THE SWORD & THE SORCERER 1982
Lee Horsley (Talon), Richard Lynch (Cromwell), Richard Moll (Xusia), Kathleen Bellar (Princess Alana), Simon MacCorkindale (Prince Mikah), George Maharis (Machelli)
Directed by Albert Pyun
The evil Titus Cromwell journeys to Tomb Island to resurrect the vile black sorcerer, Xusia. Cromwell plans to overthrow King Richard, the ruler of the prosperous kingdom of Ehdan with the aid of the wicked magician. After seriously weakening Richard's forces, Cromwell decides to eliminate Xusia fearing the sorcerer will soon be too powerful to deal with. That bit of business out of the way, Cromwell finally kills Richard wiping out his forces and overtaking his kingdom in the process. Richard's son manages to elude Cromwell's grasp and seemingly vanishes. Years later, a rebellion stirs in Ehdan and two forces vie for revenge on the villainous Cromwell-- Talon, Richard's son and the evil reptilian sorcerer, Xusia.
Director Albert Pyun, known for low grade dreck including CYBORG (1989) and CAPTAIN AMERICA (1990), directs the best film of his varied career. Interestingly, at the opening of the film, a credit states "A Brandon Chase Film". Chase was a producer on the film and judging by Pyun's later fluctuating directing style, it would seem that Chase may have directed some of this movie as well. THE SWORD & THE SORCERER (1982) is a well made, controlled production while many of Pyun's other movies are scattershot and erratic in execution. However, his 1993 sci-fi/martial arts actioner, NEMESIS, is a lot of fun and very ambitious showcasing some accomplished Hong Kong style action scenes. SWORD features some ornately and artistically composed sequences unlike anything seen in Pyun's oeuvre.
Lee Horsley (a popular television actor from the time) plays the roguish hero, Talon. He excels in this part displaying much charisma. Unlike Schwarzenegger in CONAN THE BARBARIAN (1982), Horsley gets lots of dialog and some of it is seriously funny. One exchange in particular involves princess Alana about to be raped by a group of miscreants in an alleyway. Talon shows up and the leader of the gang tells him to get lost. Talon looks at the pants-less man and says, "That's a small threat...that's a very small threat", before comically dispatching the thugs.
Horsley plays his role as both a swashbuckler and a barbarian. One of the best adventurous moments during the film has Talon chased throughout Cromwell's castle by his guards from one end of the fortress to the other. He ends up in a harem full of oiled up and naked women. Landing virtually in the lap of one of the beauties, Talon is distracted by the woman's assets. He kisses her passionately stating, "I'd love to stay, but..." before the chase resumes again.
One of the most appealing features in the movie is Talon's sword. Given to him by his father, it is a tri-bladed weapon that can fire two of its blades as projectiles with enough force to enter a man's body and exit out the back. Such a cool invention recalls similar articulate weaponry seen in countless Shaw Brothers productions. There is also another smaller blade concealed within the swords handle. The sword first comes into play near the beginning when Cromwell kills Talon's parents and siblings. This fight scene is handled exceptionally well and like the entire movie, is rather gory.
Perennial bad guy, Richard Lynch is suitably sadistic as Titus Cromwell. He is also a formidable villain and possesses an almost honorable air of respectability for his opponents. On several occasions, he refuses to allow his men to either slay or arrest his enemy preferring instead to duel with them. The big chase scene with Talon through the castle culminates in he and Cromwell having a one on one duel. Cromwell, paranoid with the fact that Xusia is planning revenge against him, believes Talon to be the wicked wizard in human form.
A fascinating and ironic twist is that Cromwell is totally unaware who Talon is never realizing till the end that he is the son of Richard; the young boy he hunted for years but never found. Lynch is, as always, a tough and intimidating antagonist. His career is littered with such roles. He also played a similar role in Ruggero Deodato's THE BARBARIANS (1987). Lynch also menaced Chuck Norris in the ultra violent actioner, INVASION USA (1985).
