age Cimmerian culture. Black Turlough is Gaelic and Howard's Cimmerians are the direct ancestors of Gaels in Howard's fictional essay "The Hyborian Age".
This film must be a Hyborian Age in an alternate universe since contradictions between the Howard Conan and the Milius Conan cannot be resolved.
The extremely positive factor is the musical score by Basil Poledouris which I believe to be one of the finest musical scores ever to grace the silverscreen.
Other things tip the scale toward the positive, too.
Milius is a gifted filmmaker who pays homage to my favorite director of all time, Akira Kurosawa and relies heavily on visuals to show the film's story turning to the captivating voice of James Earl Jones, playing the antagonist, only when narrative exposition is absolutely required. This is a wise decision since the cast is mostly green. The aforementioned Jones is the only veteran actor in a key role although Max von Sydow and William Smith are good in their cameo roles as King Osric and Conan's father respectively.
Milius also pays homage to the stunning art of Frank Frazetta in the costumes/sets and scatters "Howard moments" throughout the film; such as the scene where Conan beds a witch taken from a Bran Mak Morn tale titled "Worms of the Earth", sneaky thievery reminiscent of "The Tower of the Elephant", Conan's crucifixion from "A Witch Shall be Born", and Valeria (a name from "Red Nails") returns from the grave to protect Conan evoking Belit, the "Queen of the Black Coast".
The film's ultimate treatment of Robert E. Howard's Hyborian Age tips the scale back in the negative direction, though.
Milius paints the Cimmerians as a peaceful agrarian culture while Howard's Cimmerians are strong, grim and war-like. Milius provides a history of a young Conan that completely contradicts Howard's.
The Milius Conan is sold into slavery at a tender age after seeing his parents brutally murdered while Howard's Conan apparently never even had a tender age; born on a battlefield and respected by the Cimmerian war council when he was not yet fifteen years old.
Howard's treatment of the character Black Turlough who was tossed into a snow-drift at birth "to test his right to survive" in "The Dark Man" is an indication of how Conan may have actually been raised in Howard's Hyborian Age Cimmerian culture. Black Turlough is Gaelic and Howard's Cimmerians are the direct ancestors of Gaels in Howard's fictional essay "The Hyborian Age".
This film must be a Hyborian Age in an alternate universe since contradictions between the Howard Conan and the Milius Conan cannot be resolved.
- StrayLiteFocus
- Mar 5, 2004
- Permalink
Conan the Barbarian is one of those films that just shouldn't work on paper, but somehow ends up not only working, but becoming a classic. Everything is right here thanks to Milius unashamed bigger-than-life-direction. He takes him serious and dares to go far enough with the grandness, something few directors would dare do today for fear of being labeled pretentious.
Combine this with probably the best film score EVER written, and you have movie magic. Basil Poledouris score is such a classic that every other composer has ripped it off a thousand times, and rightly so. It's the granddaddy of Wagnerian tour-de-force scoring.
Combine this with probably the best film score EVER written, and you have movie magic. Basil Poledouris score is such a classic that every other composer has ripped it off a thousand times, and rightly so. It's the granddaddy of Wagnerian tour-de-force scoring.
- Adam Frisch
- Oct 13, 2005
- Permalink
I still have vivid memories of watching this one on Italian TV, with several of its images (alternately sexual, violent and scary) remaining memorable to this very day - particularly the sequence in the giant snake's lair and the shooting of snakes as arrows!; I also recall catching some of its lowbrow imitators like the Italian-made ATOR movies and THE BEASTMASTER (1982) on TV or VHS, not to mention playing the "Barbarian" computer game with its theme and music clearly inspired by this movie. As a matter of fact, the awe-inspiring visuals and Basil Poledouris' now-classic score still constitute the film's mainstays, smoothing over a rather wooly plot and the inherently ponderous nature of the whole enterprise – since what humor there is throughout is quickly stifled by its overpowering sense of gloom. This third viewing of the film – via the Extended (but also slightly censored) version on R4 SE DVD proved to be the most satisfactory so far; I guess it helped that it followed on the heels of several similar "sword-and-sorcery" outings which enabled the inherent superiority of CONAN THE BARBARIAN to fully emerge.
