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Sorcerer - Il salario della paura

1977, William Friedkin.

Powerful and violent remake of a famous movie m'impressionò when I saw him many years ago: "Le Salaire de la Peur" (1953) Henri-Georges Clouzot.
Change slightly on the pretext of the 4 main characters, other small details differ, but the substance remains the same: an absurd journey in trucks tattered, in a jungle as welcoming as an upright diarrhea, and a load that could explode over nothing.

There's something to say about this expensive remake of Friedkin, director manic, but this is one of the uneducated chosen by Wilson, and leave you with pleasure the word.

Scanlon ["Juan Dominguez"] / Roy Scheider: "Where am I going?" Vinnie
/ Randy Jurgensen (the 'friend of Scanlon that finds the money to escape and nowhere to go to hide, Jurgensen è un vero ex-detective dell’N.Y.P.D., già attore che fa sé stesso e consulente tecnico di Friedkin, in “The French Connection”):”tutto quello che ti posso dire è che è buon posto per starsene tranquilli”.
Scanlon: “Perché?”
Vinnie:”E’ il genere di posto che nessuno vorrebbe dover mai andare a cercare.”

Scanlon: “Hai letto di questo posto negli opuscoli di viaggio?”
“Serrano”[Victor Manzon]/Bruno Cremèr:”Ho sentito che aveva un clima sano.”
Scanlon: “Non è quello previsto però?”
“Serrano”:”Era exactly what I expected. "

Scanlon / Roy Scheider:" We are taking three boxes each. One is enough to extinguish the fire. You would blow up the entire field. This means that I do not think all the trucks succeed. One of the trucks is the reserve. "

" Serrano "[Victor Manzon] / Bruno Cremer:" We want to double, and the right to stay ... or we do not drive. "
Corleone [Corlette] / Ramon Bieri, 'D' agreement, will leave in four hours. "

Carlo Ricci / Gus Allegretti [Cosmo Allegretti]:" He robbed my church, my brother hit. I do not care where located and how much it will cost. I want his ass. "

Corleone [Corlette] / Ramon Bieri," You know that there is a job here that would be sort of like a stroke of luck in your situation. Never thought you could go to Managua? "
Scanlon / Roy Scheider:" Managua ... Shit, there's no way I can go to Managua. "

[Discussing the helicopter for transport of nitro]
Corleone" Well, what do you think? "
Billy White / Richard Holley:" Well, the main problem is vibrations. Whatever you do, you'll always have a helicopter with a serious flip side. "
Corleone: "I thought maybe you could put the boxes on a platform of keeping the helicopter by steel cables."
Billy White: "About twenty feet below certain there would be no vibration, but then the problem will be turbulence, it could carry for half a mile that way, but not for 200, and you never had a flight around here without some turbulence. "
Corleone:" So what do you mean Billy? "
Billy White:" You do not you can take a helicopter, there's no way. "
Corleone:" I'll pay twice if you can find a way. "
Billy White:" It's not the money Mr. Corleone. No, it's just that intentionally to get a helicopter with that shit, you'd need a fucking suicidal. "

[after he killed" Marquez "/ John Karl]
Nile / Francisco Rabal," When there is to earn money, I'm as good as any of you here. "

Father Ricci," But you know who is this parish? "
Donnelly / Gerard Murphy:" Go to hell you and your master! "

Scanlon: "Would you tell me where am I going?"
Vinnie: "I swear to God I do not know."

Nile: "Where are you from?"
Scanlon: "Listen to Pancho ti ho tenuto a stretto controllo ogni secondo che sei stato in questo posto. Se si vuole infilare il naso in questo camion, è meglio esser chiari, altrimenti prendo te e questa nitro e vi butto direttamente in un fosso!”

Scanlon: [Nilo sta morendo]”Ma che stai andando a fare con tutti quei soldi, che quella poi magari c’ha la gobba!Parla con me! Ma che hai intenzione di fare!”
Nilo:”Prendila…è lei. La miglior puttana a Managua.”
Scanlon:”due puttane! Due delle migliori puttane di Managua!”
Nilo:”Lo farai tu. Per me.”

Corleone[Corlette]: [Seduto nella cabina del camion sta osservando come Scanlon guidi the truck with great technique] "Were you a driver?"
Scanlon: "Yes, I worked for Greyhound."