Richard Moll features in the role of the sorcerer, Xusia. A reptilian creature whose nauseating talents include being able to rip peoples hearts out from a distance with a sort of gruesome take on the Force powers seen in the STAR WARS films. The opening scene where Cromwell and his crew resurrect Xusia with the help of a witch and the resultant display of his power is one of the best sequences in the entire movie. However, you see him during the first 10 minutes before Cromwell "kills" him.
Xusia pops up sporadically till the last 10 minutes of the movie where he gets involved during the final duel between Cromwell and Talon. Moll will most probably be forever remembered for his hilarious portrayal of Bailiff "Bull" Shannon on the long running hit show, NIGHT COURT. Moll was also a regular in low budget horror and exploitation cinema usually playing creatures or daunting villains of some sort. These include, EVILSPEAK (1982), METALSTORM: THE DESTRUCTION OF JARED-SYN (1983) and THE DUNGEONMASTER (1985).
The stunning and curvaceous Kathleen Bellar plays the spunky and rebellious princess Alana. A running gag has Alana in a compromising situation about to be ravaged by various male characters. She seduces them into believing she is succumbing to their desires only to give them a stiff knee to the groin instead. During the harem scene, there is a slow panning shot of an oiled up and naked Alana being rubbed down just as Talon enters the room. When her face is in frame, her buttocks is now covered. Apparently, she didn't feel comfortable doing a nude scene and presumably the actress used was a double. Towards the end during the big battle sequence, Bellar is decked out in a luscious outfit that perfectly shows off her elegant and curvaceous body.
Theater performer Simon MacCorkindale is good in the supporting role as Prince Mikah. A fine actor who has appeared in numerous American and British tv shows. He starred in the short-lived program from the early 80's, MANIMAL about a doctor who could transform into any animal of his choosing. MacCorkindale also had a supporting role in the monster hit, JAWS 3-D (1983) and was given the honor of being swallowed whole by the huge, man-eating shark. Among the cast of supporting players is Reb Brown. He plays one of Talon's followers. Brown would play in the awful cheese-fest, YOR, HUNTER FROM THE FUTURE (1983) and also starred in the Cannon Films misfire, CAPTAIN AMERICA (1990), also directed by Pyun.
The action sequences are generally exciting and well choreographed. There's a gaggle of colorful and curious characters seen throughout. There's enough of them for several movies and if the proposed sequel had been made, it would have been interesting to have gotten to know some of them more. Considering the tragedy of Jack Tyree's death during filming, that may explain why the sequel was never filmed. Tyree was a stuntman who performed a jump from a cliff and missed the airbags he was to have landed on. The film is dedicated to his memory. Also among the large number of stunt performers is Buddy Van Horn who had previously helmed the popular Clint Eastwood action comedy, ANY WHICH WAY YOU CAN (1980), the sequel to Eastwood's then biggest hit, EVERY WHICH WAY BUT LOOSE (1978).
There is also a generous amount of gore on hand such as a heart erupted from a chest cavity, impalements, blood sprays, heads sliced in half and a man grimly shedding his skin to reveal a creature underneath are among the gruesome delights in Pyun's movie. But there is also a good amount of humor on display. One of the funniest bits has Talon's men getting fired up to rescue their leader. The heroes side with some pirates for this rescue mission. The moment they are in agreement on the job, the scene dissolves to the group now in a dungeon within Cromwell's castle walls.
The magnificent score is from British composer, David Whitaker. An unjustly neglected musician who was capable of creating some baroque compositions and larger than life scores. Two of Whitaker's most notable works were in the Hammer films, VAMPIRE CIRCUS (1971) and DR. JEKYLL & SISTER HYDE (1971), both lively and vibrant film scores. His score for THE SWORD & THE SORCERER (1982) is possibly his most famous and was finally released to CD in 1999 from Supertracks, a now defunct company that also put out a 2 disc complete score for KRULL (1983).
