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Extended version with bonus footage; "Conan Unchained, the Making of Conan"; Feature commentary with director John Milius and actor Arnold Schwarzenegger; Deleted scenes; Special effects; The Conan archives; Theatrical trailers
Full Product DetailsChapter List
0. Chapter List
1. The Days Of High Adventure (Main Titles) [5:32]
2. The Barbarian Raid [11:21]
3. The Pit Fighter [3:58]
4. A Warrior's Education [4:12]
5. The Tomb Of Crom [4:53]
6. The Witch [10:22]
7. The Temple Of The Serpent [11:23]
8. King Osric's Plea [10:08]
9. The Wizard [6:25]
10. The Prisoner Of Doom [10:21]
11. The Wizard's Spell [8:39]
12. Swords Against The Cult [11:01]
13. A Cimmerian Will Not Cry [:38]
14. The Stand Against Thulsa Doom [4:53]
15. Doom's Day [12:24]
16. A King By His Own Hand (End Titles) [9:32]
Director John Milius reset the standard for sword-and-sandal epics with this rough-hewn 1982 fantasy, and pumped up the career Arnold Schwarzenegger in the bargain. Recalling some of the low-budget glee of earlier peplum pics by Hammer Films, Conan boasts a script co-written by Milius and Oliver Stone and offers a chronically laconic hero bent on revenge and pumped up like, well, Mr. Universe. Conan (Schwarzenegger), possessed of an insatiable thirst to avenge his parents' death at the hands of warlord Thulsa Doom (James Earl Jones), escapes slavery to become a fearsome gladiator, hardened in both body and spirit by backbreaking labor. Freed from bondage, Conan pursues a life of petty crime, gaining a group of followers/friends including a statuesque woman warrior, Valeria (Sandahl Bergman), a thief (Gerry Lopez), and a wizard, (Pearl Harbor's Mako), until fate offers him a chance for revenge against Doom. Jones attacks his villainous role with dead-eyed menace, and Max von Sydow makes a fine turn as Osric, the king who bids Conan to rescue his daughter (Valérie Quennessen). But it is Schwarzenegger's steely gaze and stilted delivery that make the movie -- and seem to make it an even more joyful romp with the passing years. The yeasty brew of minimal dialogue and maximum barbarism, cinematographer Duke Callaghan's use of the Italian and Spanish locations, and Basil Poledouris's sweeping score all yield a film with an almost operatic air of grandeur. Unlike most of the imitators to bank on Conan's success, Milius's film is presented straight-faced and without camp -- an honorable accomplishment that even its sequel, Conan the Destroyer, fell shy of achieving. Daniel Craft, Barnes & Noble
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