In 1977 there was a turn in New Hollywood: George Lucas' epic space fantasy tale had been released and taught the audience to escape from the problems of the real world to a faraway Galaxy. Star Wars has become a franchise, and several great movies has been forgotten, including William Friedkin's adaption of Clouzot's thriller, Wages of Fear.
Although, it was a box-office failure and knocked the famous movie-brat of French Connection and The Exorcist off the saddle, it is a very complex and unforgettable movie. There are only anti-heroes in it. The main characters are purely human, not good Jedi knight or evil Sith lords. They are all filthy, they are only after money. But at the time of crisis they have to cooperate. Unless, they are stuck and they won't get their money.
Friedkin's movie has a great atmosphere. It builds slowly (even a little bit too slowly at the beginning), but it serves a greater good: this way it could catch our attention and pulls us to the world of the story.
Furthermore, Sorcerer was still a part of the Hollywood Renaissance movement, so it is very ambiguous movie. It criticizes the society of the 70s. It represents Americans and Europeans as filthy outcasts, who see the Third World only as the source of money and power. And Sorcerer sentences this attitude to death. Therefore, it is no wonder that the audience of the forced optimism of the late 70s did not like this perspective. They wanted to forget the traumas of the past. They wanted an other Galaxy instead of the mud of the rain forests. They wanted Star Wars instead of Sorcerer. Fortunately, real film fans could enjoy Friedkin's achievement in spite of its box office failure.
Although, it was a box-office failure and knocked the famous movie-brat of French Connection and The Exorcist off the saddle, it is a very complex and unforgettable movie. There are only anti-heroes in it. The main characters are purely human, not good Jedi knight or evil Sith lords. They are all filthy, they are only after money. But at the time of crisis they have to cooperate. Unless, they are stuck and they won't get their money.
Friedkin's movie has a great atmosphere. It builds slowly (even a little bit too slowly at the beginning), but it serves a greater good: this way it could catch our attention and pulls us to the world of the story.
Furthermore, Sorcerer was still a part of the Hollywood Renaissance movement, so it is very ambiguous movie. It criticizes the society of the 70s. It represents Americans and Europeans as filthy outcasts, who see the Third World only as the source of money and power. And Sorcerer sentences this attitude to death. Therefore, it is no wonder that the audience of the forced optimism of the late 70s did not like this perspective. They wanted to forget the traumas of the past. They wanted an other Galaxy instead of the mud of the rain forests. They wanted Star Wars instead of Sorcerer. Fortunately, real film fans could enjoy Friedkin's achievement in spite of its box office failure.
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