As already briefly mentioned above, a sequel had been planned from the beginning. To have been called TALES OF THE ANCIENT EMPIRE, there are rumors that this long mooted sequel is preparing to finally be shot with director Pyun in the drivers seat. It's doubtful that a sequel (if it's made) will be anywhere as memorable as the original but it will be interesting to see the outcome. THE SWORD & THE SORCERER was an unexpectedly huge hit upon its release in the summer of '82 and nearly equaled the domestic take of CONAN THE BARBARIAN (1982) by just a few hundred dollars. There are a number of fans who feel SWORD is the better movie. It is definitely the more lively and colorful of the two films.
Although they both share similar story conceits, the two movies share little in common with one another. CONAN is a bleak and gritty film told predominantly through a desolate landscape of pain and death. SWORD is likewise gritty, but is told in a fairy tale fashion melding different elements from pirate films and Errol Flynn style heroism. CONAN has virtually no humor while SWORD is peppered with some spirited exchanges. CONAN utilizes an almost monochromatic color scheme from beginning to end while SWORD paints its canvas in vibrant and bold colors. CONAN's soundtrack is a jingoistically brooding, ominous and testosterone fueled set of compositions. SWORD on the other hand, is a boisterously bombastic collection of audaciously rousing and romantic themes that nearly overpowers the film.
One brilliantly conceived sequence is during the finale when Talon has been captured and is crucified with large nails hammered into his hands during the dinner and wedding procession of Cromwell. He rips himself free and the big battle begins. There is a slow motion montage showing Talon hacking, slicing and wrestling his way through an onslaught of attackers to get at Cromwell. The music heard here is married beautifully to the on screen action lifting an otherwise exploitation picture into the realm of respectability. The last shot of this scene has one of Talon's men throw him his tri bladed sword as he leaps heavenward in an operatic fashion silhouetted atop a mob of dueling warriors.
THE SWORD & THE SORCERER (1982) is the type of movie they don't make anymore. Some viewers may be put off by the violence and gore but it is bolstered by a lively spirit of adventure lacking from other similar movies. A low budget film that refuses to look and act like one, it was a prime example of a film not needing a huge budget to rake in substantial box office returns. While not as downbeat as CONAN and not nearly as misogynistic as DEATHSTALKER, the film contains enough gore and nudity to satisfy exploitation fans and those who remember numerous tv shows from the late 70's and 80's will reminisce from all the familiar small screen faces found in this picture. One of the best of the barbarian adventure films and a warranted cult following that will hopefully continue to grow.
DVD availability: Anchor Bay Entertainment
DEATHSTALKER (1983)
Richard Hill (Deathstalker), Barbi Benton (Codille), Richard Brooker (Oghris), Lana Clarkson (Kaira), Bernard Erhard (Munkar), Lillian Ker (Toralva)
Directed by John Watson (James Sbardellati); Stunt Coordinator: Richard Brooker; Makeup Special Effects/Unit Insert Director: John Buechler
***WARNING: SOME NUDITY BELOW***
Munkar, an evil magician, rules the land and covets the Three Powers of Creation-- The Amulet of Life, The Chalice of Magic and The Sword of Justice. Munkar already possesses two of them. A brutish rogue named Deathstalker is coerced by a wise old witch to kill Munkar and free the land of evil. First, he must locate the Sword of Justice; with it, he cannot be harmed. Bring the three powers together and a man will become a God. Along the way, Deathstalker recovers the sword and meets friend and foe alike. Holding a tournament to name an heir for his kingdom, the aging Munkar attempts to have Deathstalker eradicated to keep him from winning. Might and magic clash during the finale with the Three Powers of Creation as the ultimate prize.
John Watson directs this low rent, but gloriously gritty and gruesome barbarian picture. A huge video hit, DEATHSTALKER (1983) provides more entertainment value than both Conan films combined. What was surely a painfully low budget, the filmmakers make the most of the modest materials at hand. Shooting in South America adds some extra value, but even still, the film looks very cheap. Nonetheless, exploitation fans and gorehounds would be hard pressed to find a better boobs and blood sword fest.