"Sorcerer" from the title in English, "The Wages of Fear" (Sorcerer / aka Wages of Fear) (Usa'77), since it was the original Italian title of "Lives sold" or "Le salaire de la peur" (France 1953) by Henri Georges Clouzot, with Yves Montand, that once was a fantastic film and compelling feature from the novel by Georges Arnaud which is a remake, but more than anything else uses the premises of departure from the novel, it is not just a remake of "classic". A
remake talmente coraggioso come pochi altri nella storia del cinema –qui non possono non venire in mente “The Thing/La Cosa”(’82)di John Carpenter, e “Scarface”(’83) di Brian De Palma, rispetto agli originali- e che è stato talmente un capolavoro, da riuscire quasi ad offuscare nella memoria il ricordo dell’illustre modello a cui si è rifatto.
All’epoca, il 1977, William Friedkin che aveva pressoché carta bianca da parte di qualsiasi casa di produzione ad Hollywood, ebbe per questa nuova versione de “Il Salario della paura”una visione talmente ampia e grandiosa che dovettero mettercisi in tre, oltre alla Universal e alla 20th Century fox sotto citate, In fact, Paramount also had to work for its financing, and all this huge deployment of funds was allocated for a film shot in various countries but mostly in the jungle, all doing very well "Apocalypse Now" as Francis Ford Coppola and Friedkin , in fact, "Sorcerer" is a bit 'calls his "Apocalypse Now" ... staff.
So much so that to produce "The Wages of Fear" as said, even given the high cost ($ 22 million), we even put in two more Major: Universal, who later handled the distribution in the Americas, and the 20th Century Fox for distribution abroad.
Friedkin could not get it because it came from the huge success-and not just for the 70s-the "Feast for the birthday of our dear friend Harold" (The Boys in the Band) (70), "The violent arm of the law" ( The French Connection) ('73), the 1971 Oscar for Best Picture and Best Director as well as Gene Hackman as Best Actor for his famous Jimmy "Popeye" Doyle, a huge success in every sense, ending finally with even " The Exorcist "(The Exorcist) ('73), which has been and continues to be a landmark film in all respects and one of the highest-grossing of all time, which even today Warner Bros to earn millions and millions of dollars each year only with the DVD and BluRay, easy to understand so many reasons why Friedkin enjoyed such a reputation for infallibility and a lot of business.
"The Wages of Fear" for Friedkin was the end of it all. But
an end, however, very glorious and courageous.
No one else could conceive and carry through on this effort, gripping from start to finish, with excellent performances by all and great camera work. The look of the overall film is so effective that creeps ever any doubt that the places are real as they are in fact, perhaps only Herzog, the only would direct this film as it was designed for the many scenes in which nature is obviously allowed to do everything and where the Art Department (headed by the great and winning the Oscar, John Box) is directed with great style and personality Perhaps only Herzog could have just run a "Wages of Fear" in general, as well Friedkin.

