Conan The Barbarian

Conan the Barbarian (1982 film)
From Wikipedia, the free encyclopedia
"The Legend of Conan" redirects here. For the comics, see Conan the Barbarian (comics). For
the mythos, see Conan the Barbarian.
Conan the Barbarian
Main promotional art by Renato Casaro
Directed by John Milius
Produced by Buzz Feitshans

Raffaella De Laurentiis
Written by John Milius

Oliver Stone
Based on Conan the Barbarian

by Robert E. Howard
 Arnold Schwarzenegger
Starring
 James Earl Jones
 Sandahl Bergman
 Ben Davidson
 Gerry Lopez
 Mako
 William Smith
 Max von Sydow
Music by Basil Poledouris
Cinematography Duke Callaghan
Edited by C. Timothy O'Meara
Production Dino De Laurentiis Corporation

companies
Edward R. Pressman Productions
Distributed by Universal Pictures

(North America)
20th Century Fox

(International)
Release date  March 16, 1982 (Spain)

 May 14, 1982 (North America)
Running time 129 minutes
Country United States
Language English
Budget $16 million[1]
Box office $130 million[1]
Conan the Barbarian is a 1982 American fantasy adventure film directed and co-written by John
Milius. It is based on stories by Robert E. Howard, a pulp-fiction writer of the 1930s, about the
adventures of the eponymous character in a fictional prehistoric world of dark magic and
savagery. The film stars Arnold Schwarzenegger and James Earl Jones, and tells the story of a
young barbarian (Schwarzenegger), who seeks vengeance for the death of his parents at the
hands of Thulsa Doom (Jones), the leader of a snake cult. Buzz Feitshans and Raffaella De
Laurentiis produced the film for her father Dino De Laurentiis, with Edward R. Pressman as an
executive producer. Basil Poledouris composed the music.
Ideas for a Conan film were proposed as early as 1970; Pressman and associate
producer Edward Summer began a concerted effort to get the film made in 1975. It took them
two years to obtain the film rights, after which they recruited Schwarzenegger for the lead role
and Oliver Stone to draft a script. Pressman lacked capital for the endeavor, and in 1979, after
having his proposals for investments rejected by the major studios, he sold the project to Dino De
Laurentiis. Milius was appointed as director and he rewrote Stone's script. The final screenplay
integrated scenes from Howard's stories and from films such as Kwaidan and Seven Samurai.
Filming took place in Spain over five months in the regions around Madrid and Almería. The sets,
designed by Ron Cobb, were based on Dark Age cultures and Frank Frazetta's paintings of
Conan. Milius eschewed optical effects, preferring to realize his ideas with mechanical constructs
and optical illusions. Schwarzenegger performed most of his own stunts, and two types of
swords, costing $10,000 each, were forged for his character. The editing process took over a
year, and several violent scenes were cut out.
Conan was a commercial success for its backers, grossing more than $100 million at box offices
around the world, although the revenue fell short of the level that would qualify the film as
a blockbuster. The film earned Schwarzenegger worldwide recognition. Conan has been
frequently released on home media, the sales of which had increased the film's gross to more
than $300 million by 2007. The film's success led to the 1984 sequel Conan the Destroyer.
Contents
[hide]
 1Plot
 2Characters
 3Production
o 3.1Casting
o 3.2Script writing
o 3.3Filming
 3.3.1Stunts and swords
 3.3.2Mechanical effects
 3.3.3Optical effects
 4Music
 5Release
o 5.1Home video
 6Reception
o 6.1Critical response
o 6.2Box office and other media
o 6.3Accolades
 7Themes
 8Legacy and impact
 9Sequels
 10Notes
o 10.1References
o 10.2Sources
 11External links
Plot[edit]
A sword is forged by a blacksmith, who then shows it to his young son, Conan, as he tells him of
the "Riddle of Steel", an aphorism on the importance of the metal to their
people,[2][3] the Cimmerians.[4] One day, the Cimmerians are massacred by a band of raiders led
by Thulsa Doom; Conan's father is killed by dogs, and his sword is taken by Doom to decapitate
Conan's mother, aided by Doom's entrancing gaze. The children are taken into slavery and then
chained to work a large mill, the Wheel of Pain. Conan survives into adulthood, becoming a
massive, muscular man. His master eventually trains him to be a gladiator; after winning
countless fights and receiving training and education in the East, Conan is freed. He is soon
chased by wild dogs and seeks refuge in a warrior's tomb, where he retrieves an ancient sword.
Conan wanders the world, encountering a prophetic witch in a hut and then befriends Subotai, a
Hyrkanian thief and archer.[5][6]
Following the witch's advice, Conan and Subotai go to the city of Zamora to seek out
Doom.[7] There, they meet Valeria, a female brigand. They burgle the Tower of Serpents, stealing
jewels and other valuables from a shrine, slaying a giant snake in the process. After escaping
with their loot, the thieves celebrate, and Conan has sex with Valeria. The city guards capture the
trio and bring them to King Osrić, who requests they rescue his daughter — now a zealot in
Doom's cult — for a handsome reward. Subotai and Valeria refuse to take up the quest; Conan,
however, motivated by his hatred for Doom and his desire for vengeance, sets off alone to the
villain's Temple of Set.[8]
Disguised as a priest, Conan infiltrates the temple, but he is discovered, captured, and tortured.
Doom lectures him on the power of flesh, which he demonstrates by hypnotically enticing a girl to
leap to her death. He then orders for Conan to be crucified on the Tree of Woe. The barbarian is
on the verge of death when he is discovered by Subotai and brought to Akiro, the Wizard of the
Mounds, who lives on a burial site for warriors and kings.[9][10] The wizard summons spirits to heal
Conan[11] and warns that they will "extract a heavy toll", which Valeria is willing to pay. These
spirits also try to abduct Conan, but he is restored to health after Valeria and Subotai fend them
off.[9]
Subotai and Valeria agree to help Conan complete Osric's quest and infiltrate the Temple of Set.
As the cult indulges in a cannibalistic orgy, the thieves attack and flee with the princess, but
Conan is unable to engage Doom, who has magically transformed into a large snake and
slithered away. Valeria is mortally wounded by Doom after he shoots a stiffened snake at her.
She dies in Conan's arms, acknowledging the price of the "toll" forewarned by the wizard in
exchange for Conan's life, and is cremated at the Mounds, where Conan prepares with Subotai
and the wizard to battle Doom. Conan asks Crom, the god of his people, to grant him revenge.
By using booby traps and exploiting the terrain, they manage to slay Doom's warriors when they
arrive. Just when Rexor is about to overcome Conan, Valeria reappears for a brief moment as
a Valkyrie to save him from the mortal blow.[3][12] After losing his men, Doom shoots a stiffened
snake at the princess, but Subotai blocks the shot with his shield and the villain flees to his
temple.[13] The battle ends with Conan having recovered his father's sword from his enemies, a
sword splintered by his own.
Conan sneaks back to the temple where Doom is addressing the members of his cult. He
confronts Doom, who receives him with open arms and attempts to mesmerize him, but the
barbarian resists and uses his father's broken sword to behead his nemesis. After the
disillusioned cultists disperse, Conan burns down the temple[13] and returns the princess to Osric.
Characters[edit]
The death and supernatural return of Bêlit in "Queen of the Black Coast" (as illustrated by Hugh
Rankin in Weird Tales) is mirrored by the fate of Valeria in the film.
The character, Conan, and the world of Hyboria were based on the creations of pulp-fiction writer
Robert E. Howard from the 1930s. Published in Weird Tales, his series about the barbarian was
popular with the readership; the barbarian's adventures in a savage and mystical world, replete
with gore and brutal slayings, satisfied the reader's fantasies of being a "powerful giant who lives
by no rules but his own".[14] From the 1960s, Conan gained a wider audience as novels about
him, written in imitation of Howard's style by L. Sprague de Campand Lin Carter, were
published. Frank Frazetta's cover art for these novels cemented Conan's image as a "virile, axe-
wielding, fur-bearing, cranium-smashing barbarian".[15] John Milius, the film's director, intended
the film's Conan to be "a Northern European mythic hero".[16]Danny Peary described Conan as
"muscular, majestic, brainy, yet with ambivalent scruples".[17] Don Herron, a scholar on Howard
and his stories, disagreed, noting that the personality of Conan in the film differs greatly from that
of the literature. The Conan in the books detests restrictions to his freedom and would have
resisted slavery in a violent fashion, whereas the film version accepts his fate and has to be
freed.[18] Robert Garcia's review of the film in his American Fantasy magazine states, "this Conan
is less powerful, less talkative, and less educated than Howard's".[19]
The female lead, Valeria, has her roots in two strong female characters from Howard's Conan
stories.[20] Her namesake was Conan's companion in "Red Nails", while her personality and fate
were based on those of Bêlit, the pirate queen in "Queen of the Black Coast".[21]According to
Kristina Passman, an assistant professor of classical languages and literature, the film's Valeria
is a perfect archetype of the "good" Amazon character, a fierce but domesticated female warrior,
in cinema.[22][23] Rikke Schubart, a film scholar, said Valeria is a "good" Amazon because she is
tamed by love and not because of any altruistic tendencies.[24] Valeria's prowess in battle
matches that of Conan, and she is also depicted as his equal in capability and status. The loyalty
and love she displays for Conan makes her more than a companion to him;[25] she represents his
"possibilities of human happiness".[26] Her sacrifice for Conan and her brief return from death act
out the heroic code, illustrating that self-sacrificing heroism brings "undying fame".[25] Valeria's
name is spoken in the film only after her death.
Milius based Conan's other companion, Subotai, on Genghis Khan's main general, Subotai,
rather than on any of Howard's characters.[27] According to film critic Roger Ebert, Subotai fulfills
the role of a "classic literary type—the Best Pal."[28] He helps the barbarian to kill a giant snake
and cuts him down from crucifixion; the thief also cries for his companion during Valeria's
cremation, with the explanation that "(h)e is Conan, a Cimmerian. He won't cry, so I cry for
him."[29]
Conan's enemy, Thulsa Doom, is an amalgamation of two of Howard's creations. He takes his
name from the villain in Howard's Kull of Atlantis series of stories, but is closer in character
to Thoth-Amon, a Stygian sorcerer in "The Phoenix on the Sword".[16] The Doom in the film
reminded critics of Jim Jones, a cult leader whose hold on his followers was such that hundreds
of them obeyed his orders to commit suicide.[28][30] Milius said his research on the ancient orders
of the Hashishim and the Thuggee was the inspiration for Doom's snake cult.[31] In the original
Howard stories, the worship of Set, though all too fearsome, is no sect; rather, it is the centuries-
old formalized state religion of Stygia (which is virtually a theocracy).
Production[edit]
From the 1970s, licensing issues had stood in the way of producing film versions of the Conan
stories. Lancer Books, which had acquired the rights in 1966,[32][33] went into receivership, and
legal disputes existed over their disposition of the publishing rights, which ultimately led to them
being frozen under injunction.[32][34] Edward Summer suggested Conan as a potential project to
executive producer Edward R. Pressman in 1975, and after being shown the comics and
Frazetta's artwork, Pressman was convinced.[35] Two years were needed to secure the film
rights.[32] The two main parties involved in the lawsuit, Glenn Lord and de Camp, formed Conan
Properties Incorporated to handle all licensing of Conan-related material, and Pressman was
awarded the film rights shortly afterwards.[36] He spent more than $100,000 in legal fees to help
resolve the lawsuit, and the rights cost him another $7,500.[37]
The success of Star Wars in 1977 increased Hollywood's interest in producing films that portray
"heroic adventures in supernatural lands of fables".[38] The film industry's attention was drawn to
the popularity of Conan among young male Americans, who were buying reprints of the stories
with Frazetta's art and adaptations by Marvel Comics.[39] John Milius first expressed interest in
directing a film about Conan in 1978 after completing the filming of Big Wednesday, according to
Buzz Feitshans, a producer who frequently worked with Milius.[40] (Milius had long been an
admirer of films like The Vikings (1958)[41]). Milius and Feitshans approached Pressman, but
differences over several issues stopped discussions from going further.[40]
Oliver Stone (1987 photograph) was brought on to the project as a "name screenwriter".
Oliver Stone joined the Conan project after Paramount Pictures offered to fund the film's initial
$2.5 million budget if a "name screenwriter" was on the team.[42] After securing Stone's services,
Pressman approached Frank Frazetta to be a "visual consultant", but they failed to come to
terms.[43] The producer then engaged Ron Cobb, who had just completed a set design job
on Alien (1979).[44] Cobb made a series of paintings and drawings for Pressman before leaving to
join Milius on another project.[45]
The estimates to realize Stone's finished script ran to $40 million; Pressman, Summer, and
Stone could not convince a studio to finance their project.[42] Pressman's production company
was in financial difficulties and to keep it afloat, he borrowed money from the bank.[46] The failure
to find a suitable director was also a problem for the project. Stone and Joe Alves, who was
the second unit director on Jaws 2, were considered as possible co-directors, but Pressman said
it "was a pretty crazy idea and [they] didn't get anywhere with it".[47] Stone also said that he
asked Ridley Scott, who had finished directing Alien, to take up the task, but was rejected.[48]
Cobb showed Milius his work for Conan and Stone's script, which according to him, reignited
Milius's interest; the director contacted Pressman,[45]and they came to an agreement: Milius
would direct the film if he were allowed to modify the script.[49] Milius was known in the film
industry for his macho screenplays for Dirty Harry (1971) and Magnum Force (1973).[50][51] He
was, however, contracted to direct his next film for Dino De Laurentiis,[40] an influential producer
in the fantasy film industry.[52] Milius raised the idea of taking on Conan with De Laurentiis,[40] and
after a year of negotiations, Pressman and De Laurentiis agreed to co-produce.[37] De Laurentiis
took over the financing and production, and Pressman gave up all claims to the film's profits,
though he retained approval over changes to the script, cast, and director.[37] Dino De Laurentiis
assigned the responsibility for production to his daughter, Raffaella, and Feitshans.[32] Milius was
formally appointed as director in early 1979, and Cobb was named as the production
designer.[53]De Laurentiis convinced Universal Pictures to become the film's distributor for the
United States.[54] The studio also contributed to the production budget of $17.5 million and
prepared $12 million to advertise the film.[55]
Casting[edit]
Actor Role
Arnold Schwarzenegger Conan the Barbarian
Gerry Lopez Subotai
Sandahl Bergman Valeria
James Earl Jones Thulsa Doom
Max von Sydow King Osric
Mako Iwamatsu Wizard of the Mounds
William Smith Conan's Father
Sven-Ole Thorsen Thorgrim
Ben Davidson Rexor
Cassandra Gava Witch
Valerie Quennessen Osric's Daughter
Jorge Sanz Young Conan
Nadiuska Conan's Mother