A great 'Beer & Pizza' movie, DEATHSTALKER (1983) provides an unprecedented amount of female nudity. Possibly the single most mysogynistic movie ever made. If the camera isn't lingering on bare breast or butts, there are countless scenes of women being slapped around or assaulted against their will. During the big orgy sequence, the camera cuts from various shots to reveal drunken and aroused gladiators grabbing girls at random. Some of them seem receptive but most of them kick, punch and scream to get loose from the grip of the savages. Another startling aspect is that often when there is an action scene taking place, if a naked woman is in the vicinity, the camera is conveniently placed in close proximity before panning over the other action on screen.
Richard (Rick) Hill excels as the likable brigand, Deathstalker, an unusual type of hero, or anti-hero. During the opening scene, it becomes quickly apparent just what kind of hero Deathstalker is. A group of leprous thugs attack a robber who has kidnapped a woman. Deathstalker emerges and kills all the bad guys. The robber offers him what he has stolen telling him to take it, "I intend to". Stalker responds after killing the robber with his dagger-- "This just isn't your day, is it?" He then goes over to the captured woman. He frees her then attempts to have his way with the woman. She seems willing at first till Stalker is interrupted and she sneaks away-- "This isn't my day, either."
Stalker is taken to meet with a dethroned king who begs him to return his kidnapped daughter, the gorgeous princess Codille. However, he turns down the king's request stating, "I kill and steal to stay alive, not for the luxury or glory." Riding away, he saves his friend, the witch, Toralva from Munkar's minions. Hearing the story, he happily accepts the task of relieving Munkar of two of the Powers of Creations in addition to obtaining the Sword of Justice which is hidden elsewhere inside a cave guarded by a man turned into a monster by Munkar.
Hill was a regular face on various television programs throughout the 80's including CHEERS and THE DUKES OF HAZZARD. In addition to this film, Hill did some other movies for Corman including DUNE WARRIORS (1990; also starring David Carradine) and BLOODFIST 2 (1990). Strangely, Hill did not return for the sequel, DEATHSTALKER 2: DUEL OF TITANS (1987), which was played more for laughs than anything else. The abundant nudity and sex was the only holdover from the original. Footage from the first film is implemented as well as some of the music cues. Hill also did not play the role in DEATHSTALKER 3: THE WARRIORS FROM HELL (1988). The third entry is played more like a swashbuckler than a barbarian flick. Also, the score for BATTLE BEYOND THE STARS (1980) is recycled yet again. Rick Hill did return to play Stalker in the awful DEATHSTALKER 4: MATCH OF TITANS (1990). Regardless of how cheap the first was, it provided scenes to pad out the other films in this series.
Hill is surprisingly good and charismatic as the unscrupulous vulgarian. He's actually not too far removed from the bad guys populating the picture. He also has a good time spouting some choice lines of dialog. One in particular comes during the orgy sequence. After rescuing princess Codille from her shackles, he hastily picks her up and whisks her away for some carnal pleasure. Munkar stops him claiming ownership, "Were you planning to take her with you?" Stalker responds with, "For the night, anyway".
Sporting a blonde wig, blue eyes and chiseled features, Hill is ideal in the role just as Schwarzenegger possessed a similar look for his role in CONAN (1982), the obvious inspiration for this film. Stalker even swings his sword in a fashion similar to the cinematic version of Robert E. Howard's Hyborean Age barbarian. Also, Stalker has a penchant for cleaning his bloodied blade by somewhat stylishly (in a warped sort of way) wiping away the plasma on the back of his pants leg. Hill also appears to do all his own fight scenes. The production probably couldn't afford doubles.
Not long after the film has begun, the viewer is introduced to a most unique swordswoman named Kaira. Played by gorgeous blonde, Lana Clarkson, she is the one strong female role in the film. She represents a confident and assured woman warrior who is just as skilled as any of the main characters. What's most unique about her persona is her outfit, or lack thereof. She fights much like the men do, with her chest bare. Even though she wears a cloak, her bosom doesn't stay concealed for long. Clarkson was so popular from her role here, that she got her own spin off series, BARBARIAN QUEEN (1985). This production even used the sets from DEATHSTALKER (1983) as well as footage from the film.
