While the front-loading of character exposition could've been more carefully interwoven, Sorcerer is no less of an achievement. Taking an old-fashioned adventure story & pushing it to the extremes of new Hollywood excess, the film maintains a fearless push for authenticity so prevalent in '70s cinema. The final act & its use of montage to illustrate a character's descent into madness & desperation are unforgettable.
I can't understand why this was so poorly received on it's release as I thought it was excellent. Some of the scenes are literally breathtaking. We find four men, trapped in a remote town, desperate for a way out who take on a life-threatening job. The second half is filled with a genuine tension and a feeling of existential dread. In a similar vein to the likes of Fitzcarraldo or even Apocalypse Now...
All the heroes' self created myths gone cut short to live up. Brought together in a cauldron, a maelstrom of people's inadequacies and situations starts. Who is the Sorcerer? The God who brought them all together to the all encompassing absurd? Or so it is the way they are taking life, hence the karmic ends follow the entry stories.
Thrilling. First-rate in every regard. Rarely does a film literally make my jaw drop. While it takes it's time and doesn't get moving until the journey finally begins, this is one of Friedkin's very best. The bridge sequence is unforgettable and one of the very best in cinema history. I cannot image what went into the making of this film. I'm happy Sorcerer's found life and has been reclassified as a modern classic.
A truly tense and riviting piece of cinema. Freidkin shows with great care the psychological and physical strain that men sometimes must go through. The color palate oscillated throughout the movie with no wasted moments and reflected the characters situation perfectly. The second half was exceptional and made me forget the rather forgettable setup in the first. Great acting.
A hallucinatory, tough-minded, realistic crime/adventure combo that should stand as a testament to Friedkin's gutsy genius and a milestone of 70s nail-biters. The fact that this was, at the time, instantly rejected by both audiences and critics - before killing the director's reputation - speaks volumes about the short-sighted treatment artistic mavericks often get.
A near perfect and overlooked masterpiece. Formally great, visually brilliant. A forgotten gem from the New Hollywood Cinema era. Friedkin's remake of Henri-Georges Clouzot's groundbreaking original ups the tension with great effects and a dark corporate cynicism that leaves the film hopeless and nihilistic. Great film.