Ed Pressman and his associates considered Arnold Schwarzenegger (1984 photograph) the embodiment
of Conan the Barbarian.
While they were working to secure the film rights, Pressman and Summer were also
contemplating the lead role. Summer said they considered Charles Bronson, Sylvester Stallone,
and William Smith—all of whom had played tough figures,[56] but in 1976, the two producers
watched a rough cut of the film about bodybuilding, Pumping Iron, they and agreed that Arnold
Schwarzenegger was perfect for the role of Conan due to his huge, muscular frame.[57]According
to Schwarzenegger, Pressman's "low-key" approach and "great inner strength" convinced him to
join the project.[58] Paul Sammon, writer for Cinefantastique, said that the former champion
bodybuilder was practically the "living incarnation of one of Frazetta's paperback
illustrations".[43] Schwarzenegger was paid $250,000 and placed on retainer;[59] the terms of the
contract restricted him from starring in other sword and sorcery films.[60]Schwarzenegger
said Conan was his biggest opportunity to establish himself in the entertainment industry.[61]
Thanks to Pressman's firm belief in him, Schwarzenegger retained the role of Conan even after
the project was effectively sold to De Laurentiis.[37] Milius wanted a more athletic look on his lead
actor, so Schwarzenegger undertook an 18-month training regimen before shooting began.
Besides running and lifting weights, his routines included rope climbing, horseback riding, and
swimming. He slimmed down from 240 to 210 pounds (109 to 95 kg).[62] Aside from Conan, two
other substantial roles were also played by novice actors. Subotai was Gerry Lopez, a champion
surfer, whose only major acting experience was playing himself in Milius's Big
Wednesday.[21] Schwarzenegger stayed at Lopez's home for over a month before the start of
filming so they could rehearse their roles and build a rapport.[63] Sandahl Bergman, a dancer who
had bit parts in several theater productions and films, played Valeria. She was recommended to
Milius by Bob Fosse, who had directed her in All That Jazz (1979), and was accepted after
reading for the part.[64][65]
Milius said the actors were chosen because their appearances and personae fitted their
roles.[66] He wanted actors who would not have any preconceived notions to project into their
roles.[67] Although Milius had reservations when he witnessed the first few takes of the novices at
work, he put faith in them improving their skills on the job and altered the script to fit their
abilities.[68] Schwarzenegger had studied for weeks in 1980 under Robert Easton, a voice coach
for several Hollywood stars, to improve his speech.[69] His first line in the film was a paraphrasing
of Mongol emperor Genghis Khan's speech about the good things in life, and the actor delivered
it with a heavy Austrian accent; critics later described what they heard as "to crush your
enemies—see dem [them] driven before you, and to hear the lamentations of dair vimen [their
women]".[70][69][71][nb 1] Subsequently, Schwarzenegger underwent intensive speech training with
Milius. Each of his later longer speeches was rehearsed at least 40 times.[71] Lopez's lines were
also an issue; although Milius was satisfied with Lopez's work, the surfer's lines were redubbed
by the stage actor Sab Shimono for the final cut. A source close to the production said this was
done because Lopez failed to "[maintain] a certain quality to his voice."[74]
James Earl Jones (left, 1991 photograph) and Max von Sydow (right, 1989 photograph) were brought on to
the film for their experience.
Sean Connery and John Huston were considered for the other roles.[21][75] James Earl
Jones and Max von Sydow were, according to Milius, hired with the hope that they would inspire
Schwarzenegger, Bergman, and Lopez.[67] Jones was an award-winning veteran of numerous
theater and cinema productions.[76] Von Sydow was a Swedish actor of international
renown.[77] The role of Thulsa Doom was offered to Jones while he was considering applying for
the role of Grendel in an upcoming feature based on John Gardner's eponymous novel; after
learning it was an animation, Jones read Conan's script and accepted the part of Doom.[78] When
filming started, Jones was also starring in a Broadway play - Athol Fugard's A Lesson to Aloes.
He and the film crew coordinated their schedules to allow him to join the play's remaining
performances.[79] Jones took an interest in Schwarzenegger's acting, often giving him pointers on
how to deliver his lines.[71]
The Japanese-American actor Mako Iwamatsu, known professionally as "Mako", was brought
onto the project by Milius for his experience;[67] he had played roles in many plays and films and
had been nominated for Academy and a Tony Awards.[80] In Conan, Mako played the Wizard of
the Mounds and voiced the film's opening speech.[19] William Smith, although passed over for the
lead role, was hired to play the barbarian's father.[21] Doom's two lieutenants, Thorgrim and
Rexor, respectively, were played by Sven-Ole Thorsen, a Danish bodybuilder and karate master,
and Ben Davidson, a former American-football player with the Oakland Raiders.[64] Cassandra
Gava played the witch. Milius hired more than 1,500 extras in Spain.[10] Professional actors from
the European film industry were also hired: Valerie Quennessen was chosen to play Osric's
daughter, Jorge Sanz acted as the nine-year-old version of Conan, and Nadiuska played his
mother.[81]
Script writing[edit]
The drafting of a story for a Conan film started in 1976; Summer conceived a script with the help
of Roy Thomas,[42] a comic-book writer and Conan expert who had been writing the character's
adventures for years for Marvel Comics.[39] Summer and Thomas's tale, in which Conan would be
employed by a "dodgy priest to kill an evil wizard", was largely based on Howard's "Rogues in
the House". Their script was abandoned when Oliver Stone joined the project.[82] Stone was, at
this time, going through a period of addiction to cocaine and depressants. His screenplay was
written under the influence of the drugs[83] and the result was what Milius called a "total drug fever
dream", albeit an inspired one.[84] According to Schwarzenegger, Stone completed a draft by early
1978.[85] Taking inspiration from Howard's "Black Colossus" and "A Witch Shall be Born", Stone
proposed a story, four hours long,[86] in which the hero champions the defense of a princess's
kingdom. Instead of taking place in the distant past, Stone's story is set in a postapocalyptic
future where Conan leads an army in a massive battle against a horde of 10,000 mutants.[50]
The idea of painting symbols onto Conan's body to help ward off spirits is taken from a Japanese story,
"Hoichi the Earless" (theatrical enactment pictured).
When Milius was appointed as director, he took over the task of writing the
screenplay.[87] Although listed as a co-writer, Stone said Milius did not incorporate any of his
suggestions into the final story.[88] Milius discarded the latter half of Stone's story.[89] He retained
several scenes from the first half, such as Conan's crucifixion ordeal, which was taken straight
out of "A Witch Shall be Born", and the climbing of the Tower of Serpents, which was derived
from "The Tower of the Elephant".[90] One of Milius' original changes was to extend Stone's brief
exposition of Conan's youth—the raid on the Cimmerian village—into his teens with the
barbarian's enslavement at the Wheel of Pain and training as a gladiator.[51] Milius also added
ideas gleaned from other films. The Japanese supernatural tale of "Hoichi the Earless", as
portrayed in Masaki Kobayashi's Kwaidan (1965), inspired the painting of symbols on Conan's
body and the swarm of ghosts during the barbarian's resurrection,[11] and Akira
Kurosawa's Seven Samurai (1954) influenced Milius's vision of Conan's final battle against
Doom's men.[14] Milius also included scenes from post-Howard stories about Conan; the
barbarian's discovery of a tomb during his initial wanderings and acquisition of a sword within
were based on de Camp and Carter's "The Thing in the Crypt".[16] According to Derek
Elley, Variety's resident film critic, Milius's script, with its original ideas and references to the pulp
stories, was faithful to Howard's ideals of Conan.[91]
Milius felt, "all the basic emotions [in the script] are always accessible to audiences. All of the
things that Conan does we all feel ourselves. He just acts on them with more intensity than we
do. He is a character who relies on the animal. And I always believe that the animal instincts are
often the worst part of them. All you do when you evolve is corrupt yourself sooner or later." [92]
Filming[edit]
Original introduction in the film
Know, O Prince; that between the years when the oceans drank Atlantis and the rise of the Sons of Aryas, there was an Age
undreamed of ... Hither came I, Conan, a thief, a reaver, a slayer, to tread jeweled thrones of the earth beneath my feet. But
now my eyes are dim. Sit on the ground with me, for you are but the leavings of my age. Let me tell you of the days of high
adventure.
King Conan[93]
Filming started at England's Shepperton Studios in October 1980, with Schwarzenegger, made
up to look like Conan as a king in his old age, reading an excerpt from "The Nemedian
Chronicles", which Howard had penned to introduce his Conan stories. This footage was initially
intended to be a trailer, but Milius decided to use it as the opening sequence of the film,
instead.[94]According to Cobb, Laurentiis and Universal Pictures were concerned about
Schwarzenegger's accent, so Milius compromised by moving the sequence to the end.[95][96]
The initial location for principal photography was Yugoslavia, but because of concerns over the
country's stability after the death of its head of state, Josip Broz Tito, and the fact that the
Yugoslavian film industry proved ill-equipped for large-scale film production, the producers
elected to move the project to Spain, which was cheaper and where resources were more easily
available. It took several months to relocate;[97] the crew and equipment arrived in
September,[98] and filming started on January 7, 1981.[53] The producers allocated $11 million for
production in Spain,[99] of which about $3 million were spent on building 49 sets.[100] The
construction workforce numbered from 50 to 200; artists from England, Italy, and Spain were also
recruited.[101]
A large warehouse 20 miles (32 km) outside Madrid served as the production's
headquarters,[97] and it also housed most of the interior sets for the Tower of Serpents and
Doom's temple;[102] a smaller warehouse was leased for other interior sets.[81] The remaining
interiors for the Tower of Serpents were constructed in an abandoned hangar at Torrejón Air
Base.[10] A full-scale, 40 feet (12 m) version of the tower was built in the hangar; this model was
used to film Conan and his companion's climb up the structure.[10]
The rock formations of Ciudad Encantada (Cuenca, Spain) provided the setting for a supernatural
encounter in Conan.
The crew filmed several exterior scenes in the countryside near Madrid;[81] the Cimmerian village
was built in a forest near the Valsaín ski resort, south of Segovia. About
one million pesetas ($12,084)[nb 2] worth of marble shavings were scattered on the ground to
simulate snow.[104] The Wheel of Pain scene took place in the province of Ávila.[nb 3] Conan's
encounter with the witch and Subotai was shot among the Ciudad Encantada rock formations in
the province of Cuenca.[7] Most outdoor scenes were shot in the province of Almería,[81] which
offered a semiarid climate, diverse terrain (deserts, beaches, mountains),
and Roman and Moorish structures that could be adapted for many settings.[106]
Conan's crucifixion was filmed in March 1981 among the sand dunes on the southeastern coast
of Almería. The Tree of Woe was layers of plaster and Styrofoam applied onto a skeleton of
wood and steel. It was mounted on a turntable, allowing it to be rotated to ensure the angle of the
shadows remained consistent throughout three days of filming. Schwarzenegger sat on a bicycle
seat mounted in the tree while fake nails were affixed to his wrists and feet.[107] The scene in
which Valeria and Subotai fought off ghosts to save Conan and the final battle with Doom's
forces were filmed in the salt marshes of Almerimar. "Stonehenge-like ruins" were erected and
sand piled into mounds that reached 9 m (30 ft).[108] The changes to the landscape attracted
protests from environmentalists and the producers promised to restore the site after filming was
completed.[109]
The walls of the Alcazaba of Almería, Spain, provided the locale for a bazaar in the movie.
The Temple of Set was built in the mountains, about 12 km (7.5 mi) west of the city of Almería.
The structure was 50 meters (160 ft) long and 22 m (72 ft) high. It was the most expensive of the
sets, costing $350,000, and built out of various woods, lacquers, and tons of concrete. Its
stairway had 120 steps.[110] Milius and his crew also filmed at historical sites and on sets from
previous films. Scenes of a bazaar were filmed at the Moorish Alcazaba of Almería, which was
dressed to give it a fictional Hyborian look.[7][111] Shadizar was realized at a pre-existing film set in
the Almerían desert; the fort used for the filming of El Condor (1970) refurbished as an ancient
city.[7]
It was expensive to build large sets,[112] and Milius did not want to rely on optical effects and matte
paintings (painted landscapes). The crew instead adopted miniature effect techniques (playing
on perspective) to achieve the illusion of size and grandeur for several scenes. Scale models of
structures were constructed by Emilio Ruiz and positioned in front of the cameras so that they
appeared as full-sized structures on film; using this technique, the Shadizar set was extended to
appear more than double its size.[113] Ruiz built eight major miniature models,[114] including a 4 ft
(1.2 m) high palace and a representation of the entire city of Shadizar that spanned 120 sq ft
(11 m2).[10]
An academic commented that the Tree of Woe resembled a prop from an 1876 staging of Richard
Wagner's Die Walküre.
Cobb's direction for the sets was to "undo history", "to invent [their] own fantasy history", and yet
maintain a "realistic, historical look".[115] Eschewing the Greco-Roman imagery used heavily in
the sword-and-sandal films of the 1960s,[53]he realized a world that was an amalgamation of Dark
Age cultures, such as the Mongols and the Vikings.[91] Several scenarios paid homage to
Frazetta's paintings of Conan, such as the "half-naked slave girl chained to a pillar, with a
snarling leopard at her feet," at the snake cult's orgy.[116] David Huckvale, a lecturer at the Open
University and broadcaster for BBC Radio, said the designs of the Tree of Woe and the
costumes appeared very similar to those used in Richard Wagner's Ring of the Nibelung operas
at the Bayreuth Festspielhaus in 1876.[117]Principal photography was completed in the middle of
May 1981.[118] The film crews burned down the Cimmerian village and the Temple of Set after
completing filming on each set.[67][119]
Stunts and swords[edit]
Several action scenes in Conan were filmed with a "minijib" (a remote-controlled electronic
camera mounted on a motorized lightweight crane) that Nick Allder, the special effects
supervisor, had devised when he worked on Dragonslayer (1981).[120] The stunts were co-
ordinated by Terry Leonard, who had worked on many films, including Milius' previous projects
and Steven Spielberg's Raiders of the Lost Ark (1981).[45][121] Leonard said that Schwarzenegger,
Bergman, and Lopez performed most of their own stunts, including the fights.[100]
The three actors were given martial arts training ahead of filming. From August 1980,[97] they
were tutored by Kiyoshi Yamazaki, a karate black belt and master swordsman,[122] who drilled
them in sword-fighting styles that were meant to make them look proficient in using their
weapons.[123] They practiced each move in a fight at least 15 times before filming.[124]Yamazaki
advised Leonard on the choreography of the sword fights and had a cameo role as one of
Conan's instructors.[97]
Tim Huchthausen, the prop maker, worked with swordsmith Jody Samson to create the sturdy
weapons Milius thought necessary.[125] Particular attention was paid to two swords wielded by
Conan: his father's sword ("Master's sword") and the blade he finds in a tomb ("Atlantean
sword"). Both weapons were realized from Cobb's drawings. Their blades were hand ground
from carbon steel and heat treated and left unsharpened.[126] The hilts and pommels were
sculpted and cast through the lost-wax process; inscriptions were added to the blades
by electrical discharge machining.[127] Samson and Huchthausen made four Master's and four
Atlantean swords, at a cost of $10,000 per weapon.[128][125] Copies of the Atlantean sword were
struck and given to members of the production.[125]
Samson and Huchthausen agreed the weapons were heavy and unbalanced, thus unsuitable for
actual combat;[128][125] Lighter versions made of aluminum, fiberglass, and steel were struck in
Madrid; these 3 lb (1.4 kg) copies were used in the fight scenes.[129][125] According to
Schwarzenegger, the heavy swords were used in close-up shots.[130] The other weapons used in
the film were not as elaborate; Valeria's talwar was ground out from an aluminum sheet.[131]
The copious amounts of blood spilled in the fight scenes came from bags of fake blood strapped
to the performers' bodies. Animal blood gathered from slaughterhouses was poured onto the
floor to simulate puddles of human blood.[132] Most of the times trick swords made from fiberglass
were used when the scene called for a killing blow.[133] Designed by Allder, these swords could
also retract their blades, and several sprayed blood from their tips.[100] Although the swords were
intended to be safer alternatives to metal weapons, they could still be dangerous: in one of the
fights, Bergman sparred with an extra who failed to follow the choreography and sliced open her
finger.[133]
Accidents also happened in stunts that did not involve weapons. A stuntman smashed his face
into a camera while riding a horse at full gallop,[134] and Schwarzenegger was attacked by one of
the trained dogs.[135] The use of live animals also raised concerns about cruelty; the American
Humane Association placed the film on its "unacceptable list".[136]The transgressions listed by the
association included the kicking of a dog, the striking of a camel, and the tripping of horses.[137]
Mechanical effects[edit]
A dummy with parts from a dead vulture was provided for the shot in which Schwarzenegger bites through
the bird's neck.
Carlo De Marchis, the special make-up effects supervisor, and Colin Arthur, former Studio Head
of Madame Tussaud's, were responsible for the human dummies and fake body parts used in the
film.[7][138] The dummies inflated crowd numbers and stood in as dead bodies,[100] while the body
parts were used in scenes showing the aftermath of fights and the cult's cannibalistic feast.[139] In
Thulsa Doom's beheading scene, Schwarzenegger hacked at a dummy and pulled a concealed
chain to detach its head.[74] The decapitation of Conan's mother was more complex:
a Plexiglas shield between Jones and Nadiuska stopped his sword as he swung at her and an
artificial head then dropped into the camera's view. A more elaborate head was used for the
close-up shots; this prop spurted blood and the movements of its eyes, mouth, and tongue were
controlled by cables hidden beneath the snow.[140]
Allder created a $20,000 36 ft (11 m) mechanical snake for the fight scene in the Tower of
Serpents. The snake's body had a diameter of 2.5 ft (0.76 m), and its head was 2.5 ft (0.76 m)
long and 2 ft (0.61 m) wide. Its skeleton was made from duralumin (an alloy used in aircraft
frames) and its skin was vulcanized foam rubber. Controlled by steel cables and hydraulics, the
snake could exert a force between 3.5 and 9.0 tons. Another two snakes of the same dimensions
were made, one for stationary shots and one for decapitation by Schwarzenegger.[141] To create
the scene at the Tree of Woe, the crew tethered live vultures to the branches, and created a
mechanical bird for Schwarzenegger to bite. The dummy bird's feathers and wings were from a
dead vulture, and its control mechanisms were routed inside the false tree.[142]
According to Sammon, "one of the greatest special effects in the film [was] Thulsa Doom's
onscreen transformation into a giant snake".[100] It involved footage of fake body parts, live and
dummy snakes, miniatures, and other camera tricks combined into a flowing sequence with lap
dissolve. After Jones was filmed in position, he was replaced by a hollow framework with a
rubber mask that was pushed from behind by a snake head-shaped puppet to give the illusion of
Doom's facial bones changing. The head was then replaced with a 6 ft (1.8 m) mechanical
snake; as it moved outwards, a crew member pressed a foot pedal to collapse the framework.
For the final part of the sequence, a real snake was filmed on a miniature set.[143]
Optical effects[edit]
VCE's special effects were composited with the live-action reels through a two-headed optical printer to
create the final print.
Few optical effects were used in Conan the Barbarian. Milius professed ambivalence to fantasy
elements, preferring a story that showcases accomplishments realized through one's own efforts
without reliance on the supernatural. He also said that he followed the advice of Cobb and other
production members on the matters of special effects.[66][144] Peter Kuran's Visual Concepts
Engineering (VCE) effects company was engaged in October 1981 to handle postproduction
optical effects for Conan. VCE had previously worked on films such as Raiders of the Lost
Ark and Dragonslayer. Among their tasks for Conan were adding glint and sparkle to the Eye of
the Serpent and Valeria's Valkyrie armor.[145] Not all of VCE's work made it to the final print; the
flames of Valeria's funeral pyre were originally enhanced by the company, but were later restored
to the original version.[134]
For the scene in which Valeria and Subotai had to fend off ghosts to save Conan's life, the
"boiling clouds" were created by George Lucas's Industrial Light and Magic, while VCE was given
the task of creating the ghosts. Their first attempt—filming strips of film emulsion suspended in a
vat of a viscous solution—elicited complaints from the producers, who thought the resulting
spirits looked too much like those in a scene from Raiders of the Lost Ark, so VCE turned to
animation to complete the task. First, they drew muscular warriors in ghostly forms onto celsand
printed the images onto film with an Oxberry animation stand and contact printer. The Oxberry
was fitted with a used lens that introduced lens flares to the prints; VCE's intention with using the
old lens was to make the resultant images of the ghosts seem as if they were of real-life objects
filmed with a camera. The final composite was produced by passing the reels of film for the
effects and the live-action sequences through a two-headed optical printer and capturing the
results with a camera.[145]
Music[edit]
Anvil of Crom
MENU
0:00
Blaring French horns and
pounding drums
distinguish Conan the
Barbarian's main theme.
Problems playing this file? See media