Clarkson was also present in numerous television shows such as KNIGHT RIDER and THE A-TEAM. She was preparing to make a comeback in Hollywood when tragedy struck in early February of 2003. Clarkson was found dead at the home of record producer, Phil Spector who had shot her in the mouth with a handgun mere hours after meeting him in a nightclub.
Former liason of Hugh Hefner, Barbi Benton was a regular on tv shows throughout the 70's and 80's. DEATHSTALKER (1983) was her "big break" in show business. Benton was also seen on the popular show, HEE HAW among many other beautiful women. Her role in DEATHSTALKER doesn't allow for much acting range save for being in distress or being UNdressed. Benton is the latter on a couple of occasions. When she isn't stripped naked, she is usually seen wearing some provocative outfits amidst a harem of likewise scantily dressed females.
Richard Brooker, who plays the wily swordsman, Oghris, also did the stunt work and action choreography. Some of the fights are really good while some others are rather repetitive and appear to be the same scene just shot from a different angle. One particularly choice bit has Deathstalker arriving to help Oghris. He takes on a number of thugs at once. Stalker likes removing victims of their noggins. One man loses his head followed by our hero kicking his headless corpse to the ground. Brooker will probably be best known for a role in which viewers don't see his face. He play Jason Voorhees in FRIDAY THE 13TH PART 3-D (1983), a role he isn't particularly fond of.
Bernard Erhard as the sadistic sorcerer, Munkar, handles the role extremely well. Displaying a mean looking tattoo on the side of his bald head, his pallid looks and costume create an imposing presence. Incidentally, there is one scene in the movie where the tattoo is on the right side of his head as opposed to the left. In Munkar's chamber, he has a small pet monster in a chest named 'Little Howard'. This toothy critter enjoys eating fingers and eyeballs from hapless victims captured by Munkar's men. The ending features a great scene in which Munkar is thrown to the angry villagers. The incensed mob proceed to tie Munkar to two horses and rip him apart lengthwise.
In keeping with the sadistic, yet darkly comical moments throughout, the big orgy scene has various gladiators getting into a huge scuffle once princess Codille is brought out for the men to fight over. There's a huge fighter that has a pig's head but a man's body. One scene has this monstrosity ogling a table of sustenance which has a real pig's head adorning the plates of food. The pig-man picks up the head and gives it a look before addressing the camera. He then proceeds to eat the pig head. Also, during the big brawl, the pig-man is pummeling one of the fighters. Injuring his hand, he reaches out and rips the arm off a passerby and continues to beat the man only this time with the freshly dismembered limb.
One of the most memorable scenes from DEATHSTALKER (1983) is the bit where Munkar gives one of his soldiers a sex change(!) turning him into princess Codille. He then gives him a knife and orders him to kill Deathstalker. Famed film critic, Joe Bob Briggs called this the best 'special effect of 1983'.
The score by Argentinian composer, Óscar Cardozo Ocampo is suitably barbaric and quite good. The cues perfectly match the on screen action and atmosphere sounding very progressive. Very reminiscent of European prog rock, the score is often rousing and a variation of the main theme can be heard in the orgy sequence. Also, of note, a brief cue from BATTLE BEYOND THE STARS (1980) is heard during the final minutes. In addition to all the exploitation value the film offers to undemanding fans, the film itself is often sloppy in places and appears choppy in the editing. This is due to around 15 minutes being removed. Much of this cut footage is present on cable television broadcasts of the film.
These sequences include numerous extended scenes and extra shots of existing scenes such as an extra shot of a decapitated head landing on the ground after being launched into the air by Deathstalker's blade. There are also longer sword fighting scenes. These extra bits of fight footage are poorly choreographed and appear for all the world like rehearsal footage. I would assume the movie, at a very short 74 minutes (76 with credits) needed these extra pieces for its television airings considering the wealth of footage that would have to be trimmed for violence and nudity.