Paris, the banker Victor Manzon (Bruno Cremer, great) has to flee to bankruptcy, his business partner even shoots himself in a Porsche (extraordinary all part of Paris, when we meet Victor at work and in his luxurious home. The last dramatic scene in particular, held in un elegante ristorante talmente stilé come quasi solo in Francia riescono a raggiungere, ornato da fiori recisi freschi, bicchieri di vino d’ornamenti con preziosi monogrammi, tovaglie di seta bianche e piatti decorati alla perfezione a servire piatti di lumache e arrosti di manzo con aglio, per essere poi rapidamente, incredibilmente, da questa epitome dell’agio e dell’abbondanza, trasportati, o sarebbe meglio dire scaraventati, nel totale squallore e nella miseria infernale di un villaggio nelle viscere del sottosviluppo, della giungla ecuadoregna.).
L’autista di rapine Jackie Scanlon (Roy Scheider, ah che attori tutti), si deve anche lui dare anche lui alla fuga dopo un colpo non per colpa sua conclusosi catastroficamente; Kassem (Amidou) “terrorista“ palestinese, deve fuggire da Gerusalemme dopo un attentato andato male, appena prima di essere raggiunto dalle forze speciali israeliane; il killer professionista Nilo (Francisco Rabal,l’eccellente attore spagnolo) si dilegua subito dopo un suo “lavoro” in Messico.
Victor, Jackie, Kassem e Nilo finiscono “esiliati” , lavorando come braccianti nel piccolo villaggio di “Porvenir”(nome di fantasia), nella giungla amazzonica dell’Ecuador. Quando l’esplosione di un pozzo petrolifero a Poza Rica per via di un attentato della guerriglia rivoluzionaria, provoca un incendio che non può essere spento se non con un’esplosione provocata by nitroglycerin that choke, the oil company-course American-represented by Corleone (Ramon Bieri) needs to carry enough explosives to take back control of the situation. But
available nitroglycerin is old and packed with sticks so badly deteriorated that it comes out, so volatile that the minimum jerk can blow up everything and then some can not be transported by helicopter, due to vibration. It was decided to recruit four experienced drivers willing to risk their lives, promising $ 10,000 for each resident in the country and no longer being harassed by the police. Will obviously be a perilous journey through 200 kilometers of jungle impenetrable, crumbling rope bridges over swollen rivers and in the midst of the typhoon, desert and mountain trails on the narrow precipice.
"The Wages of Fear" by Friedkin, unlike the original of Clouzot, as mentioned before, was able to enjoy a budget for the realization of truly remarkable, turning in real places, the Amazon, where the novel, unlike that the original had to rebuild the natural scenery in South America, minimalist, in the Riviera, and unlike Clouzot, Friedkin also manages to show and understand the life of the protagonists and the events that forced desperate to flee their countries at the beginning film, with a clever, great use of flashbacks, as amended in the assembly of the North American than European.
All the main characters, four men are found from the most diverse places in the world (Paris, the chic eighth arrondissement, the Middle East Jerusalem and the occupied Palestinian territories, from Elizabeth, New Jersey, where a church is a target sacrosanct for a robbery) to end up all merged into one of the classic places defined by "asshole of the world", a hellish place, bleak and hopeless, in which political opponents are killed on the streets and their bodies left there to be devoured by dogs, reconstructed and filmed in the Dominican Republic but from the environment (though unnamed) just seems to be in Ecuador.
As I said, a hellish, degradatissimo and dilapidated village in the Amazon jungle called Alto Gracia, crushed like the whole country by a military dictatorship which then looks a lot like the real one in the period in which the film was shot in the Dominican Republic, the son of Trujillo.
The natural scenery of the film far away from civilization more than one can almost imagine, however, are so extensive that the crew had to move quickly to the outbreak of violent riots (taken in a sequence of the film) when Trujillo declared the elections in which had lost to the Liberal candidate. The revolt was made stifling by force from Trujillo in the villages close to the one where he turned the film. The

impossible and vast locations from the film were that it cost more (a lot) to Universal that it had a partnership with Paramount that point to meet the costs of the film.
However, the scenery and what they can derive from the natural scenery in almost fantastic and metaphysical, the visual flair of Friedkin, is compelling, superbly accommodated by the photograph of Dick Bush and John M. Stephens that captures so well the atmosphere humidity, stress and the thickness of the history, making from a visual point of view of the best movies I've ever seen, everything is wonderful and articulate the long journey begins with the elaborate preparations of the trucks, the selections at the helm of the suitors desperate mercenary mission, while the portentous column Tangerine Dream soundtrack completes a result unparalleled style, and the four men emerged from the "selections" for the dangerous task of carrying the load just start the trip with their two trucks that seem to almost come out of a transposition into the fantastic, through the devastating "impenetrable" jungle roads that define "luck" is an understatement.
Perennially through the rain and the mud deep in the mangroves, the tension reaches its climax and the breaking point while spectators watch from the huge wheels of the trucks pull out of control, the mammoth bodies of mechanical truck accidentally slide along roads become rivers in flood. The cliffs that as more and more narrow, and the aforementioned famous sequence when the truck makes its way to the maximum voltage and recklessness, very slowly, on a decrepit wooden bridge and lianas, precarissimamente perched above a turbulent stream, and music of Tangerine, to make a sequence that remains indelibly printed in my memory. And where the trucks almost become characters themselves. It passed even this obstacle, another one comes inevitably, almost defiantly. Superb
as already said all the cast, especially Scheider and Cremer, but also the famous actor Amidou Maghrebi-French, and the Nile Francisco Rabal, who in that sequence ponticciolo on the river, sitting with his legs dangling between the boards emaciated the bridge, under a torrential downpour and winds from the typhoon, the slow pace of the truck driving in the extreme maneuver across the bridge. All this as stated, while the soundtrack to perhaps the most exciting and powerful that Tangerine Dream have ever composed, throws us in a frantic and explosive beauty.
sequence of the iconic film that is also on the cover the soundtrack and posters of the first issue.
Roy Scheider in the role of Scanlon gives us the ordeal of the character with masterful interpretation, and finally looks like the ghost of himself in the foot. Of course, I will not spoil anyone who has not yet seen the final film. That makes sense only if we see more in the version with the prologue intact, flashbacks on the past life of the protagonists. Which is the European version we know it, half an hour longer than the American.
Certainly I repeat, I will not describe the beautiful finish that is almost a true revival in a nightmare, and in which are shown in flashback scenes in the prologo scorciato e rimontato della versione americana.
Così come è stato lasciato nella versione europea, il finale è dunque molto più impressionante e come esperienza, indelebile.