help.
Milius recruited his friend, Basil Poledouris, to produce the score for Conan; they had had a
successful collaboration on Big Wednesday.[146][147] The film industry's usual practice was to
contract a composer to start work after the main scenes had been filmed, but Milius hired
Poledouris before principal photography had started. The composer was given the opportunity to
compose the film's music based on the initial storyboards and to modify it throughout filming
before recording the score near the end of production.[148] Poledouris made extensive use of
Musync, a music and tempo editing hardware and software system invented by Robert Randles
(subsequently nominated for an Oscar for Scientific Achievement), to modify the tempo of his
compositions and synchronize them with the action in the film. The system helped make his job
easier and faster; it could automatically adjust tempos when the user changed the positioning of
beats. In the montage where Conan grows up, for example, Poledouris had Randles prepare,
over the phone, a long accelerando that landed on precise moments in the picture along the way.
Poledouris would otherwise have had to conduct the orchestra and adjust his compositions on
the fly.[149] Conan is the first film to list Musync in its credits.[150]
Milius and Poledouris exchanged ideas throughout production, working out themes and
"emotional tones" for each scene.[151] According to Poledouris, Milius envisioned Conan as an
opera with little or no dialog;[152] Poledouris composed enough musical pieces for most of the film
(around two hours' worth).[153] This was his first large-scale orchestral score,[153] and a
characteristic of his work here was that he frequently slowed down the tempo of the last
two bars (segments of beats) before switching to the next piece of music.[154] Poledouris said the
score uses a lot of fifths as its most primitive interval; thirds and sixths are introduced as the story
progresses.[155] The composer visited the film sets several times during filming to see the imagery
his music would accompany. After principal photography was completed, Milius sent him two
copies of the edited film: one without music, and the other with its scenes set to works by Richard
Wagner, Igor Stravinsky, and Sergei Prokofiev, to illustrate the emotional overtones he
wanted.[156]
Poledouris said he started working on the score by developing the melodic line—a pattern of
musical ideas supported by rhythms. The first draft was a poem sung to the strumming of a
guitar, composed as if Poledouris was a bard for the barbarian.[157] This draft became the "Riddle
of Steel",[158] a composition played with "massive brass, strings, and percussion",[159] which also
serves as Conan's personal theme.[152] The music is first played when Conan's father explains the
riddle to him. Laurence E. MacDonald, Professor of Music at Mott Community College, said the
theme stirs up the appropriate emotions when it is repeated during Conan's vow to avenge his
parents.[152] The film's main musical theme, the "Anvil of Crom",[159] which opens the film with "the
brassy sound of 24 French horns in a dramatic intonation of the melody, while pounding drums
add an incessantly driven rhythmic propulsion" is played again in several later scenes.[152]
Poledouris completed the music that accompanies the attack on Conan's village at the beginning
of the film in October 1981.[160] Milius initially wanted a chorus based on Carl Orff's Carmina
Burana to herald the appearance of Doom and his warriors in this sequence. After learning
that Excalibur (1981) had used Orff's work, he changed his mind and asked his composer for an
original creation. Poledouris' theme for Doom consists of "energetic choral passages",[159] chanted
by the villain's followers to salute their leader and their actions in his name. The lyrics were
composed in English and roughly translated into Latin;[161] Poledouris was "more concerned about
the way the Latin words sounded than with the sense they actually made."[162] He set these words
to a melody adapted from the 13th-century Gregorian hymn, Dies Irae,[163] which was chosen to
"communicate the tragic aspects of the cruelty wrought by Thulsa Doom."[159]
The film's music mostly conveys a sense of power, energy, and brutality, yet tender moments
occur.[164] The sounds of oboes and string instruments accompany Conan and Valeria's intimate
scenes, imbuing them with a sense of lush romance and an emotional intensity. According to
MacDonald, Poledouris deviated from the practice of scoring love scenes with tunes reminiscent
of Romantic period pieces; instead, Poledouris made Conan and Valeria's melancholic love
theme unique through his use of "minor-key harmony".[161] David Morgan, a film journalist, heard
Eastern influences in the "lilting romantic melodies".[164] Page Cook, audio critic for Films in
Review, describes Conan the Barbarian's score as "a large canvas daubed with a colorful yet
highly sensitive brush. There is innate intelligence behind Poledouris's scheme, and the
pinnacles reached are often eloquent with haunting intensity."[151]
From late November 1981, Poledouris spent three weeks recording his score in Rome.[74][165] He
engaged a 90-instrument orchestra and a 24-member choir from the Accademia Nazionale di
Santa Cecilia and the RAI National Symphony Orchestra,[166] and conducted them
personally.[165] The pieces of music were orchestrated by Greig McRitchie, Poledouris's frequent
collaborator.[151] The chorus and orchestra were recorded separately.[167] The 24 tracks of sound
effects, music, and dialog were downmixed into a single-channel,[168] making Conan the
Barbarian the last film released by a major studio with a mono soundtrack.[169] According to
Poledouris, Raffaella De Laurentiis balked at the cost ($30,000) of a stereo soundtrack and was
worried over the paucity of theaters equipped with stereo sound systems.[170]
Release[edit]
In 1980, the producers began advertising to publicize the film. Teaser posters were put up in
theaters across the United States. The posters reused Frazetta's artwork that was commissioned
for the cover of Conan the Adventurer (1966).[171][172] Laurentiis wanted Conan the Barbarian to
start playing in cinemas at Christmas, 1981,[173] but Universal executives requested further editing
after they previewed a preliminary version of the film in August. A Hollywood insider said the
executives were concerned about the film's portrayal of violence. The premiere was delayed until
the following year so changes could be made.[174] Many scenes were excised from Thulsa Doom's
attack on Conan's village, including the close-up shots on the severed head of Conan's
mother;[74] the late notice of the changes forced Poledouris to quickly adjust his score before
recording music for the sequence.[160] Other scenes of violence that were cut included Subotai's
slaying of a monster at the top of the Tower of Serpents and Conan chopping off a pickpocket's
arm in a bazaar.[175] Milius intended to show a 140-minute story; the final release ran
129 minutes.[176] According to Cobb, the total production expenses approached $20 million by the
time the film was released.[96]
The United States' public was offered a sneak preview on February 19, 1982, in Houston, Texas.
In the following month, previews were held in 30 cities across the country. In Washington, DC,
the mass of moviegoers formed long lines that spanned streets, causing traffic jams. Tickets
were quickly sold out in Denver, and 1,000 people had to be turned away in Houston. The
majority of those in the lines was male; a moviegoer in Los Angeles said, "The audience was
mostly white, clean-cut, and high-school or college age. It was not the punk or heavy-leather
crowd, but an awful lot of them had bulging muscles."[177] On March 16, Conan the Barbarian had
its worldwide premiere at Fotogramas de Plata, an annual cinema awards ceremony in
Madrid,[178] and began its general release in Spain and France a month later.[179][180] Twentieth
Century Fox handled the foreign distribution of the film.[181] Universal originally scheduled Conan's
official release in the United States for the weekend before Memorial Day[182]—the start of the film
industry's summer season when schools close for a month-long holiday.[183] To avoid competition
with other big-budget, high-profile films, the studio advanced the release of Conan the
Barbarian and on May 14, 1982, the film officially opened in 1,400 theaters across North
America.[182]
Home video[edit]
Conan the Barbarian has been released in several different versions on home video. In addition
to the 129-minute theatrical print, Universal distributed the film in 115-minute and 123-minute
cuts on VHS in the 1980s. A slightly extended version was created for the film's special edition
DVD release in 2000; it features two minutes of additional footage for a 131-minute running time.
Reception[edit]
Critical response[edit]
The media's reactions toward Conan were polarized. Aspects of the film heavily criticized by one
side were regarded in a positive light by the other; Professor Gunden stated, "for every positive
review the film garnered, it received two negative ones."[184] The opinions of Roger Ebert of
the Chicago Sun-Times and Richard Schickel of Time illustrate their colleagues' divided views.
Ebert called Conan the Barbarian "a perfect fantasy for the alienated preadolescent",[28] whereas
Schickel said, "Conan is a sort of psychopathic Star Wars, stupid and stupefying."[185] Although
reviews were mixed to negative at the time of the film's release, modern genre critics review the
film more positively, giving the film an aggregate score of 70% on film review
aggregator website Rotten Tomatoes, albeit with a score of 40% among "Top Critics".[186]
Critics said too much violence was in the movie, or the violence failed to match up to Howard's portrayals
(as illustrated by Hugh Rankin in Weird Tales).
At the time Conan was released, the media were inclined to condemn Hollywood's portrayals of
violence; typical action films showed the hero attaining his goals by killing all who stood in his
way.[176][187] Conan was particularly condemned for its violent scenes,[181][187] which Newsweek's
Jack Kroll called "cheerless and styleless".[30] In one of his articles for the San Francisco
Chronicle, Stu Schreiberg counted 50 people killed in various scenes.[188] Other film critics differed
over the film's portrayal of violence. David Denby wrote in his review for New York magazine that
the action scenes were one of the film's few positive features; however, exciting as the scenes
were, those such as the decapitation of Conan's mother seemed inane.[70] On the other
hand, Vincent Canby, Carlos Clarens, and Pascal Mérigeau were unanimous in their opinion that
the film's depicted violence failed to meet their expectations: the film's pacing and Howard's
stories suggested more gory material.[180][189][190] According to Paul Sammon, Milius's cuts to
assuage concerns over the violence made the scenes "cartoon-like".[176]
Comparison with the source material also produced varying reactions among the critics. Danny
Peary and Schickel expected a film based on pulp stories and comic books to be light-hearted or
corny, and Milius's introduction of Nietzschean themes and ideology did not sit well with
them.[17][185] Others were not impressed with Milius's handling of his ideas; James Wolcott called it
heavy-handed and Kroll said the material lacked substance in its implementation.[30][191] The
themes of individualism and paganism, however, resonated with many in the audience; the
concept of a warrior who relies only on his own prowess and will to conquer the obstacles in his
way found favor with young males.[192]Wolcott wrote in Texas Monthly that these themes appeal
to "98-pound weaklings who want to kick sand into bullies' faces and win the panting adoration of
a well-oiled beach bunny".[191] Kroll's opinion was that the audience loved the violence and
carnage but were cynical about the "philosophical bombast."[30] While popular with audiences, the
theatrical treatment of the barbarian was rejected by hardcore fans and scholars of Howard's
stories. A particular point of contention was the film's version of Conan's origin, which is at odds
with Howard's hints about the character's youth.[193] Their point of view is supported by Kerry
Brougher,[194] but Derek Elley, Clarens, and Sammon said Milius was faithful to the ideology
behind Howard's work.[91][116][195]
Arnold Schwarzenegger's performance was frequently mentioned in the critiques.[181] Clarens,
Peary, Gunden and Nigel Andrews were among those who gave positive assessments of the
former bodybuilder's acting: to them, he was physically convincing as the barbarian in his body
movements and appearance.[17][190][196][197] Andrews added that Schwarzenegger exuded a certain
charm—with his accent mangling his dialog—that made the film appealing to his
fans.[198] Fanfare's Royal S. Brown disagreed and was grateful that the actor's dialog amounted to
"2 pages of typescript."[199] Schickel summed up Schwarzenegger's acting as "flat",[185] while Knoll
was more verbose, characterizing the actor's portrayal as "a dull clod with a sharp sword, a
human collage of pectorals and latissimi who's got less style and wit than Lassie."[30] While
Sandahl Bergman earned acclaim for injecting grace and dynamism into the film,[30][190] the film's
more experienced thespians were not spared criticisms. Gunden said von Sydow showed little
dedication to his role,[64]and Clarens judged Jones's portrayal of Thulsa Doom to be worse than
camp.[190] Brougher faulted none of the actors for their performances, laying the blame on Milius's
script, instead.[194]
Box office and other media[edit]
According to Rentrak Theatrical, a firm of media analysts, Conan debuted at the top spot at the
US box office, taking $9,479,373 over the opening weekend.[200][nb 4] Rentrak's data
on Conan covered 8 weeks after the film's release; during that period, Conan grossed
$38,513,085 at the box office in the United States.[202] Universal Pictures received $22.5 million
after deducting the amounts due to the cinema owners.[19] This sum—the rental[203]—was more
than the money Universal had invested in making the film, thus qualifying Conan as a
commercial success; any further income from the film was pure profit for the studio.[19] Marian
Christy, interviewer for the Boston Globe, mentioned that the film was a box-office success in
Europe and Japan, as well.[204] Worldwide, Conan the Barbarian grossed $68,851,475 in ticket
sales.[205]
David A. Cook, Professor of Film Studies at Emory University, said that Conan's North American
performance fell short of the amount returned by blockbusters;[206] the rentals of such films from
their release in the continent were supposed to be least $50 million.[207] Conan's rental was the
13th-highest for 1982[19] and when combined with those for E.T. the Extra-Terrestrial (the most
successful film in that year with a rental of $187 million),[203] On Golden Pond, and The Best Little
Whorehouse in Texas—all distributed by Universal Pictures—constituted 30% of the year's total
film rental. According to Arthur D. Murphy, a film-industry analyst, it was the first time that a
single distributor captured such a substantial share of the film market.[207]
The videocassette version of the film was released on October 2, 1982. Sales and rental figures
of the videocassette were high; from its launch, the title was listed in Billboard's Videocassette
Top 40 (Sales and Rental categories) for 23 weeks.[208][209] According to Sammon, sales of the film
through frequent home video releases increased the film's gross earnings to more than
$300 million by 2007.[210] Conan the Barbarian was novelized by Lin Carter and the de Camps (L.
Sprague and his wife, Catherine).[189][211] It was also adapted by Marvel in comic form;[nb 5] scripted
by Michael Fleisher and drawn by John Buscema, the comic was one of the rarest paperbacks
published by the company.[212]
Accolades[edit]
Conan the Barbarian did not receive any film awards, but the Hollywood Foreign Press
Association noted Bergman's performance as Valeria and awarded her a Golden Globe Award
for New Star of the Year—Actress.[213] Poledouris's score was judged by Films in Review's Page
Cook as the second best sound track of the films released in 1982.[151] The film was nominated for
a Razzie Award for Worst Actor for Arnold Schwarzenegger.[214]
The film is recognized by American Film Institute in these lists:
 2003: AFI's 100 Years...100 Heroes & Villains:

 Conan – Nominated Hero[215]
 2005: AFI's 100 Years of Film Scores – Nominated[216]
 2008: AFI's 10 Top 10:
 Nominated Fantasy Film[217]
Themes[edit]
Riddle of Steel
The secret of steel has always carried with it a mystery. You must learn its riddle, little Conan. You must learn its
discipline. For no one, no one in this world can you trust. Not men, not women, not beasts. [Points to sword] This
you can trust.
Conan's father
The central theme in Conan the Barbarian is the Riddle of Steel. At the start of the film, Conan's
father tells his son to learn the secret of steel and to trust only it. Initially believing in the power of
steel, Thulsa Doom raids Conan's village to steal the Master's sword. Subsequently, the story
centers on Conan's quest to recover the weapon in which his father has told him to
trust.[218] Weaponry fetish is a device long established in literature; Carl James Grindley, an
assistant professor of English, said ancient works such as Homer's Iliad, the Old
English poem Beowulf, and the 14th-century tale of Sir Gawain and the Green Knight pay
detailed attention to the arsenal of their heroes.[219] Grindley further said that Conan the
Barbarian, like most other contemporary action films, uses weapons as convenient plot devices
rather than as symbols that mark the qualities of the hero.[220] James Whitlark, an associate
professor of English, said the Riddle of Steel makes the film's emphasis on the swords ironic; it
gives the illusion that the weapons have powers of their own, but later reveals them to be useless
and dependent on the strength of their wielders.[221] In the later part of the film, Doom mocks
steel, proclaiming the power of flesh to be stronger. When Conan recovers his father's sword, it
is after he has broken it in the hands of Doom's lieutenant during their duel. According to
Grindley, that moment—Conan's breaking of his father's sword—"[fulfills] a snickering spectrum
of Oedipal conjecture" and asserts Homer's view that "the sword does not make the hero, but the
hero makes the sword."[222] The film, as Whitlark says, "offers a fantasy of human power raised
beyond mortal limits."[221] Passman and other authors agree, stating the film suggests that human
will and determination are in a Nietzschean sense stronger than physical might.[3] [223] [191]
Another established literary trope found in the plot of Conan the Barbarian is the concept of
death, followed by a journey into the underworld, and rebirth. Donald E. Palumbo, the Language
and Humanities Chair at Lorain County Community College, noted that like most other sword and
sorcery films, Conan used the motif of underground journeys to reinforce the themes of death
and rebirth.[224] According to him, the first scene to involve all three is after Conan's liberation: his
flight from wild dogs sends him tumbling into a tomb where he finds a sword that lets him cut off
his chains and stand with newfound power. In the later parts of the film, Conan experiences two
underground journeys where death abounds: in the bowels of the Tower of Serpents where he
has to fight a giant snake and in the depths of the Temple of Set where the cultists feast on
human flesh while Doom transforms himself into a large serpent. Whereas Valeria dies and
comes back from the dead (albeit briefly), Conan's ordeal from his crucifixion was symbolic.
Although the barbarian's crucifixion might evoke Christian imagery,[225] associations of the film
with the religion are roundly rejected. Milius stated his film is full of pagan ideas, a sentiment
supported by film critics such as Elley[91] and Jack Kroll.[30] George Aichele, Professor Emeritus of
Philosophy and Religion at Adrian College, suggested the filmmaker's intent with the crucifixion
scene was pure marketing: to tease the audience with religious connotations.[226] He, however,
suggested that Conan's story can be viewed as an analogy of Christ's life and vice
versa.[227] Nigel Andrews, a film critic, saw any connections to Christianity related more to the
making of the film.[228] The crucifixion is also reminiscent of Odin being nailed to Yggdrasil.
Conan's slaying of Doom's giant snake in the Tower of Serpents recalls Siegfried's slaying of Fafnir the
dragon (illustrated) in Wagner's Der Ring des Nibelungen.
Milius's concept of Conan the Barbarian as an opera was picked up by the critics; Elley and
Huckvale saw connections to Wagner's operas.[91][117]According to Huckvale, the film's opening
sequence closely mirrors a sword forging scene in Siegfried. Conan's adventures and ordeals
seem to be inspired by the trials of the opera's titular hero: witnessing his parents' deaths,
growing up as a slave, and slaying a giant serpent—dragon. Furthermore, Schwarzenegger's
appearance in the role of Conan evoked images of Siegfried, the role model of the "Aryan blonde
beast", in the lecturer's mind.[117] The notion of racial superiority, symbolized by this Aryan hero,
was a criticism given by J. Hoberman and James Wolcott; they highlighted the film's Nietzschean
epigraph and labeled its protagonist as Nietzsche's übermensch.[223][191] Ebert was disturbed by
the depiction of a "Nordic superman confronting a black", in which the "muscular blond" slices off
the black man's head and "contemptuously [throws it] down the flight of stairs".[28] His sentiment
was shared by Adam Roberts, an Arthurian scholar, who also said Conan was an exemplar of
the sword and sorcery films of the early 1980s that were permeated in various degrees with
fascist ideology. According to Roberts, the films were following the ideas and aesthetics laid
down in Leni Riefenstahl's directorial efforts for Nazi Germany. Roberts cautioned that any
political readings into these sword and sorcery films with regards to fascism is subjective.[229] Film
critic Richard Dyer said that such associations with Conan were inaccurate and influenced by
misconceptions of Nietzschean philosophies,[230] and scholars of philosophy said that the film
industry has often misinterpreted the ideas behind the übermensch.[231][232]
Conan is also seen as a product of its time: The themes of the film reflect the political climate of
the United States in the 1980s. Ronald Reagan was the country's president and the ideals
of individualism were promoted during his two terms in office. He emphasized the moral worth of
the individual in his speeches, encouraging his fellow Americans to make the country successful
and to stand up against the Soviet Union during the Cold War.[233][234] Dr. Dave Saunders, a film
writer and lecturer at South Essex College of Further and Higher Education, linked facets
of Conan the Barbarian to aspects of Reaganism[235]—the conservative ideology that surrounded
the president's policies.[236] Saunders likened Conan's quest against Doom to the Americans'
crusades,[235] his choice of weaponry—swords—to Reagan's and Milius's fondness of resisting
the Soviets with only spirit and simple weapons,[237] and Doom's base of operations to the
Kremlin.[238] Conan, in Saunder's interpretation, is portrayed as the American hero who draws
strength from his trials and tribulations to slay the evil oppressors—the Soviets—and crush their
un-American ways.[239] Douglas Kellner and his fellow academic Michael Ryan proposed another
enemy for the American individual: an overly domineering federal government.[240] The film's
association with individualism was not confined to the United States; Jeffrey Richards, a cultural
historian, noticed the film's popularity among the youths of the United Kingdom.[241] Robin Wood,
a film critic, suggests that in most cases, there is only a thin veneer between individualism and
fascism; he also said that Conan is the only film in that era to dispense with the disguise, openly
celebrating its fascist ideals in a manner that would delight Riefenstahl.[242]
"Conan shows a world where there are two kinds of men—one of which has long hair and gorgeous tits." [243]
—F. X. Feeney from L.A. Weekly in 1982[244]

Sexual politics were also examined in thematic studies of the film. The feminist
movement experienced a backlash during the opening years of the 1980s and action films then
were helping to promote the notions of masculinity.[245][246] Women in these films were portrayed as
whores, handmaidens, or warriors and clad in flesh-revealing outfits.[236][247] Conan gave its male
audience a manly hero that overcame all odds and adversity, delivering them a fantasy that
offered escape from the invasion of radical "strong feminist women" in their lives.[248][249] Renato
Casaro's promotional artwork for the film's release in the United States presents a sexualized
portrayal of the two main characters, Conan and Valeria.[250][251] Scantily clad in costumes cut in
the styles of underwear, they wear long boots and sport their hair loose. While Conan strides
forth in the picture with his sword held high, Valeria "squats in an impossible pose with her
leather body-suit [in the shape of a teddy] forming a dark shape between her
thighs".[252] According to Schubart, critics did not accept Valeria as a strong female figure, but
viewed her as a "sexual spectacle"; to them, she was the traditional male warrior buddy in a sexy
female body.[243]
Legacy and impact[edit]