There are also inconsistencies in the screenplay. Toralva tells Stalker that by bringing the three Powers of Creation together, the possessor "will BE the power." But at the end, when Stalker puts the three items together, an explosion of fire and light encompasses him just as the credits roll. Did he become a God, or was he destroyed by the three magical pieces? It's not really made clear. Also, it's not made clear why Munkar sometimes takes the form of Kang, the leader of Munkar's army. Nor is it explained why the Amulet of Life is hanging from the ceiling in one of the gloomy castle hallways instead of being locked away in the evil wizards chambers. During the scene where Deathstalker "kills" Kang, he leaps down to decapitate him. When he removes the head, a huge amount of blood splashes onto Stalkers right arm. When the camera cuts, the blood is gone.
There are several scenes where the film jumps around from one sequence to the next without any explanation or purpose; things just happen. The sets are passable despite there inherent fakiness. None of the sets look like they could be real castle walls. Everything looks fabricated for a movie. However, the torture chamber is suitably disgusting. There's also a riff on THE EMPIRE STRIKES BACK (1980). Deathstalker loses his sword at one point. It's out of reach so he outstretches his arm and the sword magically returns to him just in time to deal with one of the villains. During the scene where Stalker is given the sword, the blade lights up similar to the light saber seen in the STAR WARS films. And speaking of the swords, they don't look very realistic and sometimes you can see them bending during the fight scenes.
The makeup effects were created by rubber creature specialist, John Carl Buechler. His claim to fame would probably be directing FRIDAY THE 13TH 7: THE NEW BLOOD (1987), possibly the most bloodless of all the Friday films. It also probably features Buechler's best work and the best Jason makeup. Even so, Buechler usually could be counted on for delivering good work on creature features. His creations resembling more detailed hand puppets than an actual special effect but then this could simply be down to budgetary shortcomings. Many of his creature masks look the same from film to film.
Even still, he is one of the few make up artists to make a successful transition to directing. Buechler toiled on a large number of Charles Band's shortlived Empire Pictures productions, a company that specialized in low budget fantasy adventures. Two of the most popular movies he did the effects for are FROM BEYOND (1986) and DOLLS (1987). In addition to directing the seventh FRIDAY THE 13 film, Buechler directed the hit film, TROLL (1986) and CELLAR DWELLER (1988) among some others.
DEATHSTALKER (1983) might be cheesy low budget drivel, but for fans of exploitation cinema, the movie has an enormous amount of entertainment value. Equal parts cheesecake and beefcake, this barbarian buffet comes complete with generous helpings of breasts and blood for sleazo-files. However, more demanding fans would do better to watch CONAN THE BARBARIAN (1982) again. Whereas the first Conan film was instrumental in a slew of copycats, DEATHSTALKER (1983) was responsible for its own cycle of direct-to-video barbarian movies and this sword, sex & sorcery romp is one of the "best" of its kind.
DVD availability: New Concorde (Out of Print)
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The evil Titus Cromwell journeys to Tomb Island to resurrect the vile black sorcerer, Xusia. Cromwell plans to overthrow King Richard, the ruler of the prosperous kingdom of Ehdan with the aid of the wicked magician. After seriously weakening Richard's forces, Cromwell decides to eliminate Xusia fearing the sorcerer will soon be too powerful to deal with. That bit of business out of the way, Cromwell finally kills Richard wiping out his forces and overtaking his kingdom in the process. Richard's son manages to elude Cromwell's grasp and seemingly vanishes. Years later, a rebellion stirs in Ehdan and two forces vie for revenge on the villainous Cromwell-- Talon, Richard's son and the evil reptilian sorcerer, Xusia.
Director Albert Pyun, known for low grade dreck including CYBORG (1989) and CAPTAIN AMERICA (1990), directs the best film of his varied career. Interestingly, at the opening of the film, a credit states "A Brandon Chase Film". Chase was a producer on the film and judging by Pyun's later fluctuating directing style, it would seem that Chase may have directed some of this movie as well. THE SWORD & THE SORCERER (1982) is a well made, controlled production while many of Pyun's other movies are scattershot and erratic in execution. However, his 1993 sci-fi/martial arts actioner, NEMESIS, is a lot of fun and very ambitious showcasing some accomplished Hong Kong style action scenes. SWORD features some ornately and artistically composed sequences unlike anything seen in Pyun's oeuvre.