Arnold Schwarzenegger is the perfect embodiment of a brawny medieval action hero; Sandahl Bergman (who would eventually turn villainous for RED SONJA [1985]) is equally impressive as Valeria, Conan's blonde female counterpart – their rapport is genuine enough as to make his being shown still pining for her throughout CONAN THE DESTROYER (1984) credible, the villainess of that film (Sarah Douglas) having promised to resurrect Valeria if he lends his services to her 'cause'!; also on the side of good are Mako as Akiro The Wizard (who returns in the sequel and actually provides the narration in both Conan ventures) and surfer Gerry Lopez as a Mongol thief.
Incidentally, the project originated with Oliver Stone – who's still credited as co-writer: incongruously for him, he had stressed the fantasy elements of the tale (which writer/director Milius subsequently de-emphasized after taking over); perhaps to lend the film some artistic gravitas, the latter selected powerful and well-known actors for some of the leading characters: James Earl Jones makes for a very sinister Thulsa Doom (playing the last surviving member of an ancient cannibal civilization, he's made to turn into a giant snake!) and Max Von Sydow (as a king given the Shakespearean name of Osric, even if only one of the sequences filmed with him made the final cut!); a surprising, albeit all-too-brief, presence in the film is that of Jess Franco regular Jack Taylor – here playing one of the priests at Jones' temple.
In the accompanying documentary (see below), Milius admits to being influenced by Masaki Kobayashi's classic ghost story compendium KWAIDAN (1964): this can be seen in the love-making scene with a woman turning into a witch (complete with similar use of blue gels) and the protection of an ailing Conan from evil spirits by having several chants written all over his body. Also in the documentary, there is a reference to Milius' amusing cameo which eventually found itself on the cutting-room floor!
Arnold Schwarzenegger is the perfect embodiment of a brawny medieval action hero; Sandahl Bergman (who would eventually turn villainous for RED SONJA [1985]) is equally impressive as Valeria, Conan's blonde female counterpart – their rapport is genuine enough as to make his being shown still pining for her throughout CONAN THE DESTROYER (1984) credible, the villainess of that film (Sarah Douglas) having promised to resurrect Valeria if he lends his services to her 'cause'!; also on the side of good are Mako as Akiro The Wizard (who returns in the sequel and actually provides the narration in both Conan ventures) and surfer Gerry Lopez as a Mongol thief.
Incidentally, the project originated with Oliver Stone – who's still credited as co-writer: incongruously for him, he had stressed the fantasy elements of the tale (which writer/director Milius subsequently de-emphasized after taking over); perhaps to lend the film some artistic gravitas, the latter selected powerful and well-known actors for some of the leading characters: James Earl Jones makes for a very sinister Thulsa Doom (playing the last surviving member of an ancient cannibal civilization, he's made to turn into a giant snake!) and Max Von Sydow (as a king given the Shakespearean name of Osric, even if only one of the sequences filmed with him made the final cut!); a surprising, albeit all-too-brief, presence in the film is that of Jess Franco regular Jack Taylor – here playing one of the priests at Jones' temple.
In the accompanying documentary (see below), Milius admits to being influenced by Masaki Kobayashi's classic ghost story compendium KWAIDAN (1964): this can be seen in the love-making scene with a woman turning into a witch (complete with similar use of blue gels) and the protection of an ailing Conan from evil spirits by having several chants written all over his body. Also in the documentary, there is a reference to Milius' amusing cameo which eventually found itself on the cutting-room floor!
- Bunuel1976
- Jan 11, 2008
- Permalink
A cracking sword and sorcery yarn that has divided movie goer opinions since it's release. Some believing it's a beefy and shallow action movie, glossed up with big sets and fancy costumes. Others believing it is a truly eye popping visual feast of a film with hidden depth. The film was panned on its original release but since then has been something of a critical favourite. While the film is too murky and turgid at times, it is still engaging, despite needing to lighten up a touch, because this is based on a comic book after all. The film is fantastical but at the same time the film doesn't go quite as fantastical as the comic books did. This seems to be more based in reality but it still features a snake-man, giant snakes and witches.