Whereas most comic book and pulp adaptations were box office failures in the 1980s, Conan the
Barbarian was one of the few that made a profit.[253] According to Sammon, it became the
standard against which sword and sorcery films were measured until the debut of Peter
Jackson's The Lord of the Rings: The Fellowship of the Ring in 2001;[210] several contemporary
films of the same genre were judged by critics to be clones of Conan,[206] such as The
Beastmaster (1982).[254][255] Conan's success inspired low-budget copycats, such as Ator, the
Fighting Eagle (1982) and Deathstalker (1983).[256][257][258] Its sequel, Conan the Destroyer, was
produced and released in 1984; only a few of those involved in the first film, such as
Schwarzenegger, Mako, and Poledouris, returned.[159][259] Later big- and small-screen adaptations
of Robert E. Howard's stories were considered by Sammon to be inferior to the film that started
the trend.[116] A spinoff from Conan was a 20-minute live-action show, The Adventures of Conan:
A Sword and Sorcery Spectacular, that ran from 1983 to 1993 at Universal Studios Hollywood.
Produced at a cost of $5 million, the show featured action scenes executed to music composed
by Poledouris.[166][260] The show's highlights were pyrotechnics, lasers, and an 18-foot (5.5 m)
tall animatronic dragon that breathed fire.[261][262]
Producer Dino De Laurentiis (2009 photograph) profited from Conan, but had less success with his later
films.
Several of those involved in the film reaped short-term benefits. Sandahl Bergman's Golden
Globe for her role as Valeria marks her greatest achievement in the film industry; her later roles
failed to gain her further recognition.[263] Dino De Laurentiis had produced a string of box office
failures since the success of King Kong in 1976; it appeared Conan the Barbarian might be a
turning point in his fortunes. The sequel was also profitable, but many of De Laurentiis' later big-
budget projects did not recoup their production costs and he was forced to declare bankruptcy in
1988.[264] For John Milius, Conan the Barbarian is his "biggest directorial success" to date;[265] his
subsequent endeavors failed to equal its success and popularity.[266] Additionally, Mako's
performance as Akiro would be the deciding factor in his casting as Aku in the 2001 animated
series Samurai Jack.[citation needed]
Pressman did not receive any money from Conan's box office takings, but he sold the film rights
for the Conan franchise to De Laurentiis for $4.5 million and 10 percent of the gross of any
sequel to Conan the Barbarian.[37] The sale more than paid off his company's debts incurred from
producing Old Boyfriends, saving him from financial ruin;[46] Pressman said this deal "made [him]
more money by selling out, by not making a movie, than [he] ever have made by making
one."[267] He also arranged for Mattel to obtain the rights to produce a range of toys for the film.
Although the toy company abandoned the license after its executives decided Conan was "too
violent" for children, Pressman convinced them to let him produce a film based on their
new Masters of the Universe toy line.[46] The eponymous film cost $20 million to produce and
grossed $17 million at the United States box office in 1987.[268][269]
Those who benefited most from the project were Basil Poledouris and Arnold Schwarzenegger.
Poledouris's reputation in the film industry increased with the critical acclaim his score
received;[270] MacDonald noted Poledouris's work on Conan as "one of the most spectacular film
music achievements of the decade",[153] and Page Cook named it as the only reason to watch the
film and as the second best film sound track (after E.T.'s) for 1982.[151] After hearing Conan's
music, Paul Verhoeven engaged Poledouris to score his films, Flesh and
Blood (1985), RoboCop (1987) and Starship Troopers (1997).[271][272] The music in
Verhoeven's Total Recall (1990) also bore the influence of Conan's score; its composer, Jerry
Goldsmith, used Poledouris's work as the model for his compositions.[273]
Conan brought Schwarzenegger worldwide recognition as an action star[265] and established the
model for most of his film roles: "icy, brawny, and inexpressive—yet somehow endearing."[274] The
image of him as the barbarian was an enduring one; when he campaigned for George H. W.
Bush to be president, he was introduced as "Conan the Republican"[275]—a moniker that stuck
with him throughout his political career and was often repeated by the media during his term as
Governor of California.[276] Schwarzenegger was aware of the benefits the film had brought to
him, acknowledging the role of Conan as "God's gift to [his] career."[277] He embraced the image:
when he was Governor of California, he displayed his copy of the Atlantean sword in his office,
occasionally flourishing the weapon at visitors and letting them play with it.[276][278] More than once,
he spiced up his speeches with Conan's "crush your enemies, see them driven before you and
hear the lamentations of their women".[279][280]
The film's soundtrack, "Riders of Doom", was used in the commercials for the adventure video
game The Legend of Zelda: Ocarina of Time, its remake, and in trailers for its sequels The
Legend of Zelda: The Wind Waker and The Legend of Zelda: Twilight Princess.[citation needed]
Sequels[edit]
Conan the Destroyer was released in 1984, with Schwarzenegger and Mako reprising their roles.
A planned third entry in the trilogy, Conan the Conqueror was previewed at the end
of Destroyer. Conqueror was planned for 1987 release, but this never came to fruition. A
derivation of the script was adapted to become the 1997 film, Kull the Conqueror.
In October 2012, Universal Pictures announced plans for Schwarzenegger to return to the role of
Conan for the film The Legend of Conan. The story will be a direct sequel of the original film,
"bypassing" Conan the Destroyer and the 2011 film starring Jason Momoa.[281][282] In June 2013,
Schwarzenegger said he still had plans to make The Legend of Conan, but after Terminator
Genisys, which began shooting in 2014.[283] In October 2013, Deadline reported that Andrea
Berloff was to write the film's script.[284] In February 2015, IGNreported that Will Beall was writing
the script.[285] On May 24, 2015, Chris Morgan told The Arnold Fans website that the film's script
is ready and revealed that at least three characters from the first film will be returning.[286][287][288] In
early 2016, Schwarzenegger expressed enthusiasm for the completed script and reaffirmed his
interest in starring in the film, saying "Interest is high . . . but we are not rushing."[289] Fredrik
Malmberg told Deadline.com in an interview that the sequel could lead to a cinematic universe of
Howard's creations for film and TV.[290][291] On January 28, 2016, Schwarzenegger confirmed that
the third film would be Conan the Conqueror. He revealed the details about the film at a Q&A
event in Scotland.[292] According to Sandy Schaefer writing for Screenrant.com in August 2016 the
script is collaboratively honed by Chris Morgan and Will Beall.[293] In April 2017, producer Chris
Morgan stated that Universal had dropped the project, although there was a possibility of a TV
show. The story of the film was supposed to be set 30 years after the first, with some inspiration
from Clint Eastwood's Unforgiven.[294]
Notes[edit]
1. Jump up^ The original English quote, as translated by Sir Henry Hoyle Howorth in 1876 from Abraham
Constantin Mouradgea d'Ohsson's French version of Genghis Khan's speech: "The greatest pleasure is to
vanquish your enemies, to chase them before you, to rob them of their wealth, to see those dear to them
bathed in tears, to ride their horses, to clasp to your bosom their wives and daughters." [72][73]
2. Jump up^ The US dollar figure is derived from the exchange rate (82.7500) between the currency and
the peseta on January 31, 1981.[103]
3. Jump up^ In the surroundings of La Cerca, near the villages of Solosancho, Robledillo and La Hija de
Dios.[105]
4. Jump up^ The average price for a movie ticket in 1982 was $2.94.[201]
5. Jump up^ Further details of the comic: Fleisher, Michael (Summer 1982). "Conan the
Barbarian". Marvel Super Special. Vol. 1 no. 21. New York, United States: Marvel Comics
Group. ISBN 0-939766-07-8.
References[edit]
1. ^ Jump up to:a b PRODUCER New York Times (1923-Current file) [New York, N.Y] September 20, 1987:
SMA65
2. Jump up^ Gunden 1989, p. 16.
3. ^ Jump up to:a b c Passman 1991, p. 92.
4. Jump up^ Gunden 1989, pp. 14, 20.
5. Jump up^ Gunden 1989, pp. 16–17.
6. Jump up^ Flynn 1996, p. 40.
7. ^ Jump up to:a b c d e Sammon 1982a, p. 47.
9. ^ Jump up to:a b Gunden 1989, pp. 17–18.
11. ^ Jump up to:a b Sammon 1982a, p. 55.
12. Jump up^ Gunden 1989, pp. 18–19.
13. ^ Jump up to:a b Gunden 1989, p. 19.
15. Jump up^ Helman 2003, p. 276.
16. ^ Jump up to:a b c Williams 2010, p. 116.
17. ^ Jump up to:a b c Peary 1986.
18. Jump up^ Herron 2000, p. 177.
19. ^ Jump up to:a b c d e Gunden 1989, p. 14.
20. Jump up^ Herron 2000, pp. 125, 173.
21. ^ Jump up to:a b c d Sammon 1982a, p. 37.
22. Jump up^ Passman 1991, pp. 90, 93.
23. Jump up^ Schubart 2007, p. 36.
25. ^ Jump up to:a b Passman 1991, pp. 91–93.
26. Jump up^ Passman 1991, p. 104.
27. Jump up^ Sammon 1981, p. 33.
28. ^ Jump up to:a b c d Ebert 1982.
29. Jump up^ Gunden 1989, pp. 17–19.
30. ^ Jump up to:a b c d e f g Kroll 1982.
31. Jump up^ Gallagher & Milius 1989, pp. 177–178.
33. Jump up^ Ashley 2007, p. 138.
34. Jump up^ Turan 1980, pp. 60–61.
35. Jump up^ Sammon 2007, pp. 98–100.
36. Jump up^ Sammon 2007, pp. 100–101.
37. ^ Jump up to:a b c d e Carney 1987, p. 72.
38. Jump up^ Hunter 2007, p. 156.
39. ^ Jump up to:a b Turan 1980, p. 62.
40. ^ Jump up to:a b c d Sammon 1981, p. 25.
41. Jump up^ MILIUS: MIGHT MAKES A RITE: JOHN MILIUS Pollock, Dale. Los Angeles Times (1923-Current
File) [Los Angeles, Calif] May 14, 1982: h1.
42. ^ Jump up to:a b c Sammon 1982a, p. 32.
44. Jump up^ Sammon & Cobb 1982, p. 65.
45. ^ Jump up to:a b c Sammon 1981, p. 26.
46. ^ Jump up to:a b c Carney 1987, p. 74.
47. Jump up^ Riordan 1994, p. 99.
48. Jump up^ McGilligan & Stone 2001, p. 18.
50. ^ Jump up to:a b Beaver 1994, p. 50.
52. Jump up^ Nicholls 1984, pp. 86–88.
53. ^ Jump up to:a b c Bruzenak 1981, p. 53.
54. Jump up^ Sammon 2007, p. 103.
55. Jump up^ Flynn 1996, p. 45.
56. Jump up^ Sammon 2007, p. 100.
57. Jump up^ Sammon 2007, p. 101.
58. Jump up^ Turan 1980, p. 63.
59. Jump up^ Andrews 1995, p. 101.
60. Jump up^ Gallagher & Milius 1989, p. 26.
61. Jump up^ Turan 1980, pp. 63, 66.
62. Jump up^ Gunden 1989, pp. 23–24.
63. Jump up^ Western Empire 1980.
64. ^ Jump up to:a b c Gunden 1989, p. 24.
65. Jump up^ Steranko & Bergman 1982, p. 41.
66. ^ Jump up to:a b Sammon & Milius 1982, p. 26.
67. ^ Jump up to:a b c d Gallagher & Milius 1989, p. 178.
68. Jump up^ Steranko & Milius 1982.
69. ^ Jump up to:a b Andrews 1995, p. 107.
70. ^ Jump up to:a b Denby 1982, p. 68.
71. ^ Jump up to:a b c Gunden 1989, p. 26.
72. Jump up^ Irwin 2007, p. 19.
73. Jump up^ Howorth 1876, p. 110.
75. Jump up^ Turan 1980, p. 66.
76. Jump up^ Bebenek 2004.
77. Jump up^ Marklund 2010, p. 309.
80. Jump up^ Kurohashi 1999, pp. 27, 118.
82. Jump up^ Williams 2010, p. 115.
85. Jump up^ Steranko & Schwarzenegger 1982, p. 26.
86. Jump up^ Williams 2010, pp. 115–116.
87. Jump up^ Beaver 1994, p. 51.
88. Jump up^ McGilligan & Stone 2001, p. 19.
91. ^ Jump up to:a b c d e Elley 1984, p. 151.
92. Jump up^ "Anthea Sylbert doesn't just drop director John Milius' name ...". Boston Globe. 30 Aug
1981. p. 1.
93. Jump up^ Sammon 1982a, p. 29.
95. Jump up^ Saunders 2009, p. 58.
96. ^ Jump up to:a b Mitchell, Ferguson & Cobb 1982, p. 20.
99. Jump up^ Galindo 1981.
101. Jump up^ Sammon & Cobb 1982, p. 67.
102. Jump up^ Sammon 1981, p. 22.
103. Jump up^ Federal Reserve 1989.
104. Jump up^ Sammon 1981, p. 34.
105. Jump up^ "Conan, el abulense". Diario de Ávila(in Spanish). July 20, 2014.
106. Jump up^ Capella-Miternique 2002, pp. 272, 273, 277–280.
109. Jump up^ Moya 1999, pp. 212, 218.
110. Jump up^ Sammon 1982a, pp. 53–54.
112. Jump up^ Sammon & Cobb 1982, pp. 70–71.
114. Jump up^ Sammon 1981, p. 31.
115. Jump up^ Sammon 2007, p. 104.
116. ^ Jump up to:a b c Sammon 2007, p. 108.
117. ^ Jump up to:a b c Huckvale 1994, p. 133.
118. Jump up^ Sammon 1981, p. 37.
121. Jump up^ Sammon 1981, pp. 37–38.
122. Jump up^ Franck 1985, p. 20.
123. Jump up^ Franck 1985, pp. 20, 22, 24, 90.
124. Jump up^ Franck 1985, p. 24.
126. Jump up^ Sammon 1982a, pp. 35, 39.
128. ^ Jump up to:a b Waterman & Samson 2002.
129. Jump up^ Sammon 2007, p. 105.
133. ^ Jump up to:a b Sammon 1981, p. 23.
136. Jump up^ "Conan The Barbarian". Humane Hollywood.
137. Jump up^ Robb 1994, p. 6.
138. Jump up^ Sammon 1981, pp. 24, 31.
139. Jump up^ Sammon 1981, p. 24.
144. Jump up^ Sammon 1981, p. 36.
145. ^ Jump up to:a b Sammon 1982a, pp. 55, 63.
146. Jump up^ MacDonald 1998, pp. 291–292.
147. Jump up^ Thomas 1997, pp. 324–325.
148. Jump up^ Thomas 1997, p. 328.
149. Jump up^ ASC 1982.
150. Jump up^ ASC 1982, p. 783.
151. ^ Jump up to:a b c d e Cook 1983, p. 120.
152. ^ Jump up to:a b c d MacDonald 1998, p. 292.
153. ^ Jump up to:a b c MacDonald 1998, p. 294.
154. Jump up^ ASC 1982, p. 785.
155. Jump up^ Morgan 2000, pp. 171–172.
156. Jump up^ MacDonald 1998, pp. 292–293.
157. Jump up^ Morgan 2000, p. 171.
158. Jump up^ Larson 2006.
159. ^ Jump up to:a b c d e Thomas 1997, p. 326.
160. ^ Jump up to:a b ASC 1982, p. 786.
161. ^ Jump up to:a b MacDonald 1998, p. 293.
162. Jump up^ Morgan 2000, pp. 170–171.
163. Jump up^ Larson 1985, p. 349.
164. ^ Jump up to:a b Morgan 2000, p. 167.
165. ^ Jump up to:a b Morgan 2000, p. 228.
166. ^ Jump up to:a b Koppl & Poledouris 2009.
167. Jump up^ Morgan 2000, p. 175.
168. Jump up^ Morgan 2000, pp. 172–173.
169. Jump up^ Morgan 2000, pp. 167–168.
170. Jump up^ Morgan 2000, pp. 173–174.
171. Jump up^ Heritage Auctions 2010, p. 118.
172. Jump up^ Sammon 2007, pp. 26–27.
173. Jump up^ Segaloff 1981.
174. Jump up^ Churcher 1981, p. 12.
175. Jump up^ Gunden 1989, p. 27.
176. ^ Jump up to:a b c Sammon 1982b.
177. Jump up^ Harmetz 1982.
178. Jump up^ ABC 1982b.
179. Jump up^ ABC 1982a.
180. ^ Jump up to:a b Mérigeau 1982.
181. ^ Jump up to:a b c Flynn 1996, p. 48.
182. ^ Jump up to:a b BusinessWeek 1982.
183. Jump up^ Kilday 1999, pp. 40, 42.
184. Jump up^ Gunden 1989, p. 15.
185. ^ Jump up to:a b c Schickel 1982.
186. Jump up^ "Conan the Barbarian (1982)" (film reviews). Rotten Tomatoes. Retrieved
February 12, 2014.
187. ^ Jump up to:a b Andrews 1995, pp. 108–109.
189. ^ Jump up to:a b Canby 1982a.
190. ^ Jump up to:a b c d Clarens 1982, p. 28.
191. ^ Jump up to:a b c d Wolcott 1982, p. 160.
192. Jump up^ Richards 1997, p. 170.
193. Jump up^ Sammon 2007, pp. 103–104, 108.
194. ^ Jump up to:a b Brougher 1982, p. 103.
195. Jump up^ Clarens 1982, p. 27.
196. Jump up^ Gunden 1989, pp. 15–16, 26.
197. Jump up^ Andrews 1995, pp. 100, 105–106.
199. Jump up^ Brown 1982, p. 486.
200. Jump up^ Rentrak Corporation 2011a.
201. Jump up^ Vogel 2011, p. 91.
202. Jump up^ Rentrak Corporation 2011b.
203. ^ Jump up to:a b Prince 2000, p. 3.
204. Jump up^ Christy 1982.
205. Jump up^ [1]
206. ^ Jump up to:a b Cook 1999, p. 32.
207. ^ Jump up to:a b Harmetz 1983.
208. Jump up^ Billboard 1982.
209. Jump up^ Billboard 1983.
210. ^ Jump up to:a b Sammon 2007, p. 107.
211. Jump up^ Canby 1982b.
212. Jump up^ Weiner 2008, p. 216.
213. Jump up^ HFPA 2011.
214. Jump up^ Wilson, John (2005). The Official Razzie Movie Guide: Enjoying the Best of
Hollywood's Worst. Grand Central Publishing. ISBN 0-446-69334-0.
215. Jump up^ "AFI's 100 Years...100 Heroes & Villains Nominees" (PDF). Retrieved 2016-08-
12.
216. Jump up^ "AFI's 100 Years of Film Scores Nominees" (PDF). Retrieved 2016-08-12.
217. Jump up^ "AFI's 10 Top 10 Nominees" (PDF). Archived from the original on July 16, 2011.
Retrieved 2016-08-19.
218. Jump up^ Grindley 2004, p. 159.
219. Jump up^ Grindley 2004, pp. 151–155.
220. Jump up^ Grindley 2004, pp. 155, 159.
221. ^ Jump up to:a b Whitlark 1988, p. 115.
222. Jump up^ Grindley 2004, p. 160.
223. ^ Jump up to:a b Hoberman 2000, p. 30.
224. Jump up^ Palumbo 1987, p. 212.
225. Jump up^ Palumbo 1987, pp. 213–214.
226. Jump up^ Aichele 2002, pp. 7–8.
227. Jump up^ Aichele 2002, p. 8.
229. Jump up^ Roberts 1998, pp. 110–111.
230. Jump up^ Dyer 2002, p. 265.
231. Jump up^ Jovanovski 2008, p. 105.
232. Jump up^ Solomon 2003, p. 33.
233. Jump up^ Shaw 2007, pp. 267–269.
234. Jump up^ Saunders 2009, pp. 48–49.
235. ^ Jump up to:a b Saunders 2009, p. 51.
236. ^ Jump up to:a b Kellner 2004, p. 73.
238. Jump up^ Saunders 2009, p. 57.
240. Jump up^ Ryan & Kellner 1990, p. 226.
241. Jump up^ Richards 1997, pp. 23, 170.
242. Jump up^ Wood 2003, p. 152.
243. ^ Jump up to:a b Schubart 2007, p. 18.
245. Jump up^ Cross 2008, p. 191.
246. Jump up^ Thompson 2007, pp. 103–104.
247. Jump up^ Passman 1991, p. 91.
248. Jump up^ Cross 2008, pp. 155–156.
249. Jump up^ Wood 2003, p. xxxvi.
250. Jump up^ Sammon 2007, pp. 96–97.
252. Jump up^ Schubart 2007, pp. 224–225.
253. Jump up^ Rossen 2008, p. 127.
254. Jump up^ Gunden 1989, p. 247.
255. Jump up^ Maltin 2008, p. 97.
256. Jump up^ McDonagh 2008, p. 135.
258. Jump up^ Falicov 2003, p. 26.
260. Jump up^ Sammon 2007, pp. 114, 117.
261. Jump up^ Universal Studios 1983.
262. Jump up^ Moleski 1985.
263. Jump up^ Flynn 1996, pp. 79–80.
264. Jump up^ Behar 1990.
265. ^ Jump up to:a b Kendrick 2009, p. 87.
266. Jump up^ Cook 1999, pp. 32–33.
267. Jump up^ Pulleine 1986.
268. Jump up^ Twitchell 1992, p. 248.
269. Jump up^ Rossen 2008, p. 169.
270. Jump up^ Thomas 1997, p. 325.
271. Jump up^ Larson & Poledouris 2008.
272. Jump up^ Morgan 2000, p. 55.
273. Jump up^ Karlin 1994, p. 6.
274. Jump up^ Rees 1992, p. 1992.
275. Jump up^ Popadiuk 2009, p. 96.
276. ^ Jump up to:a b Grover & Palmeri 2004.
277. Jump up^ Geringer 1987, pp. 89–90.
278. Jump up^ Brenner 2005, p. 3.
279. Jump up^ LeDuff & Broder 2004, p. 1.
280. Jump up^ Fox 2011.
281. Jump up^ "Schwarzenegger returns to 'Conan' role, films 'Ten'". CNN.com.
Retrieved October 26, 2012. According to Deadline, the 65-year-old actor/politician/author will be
back as Conan the Barbarian, the role that he first portrayed in the 1982 film.
282. Jump up^ Cornet, Roth (January 29, 2014). "The Legend of Conan Producer Chris Morgan
Says Arnold Schwarzenegger's Return to the Role is Going to be Their Unforgiven." IGN.com.
Retrieved February 11, 2014.
283. Jump up^ Barton, Steve (June 13, 2013). "Arnold Schwarzenegger Confirms Terminator
Role; Talks King Conan and Twins 2 - No Really, Twins 2". DreadCentral.com. Retrieved June
14, 2013.
284. Jump up^ 'Legend Of Conan' Lands Andrea Berloff To Script Arnold Schwarzenegger
Epic Reprise
285. Jump up^ "What's Happening With The Legend of Conan?". IGN. Retrieved February
23, 2015.
286. Jump up^ Jennings 2014.
287. Jump up^ Baxter 2015.
288. Jump up^ Jennings 2015.
289. Jump up^ Schaefer 2016.
290. Jump up^ Fleming, Jr, Mike (May 28, 2015). "Robert E. Howard's Conan The Barbarian,
Kull And Other Creations Acquired By Fredrik Malmberg". Deadline.
291. Jump up^ Steinbeiser 2015.
292. Jump up^ Dornbush 2016.
293. Jump up^ Legend of Conan Writer Teases Opening Shot & ‘Worthy’ Conan Sequel, Susan
Schaefer, 08/16/2016.
294. Jump up^ "Arnold Schwarzenegger's 'The Legend of Conan' May Not Happen After All".
slashfilm.com. 6 April 2017. Retrieved 7 April 2017.
Sources[edit]
Books
 Aichele, George (2002). "Foreword". In Kreitzer, Larry Joseph. Gospel Images in Fiction and Film: On
Reversing the Hermeneutical Flow. Biblical Seminar. 84. Sheffield, United Kingdom: Sheffield
Academic Press. pp. 7–10. ISBN 1-84127-343-0. OCLC 783055726.
 Andrews, David (2006). "Spicy, but Not Obscene". Soft in the Middle: The Contemporary Softcore
Feature in its Contexts. Ohio, United States: Ohio State University Press. pp. 77–109. ISBN 0-8142-
1022-8. OCLC 65978656.
 Andrews, Nigel (1995). True Myths: The Life and Times of Arnold Schwarzenegger. London, United
Kingdom: Bloomsbury Publishing. ISBN 0-7475-2126-3. OCLC 722665367.
 Ashley, Michael (2007). "The Depths of Infinity". Gateways to Forever: The Story of the Science-
Fiction Magazines from 1970 to 1980. Liverpool, United Kingdom: Liverpool University Press. pp. 135–
139. ISBN 978-1-84631-002-7. OCLC 607814774 – via Google Books.
 Beaver, Frank (1994). "Writing for the Establishment: Conan the Barbarian, Scarface, Year of the
Dragon, 8 Million Ways to Die". Oliver Stone: Wakeup Cinema. Twayne's Filmmakers Series. New
York, United States: Twayne Publishers. pp. 48–66. ISBN 0-8057-9332-1.
 Bebenek, Chris (2004). "Jones, James Earl". In Gates, Henry Louis; Higginbotham, Evelyn
Brooks. African American Lives. New York, United States: Oxford University Press. pp. 473–
474. ISBN 0-19-516024-X.
 Cross, Gary (2008). Men to Boys: The Making of Modern Immaturity. New York, United
States: Columbia University Press. ISBN 978-0-231-14430-8.
 Dyer, Richard (2002). "The White Man's Muscles". In Adams, Rachel; Savran, David. The Masculinity
Studies Reader. Oxford, United Kingdom: Blackwell Publishers. pp. 262–273. ISBN 0-631-22660-
5. This was originally printed in White. London, United Kingdom: Routledge. 1997. pp. 145–153, 155–
165, 230–231. ISBN 0-415-09537-9.
 Elley, Derek (1984). "Early Medieval: Norsemen, Saxons, and the Cid". The Epic Film: Myth and
History. Cinema and Society. London, United Kingdom: Routledge & Kegan Paul. pp. 136–
159. ISBN 0-7100-9656-9.
 Flynn, John L. (1996) [1993]. The Films of Arnold Schwarzenegger. Citadel Press Book (Revised and
updated ed.). New York, United States: Carol Publishing Group. ISBN 0-8065-1645-3.
 Gunden, Kenneth von (1989). "Conan the Barbarian: Sword and Sorcery". Flights of Fancy: The Great
Fantasy Films. North Carolina, United States: McFarland & Company. pp. 14–29. ISBN 0-7864-1214-
3.
 Herron, Don (September 2000) [1984]. The Dark Barbarian—The Writings of Robert E. Howard: A
Critical Anthology. New Jersey, United States: Wildside Press. ISBN 1-58715-203-7.
 Hoberman, James (2000). "Nietzsche's Boy". In Arroyo, José. Action/Spectacle Cinema. London,
United Kingdom: British Film Institute. pp. 29–33. ISBN 0-85170-756-4. This article was originally
published in Sight and Sound. Vol. 1 no. 5. London, United Kingdom: British Film Institute. September
1991. pp. 22–25. ISSN 0037-4806. Missing or empty |title= (help)
 Howorth, Henry Hoyle (1876). "Jingis Khan". History of the Mongols: The Mongols Proper and the
Kalmuks. History of the Mongols from the 9th to the 19th Century. 1. London, United
Kingdom: Longmans, Green and Company. pp. 49–115.
 Jovanovski, Thomas (2008). "Übermensch on Parade". Aesthetic Transformations: Taking Nietzsche
at His Word. American University studies. 204. New York, United States: Peter Lang. pp. 103–
110. ISBN 978-0-8204-2002-8.
 Karlin, Fred (1994). "Planning the Score". Listening to Movies: The Film Lover's Guide to Film Music.
California, United States: Wadsworth Group. pp. 3–16. ISBN 0-02-873315-0.
 Kendrick, James (2009). "Pure Action, Packaged Violence". Hollywood Bloodshed. Illinois, United
States: Southern Illinois University Press. pp. 79–105. ISBN 0-8093-2888-7.
 Kurohashi, Yuko (1999). Asian American Culture on Stage: The History of the East West Players. New
York, United States: Garland Publishing. ISBN 0-8153-3147-9.
 Larson, Randall D. (1985). "Classical Music". Musique Fantastique: A Survey of Film Music in the
Fantastic Cinema. New Jersey, United States: Scarecrow Press. pp. 347–356. ISBN 0-8108-1728-4.
