Ator the Fighting Eagle (1982) / Red Sonja (1985) – 35mm -B-TO-Z DOUBLE BILL AT CINEMATEK

The  Sword and Sorcery Double Bill


Ator the Fighting Eagle (1982) – directed by the man who partially produced ‘Troll2‘,

The son of Torren – Ator – follows his prophesied destiny to bring the end to the ‘Temple of the Spider’. On the way to meet it he fights witches, un-dead warriors, some kind of female warriors and of course a giant spider. Before his journey starts he manages to marry his sister. A cheap ‘Conan the Barbarian’ ripoff with a touch of feminism.

A mention worth is the fact that they wasted about 20 minutes of the movie to show the birth of Ator, which could be done in 2 scenes, and there is an almighty bear as well.

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Red Sonja (1985) – Brigitte Nielsen’s the greatest film (for me); she looks great in this film (even greater in 35mm), unfortunately by the time of  shooting she posses same acting skill as A.Schwarzenegger, who co-stars in it. That makes them a perfect match of physicality and acting skills. [Did I mention that she looks great on film]. The support actors (Paul L. Smith and Ernie Reyes Jr.) compensate for the lack of acting skills at the  top 2.

The film itself has great cinematography (amazing landscape shots)  and impressive sculptures and sets. Similar as in ‘Ator…’ the dialogues aren’t to smart and deep , but the story does not require that. A great 35 mm experience.


The aftermath

After watching this film for the 2nd time, I can confirm that this is one of not many great Polish movies that came out in 2012. It’s also a great comeback for W. Pasikowski, who made his last full feature film in 2001.


Uncovering a WWII crime is not a brand new idea, but if you settle the story in an appropriate way and let it unfold as a good thriller’s story should unfold, you’re gonna get a riveting and hypnotizing mixture, that is really hard to create.

These criteria are definitely fulfilled when it comes to story line in “Pokłosie”. The well done editing gives also a nice pace to it.


The characters had been casted really wisely, you don’t get distracted by retarded mainstream actors, we get harsh, authentic and credible artistic creations instead.
There are few great cameos in the film, like the one of D.Szaflarska.


Few scenes are so grandiloquent and exalted, that they can be interpreted as a bit tawdry and corny by few more-demanding-viewers. (But I haven’t found many of them – some of them recalled the VW-Bus car chase scene in “Psy 2” with orchestral background music).
We also have few cliche-characters and cliche-oppositions, but they don’t spoil the film in a significant way.


Thank you Mr. Pasikowski for this exceptional film,

and for reminding me of the barn scene in this film and of the film itself.