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.
The early 80's were a great time for fantasy films and that era produced many of my favorites including, Conan The Barbarian, Clash Of The Titans, Excalibur, The Beastmaster and this film as well. The Sword And The Sorcerer is a bit more lighthearted than the above pictures and the tone is very tongue in cheek. However, a fairly well made, coherent and enjoyable adventure flick was made. The plot is pretty straightforward as Talon, son of King Richard has grown up and is a swashbuckling rogue mercenary that stopped home for revenge on Cromwell for killing his family and to liberate the kingdom from Cromwell's tyranny. Our hero Talon, played by Lee Horsley is a hybrid of Han Solo and Conan. In my opinion, Talon has more in common with Han Solo than Conan though. While our hero is quite capable in battle, Talon has a lot of homeboys and they come out of the woodwork to help Talon in his time of need. Of Talon's homies, Captain Morgan is my favorite. The underrated Richard Lynch gives the best performance in the film as main villain and usurper king Cromwell. Talon is armed with a triple bladed sword that can shoot at people as well. There is a lot of great action here as well as some decapitations, gore and T+A. Overall, The Sword And The Sorcerer is a fun, action packed fantasy film that does not take itself too seriously. However, the film is not so campy that it is too over the top to have the audience take it seriously when the story needs it to be.
Fantasy movies from the early 1980s, with few exceptions, varied mostly from run of the mill mediocre to painfully bad. Albert Pyun&#39;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&#39;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&#39;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.<br/><br/>It&#39;s poorly edited, too, particularly the hero&#39;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&#39;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.<br/><br/>What ultimately works against THE SWORD AND THE SORCERER overall, however, is the excess of gory violence (one person&#39;s face is sliced in half with bloody results, another&#39;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&#39;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&#39;s wedding. Not only did I find this a blasphemous and tasteless echo of Christ&#39;s crucifixion, I found it even more ridiculous (and sickening) that Talon would have the gall to yank himself free of the device.<br/><br/>Even without these problems, there&#39;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&#39;s performances, but otherwise, the movie as a whole is little more than standard junk for undemanding fans of this kind of trashy fantasy.<br/><br/>When it&#39;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 &quot;Tales of the Ancient Empire.&quot; Successful as THE SWORD AND THE SORCERER was financially, it&#39;s not really all that surprising that audiences were never treated(?) to such a sequel. It never got into production, and probably never will.
Though the special effects are resourceful and the action scenes shot with surprising vigor, Albert Pyun's 1982 film is a little too self-important to provide a true B-movie pleasure.
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
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