 Maltin, Leonard (2008) [1969]. Leonard Maltin's Movie Guide 2009. London, United Kingdom: Penguin
Group. ISBN 978-0-452-28978-9.
 MacDonald, Laurence E (1998). "1982—Basil Poledouris: Conan the Barbarian". The Invisible Art of
Film Music: A Comprehensive History. New York, United States: Ardsley House. pp. 291–294. ISBN 1-
880157-56-X.
 Morgan, David (2000). Knowing the Score: Film Composers Talk About the Art, Craft, Blood, Sweat,
and Tears of Writing for Cinema. New York, United States: HarperEntertainment. ISBN 0-380-80482-4.
 Moya, José Enrique Martínez (1999). Almería, un Mundo de Película [Almería, A World of Film].
Almería y Los Almerienses (in Spanish). 11. Almería, Spain: Almería Studies Institute. ISBN 84-8108-
169-8.
 Nicholls, Peter (1984). The World of Fantastic Films: An Illustrated Survey. New York, United States:
Dodd, Mead, and Company. ISBN 0-396-08382-X.
 Peary, Danny (1986). "Conan the Barbarian". Guide for the Film Fanatic. New York, United
States: Simon & Schuster. p. 101. ISBN 0-671-61081-3.
 Popadiuk, Roman (2009). "Behind the Scenes". The Leadership of George Bush: An Insider's View of
the Forty-First President. Joseph V. Hughes, Jr., and Holly O. Hughes Series in the Presidency and
Leadership Studies. Texas, United States: Texas A&M University Press. pp. 92–110. ISBN 1-60344-
112-3.
 Prince, Stephen (2000). "The Industry at the Dawn of the Decade". In Harpole, Charles. A New Pot of
Gold: Hollywood Under the Electronic Rainbow, 1980–1989. History of the American Cinema. 10. New
York, United States: Charles Scribner's Sons. ISBN 0-684-80493-X.
 Richards, Jeffrey (1997). Films and British National Identity: From Dickens to Dad's Army. Studies in
Popular Culture. Manchester, United Kingdom: Manchester University Press. ISBN 0-7190-4743-9.
 Riordan, James (1994). Stone: The Controversies, Excesses, and Exploits of a Radical Filmmaker.
New York, United States: Hyperion Books. ISBN 0-7868-6026-X.
 Roberts, Adam (1998). "Arthurian Cinema: Aesthetic Fascism and Its Critique". Silk and Potatoes:
Contemporary Arthurian Fantasy. Costerus New Series. 114. Amsterdam, Netherlands: Rodopi
Publishers. pp. 110–131. ISBN 90-420-0306-5.
 Rossen, Jake (2008). "Nuclear Disaster". Superman vs. Hollywood: How Fiendish Producers, Devious
Directors, and Warring Writers Grounded an American Icon. Illinois, United States: Chicago Review
Press. pp. 158–173. ISBN 978-1-55652-731-9.
 Ryan, Michael; Kellner, Douglas (1990) [1988]. "The Triumph of Individualism—From Man to
Superman". Camera Politica: The Politics and Ideology of Contemporary Hollywood Film (First Midland
Book ed.). Indiana, United States: Indiana University Press. pp. 219–228. ISBN 0-253-20604-9.
 Sammon, Paul (September 2007). Conan the Phenomenon: The Legacy of Robert E. Howard's
Fantasy Icon. Oregon, United States: Dark Horse Books. ISBN 1-59307-653-3.
 Saunders, Dave (2009). "Colossus: Arnold's Hollywood Putsch". Arnold: Schwarzenegger and the
Movies. London, United Kingdom: I.B. Tauris. pp. 47–120. ISBN 978-1-84511-948-5.
 Schubart, Rikke (2007). Super Bitches and Action Babes: The Female Hero in Popular Cinema, 1970–
2006. North Carolina, United States: McFarland & Company. ISBN 978-0-7864-2924-0.
 "Session Two, Auction #7205". Heritage Vintage Movie Posters #7025 (auction catalogue). Texas,
United States: Heritage Auctions. 2010. pp. 103–196. ISBN 1-59967-471-8.
 Shaw, Tony (2007). "The Empire Strikes Back". Hollywood's Cold War. Edinburgh, United
Kingdom: Edinburgh University Press. pp. 267–300. ISBN 978-1-55849-612-5.
 Solomon, Robert C. (2003) [1999]. "The Will to Power as Virtue". The Joy of Philosophy: Thinking Thin
Versus the Passionate Life. New York, United States: Oxford University Press. pp. 31–35. ISBN 0-19-
506759-2.
 Thomas, Tony (1997). "More Recently—Basil Poledouris". Music for the Movies (2nd ed.). California,
United States: Silman-James Press. pp. 322–329. ISBN 1-879505-37-1.
 Thompson, Graham (2007). "Film and Television". American Culture in the 1980s. Twentieth-Century
American Culture. Edinburgh, United Kingdom: Edinburgh University Press. pp. 89–122. ISBN 978-0-
7486-1910-8.
 Twitchell, James B. (1992). "Programming Television: Reflections on the Electronic Midway". Carnival
Culture: The Trashing of Taste in America. New York, United States: Columbia University Press.
pp. 193–252. ISBN 0-231-07831-5.
 Vogel, Harold (2011) [1986]. "Movie Macroeconomics". Entertainment Industry Economics: A Guide for
Financial Analysis (8th ed.). New York, United States: Cambridge University Press. pp. 71–
111. ISBN 978-1-107-00309-5.
 Weiner, Robert G. (2008). "Marvel and Marvel-Related Paperbacks". Marvel Graphic Novels and
Related Publications. North Caroline, United States: McFarland & Company. pp. 215–226. ISBN 978-
0-7864-2500-6.
 Whitlark, James (1988). "Cinematic Magic: From Motion Picture to Comic-Book
Adaptation". Illuminated Fantasy: From Blake's Visions to Recent Graphic Fiction. New Jersey, United
States: Associated University Presses. pp. 110–117. ISBN 0-8386-3305-6.
 Wood, Robin (2003) [1986]. "Papering the Cracks: Fantasy and Ideology in the Reagan
Era". Hollywood from Vietnam to Reagan ... and Beyond (Revised and expanded ed.). New York,
United States: Columbia University Press. pp. 144–167. ISBN 0-231-12967-X.
Essays and journals
 Capella-Miternique, Hugo (July 2002). "A Tale Right Out of Hollywood—Set in the Desert of Almeira, in
Spain?". In Jussila, Heikki; Majoral i Moliné, Roser; Cullen, Bradley. Sustainable Development and
Geographical Space: Issues of Population, Environment, Globalization and Education in Marginal
Regions. Marginal Regions (and In Association with IGU - Dynamics of Marginal and Critical Regions).
Hampshire, United Kingdom: Ashgate Publishing. pp. 270–283. ISBN 0-7546-1860-9.
 Cook, David (1999) [1998]. "Auteur Cinema and the "Film Generation" in 1970s Hollywood". In Lewis,
Jon. The New American Cinema. North Carolina, United States: Duke University Press. pp. 11–
37. ISBN 0-7864-2016-2.
 Falicov, Tamara L. (Spring 2003). "B-Movies in the Pampas: Roger Corman's Co-Productions in
Argentina". Hemisphere. Florida, United States: Florida International University's Latin American and
Caribbean Center. 12: 25–27. ISSN 0898-3038.
 Grindley, Carl James (2004). "The Hagiography of Steel: The Hero's Weapon". In Driver, Martha W.;
Ray, Sid. The Medieval Hero On Screen: Representations from Beowulf to Buffy. North Carolina,
United States: McFarland & Company. pp. 151–166. ISBN 0-7864-1926-1.
 Huckvale, David (1994). "The Composing Machine: Wagner and Popular Culture". In Tambling,
Jeremy. A Night in at the Opera: Media Representations of Opera. London, United Kingdom: John
Libbey and Company. pp. 113–144. ISBN 0-86196-466-7.
 Hunter, Ian (2007). "Post-classical Fantasy Cinema: The Lord of the Rings". In Cartmell, Deborah;
Whelehan, Imelda. The Cambridge Companion to Literature on Screen. Cambridge Companions to
Literature. New York, United States: Cambridge University Press. pp. 154–
166. doi:10.1017/CCOL0521849624.011. ISBN 978-0-521-61486-3.
 Irwin, William (2007). "This Search Goes On: Christian, Warrior, Buddhist". Metallica and Philosophy:
A Crash Course in Brain Surgery. Oxford, United Kingdom: Blackwell Publishing. pp. 16–
28. ISBN 978-1-4051-6348-4.
 Kellner, Douglas (2004). "Films, Politics, and Ideology: Reflections on Hollywood Film in the Age of
Reagan". In Schatz, Thomas. Hollywood: Cultural Dimensions: Ideology, Identity and Cultural Industry
Studies. Hollywood: Critical Concepts in Media and Cultural Studies. 4. London, United Kingdom:
Routledge. pp. 69–92. ISBN 0-415-28131-8.
 Marklund, Anders (2010). "Swedish Films and Filmmakers Abroad—Introduction". In Larsson,
Mariah. Swedish Film: An Introduction and a Reader. Lund, Sweden: Nordic Academic Press.
pp. 306–310. ISBN 978-91-85509-36-2.
 McDonagh, Maitland (2008). "Dellamorte Dellamore and Michele Soavi". In Atkinson, Michael. Exile
Cinema: Filmmakers at Work Beyond Hollywood. Horizons of Cinema. New York, United States: State
University of New York Press. pp. 131–136. ISBN 978-0-7914-7377-1.
 Palumbo, Donald E (November 11, 1987). "The Underground Journey and the Death and Resurrection
Theme in Recent Science Fiction and Fantasy Films". In Morse, Donald E. The Fantastic in World
Literature and the Arts: Selected Essays from the Fifth International Conference on the Fantastic in the
Arts (1984). Contributions to the Study of Science Fiction and Fantasy. 28. Connecticut, United
States: Greenwood Press. pp. 211–228. ISBN 0-313-25526-1.
 Passman, Kristina (1991). Winkler, Martin, ed. "The Classical Amazon in Contemporary
Cinema". Classics and Cinema. Bucknell Review. Pennsylvania, United States: Bucknell University
Press. 35(1): 81–105. ISBN 0-8387-5198-9.
 Whitaker, Albert Keith (2003). "In the Classroom: California Dreamin' in the Postmodern
Academy". The Journal of Education. Massachusetts, United States: Boston University. 184 (2): 123–
124. ISSN 0022-0574.
Newspaper and magazine articles
 "At Random: Pumping Irony—Lopez Goes Hollywood". Surfing. Vol. 16 no. 10. California, United
States: Western Empire Publications. October 1980. p. 27. ISSN 0194-9314.
 Behar, Richard (April 9, 1990). "Star Of His Own Dubious Epic". Time. Vol. 135 no. 15. New York,
United States: Louis A. Weil III. p. 63. ISSN 0040-781X. Archived from the original on December 15,
2008.
 "Blockbuster Risks at the Box Office". BusinessWeek. No. 2746. New York, United States: J. R.
Pierce. July 5, 1982. p. 88. ISSN 0007-7135.
 Brougher, Kerry (August 1982). "Films: Conan Swings a Heavy Sword—and Misses". Orange Coast.
California, United States: Toni K. Tuso. pp. 102–103. ISSN 0279-0483.
 Brown, Royal S. (September–October 1982). "Soundtracks". Fanfare. Vol. 6 no. 1. New Jersey, United
States: Joel Flegler. pp. 483–491. ISSN 0148-9364.
 Bruzenak, Ken (December 1981). "The Making of an Adventure Epic Conan the
Barbarian". Mediascene Prevue. Vol. 2 no. 6. Pennsylvania, United States: James Steranko. pp. 51–
57, 65. ISSN 0199-9257.
 Canby, Vincent (May 23, 1982a). "Film View—Thoughts While Held Captive by an 'Escapist'
Movie". The New York Times. New York, United States: Arthur Ochs Sulzberger. Retrieved July
17,2010.
 Canby, Vincent (June 6, 1982b). "Film View—Questions Grown in the Dark". The New York Times.
New York, United States: Arthur Ochs Sulzberger. section 2, p. 19, col. 1.
 Carney, Thomas (September 29, 1987). "The Maverick Producer". The New York Times Magazine.
The Business World. New York, United States: Arthur Ochs Sulzberger. pp. 65–66, 72, 74. ISSN 0028-
7822.
 Christy, Marian (May 9, 1982). "Conversations—Winning According to Arnold Schwarzenegger". The
Boston Globe. Massachusetts, United States: William O. Taylor II. p. 1. ISSN 0743-1791. ProQuest ID:
666350881. (Subscription required (help)).
 Churcher, Sharon (August 31, 1981). "Intelligencer—Studio Brass Said to Cringe at 'Barbarian'
Movie". New York. Vol. 14 no. 34. New York, United States: Cathleen Black. pp. 11–13. ISSN 0028-
7369.
 Clarens, Carlos (May–June 1982). "Barbarians Now". Film Comment. Vol. 18 no. 3. New York, United
States: Film Society of Lincoln Center. pp. 26–28. ISSN 0015-119X.
 "Conan el Bárbaro" [Conan the Barbarian] (PDF). ABC (in Spanish). Madrid, Spain: Prensa Española.
April 15, 1982. p. 7.
 Cook, Page (1983). "The Sound Track—1982's Best Sound Tracks". Films in Review. Vol. 34. New
York, United States: National Board of Review of Motion Pictures. pp. 118–122. ISSN 0015-1688.
 Denby, David (May 24, 1982). "Sweat and Strain". New York. Vol. 15 no. 21. New York, United States:
Cathleen Black. pp. 68, 70. ISSN 0028-7369.
 "Fotogramas de Plata" [Silver Frames] (PDF). ABC (in Spanish). Madrid, Spain: Prensa Española.
March 6, 1982. p. 48 El mundo del espectáculo.
 Franck, Loren (November 1985). "The Crash Course in Sword Training: It Works for the Stars, but
How About Martial Artists?". Black Belt. Vol. 23 no. 11. California, United States: Michael James.
pp. 20–24, 98. ISSN 0277-3066.
 Galindo, Carlos (March 11, 1981). ""Conan, el Bárbaro", Una Superproducción Internacional en Los
Estudios Españoles" ["Conan the Barbarian", a Spanish Study of an International
Blockbuster] (PDF). ABC (in Spanish). Madrid, Spain: Prensa Española. p. 11 aerial edition.
 Geringer, Dan (December 7, 1987). "Pex Sell Tix". Sports Illustrated. Vol. 67 no. 25. New York, United
States: Donald J. Barr. pp. 80–84, 86–90. ISSN 0038-822X. Archived from the originalon 2012-04-04.
 Harmetz, Aljean (March 16, 1982a). "Reporter's Notebook—Crowded Previews Thrust Universal's
'Conan' into Spotlight". The New York Times. New York, United States: Arthur Ochs Sulzberger.
section C, p. 11, col. 1.
 Harmetz, Aljean (January 25, 1983). "1982 A Bonanza Year at Movie Box Offices". The New York
Times. New York, United States: Arthur Ochs Sulzberger. section C, p. 11, col. 1.
 Helman, Christopher (November 24, 2003). "Schwarzenegger's Sargent". Forbes. Vol. 172 no. 11.
New York, United States: Forbes Publishing. pp. 276–280. ISSN 0015-6914. Archived from the original
on April 9, 2011.
 Kilday, Gregg (June 1999). "The Industry—The Selling of Summer". Los Angeles. Vol. 44 no. 4.
California, United States: Liz Miller. pp. 38, 40, 42, 44, 46, 48, 50. ISSN 1522-9149.
 Kroll, Jack (May 17, 1982). "A Cut-up Called Conan". Newsweek. Vol. 99 no. 20. California, United
States: Donald E. Graham. p. 100. ISSN 0028-9604.
 Mérigeau, Pascal (1982). "Analyses des Longs Métrages: Conan le Barbare" [Feature Films Analysis:
Conan the Barbarian]. La Saison Cinématographique. La revue du cinéma (in French). Vol. 26. Paris,
France: L'Ufoléis. p. 82. ISSN 0019-2635.
 Moleski, Linda, ed. (October 5, 1985). "Video Track". Billboard. Vol. 97 no. 40. New York, United
States: Billboard Publications. p. 36A. ISSN 0006-2510.
 "Musync: Computerized Music Editing". American Cinematographer. Vol. 63 no. 8. California, United
States: American Society of Cinematographers. August 1982. pp. 783–786. ISSN 0002-7928.
 "New on the Charts". Billboard. Vol. 94 no. 39. New York, United States: Billboard Publications.
October 2, 1982. p. 42. ISSN 0006-2510.
 Pulleine, Tim (June 1986). "Edward R. Pressman: From Phantom of the Paradise to Plenty and
Beyond". Films and Filming. No. 381. London: Brevet Publishing. p. 21. ISSN 0015-167X.
 Rees, Matt (May 25, 1992). "Corporate America's Most Powerful People—Arnold
Schwarzenegger". Forbes. Vol. 149 no. 11. New York, United States: Forbes Publishing. pp. 159–
160. ISSN 0015-6914.
 Robb, David (May 10, 1994). "Does AHA Have Enough Bite?". The Hollywood Reporter. Vol. 332
no. 9. California, United States: Robert J. Dowling. pp. 1, 6, 90. ISSN 0018-3660.
 Sammon, Paul (September 1981). "Nine Days in Cimmeria". Cinefantastique. Vol. 11 no. 3. Illinois,
United States: Frederick S. Clarke. pp. 16–37. ISSN 0145-6032.
 Sammon, Paul (April 1982a). "Conan the Barbarian". Cinefantastique. Vol. 12 no. 2 and 3. Illinois,
United States: Frederick S. Clarke. pp. 28–63. ISSN 0145-6032.
 Sammon, Paul (May–June 1982b). "Reviews—Conan the Barbarian". Cinefantastique. Vol. 12 no. 4.
Illinois, United States: Frederick S. Clarke. p. 49. ISSN 0145-6032.
 Sammon, Paul (September 1984). "Conan II". Cinefantastique. Vol. 14 no. 4 and 5. Illinois, United
States: Frederick S. Clarke. pp. 4–7. ISSN 0145-6032.
 Schickel, Richard (May 24, 1982). "Cinema: Overkill". Time. Vol. 119 no. 21. New York, United States:
John A. Meyers. p. 76. ISSN 0040-781X. Archived from the original on January 13, 2005.
 Segaloff, Nat (August 30, 1981). "Special to The Globe". The Boston Globe. Massachusetts, United
States: William O. Taylor II. p. 1. ISSN 0743-1791. ProQuest ID: 684374661. (Subscription required
(help)).
 Turan, Kenneth (January 1980) [August 27, 1979]. "The Barbarian in Babylon". Savage Sword of
Conan. Vol. 1 no. 48. New York, United States: Marvel Comics. pp. 56–66. This article was first
published in New West. Vol. 4 no. 18. California, United States: Joe Gravitt Armstrong. August 27,
1979. pp. 16–25. ISSN 0362-1146. Missing or empty |title= (help)
 Universal Studios (June 24, 1983). "Movie Making Magic". The Enterprise Newspapers. Washington,
United States: The Herald's staff. p. 10A.
 "Videocassette Top 40". Billboard. Vol. 95 no. 9. New York, United States: Billboard Publications.
March 5, 1983. p. 31. ISSN 0006-2510.
 Williams, Owen (May 2010). "Conan the Unmade". Empire. No. 251. London, United Kingdom: Bauer
Media. pp. 114–120. ISSN 0957-4948.
 Wolcott, James (July 1982). "Movies". Texas Monthly. Vol. 10 no. 7. Texas, United States: Mediatex
Communications. pp. 154, 156, 158, 160. ISSN 0148-7736.
Interviews
 Gallagher, John Andrew; Milius, John (subject) (1989). "John Milius". Film Directors on Directing.
London, United Kingdom: Praeger Publishers. pp. 169–181. ISBN 0-275-93272-9.
 Koppl, Rudy; Poledouris, Basil (subject) (July 2, 2009). "Basil Poledouris: A Man and His
Music". CinemaScore · Soundtrack · Archives. Archived from the original on October 11, 2011. This
interview was originally published in Soundtrack!. Belgium: Luc Van de Ven. 16 (64). December
1997. ISSN 0771-6303. Missing or empty |title= (help)
 Larson, Randall (Fall 1982). "The Music of Conan". CinemaScore: The Film Music Journal. California,
United States: Randall D. Larson (10): 7–8. ISSN 0277-9803.
 Larson, Randall D.; Poledouris, Basil (subject) (2008). "Basil Poledouris on Flesh &
Blood". CinemaScore · Soundtrack · Archives. Archived from the original on October 11, 2011. This
interview was originally published in CinemaScore. California, United States: Randall D. Larson
(13/14). Winter–Summer 1985. ISSN 0277-9803. Missing or empty |title= (help)
 McGilligan, Pat; Stone, Oliver (subject) (2001) [1987]. "Point Man". In Silet, Charles L. P. Oliver Stone:
Interviews. Conversations with Filmmakers. Mississippi, United States: University Press of Mississippi.
pp. 10–38. ISBN 1-57806-303-5. This interview first appeared in Film Comment. Vol. 23 no. 1. New
York, United States: Film Society of Lincoln Center. February 1987. ISSN 0015-119X. Missing or
empty |title= (help)
 Mitchell, Blake; Ferguson, Jim; Cobb, Ron (subject) (June 1982). "Conan, the Barbarian". Fantastic
Films. Vol. 4 no. 5. Illinois, United States: Michael Stein. pp. 10–22. ISSN 0273-7043.
 Sammon, Paul; Cobb, Ron (subject) (April 1982). "Cobb the Designer". Cinefantastique. Vol. 12 no. 2
and 3. Illinois, United States: Frederick S. Clarke. pp. 64–71. ISSN 0145-6032.
 Sammon, Paul; Milius, John (subject) (April 1982). "Milius the Director". Cinefantastique. Vol. 12 no. 2
and 3. Illinois, United States: Frederick S. Clarke. pp. 22–27. ISSN 0145-6032.
 Steranko, James; Bergman, Sandahl (subject) (September 1982). "Sandahl Bergman—Sensational
Sexy Warrior Woman of Conan". Mediascene Prevue. Vol. 2 no. 9. Pennsylvania, United States:
James Steranko. pp. 41–46, 73. ISSN 0199-9257.
 Steranko, James; Milius, John (subject) (July 1982). "John Milius—Behind-the-Scenes Interview with
the Writer/Director of Conan". Mediascene Prevue. Vol. 2 no. 8. Pennsylvania, United States: James
Steranko. ISSN 0199-9257. Archived from the original on August 5, 2002.
 Steranko, James; Schwarzenegger, Arnold (subject) (May 1982). "An Exclusive Conversation With
Arnold Schwarzenegger on the Power and Peril of Playing Conan". Mediascene Prevue. Vol. 2 no. 7.
Pennsylvania, United States: James Steranko. pp. 26–32, 39. ISSN 0199-9257.
 Waterman, Edward; Samson, Jody (subject) (2002). "Jody Samon—Master Sword
Maker". Archived from the original on October 13, 2002. This article is an updated excerpt from The
Barbarian Keep. No. 1. Texas, United States: Robert E. Howard United Press Association. April
1997. Missing or empty |title= (help)
Online
 "AFI's 100 Years 100 Heroes & Villains 400 Nominated Characters" (PDF). California, United States:
American Film Institute. 2003. Retrieved August 5, 2010.
 "AFI's 100 Years of Film Scores Official Ballot" (PDF). California, United States: American Film Institute.
September 23, 2005. Retrieved August 5, 2010.
 "AFI's 10 Top 10 Official Ballot" (PDF). California, United States: American Film Institute. January 2008.
Archived from the original (PDF) on August 7, 2011. Retrieved August 5, 2010.
 Baxter, Joseph (May 24, 2015). "Conan The Barbarian Sequel Will Bring Back 4 Characters, Including
Arnold's Hero". Cinema Blend.
 Brenner, Marie (January 2005). "Mr. and Mrs. California". Vanity Fair. Condé Nast Digital. Archived
from the original on October 11, 2011. This is an online version of the article in Vanity Fair. Vol. 47
no. 533. New York, United States: Louis Cona. ISSN 0733-8899. Missing or empty |title= (help)
 Dornbush, Jonathan (January 28, 2016). "Arnold Schwarzenegger reveals new title, plot details about
Conan sequel". EW.com. Entertainment Weekly, Inc. Retrieved January 31, 2016.
 Ebert, Roger (1982). "Conan the Barbarian". Chicago Sun-Times. Archived from the original on April
30, 2007. This is an online version of the article in Chicago Sun-Times. Illinois, United States: James
F. Hoge, Jr. 1982. Missing or empty |title= (help)
 Fox, Stuart (March 1, 2011). "Schwarzenegger: Get Real About Climate
Change". msnbc.com. NBCUniversal / Microsoft. Archived from the original on October 11, 2011.
Retrieved July 17,2011.
 Grover, Ronald; Palmeri, Christopher (July 5, 2004). "Arnold Is Hitting His Marks". BW Online.
Bloomberg. Archived from the original on September 7, 2008. This is an online version of the article
in BusinessWeek. No. 3890. New York, United States: William P. Kupper, Jr. July 5, 2004. pp. 42–
44. ISSN 0007-7135. Missing or empty |title= (help)
 "H.10—Foreign Exchange Rates, Spain Historical Rates". Federal Reserve Statistical
Release. Federal Reserve System. December 29, 1989. Archived from the original on June 26, 2002.
Retrieved August 2, 2011.
 "HFPA—Awards Search—Sandahl Bergman". Hollywood Foreign Press Association. 2011. Archived
from the original on December 15, 2009. Retrieved June 10, 2011.
 Jennings, Randy (May 24, 2015). "Exclusive: Conan Script is Ready & Arnold Reteams with Barbarian
Cast in The Legend of Conan!". TheArnoldFans.com.
 Jennings, Randy (August 4, 2014). "Exclusive: Polished "Conan" Script Submitted Next Month! Conan
Following Terminator!". TheArnoldFans.com. Retrieved August 5, 2014.
 Larson, Randall D. (November 16, 2006). "Remembering Basil". Mania.com. Demand Media. Archived
from the original on April 10, 2008. Retrieved August 8, 2010.
 LeDuff, Charlie; Broder, John M. (June 24, 2004). "Schwarzenegger, Confident and Ready for Prime
Time". The New York Times. Archived from the original on October 11, 2011. Retrieved July 17, 2011.
 Rentrak Corporation (2011a). "Weekend Box Office for May 14 – May 16, 1982". Variety. New York,
United States: Syd Silverman. Archived from the original on October 11, 2011. Retrieved March
29, 2011.
 Rentrak Corporation (2011b). "Weekly Box Office—Jul 02 – Jul 08, 1982". Variety. New York, United
States: Syd Silverman. Archived from the original on October 11, 2011. Retrieved March 29,2011.
 Schaefer, Sandy (January 25, 2016). "Arnold Schwarzenegger Offers Legend of Conan Title &
Director Update". ScreenRant.com. Retrieved January 27, 2016.
 Steinbeiser, Andrew (May 28, 2015). "Arnold Schwarzenegger's The Legend Of Conan Could Lead To
Cinematic Universe Of Robert E. Howard's Creations". ComicBook.com.
External links[edit]
Wikiquote has quotations
related to: Conan the
Barbarian (1982 film)
 Universal Studios's page for Conan the Barbarian