The film follows Conan from childhood when his parents are killed and follows him through his early years as a slave to adulthood when he becomes a fighter and a thief. What drives Conan is pure bloodthirsty revenge on the man who killed his parents(James Earl Jones) and he is constantly spurred on by the belief he is doing his god's (Krom the god of steel) will. Conan constantly interprets important moments as messages from Krom.This film is so visual. The dialogue is minimal and yet meaningful. This gives the film a great atmosphere and really brings to mind two other fantasy action movies I really love, Crying Freeman and Highlander. They are all very similar in style. They all have the same strengths, in that they are both great looking, have a lead character driven by a spirit guide, controlled by his beliefs and a sense of destiny and all three have similar romantic subplot, all told with visuals, and little dialogue. They are all also blessed with unique and rousing scores. It's all very mythical and philosophical in each, with love at first site important. It is the love of the women that drive the men to their goals. In Freeman Dacascos wants to break away from his controlled regime, and take back his life when his love gives him the will to do so. In Highlander McLeod wants to lead a mortal life, to love and grow old with someone, to be human. Conan wants a life after he takes his revenge. The greatness of their romantic story and the purely visual way it is told is that during the movie he says only 5 words to her,and they all come in their first meeting. The film should not get away with something like that, yet it works well. The twist in Conan is that his lover sacrifices herself for him and in effect once he has achieved his goal the film is left with the feeling Conan has no further purpose in life.
The cast are good. Arnold was made into a star here. He is physically the best shape he's ever been in a movie. He is smaller than his bodybuilding days yet as big as he's ever been on screen and at the same time fleet of foot and nimble. Lest we not forget by the time he hit mega stardom he was in his 40's, but Arnold is truly in his prime here. It is a performance though of glaring inconsistency which is the likes of which I have never seen. It is at once his best and his worst performance. For all that Schwarzenegger does with a depth and humanity not seen in his films since, he overplays and looks amateurish in others, because of course he was an amateur here. What really does work is the chemistry between Sandahl Bergman and Schwarzy. She gets the best out of him and their scenes together are generally his best. Bergman received a Golden Globe for this and had Arnie consistently been as good as his higher points here, who knows? You get the feeling the philosophical side might occasionally have gone over his head. At times he would bawl out "Kraaoomm!!!" without knowing why he was delivering the line. Bergman is good. She is enigmatic and quite sexy in a "why is she sexy?" kind of a way. Bergman kicks ass and her dance background shows as she moves with grace. The showstoppers though are the supporting cast with the legend Mako, excellent as the wizard and narrator. Max Von Sydow is superb as king Osric and he gets some of the best dialogue but it is the chilling James Earl Jones who is particularly excellent as Thulsa Doom.
What makes this film great is the fact that it feels older than it is. It feels like a b-movie fantasy film from the golden ages of the 50's and 60's, with some of the charming elements of the legendarily cheap Italian fantasy films. The film even at times feels like it is dubbed. While all it lacks is a stand out Ray Harryhausen moment. The nearest we get is the giant snake. I would have loved to have seen more creatures and beasts in this movie with some HarryHausen effects but it come a tad too late really. Also Basil Poledouris' score is fantastic and old fashioned a big reason the film feels like it is from the golden age of this sword and sorcery quest movies. The score is the real standout part of the movie. It's very old fashioned, medieval and a bit baroque and works marvellously well with some rousing themes.
The film is directed with visual flourish by John Milius, whose tragically lame career since makes you wonder what happened. In that sense it has another similarity with Highlander as the even more talented Russell Mulcahy was never matched the quality or success of Highlander since. This is a top notch film that fantasy enthusiasts will love. ****
The film follows Conan from childhood when his parents are killed and follows him through his early years as a slave to adulthood when he becomes a fighter and a thief. What drives Conan is pure bloodthirsty revenge on the man who killed his parents(James Earl Jones) and he is constantly spurred on by the belief he is doing his god's (Krom the god of steel) will. Conan constantly interprets important moments as messages from Krom.This film is so visual. The dialogue is minimal and yet meaningful. This gives the film a great atmosphere and really brings to mind two other fantasy action movies I really love, Crying Freeman and Highlander. They are all very similar in style. They all have the same strengths, in that they are both great looking, have a lead character driven by a spirit guide, controlled by his beliefs and a sense of destiny and all three have similar romantic subplot, all told with visuals, and little dialogue. They are all also blessed with unique and rousing scores. It's all very mythical and philosophical in each, with love at first site important. It is the love of the women that drive the men to their goals. In Freeman Dacascos wants to break away from his controlled regime, and take back his life when his love gives him the will to do so. In Highlander McLeod wants to lead a mortal life, to love and grow old with someone, to be human. Conan wants a life after he takes his revenge. The greatness of their romantic story and the purely visual way it is told is that during the movie he says only 5 words to her,and they all come in their first meeting. The film should not get away with something like that, yet it works well. The twist in Conan is that his lover sacrifices herself for him and in effect once he has achieved his goal the film is left with the feeling Conan has no further purpose in life.