“Il Salario della paura” di William Friedkin ci restituisce dunque grandezza cinematografica in ogni momento, in un continuo accumulo di tensione che tiene costantemente e con magistrale padronanza in pugno lo spettatore, come un recensore dell’epoca ben sintetizzò.
Bellissimo anche l’utilizzo di rapidissimi flash-forward che anticipano il destino dei personaggi nel loro pericoloso viaggio, in cui la posta in gioco è ben più alta di quello che alla fine potrebbero ottenere. Anche la combinazione delle varie personality and social and cultural backgrounds of these characters on the run is great and one can not but sympathize with them, due to the shit you find, el'infernale trap that has taken on an adventure from mortal danger every minute .
The film is simply superb, thanks to the exciting music of Tangerine Dream, even with this choice for the soundtrack proved once more, because William Friedkin has always been the director who is revered.
Even as the narrator, Friedkin manages to consistently maintain our focus on the plot of the film and its place as the characters, directs the action with an infallible sense for what relates to the unity and a time schedule it addition to the rhythm, always knows how to increase the voltage through it, manages to be unpredictable and surprising, showing a total mastery of every instrument and cinematic technique.
enough to remember the sequence of the gigantic explosion that ignited the oil rig. All done without the use of thumbnail effects, it seems absolutely real, because it is.
as is true of the enormous truck, even when they are seen crossing bridges means collapsed, rocky canyons, and giant trees that block in the middle of the jungle.
course, half the bridge collapse was not really made of wood and rope come appare nel film, ma accuratamente costruito con cavi d’acciaio. Questo non impedì alla produzione di perdere vari camion nel fiume, che era vero.
“Sorcerer” è in definitiva, certamenteuno dei film più entusiasmanti e affascinanti film degli anni’70.
Il cui titolo, che volutamente era fuorviante, lasciando pensare a qualcosa di mistico o comunque ad una storia di magia o di stregoneria, è invece quello di un’avvincente dramma, molto potente, nel quale le risonanze si fanno sentire molto tempo dopo che i titoli di coda siano terminati.

Quando il film uscì originariamente in Australia, fu stranamente tagliato arbritariamente di quasi mezz’ora, per bizzarre esigenze rooms in which they were projected to the schedule of their shows.

All actors who came to interpret the four leading roles were also the fourth or even fifth choice, since all the first and the following, for one reason or the other roles had refused or were not eligible. The same Roy Scheider / Scanlon came after Steve McQueen and Paul Newman, the former had accepted the role but on one condition, that his wife at the time, Ali McGraw, had a role to co-star in the film that did not exist . Friedkin obviously did not accept this condition, and McQueen was called out of the film, referring alive just before the making of the film, but Friedkin continued to reject its terms.
Friedkin also tried to have Clint Eastwood or Jack Nicholson, but both did not want to fly so far, at least at that time. Friedkin himself has argued that the choice of casting to have Roy Scheider as the protagonist was the most wrong decision I ever made. This is because undoubtedly
Scheider was an excellent actor who gave a great performance, but - "makes it more interesting if a movie is the second or the third party plaintiff, not the protagonist, because it has never been a real star." - (review by Friedkin, but very questionable).

