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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 an Atlantean colonist warrior's tomb, where he retrieves an ancient sword. Conan wanders the world, encountering a prophetic witch in a hut and then befriends Subotai, a Hyrkanian thief and archer.

Following the witch's advice, Conan and Subotai go to the city of Zamora to seek out Doom. There, they meet Valeria , a female brigand. They raid the Tower of 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 Osric, who requests they rescue his daughter, Princess Yasimina—now a zealot in Doom's cult—for a handsome reward.

Subotai and Valeria refuse to take up the quest; Conan, however, motivated by his hatred for Doom and his desire for vengeance, sets off alone to the villain's Temple of Set.

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.

The wizard summons spirits to heal Conan and warns that they will "extract a heavy toll", which Valeria is willing to pay.

These spirits also try to abduct Conan, but he is restored to health after Valeria and Subotai fend them off. 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. 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.

The battle ends with Conan having recovered his father's sword from his enemies, a sword splintered by his own hand in battle. 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 and returns the princess to Osric. The character, Conan, and the world of Hyboria were based on the creations of pulp-fiction writer Robert E.

Howard from the s. 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".

Sprague de Camp and Lin Carter , were published. Frank Frazetta 's cover art for these novels cemented Conan's image as a "virile, axe-wielding, fur-bearing, cranium-smashing barbarian".

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.

The female lead, Valeria, has her roots in two strong female characters from Howard's Conan stories. The loyalty and love she displays for Conan makes her more than a companion to him; [15] she represents his "possibilities of human happiness".

Milius based Conan's other companion, Subotai, on Genghis Khan 's main general, Subotai , rather than on any of Howard's characters. He won't cry, so I cry for him.

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 ".

From the s, licensing issues had stood in the way of producing film versions of the Conan stories. Lancer Books , which had acquired the rights in , [22] [23] went into receivership, and legal disputes existed over their disposition of the publishing rights, which ultimately led to them being frozen under injunction.

Pressman in , and after being shown the comics and Frazetta's artwork, Pressman was convinced. John Milius first expressed interest in directing a film about Conan in after completing the filming of Big Wednesday , according to Buzz Feitshans, a producer who frequently worked with Milius.

Milius and Feitshans approached Pressman, but differences over several issues stopped discussions from going further.

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".

Cobb showed Milius his work for Conan and Stone's script, which according to him, reignited Milius's interest; the director contacted Pressman, [35] and they came to an agreement: Milius would direct the film if he were allowed to modify the script.

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, [46] but in , the two producers watched a rough cut of the bodybuilding film, Pumping Iron , and agreed that Arnold Schwarzenegger was perfect for the role of Conan due to his huge, muscular frame.

Thanks to Pressman's firm belief in him, Schwarzenegger retained the role of Conan even after the project was effectively sold to De Laurentiis.

Besides running and lifting weights, his routines included rope climbing, horseback riding, and swimming. Subotai was Gerry Lopez , a champion surfer, whose only major acting experience was playing himself in Milius's Big Wednesday.

She was recommended to Milius by Bob Fosse , who had directed her in All That Jazz , and was accepted after reading for the part.

Milius said the actors were chosen because their appearances and personae fitted their roles. Each of his later longer speeches was rehearsed at least 40 times.

A source close to the production said this was done because Lopez failed to "[maintain] a certain quality to his voice.

Sean Connery and John Huston were considered for the other roles. He and the film crew coordinated their schedules to allow him to join the play's remaining performances.

The Japanese-American actor Mako Iwamatsu, known professionally as " Mako ", was brought onto the project by Milius for his experience; [57] he had played roles in many plays and films and had been nominated for Academy Awards and a Tony.

Milius hired more than 1, extras in Spain. The drafting of a story for a Conan film started in ; Summer conceived a script with the help of Roy Thomas , [32] a comic-book writer and Conan expert who had been writing the character's adventures for years for Marvel Comics.

Their script was abandoned when Oliver Stone joined the project. His screenplay was written under the influence of the drugs [74] and the result was what Milius called a "total drug fever dream", albeit an inspired one.

When Milius was appointed as director, he took over the task of writing the screenplay. The Japanese supernatural tale of " Hoichi the Earless ", as portrayed in Masaki Kobayashi 's Kwaidan , inspired the painting of symbols on Conan's body and the swarm of ghosts during the barbarian's resurrection, [82] and Akira Kurosawa 's Seven Samurai influenced Milius's vision of Conan's final battle against Doom's men.

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. King Conan [85]. Filming started at England's Shepperton Studios in October , 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.

The initial location for principal photography was former Yugoslavia, but because of concerns over the country's stability after the death of its head of state, Josip Broz Tito , and the fact that the Yugoslavian film industry proved ill-equipped for large-scale film production, the producers elected to move the project to Spain, which was cheaper and where resources were more easily available.

It took several months to relocate; [89] the crew and equipment arrived in September, [90] and filming started on January 7, 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. It was expensive to build large sets, [] 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.

Cobb's direction for the sets was to "undo history", "to invent [their] own fantasy history", and yet maintain a "realistic, historical look".

Several action scenes in Conan were filmed with a "mini jib " 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 The three actors were given martial arts training ahead of filming.

From August , [89] they were tutored by Kiyoshi Yamazaki, a karate black belt and master swordsman, [] who drilled them in sword-fighting styles that were meant to make them look proficient in using their weapons.