 Conan the Barbarian on IMDb
 Conan the Barbarian at AllMovie
 Conan the Barbarian at the TCM Movie Database
 Conan the Barbarian at the American Film Institute Catalog
 Conan the Barbarian at Box Office Mojo
 Conan the Barbarian at Rotten Tomatoes
 Conan the Barbarian at Metacritic
[show]
Conan the Barbarian
[show]
Films by John Milius

[show]
Films by Oliver Stone
 Film portal
 1980s portal
dentities
41515
8038376
881-8
Categories:
 1982 films
 English-language films
 1980s action films
 1980s adventure films
 1980s fantasy films
 20th Century Fox films
 American action films
 American films
 American fantasy adventure films
 Cannibalism in fiction
 Conan the Barbarian
 Dark fantasy films
 Films scored by Basil Poledouris
 Films about religion
 Films about revenge
 Films based on works by Robert E. Howard
 Films directed by John Milius
 Films set in a fictional country
 Films set in a fictional European country
 Films set in the Hyborian Age
 Films shot in Surrey
 Sword and sorcery films
 Universal Pictures films
 Witchcraft in film
 Screenplays by John Milius
 Screenplays by Oliver Stone
 Films produced by Raffaella De Laurentiis
 Death games in fiction
 Films shot in Almería
Navigation menu
 Not logged in
 Talk
 Contributions
 Create account
 Log in
 Article
 Talk
 Read
 Edit
 View history
Search
Go
 Main page
 Contents
 Featured content
 Current events
 Random article
 Donate to Wikipedia
 Wikipedia store
Interaction
 Help
 About Wikipedia
 Community portal
 Recent changes
 Contact page
Tools
 What links here
 Related changes
 Upload file
 Special pages
 Permanent link
 Page information
 Wikidata item
 Cite this page
Print/export
 Create a book
 Download as PDF
 Printable version
In other projects
 Wikimedia Commons
 Wikiquote
Languages
 ‫العربية‬
 Español
 Français
 Bahasa Indonesia
 Bahasa Melayu
 Português
 Русский
 Srpskohrvatski / српскохрватски
 中文
24 more
Edit links
 This page was last edited on 3 April 2018, at 06:46.

 Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this
site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia
Foundation, Inc., a non-profit organization.
 Privacy policy
 About Wikipedia
 Disclaimers
 Contact Wikipedia
 Developers
 Cookie statement
 Mobile view
 Enable previews

Conan The Barbarian

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Conan The Barbarian

Uploaded by

Copyright:

Available Formats

Conan the Barbarian (1982 film)

From Wikipedia, the free encyclopedia

Conan the Barbarian

Main promotional art by Renato Casaro

Directed by John Milius

Produced by Buzz Feitshans

Written by John Milius

Based on Conan the Barbarian

Music by Basil Poledouris

Cinematography Duke Callaghan

Edited by C. Timothy O'Meara

Production Dino De Laurentiis Corporation

Distributed by Universal Pictures

20th Century Fox

Release date  March 16, 1982 (Spain)

Running time 129 minutes

Country United States

Budget $16 million[1]

Box office $130 million[1]

Arnold Schwarzenegger Conan the Barbarian

Gerry Lopez Subotai

Sandahl Bergman Valeria

James Earl Jones Thulsa Doom

Max von Sydow King Osric

Mako Iwamatsu Wizard of the Mounds

William Smith Conan's Father

Sven-Ole Thorsen Thorgrim

Ben Davidson Rexor

Cassandra Gava Witch

Valerie Quennessen Osric's Daughter

Jorge Sanz Young Conan

Nadiuska Conan's Mother

Problems playing this file? See media

 2003: AFI's 100 Years...100 Heroes & Villains:

—F. X. Feeney from L.A. Weekly in 1982[244]

Legacy and impact[edit]

 Universal Studios's page for Conan the Barbarian

Conan the Barbarian

Films by John Milius

Films by Oliver Stone

 This page was last edited on 3 April 2018, at 06:46.

You might also like