The cast are good. Arnold was made into a star here. He is physically the best shape he's ever been in a movie. He is smaller than his bodybuilding days yet as big as he's ever been on screen and at the same time fleet of foot and nimble. Lest we not forget by the time he hit mega stardom he was in his 40's, but Arnold is truly in his prime here. It is a performance though of glaring inconsistency which is the likes of which I have never seen. It is at once his best and his worst performance. For all that Schwarzenegger does with a depth and humanity not seen in his films since, he overplays and looks amateurish in others, because of course he was an amateur here. What really does work is the chemistry between Sandahl Bergman and Schwarzy. She gets the best out of him and their scenes together are generally his best. Bergman received a Golden Globe for this and had Arnie consistently been as good as his higher points here, who knows? You get the feeling the philosophical side might occasionally have gone over his head. At times he would bawl out "Kraaoomm!!!" without knowing why he was delivering the line. Bergman is good. She is enigmatic and quite sexy in a "why is she sexy?" kind of a way. Bergman kicks ass and her dance background shows as she moves with grace. The showstoppers though are the supporting cast with the legend Mako, excellent as the wizard and narrator. Max Von Sydow is superb as king Osric and he gets some of the best dialogue but it is the chilling James Earl Jones who is particularly excellent as Thulsa Doom.
What makes this film great is the fact that it feels older than it is. It feels like a b-movie fantasy film from the golden ages of the 50's and 60's, with some of the charming elements of the legendarily cheap Italian fantasy films. The film even at times feels like it is dubbed. While all it lacks is a stand out Ray Harryhausen moment. The nearest we get is the giant snake. I would have loved to have seen more creatures and beasts in this movie with some HarryHausen effects but it come a tad too late really. Also Basil Poledouris' score is fantastic and old fashioned a big reason the film feels like it is from the golden age of this sword and sorcery quest movies. The score is the real standout part of the movie. It's very old fashioned, medieval and a bit baroque and works marvellously well with some rousing themes.
The film is directed with visual flourish by John Milius, whose tragically lame career since makes you wonder what happened. In that sense it has another similarity with Highlander as the even more talented Russell Mulcahy was never matched the quality or success of Highlander since. This is a top notch film that fantasy enthusiasts will love. ****
- supertom-3
- Jul 22, 2004
- Permalink
It took nearly 50 years from the untimely death of Howard, one of the most promising short-story authors ever, to bring his best-known hero to the big screen. The randy, brawling, but honorable freebooter of most of the Conan stories ("Jewels of Gwahlur," "Black Colossus") is ignored in the Stone/Milius opus in favor of the brooding avenger that Howard more rarely portrayed ("Beyond the Black River"). In the mythical, pre-Atlantean Hyborian Age, Conan, the young son of a master swordmaker (Smith) in uncivilized, frozen Cimmeria, is enslaved & eventually trained as a gladiator. Winning his freedom, the grown (overgrown) Conan goes in search of the cult leader (Jones in a wig borrowed from Elvira, now live-action creepy instead of "Star Wars" creepy) who destroyed his home. Though he had acted before, Schwarzenegger was then best known as Mr. Universe, so his entourage & antagonists are suitably filled with the best that the modern physical arts can provide. These include snake priest Rexor (football star Davidson, nearly as commanding as Arnold), cult lieutenant Thorgrim (fellow pumpmeister Thorsen), wiry thief & archer Subodai (surfing legend Lopez) & sexy loner Valeria, Conan's love interest (dancer Bergman). If seasoned actors Jones, von Sydow & Mako are intimidated by all the surrounding sinew, they never show it, but tough character actor Smith is fit enough to keep up with the athletes. Milius fields the peculiar but limited talents of his cast with an ingenuity that Genghis Khan would admire--he's probably as good at chess as Kubrick. Arnold is convincing as the grimacing, grunting Conan, who rarely speaks unless he's drunk (so THAT'S why he talks funny!), a basically decent guy who's Just Gotta Do What a Man's Gotta Do. Bergman walks him through their scenes together like Annie Sullivan working with Helen Keller (now that is creepy). There's plenty of skin & action (very impressive, spectacular action), but not quite enough to justify "Conan's" length. A fast reader could get through half the Howard collection more quickly. "Conan" is an interlude in the post-Vietnam, baby-boomer angst between Milus's "Apocalypse Now" script & Stone's "Platoon," with the same sense of the futility of finely honed warriors betrayed by the collective madness of the decayed world they must live in. They fight one another in the madness, but they can only escape by betraying the warrior code (that is, being a sissy), or dying & going to Valhalla. With "Conan," Milius had a chance to get beyond the stiffness of that theme (and Stone beyond the despair), but the film doesn't quite manage, despite its ebullient cast. Basil Poledouris's fantastic music--the most heroic yet pensive dramatic theme since Beethoven's "Coriolan Overture"--is occasionally the only thing keeping "Conan" from being depressing, something that just wouldn't do. Still, watch the other big-budget fantasy efforts of the next 20 years (including "Conan the Destroyer") to see just how far wrong Milius & Stone could have gone. In fact, "Conan the Barbarian" is a worthy, if gloomy, resuscitation of an enjoyable, timeless genre that went into a coma with the last of the "Sinbad" series & the advent of "Star Wars." It's not quite a star-making role for Arnold, who in a couple of years would start merging his own identity with that of the Terminator. In time he would become Governor by popular acclaim and wear a silk suit beneath a troubled brow...but that is another story.