Tim Huchthausen, the prop maker, worked with swordsmith Jody Samson to create the sturdy weapons Milius thought necessary. Both weapons were realized from Cobb's drawings.

Their blades were hand ground from carbon steel and heat treated and left unsharpened. 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. 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, [] and Schwarzenegger was attacked by one of the trained dogs.

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.

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.

The snake's body had a diameter of 2. 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. Another two snakes of the same dimensions were made, one for stationary shots and one for decapitation by Schwarzenegger.

The dummy bird's feathers and wings were from a dead vulture, and its control mechanisms were routed inside the false tree.

According to Sammon, "one of the greatest special effects in the film [was] Thulsa Doom's onscreen transformation into a giant snake". After Jones was filmed in position, he was replaced by a hollow framework with a rubber mask that was pushed from behind by a snake head-shaped puppet to give the illusion of Doom's facial bones changing.

The head was then replaced with a 6-foot 1. For the final part of the sequence, a real snake was filmed on a miniature set. 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. Among their tasks for Conan were adding glint and sparkle to the Eye of the Serpent and Valeria's Valkyrie armor.

For the scene in which Valeria and Subotai had to fend off ghosts to save Conan's life, the "boiling clouds" were created by George Lucas's Industrial Light and Magic, while VCE was given the task of creating the ghosts.

Their first attempt—filming strips of film emulsion suspended in a vat of a viscous solution—elicited complaints from the producers, who thought the resulting spirits looked too much like those in a scene from Raiders of the Lost Ark , so VCE turned to animation to complete the task.

First, they drew muscular warriors in ghostly forms onto cels and printed the images onto film with an Oxberry animation stand and contact printer.

The Oxberry was fitted with a used lens that introduced lens flares to the prints; VCE's intention with using the old lens was to make the resultant images of the ghosts seem as if they were of real-life objects filmed with a camera.

The final composite was produced by passing the reels of film for the effects and the live-action sequences through a two-headed optical printer and capturing the results with a camera.

Milius recruited his friend, Basil Poledouris , to produce the score for Conan ; they had had a successful collaboration on Big Wednesday. 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.

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. Milius and Poledouris exchanged ideas throughout production, working out themes and "emotional tones" for each scene.

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.

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.

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.

Poledouris completed the music that accompanies the attack on Conan's village at the beginning of the film in October After learning that Excalibur had used Orff's work, he changed his mind and asked his composer for an original creation.

Poledouris's theme for Doom consists of "energetic choral passages", [] 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; [] Poledouris was "more concerned about the way the Latin words sounded than with the sense they actually made.

The film's music mostly conveys a sense of power, energy, and brutality, yet tender moments occur. 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".

There is innate intelligence behind Poledouris's scheme, and the pinnacles reached are often eloquent with haunting intensity. From late November , Poledouris spent three weeks recording his score in Rome.

In , 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 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. In Washington, D. 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. Conan the Barbarian has been released in several different versions on home video.

In addition to the minute theatrical print, Universal distributed the film in minute and minute cuts on VHS in the s. A slightly extended version was created for the film's special edition DVD release in ; it features two minutes of additional footage for a minute running time.

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.

Ebert called Conan the Barbarian "a perfect fantasy for the alienated preadolescent", [18] whereas Schickel said, " Conan is a sort of psychopathic Star Wars , stupid and stupefying.

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.

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.

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.

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.

Arnold Schwarzenegger's performance was frequently mentioned in the critiques. Gunden said von Sydow showed little dedication to his role, [54] and Clarens judged Jones's portrayal of Thulsa Doom to be worse than camp.

David A. 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.

The videocassette version of the film was released on October 2, Sprague and his wife, Catherine. The film is recognized by American Film Institute in these lists:.

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.

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.

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.

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, [] associations of the film with the religion are roundly rejected.

Milius stated his film is full of pagan ideas, a sentiment supported by film critics such as Elley [83] and Jack Kroll.

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. 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.

When her father Astivus, who loved Jezmine's mother, sides with Jezmine and her mother against Wrath-Amon, Wrath-Amon banishes her father and mother to the Abyss.

A magical potion applied to her Star Metal shuriken allow Jezmine to magically summon the throwing stars to return to her.

She shared this potion with Zula. Jezmine hated Astivus, despite his love for her. She and Conan were able to free her mother during a trip to the Abyss, and later Astivus escaped when Set and the Serpent-Men banished over the years were freed from the Abyss by Wrath-Amon.

Once again, Astivus chose Jezmine and her mother over serving Set, and it is implied in the final episode that Jezmine might be willing to reconcile with him.

Unlike Valeria, Wrath-Amon doesn't kill her. I know at least all of these scenes were initially filmed and were supposed to be in the final movie. I read your story on thearnoldfans.

On the DVD , if you play the scene in slow motion, you see the top of her helmet as she collapses before he kills the first guy.

I saw one more deleted scene picture years ago when I grabbed these. It was of the head shot of the three-eyed monster Subotai fights on top of the snake tower.

If anyone out there has more deleted scene photos or better yet, actual footage of them, please use the contact tab above and drop us a line.

Rollo Tomasi Follow on Twitter May 11, 9 4 minutes read. Now you can find his work at FilmBook. Read Next Movie News 2 days ago. Movie News 2 days ago.

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