Horsley plays his role as both a swashbuckler and a barbarian. One of the best adventurous moments during the film has Talon chased throughout Cromwell's castle by his guards from one end of the fortress to the other. He ends up in a harem full of oiled up and naked women. Landing virtually in the lap of one of the beauties, Talon is distracted by the woman's assets. He kisses her passionately stating, "I'd love to stay, but..." before the chase resumes again.
One of the most appealing features in the movie is Talon's sword. Given to him by his father, it is a tri-bladed weapon that can fire two of its blades as projectiles with enough force to enter a man's body and exit out the back. Such a cool invention recalls similar articulate weaponry seen in countless Shaw Brothers productions. There is also another smaller blade concealed within the swords handle. The sword first comes into play near the beginning when Cromwell kills Talon's parents and siblings. This fight scene is handled exceptionally well and like the entire movie, is rather gory.
Perennial bad guy, Richard Lynch is suitably sadistic as Titus Cromwell. He is also a formidable villain and possesses an almost honorable air of respectability for his opponents. On several occasions, he refuses to allow his men to either slay or arrest his enemy preferring instead to duel with them. The big chase scene with Talon through the castle culminates in he and Cromwell having a one on one duel. Cromwell, paranoid with the fact that Xusia is planning revenge against him, believes Talon to be the wicked wizard in human form.
Richard Moll features in the role of the sorcerer, Xusia. A reptilian creature whose nauseating talents include being able to rip peoples hearts out from a distance with a sort of gruesome take on the Force powers seen in the STAR WARS films. The opening scene where Cromwell and his crew resurrect Xusia with the help of a witch and the resultant display of his power is one of the best sequences in the entire movie. However, you see him during the first 10 minutes before Cromwell "kills" him.
Xusia pops up sporadically till the last 10 minutes of the movie where he gets involved during the final duel between Cromwell and Talon. Moll will most probably be forever remembered for his hilarious portrayal of Bailiff "Bull" Shannon on the long running hit show, NIGHT COURT. Moll was also a regular in low budget horror and exploitation cinema usually playing creatures or daunting villains of some sort. These include, EVILSPEAK (1982), METALSTORM: THE DESTRUCTION OF JARED-SYN (1983) and THE DUNGEONMASTER (1985).
The stunning and curvaceous Kathleen Bellar plays the spunky and rebellious princess Alana. A running gag has Alana in a compromising situation about to be ravaged by various male characters. She seduces them into believing she is succumbing to their desires only to give them a stiff knee to the groin instead. During the harem scene, there is a slow panning shot of an oiled up and naked Alana being rubbed down just as Talon enters the room. When her face is in frame, her buttocks is now covered. Apparently, she didn't feel comfortable doing a nude scene and presumably the actress used was a double. Towards the end during the big battle sequence, Bellar is decked out in a luscious outfit that perfectly shows off her elegant and curvaceous body.
Theater performer Simon MacCorkindale is good in the supporting role as Prince Mikah. A fine actor who has appeared in numerous American and British tv shows. He starred in the short-lived program from the early 80's, MANIMAL about a doctor who could transform into any animal of his choosing. MacCorkindale also had a supporting role in the monster hit, JAWS 3-D (1983) and was given the honor of being swallowed whole by the huge, man-eating shark. Among the cast of supporting players is Reb Brown. He plays one of Talon's followers. Brown would play in the awful cheese-fest, YOR, HUNTER FROM THE FUTURE (1983) and also starred in the Cannon Films misfire, CAPTAIN AMERICA (1990), also directed by Pyun.
