I have fond memories of The Sword And The Sorcerer, all based on one time I probably saw about half of the film and was impressed by both of the titular elements. In fact, let me rephrase that slightly. I HAD fond memories of The Sword And The Sorcerer. I was so convinced that it was a minor classic that I recently purchased a shiny new physical disc release it received from 101 Films, and then I saw that it was also tucked away on Prime Video. Fate was ensuring that I get around to it ASAP.
I'm not going to describe most of the plot, but things start with Cromwell (Richard Lynch) being assisted by a resurrected sorcerer (played by Richard Moll) as he violently places himself at the head of a kingdom. He then betrays the sorcerer, but may wish to have his power helping him once more when a skilled warrior (Talon, played by Lee Horsley) looks to change the status quo.
Directed by Albert Pyun (who also co-wrote the screenplay with Tom Karnowski and John Stuckmeyer), this is enjoyable enough fantasy fare, and it certainly delivers on what the title is selling. It doesn't hold up as well as numerous other beloved (well . . . beloved by some) barbarian films from this time though, and struggles to hold interest throughout the first half.
Pyun can do a hell of a lot with very little, but he's not a miracle worker. The action here is about as good as you can expect from something relatively low-budget (about $4M, apparently) that presents such a great bit of practical FX and makeup work in the early scenes that showcase the sorcerer. The sets and production design feel like a mix of inventive crew members and camerawork that can recycle the same backdrops with a variety of angle changes and crop off all of the sawdust and plywood just on the edge of each frame. And the acting is based almost as much on who can look muscular and capable in the costumes as it is based on those who can actually act (although, to be clear, Lynch and Moll are definitely in the latter category).
Horsley, in his first feature role, comes close to being a decent lead, but doesn't quite manage it. He's just missing that indefinable star quality, leaving him to undermine a script that tries to give him the perfect recipe of charm, toughness, and wit. Lynch is much more watchable, as he so often is when onscreen with anyone, and he's a very entertaining main villain. Although sidelined for most of the movie, Moll makes one hell of an impression whenever he gets the chance, helped by the people behind the camera who transformed him into such an impressively imposing (even more so than usual) character. Kathleen Beller makes for a fine damsel in distress in the role of Princess Alana, George Maharis is enjoyably scheming and untrustworthy in the role of Count Machelli, and I'll avoid saying anything too negative about Simon MacCorkindal, Anthony De Longis, Robert Terrier, Anna Bjorn, and anyone else joining in the fun. They more or less do what is asked of them, and the sense of enthusiasm and proper fun makes up for the lack of polish.
There's also decent music from David Whitaker, fun (if ridiculous) design work on a couple of featured swords, and pacing that tries to keep viewers interested with either some fighting or gratuitous nudity every 10-15 minutes. The script may struggle to clarify how individuals are related to the central battle for the throne, but the other distractions help you to forget bothering about the minor details. It's easy to see why this has remained a bit of a nostalgic favourite amongst those who first saw it back when it was in cinemas and on VHS. Even as I write about it now, I am smiling and wondering when I will revisit it. Which wasn't the frame of mind I was in when I started this review.
7/10
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