French actor Amidou of North African origin, che interpretò il palestinese Kassem/alias “Martinez”, fu l’unica vera prima scelta, mentre tutti gli altri tre attori accordatisi con Friedkin come detto, furono –“La quarta, quinta e anche sesta scelta.”

In una scena poi tagliata si vede Nilo (Francisco Rabal) guidare quando il camion incomincia a percorrere una strada veramente sconnessa e piena di dossi giù per una larga collina, allora Scanlon (Roy Scheider) salta velocemente dalla parte in cui siede Nilo per aiutarlo a tenere la guida del camion che sta discendendo troppo velocemente la strada e sbandando violentemente. Questa scena venne tagliata dal film ma una piccola clip di essa rimane come immagine ferma verso la fine della sequenza in cui Scanlon ha un suo momento di crollo emotivo guidando attraverso una landa desolata e lunare, di notte, dove incomincia ad essere aggredito dai ricordi.

Nel libro “William Friedkin: Films of Aberration, Obsession and Reality” di Thomas D. Clagett, Friedkin svela che il titolo “Sorcerer” (che poi è il “nome” di uno dei camion nel film) è “il favorito fra tutti i titoli che i miei film abbiano avuto. Ed è uno dei miei soli film che io possa vedere, grazie al fatto che è venuto fuori quasi esattamente come lo intendevo.”

Il film venne originariamente titolato “The Wages of Fear” dall’originale francese del film e del romanzo. Friedkin opted for at least the North American market for the strange title of "Sorcerer," which can refer to the evil influences of fate.

Friedkin originally wanted just a prologue for the main character Jackie Scanlon / "Dominguez" of Scheider. When he and screenwriter Walon Green got together for work, decided what you want to do was to stay away from what might seem too obvious and that people can survive in the end, always at the end of the film should have a choice " prologues "with its history. Friedkin and Green originally supposed to be able to show the flashbacks in this form, but the idea was torn up in favor of the four consecutive prologues durante l’apertura del film.

La rapina nella chiesa ad Elizabeth, N.J. del prologo, è basata su una vera rapina in chiesa che ebbe luogo a tre isolati da dove la rapina del film venne filmata. L’autore del vero colpo fu Gerard Murphy, un vero ex-condannato in seguito divenuto un attore. Friedkin dette a lui la parte del capo dei rapinatori, Donnelly.

Friedkin volle che l’incidente automobilistico nel prologo a Elizabeth, N.J. sembrasse il più reale possibile. Dodici auto vennero praticamente distrutte prima che gli stunt fossero soddisfatti del risultato.

Le location del film vennero stimate dalla Universal studios come troppo costose, e seppur in partnernariato con la Paramount pictures, sempre too expensive. Friedkin and producer David Salven (which were already associated producers "The Exorcist" in '73) had frequent clashes on the different extensive location filming. Salven Friedkin eventually would take over and merged with him his role as producer.

The film was originally supposed to shoot it in Ecuador for the scenes in the jungle, but this was considered too expensive and then we moved to the Dominican Republic, a military dictatorship at that time very little "virtual". The village of the film is Alto Gracia.

The fire station was created by pumping oil over two thousand gallons of diesel fuel from two different pumps, and a brutal propane gas in the air impregnated. Once the fire was blazing fact became so hot that no one could approach within 25 meters from it.

to maintain its look, the rope bridge was created at the time of manufacture, processing, and slowly built that contains numerous security measures such as a hydraulic lift in the use of special effects technicians to put his hand on it while moving . All this to be built cost one million dollars. After that was completed, the river scene in the original (Dominican Republic) was almost completely dried up for the first time in its history by means of a small deviation. The bridge had Tuxpetec then be transferred to Mexico, where he had a new site location and there was lost. It was only then proceed to construct a new bridge at a cost of another million dollars. Whenever there was still a need for a new location, the river was released from the natural drainage in its depth. The crew of the film put a guard around the bridge 24 to 24 hours because of local superstitions, which attempted to demolish the bridge because of the belief that he and his "intruder" would have created a perennial river drainage. But at the time of shooting the water was only 180 cm deep. and definitely not looking threatening. The crew of the film did not, however, more money to try yet another location and then Friedkin decided to use an extra artificial current and a rain storm (using helicopters and wind machines on the towers with giant tubes.) Bridge on the other hand proved too unstable to accommodate all the devices precautions for the safety of trucks (plus with the actors in it), which tilts to one side, and five times during the maneuvers and ended up shooting in the water. The whole process took three months to turn. Friedkin noted that it was the most difficult long sequence ever shot in his career.