- tom-darwin
- Apr 12, 2006
- Permalink
With 1982 classic Conan The Barbarian, writer/director John Milius and champion bodybuilder Arnold Schwarzenegger not only made the best fantasy adventure movie of the 1980's, but also one of the finest motion pictures ever. I applaud director John Milius's choices. Although unconventional, he made them work. Casting many non actors with Arnold as the lead was one of them. What Arnold lacked in acting skills, he more than made up for with presence, charisma and the ambition and dedication to succeed. His million dollar physique and massive athleticism did'nt hurt either. Plus Milius, made the best use of the rest of the cast. James Earl Jones brings class and menace to evil cult leader Thulsa Doom. Max Von Sydow has a brief but memorable cameo as King Osric. Although definitely in the fantasy realm, most of what is contained in the film is authentic and realistic. In this period(the early 80's)many of these type of films were taken less seriously by those that made them and were very campy and tongue in cheek. The tone of this film is pretty serious. While there are a few one liners and some humor sprinkled around, this project has a deadly serious theme of revenge and Conan is a product of tragedy and violence. The film looks sharp and the sets, costumes and weapons are all top notch. The action choreography is fluent and the fight scenes look great. Basil Poledouris's epic score is truly the best and helps carry along the story with little dialogue. It also gives the film an operatic quality that makes the film more powerful and gives it a lot of class as well. Conan The Barbarian is a timeless classic that holds up well. John Milius is truly a genius and one of the most underrated filmmakers of our time.
- dworldeater
- Nov 30, 2014
- Permalink
Though differing from the "Official" origin-story of Robert E. Howard's legendary character, the movie still manages to capture the quintessential elements which are definably "Conan". The film is an epic, sweeping work of panoramic vistas and powerful background music by Basil Poledouris.
Look for James Earl Jones' performance as the villain, Thulsa Doom - part evil sorcerer, part "Old Man of the Mountain" (of the ancient 'Hasheshin' legends). Look also for Sandahl Bergman's performance as Valeria, a woman who is more than a match for the somber, taciturn performance Arnold Schwarzenegger gives the role of the powerful barbarian.
Look for James Earl Jones' performance as the villain, Thulsa Doom - part evil sorcerer, part "Old Man of the Mountain" (of the ancient 'Hasheshin' legends). Look also for Sandahl Bergman's performance as Valeria, a woman who is more than a match for the somber, taciturn performance Arnold Schwarzenegger gives the role of the powerful barbarian.
I find that people's opinion of this film varies widely depending on whether they've read any of the original Robert E. Howard stories.
Howard was an amazingly powerful writer of great depth and versatility. His Conan was, despite being a barbarian, an intelligent and educated man. A natural leader of men. A master of combat, theft, and woodsmanship.
As written by Milius, he is a revenge obsessed klutz. He has all of the fighting moves and dexterity of an anvil. All of the depth of a dry lake bed.
Enjoy the movie for what it is, a fun (if shallow) magic and mayhem flick. Then read the vastly superior original stories. If you do it in the other order, you'll find your experience diminished by thoughts of what could have been.
Howard was an amazingly powerful writer of great depth and versatility. His Conan was, despite being a barbarian, an intelligent and educated man. A natural leader of men. A master of combat, theft, and woodsmanship.
As written by Milius, he is a revenge obsessed klutz. He has all of the fighting moves and dexterity of an anvil. All of the depth of a dry lake bed.
Enjoy the movie for what it is, a fun (if shallow) magic and mayhem flick. Then read the vastly superior original stories. If you do it in the other order, you'll find your experience diminished by thoughts of what could have been.