In 1977, William Friedkin was riding high from the critical and commercial success of The French Connection and The Exorcist, two of the biggest hits of The Hollywood New Wave. He was about to release Sorcerer, his remake/remodel of Henri-Georges Clouzot’s 1953 thriller, The Wages of Fear, shot on four continents for $22 million. Then Star Wars happened, and George Lucas’ sur-prise blockbuster almost obliterated the taste for brooding films with conflicted anti-heroes. Sorcerer was a flop as was Martin Scorsese’s New York, New York, Sam Peckinpah’s Cross of Iron and John Boorman’s eccentric sequel to Fiendkin’s original, Exorcist II: The Heretic.
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