Tuesday 18 September 2018 photo 4/8
The Sword And The Sorcerer Full Movie In Hindi Free Download Mp4
A mercenary with a three-bladed sword rediscovers his royal heritage's dangerous future when he is recruited to help a princess foil the designs of a brutal tyrant and a powerful sorcerer in conquering a land.
Fantasy movies from the early 1980s, with few exceptions, varied mostly from run of the mill mediocre to painfully bad. Albert Pyun's THE SWORD AND THE SORCERER, a bargain-basement budgeted, uninspired, and messy bloodfest from 1982, falls among the lowest end of the spectrum. Clocking in at a seemingly neverending 100 minutes, it starts out when medieval tyrant King Cromwell (Richard Lynch), on a quest for world domination, resurrects a centuries-old sorcerer, Xusia (Richard Moll, in heavy lizardlike makeup) to conquer the tranquil kingdom of Eh-Dan. Ten years later, Talon (Lee Horseley), a prince who escaped the invasion, leads a band of mercenaries to liberate conquered kingdoms. In the process, he returns to his old home of Eh-Dan, where rightful heir Mikah (Simon MacCordinkale) and his voluptuous sister Alana (Kathleen Beller), are plotting to overthrow Cromwell, who, incidentally, has plans to marry the lass. When Mikah is kidnapped, Alana desperately hires Talon to rescue him; he agrees to do so on the condition that they have a lovemaking session should he succeed. Oh, and Xusia (who had been betrayed by Cromwell) is also planning to settle the score with his former ally, spending about a good portion of the last third disguised as a shady court adviser, Mahelli (George Maharis). (This last plot development is handled clumsily and in a groanworthy way, as is much of the movie.) Taken as a plot concept, THE SWORD AND THE SORCERER sounds fairly uninspired, but it's even worse in its execution. The simplistic plot becomes needlessly convoluted as it bounces all over the place, throwing in lots of unexplained and abrupt developments that come from nowhere--if Cromwell needed Xusia to conquer Eh-Dan, then why does he stab and then throw him over a cliff shortly after smashing a few armies? There are lots of unexplained stupidities, too, particularly in the hero's weapon, which, at the touch of a button, can send one of its *three* blades spearing through an enemy like a projectile; furthermore, at the laughably choreographed final showdown between the villain and the hero, we discover that the sword can opt as an alternate dagger in the event that it is shattered in close combat. That is only one of the many scripting problems contained in this movie.
It's poorly edited, too, particularly the hero's first combat scene with two villains. All the shots in that moment are spliced completely out of order, making it a very choppy and confusing flow. Another particular example of bad editing occurs when a group of rebels makes plans to invade Cromwell's castle, and the next shot shows them all in prison! This is done with no transition or explanation, that it makes it mystifying how they got there.
What ultimately works against THE SWORD AND THE SORCERER overall, however, is the excess of gory violence (one person's face is sliced in half with bloody results, another's heart is ripped out of her chest, and a tongue is cut out) and occasional nudity (the hero swings into a room with topless babes, and in another scene the leading lady is given an oil bath). These two controversial elements can be put to effective use in masterpieces like PAN'S LABYRINTH (lots of horrifying violence, but done in a meaningful way) or, perhaps in CONAN THE BARBARIAN (par for the course with the original pulp novels it was based on). Here, however, both are slapped onto this film for no other apparent reason than just violence and nudity for the mere sake of it. In one particularly distasteful sequence, we see the hero spiked onto a cross, bleeding painfully during the main villain's wedding. Not only did I find this a blasphemous and tasteless echo of Christ's crucifixion, I found it even more ridiculous (and sickening) that Talon would have the gall to yank himself free of the device.
Even without these problems, there's hardly anything to recommend about THE SWORD AND THE SORCERER. The characterizations are mono-dimensional and uninteresting, the acting and the dialogue are terrible (Moll does get some points for being at least scary, even though he has little to do in his surprisingly scanty role, as does MacCordinkale, who does a decent job), and the direction is very amateurish and clumsy. The special effects are also pretty cheesy, particularly the aforementioned sword and especially in a corny transformation scene toward the end of the film where a character literally pulls apart his human skin to reveal a demonic creature. The only thing to come clean out of this dreck is a lively musical score by David Whittaker as well as Moll and MacCordinkale's performances, but otherwise, the movie as a whole is little more than standard junk for undemanding fans of this kind of trashy fantasy.
When it's all over, just before the credits roll, there is a comment made that the hero will have further adventures in an upcoming film called "Tales of the Ancient Empire." Successful as THE SWORD AND THE SORCERER was financially, it's not really all that surprising that audiences were never treated(?) to such a sequel. It never got into production, and probably never will.
Hey, if you're going to steal, show a little taste and steal something good. They did that here, lifting at least two scenes almost verbatim from two of the original Conan creator Robert E. Howard's original Conan tales.
The resurrection of the ancient sorceror in his tomb scene is almost plagiarized from Howard's one novel-length Conan tale, _The Hour of the Dragon_ (a.k.a., _Conan the Conqueror_). And the crucifixion scene, with the hero ripping his nailed hands free from the wood, comes right out of Howard's "A Witch Shall Be Born."
I just wish 1982's *other* big sword-and-sorcery movie, _Conan the Barbarian_, had been half as faithful to the source material it was *supposed* to be adapting, and half as much fun as this delightful, low-budget, low-tech rip-off.
Lots of gore and some decent artistic effects may keep audiences interested; if not, then the scantily clad.
Because he only wanted revenge for his mother and fathers murder, also he wanted to be a free spirit and have many adventures which would not have been possible if he became the king and stayed in one place a5c7b9f00b
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