Friedkin was sure to have the final cut for the exit "home" of the film, but this was not specifically requested for distribution abroad. A result, the opening prologue was entirely cut off, greatly foreshortened or embedded in the body of the film through flashbacks, the output in foreign countries.

The film had a lot of bad luck when it opens in America, June 24, 1977. The first week, around the corner at the Mann's Chinese Theater was around the block. But during that period, a movie called "Star Wars" (which was initially distributed only in a few movies around the nation) began to have a wider distribution and the phenomenal success of this film began to take everything. In the second week after its release, "Sorcerer" saw the queues in front of Mann's Chinese Theater to become completely dissipated or near zero. A cinema in San Francisco broke all records at the box office when the city began to show "Star Wars", by that time become so popular that the success of the film "Sorcerer" could not do anything right and was replaced almost everywhere by " Star Wars, "in one week. In the end, "Sorcerer" recovered only $ 9 million of its original 21 million budget, only to become financially a disaster.
Since
parts with subtitles at the beginning of the movie halls of many operators took an initiative, believing this useful for those who knowingly had paid money to see a foreign film. So, to alleviate the impact of the beginning of the film only spoken in foreign languages, special posters were quickly printed and placed in rooms that followed the screenings of "Sorcerer." "THANK YOUR ATTENTION. To dramatize the different origins of the main characters of "Sorcerer," two of the opening sequences are filmed in the appropriate foreign language, subtitled in English. In addition to these opening scenes, all the other film "Sorcerer" are in English.

Friedkin has talked with Gene Hackman that with Kris Kristofferson to try to have them as actors in the film. Hackman declined interest, saying that the script of the film was too violent. Kristofferson also declined because it was not very convinced that the right actor to load entirely on whether a film of this scale and of this budget.
The following year (1978) Kristofferson was the star of "Convoy of asphalt-Trench" by Sam Peckinpah, in which apparently proved they can do very well, but it was definitely a choice dictated from a film of lower cost and ambitions .

Nick Nolte, relatively unknown at the time if not for the popular TV drama "The Rich and the Poor" (1976), tried to get the lead role which later went to Scheider. Later, he would have starred in "Just Win" (Blue Chips) (1994) by William Friedkin.

Paul Newman turned down the starring role.

Due to the explosive temper of Friedkin and scenes in which a helicopter was used to create the storm in the sequence of the rope bridge, caused during the making of the film he had earned the nickname "Hurricane Billy."

Besides starring Steve McQueen in the original project were Marcello Mastroianni also designed and Lino Ventura who would have interpreted the two supporting roles and starring Bruno Cremer and Francisco Rabal. Moreover, after McQueen was called out of the film, Mastroianni and Ventura almost pulled out too, to do with any actor in the film was the second choice than McQueen.

The clock display on which looks at the man demolition team of the state of danger and remainder of dynamite, is a Bulova Accuquartz "Big Block", LED clock. Very early on contemporary digital timepiece, the numbers were displayed on the display in the typical red luminescence. As in the legendary timer Jena Plissken in "1997: Fuga from New York. "

various incidents that happened during filming in the jungle (including a hurricane that nearly wiped out a set), meant that the original cost of the film to rise to $ 15 million to 21 million.

The engineer production overtone do I mix in the roar of a tiger by the sound of the truck, "Sorcerer", and the trumpeting of a cougar to that of the truck, "Lazaro." A viola and a violone have been used for some of the sounds of the groans of the rope bridge. The Academy Award nomination for Best Sound (Robert Knudson, Robert Glass, Richard Tyler, Jean-Louis Ducarme) was the only one of the film.

Napoleone Wilson

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