The action sequences are generally exciting and well choreographed. There's a gaggle of colorful and curious characters seen throughout. There's enough of them for several movies and if the proposed sequel had been made, it would have been interesting to have gotten to know some of them more. Considering the tragedy of Jack Tyree's death during filming, that may explain why the sequel was never filmed. Tyree was a stuntman who performed a jump from a cliff and missed the airbags he was to have landed on. The film is dedicated to his memory. Also among the large number of stunt performers is Buddy Van Horn who had previously helmed the popular Clint Eastwood action comedy, ANY WHICH WAY YOU CAN (1980), the sequel to Eastwood's then biggest hit, EVERY WHICH WAY BUT LOOSE (1978).
There is also a generous amount of gore on hand such as a heart erupted from a chest cavity, impalements, blood sprays, heads sliced in half and a man grimly shedding his skin to reveal a creature underneath are among the gruesome delights in Pyun's movie. But there is also a good amount of humor on display. One of the funniest bits has Talon's men getting fired up to rescue their leader. The heroes side with some pirates for this rescue mission. The moment they are in agreement on the job, the scene dissolves to the group now in a dungeon within Cromwell's castle walls.
The magnificent score is from British composer, David Whitaker. An unjustly neglected musician who was capable of creating some baroque compositions and larger than life scores. Two of Whitaker's most notable works were in the Hammer films, VAMPIRE CIRCUS (1971) and DR. JEKYLL & SISTER HYDE (1971), both lively and vibrant film scores. His score for THE SWORD & THE SORCERER (1982) is possibly his most famous and was finally released to CD in 1999 from Supertracks, a now defunct company that also put out a 2 disc complete score for KRULL (1983).
As already briefly mentioned above, a sequel had been planned from the beginning. To have been called TALES OF THE ANCIENT EMPIRE, there are rumors that this long mooted sequel is preparing to finally be shot with director Pyun in the drivers seat. It's doubtful that a sequel (if it's made) will be anywhere as memorable as the original but it will be interesting to see the outcome. THE SWORD & THE SORCERER was an unexpectedly huge hit upon its release in the summer of '82 and nearly equaled the domestic take of CONAN THE BARBARIAN (1982) by just a few hundred dollars. There are a number of fans who feel SWORD is the better movie. It is definitely the more lively and colorful of the two films.
Although they both share similar story conceits, the two movies share little in common with one another. CONAN is a bleak and gritty film told predominantly through a desolate landscape of pain and death. SWORD is likewise gritty, but is told in a fairy tale fashion melding different elements from pirate films and Errol Flynn style heroism. CONAN has virtually no humor while SWORD is peppered with some spirited exchanges. CONAN utilizes an almost monochromatic color scheme from beginning to end while SWORD paints its canvas in vibrant and bold colors. CONAN's soundtrack is a jingoistically brooding, ominous and testosterone fueled set of compositions. SWORD on the other hand, is a boisterously bombastic collection of audaciously rousing and romantic themes that nearly overpowers the film.
One brilliantly conceived sequence is during the finale when Talon has been captured and is crucified with large nails hammered into his hands during the dinner and wedding procession of Cromwell. He rips himself free and the big battle begins. There is a slow motion montage showing Talon hacking, slicing and wrestling his way through an onslaught of attackers to get at Cromwell. The music heard here is married beautifully to the on screen action lifting an otherwise exploitation picture into the realm of respectability. The last shot of this scene has one of Talon's men throw him his tri bladed sword as he leaps heavenward in an operatic fashion silhouetted atop a mob of dueling warriors.
THE SWORD & THE SORCERER (1982) is the type of movie they don't make anymore. Some viewers may be put off by the violence and gore but it is bolstered by a lively spirit of adventure lacking from other similar movies. A low budget film that refuses to look and act like one, it was a prime example of a film not needing a huge budget to rake in substantial box office returns. While not as downbeat as CONAN and not nearly as misogynistic as DEATHSTALKER, the film contains enough gore and nudity to satisfy exploitation fans and those who remember numerous tv shows from the late 70's and 80's will reminisce from all the familiar small screen faces found in this picture. One of the best of the barbarian adventure films and a warranted cult following that will hopefully continue to grow.
