That’s Not Conan: Revisiting the Original ‘Deathstalker’ Ahead of the 2025 Reboot
There’s no understating the impact that John Milius’s Conan the Barbarian had on the film industry when it released back in 1982. Not only did this existential epic single-handedly revive the Sword & Sorcery genre, but it also influenced everything from comic-books to tabletop role-playing games. However, not everyone was happy with the release of this beloved classic.
Legendary film producer Roger Corman was absolutely livid when he found out that Dino de Laurentis had acquired the rights to Robert E. Howard’s iconic character before Corman could shoot his own long-gestating Conan adaptation. That’s why Corman decided to use the hype surrounding the Arnold Schwarzenegger vehicle to sell his own collection of cheaply produced Sword & Sorcery films.
The first of these vengeful productions was 1983’s infamous Deathstalker, a film that, ironically enough, features a much more barbarous protagonist than the movie it’s trying to rip off. And with the character making his long-awaited return to the big screen later this year thanks to Steven Kostanski’s crowdfunded Deathstalker remake, I think this is the perfect time to look back on the original film in all of its schlocky glory!
Roger Corman was already a world-renowned filmmaker by the 1980s, and this notoriety meant that he could often secure international production companies to partner with him in countries where the American Dollar had greater value. That’s how he came to broker a ten-picture deal with the Argentinian-based studio Aries Cinematográfica, with their first collaboration being a low-budget fantasy film that could be shot on location in Buenos Aires.
Saturday the 14th scribe Howard R. Cohen was hired to quickly pen an off-brand Conan yarn, with James Sbardellati being invited to helm the picture. Sbardellati (who then went by the name John Watson) had previously worked with Corman when he was hired by to direct additional “sex” scenes meant to spice up Barbara Peeters’ controversial exploitation classic, Humanoids From the Deep.
Deathstalker’s cast would also feature famous model Barbi Benton in her final role before moving on to her musical career, as well as newcomer Lana Clark in the first of her many collaborations with Corman. The titular character was played by former football player Rick Hill, with his swashbuckling partner Oghris being played by horror veteran Richard Brooker (who had previously played Jason Voorhees in Friday the 13th Part III).
In the finished film, we follow the “hero” known as Deathstalker as he reluctantly embarks on an epic quest to defeat the evil sorcerer-king Munkar (Bernard Erhard) and acquire three magical artifacts that will unlock the ultimate “Power.” Along the way, he’s joined by the thief-turned-imp Salmaron (Augusto Larreta), a wandering hero with sparkling abs named Oghris (Brooker), as well as the topless warrior Kaira (Clarkson).
SO WHY IS IT WORTH WATCHING?
Merely explaining the individual plot elements of the story doesn’t do Deathstalker any justice, as the film’s script mostly serves as an excuse to place our characters in classic fantasy situations like thrilling tournaments and high-stakes sword duels – as well as a series of problematic sexual encounters that make revisiting the flick in 2025 a much more uncomfortable experience than the filmmakers originally intended.
However, while the film’s unnecessary sexuality often gets in the way of its more enjoyable action elements, it’s clear that Deathstalker is one of very few Fantasy flicks produced by masters of Exploitation cinema, a distinction that makes the movie feel unique.
After all, most of the flick’s brutality appears to be intentional. This is a barbaric world with barbaric inhabitants, and while the story’s overall lack of a moral compass makes it hard to root for our scumbag hero, one could argue that this just makes the film feel even more medieval. That being said, it’s still hard to justify the flick’s treatment of women, though many of the misogynistic elements would be remedied in the sequel, with Deathstalker 2 functioning more as a parody of the first film than a proper continuation.
Not all of the sexual elements present in the first film is necessarily bad, however. For instance, Clarkson’s character seems to embrace her sexuality as a source of power (and possibly a distraction meant to give her an edge against her enemies). And in true barbarian fashion, most of the men are dressed in clothing just as revealing as that of their female counterparts.
AND WHY WOULD HORROR FANS ENJOY IT?
Deathstalker is probably better known for its iconic poster than the movie itself, with Boris Vallejo’s iconic artwork (done in the same style as the artist’s National Lampoon posters) promising a thrilling adventure where a musclebound hero faces off against horrific monsters. However, while the finished product isn’t as detailed as what we see in the advertising, I appreciate the film’s low-budget attempt at populating its gritty fantasy world (which looks a lot like regular South America) with ghouls and goblins.
The drooling Pig-Man obviously takes centerstage despite the overall crudeness of his costume. His Vaseline-slathered mask and hulking frame instantly make him a memorable villain, but I also find it hilarious that Deathstalker makes no effort to explain the creature’s origins or why he’s attending a royal tournament. None of the other characters seem alarmed by his appearance either, implying that pig-men and other monsters are simply a fact of life in this ancient land.
The film also boasts charming practical effects in everything from imp puppets, to diseased Neanderthals and even the occasional ogre – as well as an eye-ball-eating pet demon that exists only to show how depraved our main antagonist can be.
Of course, the real monsters in Deathstalker usually turn out to be human, so it makes sense that the film exhibits plenty of exaggerated violence as we watch evildoers get decapitated, impaled and even dismembered by wild horses in over-the-top displays of barbaric justice. The effects aren’t always blockbuster-quality, but I admire the effort that went into making these fights seem ugly and mean.
I can’t honestly call Deathstalker a traditionally good movie, but there’s an undeniable chaotic energy powering its messy filmmaking. Maybe Sbardellati is unconsciously tapping into fantasy greatness due to his use of ancient tropes and familiar archetypes, or maybe I’m just a little too lenient on Sword & Sorcery flicks due to my personal love of the genre, but I’d argue that Deathstalker remains an interesting combination of Fantasy and Exploitation even four decades later.
That being said, I still hope that Konstanski’s reboot borrows more from the film’s humorous sequel!
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