Several critics compared the movie to John Huston's The Treasure of the Sierra Madre. Phil Mucci indicated a similarity in terms of the premise as a "tale of desperate men in desperate times, bound together by fate and circumstance,"[43] and Thomas D. Clagett likened Jackie Scanlon's characteristics and appearance to Fred C. Dobbs (played by Humphrey Bogart) from Huston's movie. According to Clagett, who cites Friedkin, this was intentional.[31] Phil Mucci notes the visual influence of French New Wave, as well as Gillo Pontecorvo's The Battle of Algiers,[43] the latter comment also mirrored by Shaun Crawford,[14] Tom Stempel in his book Framework: A History of Screenwriting in the American Film,[10] and Ken Dancyger in The Technique of Film and Video Editing: History, Theory, and Practice, where he states that by employing similar techniques to Pontecorvo, in the prologues he "establish[es] credibility" as well as makes "[these] histories as realistic as possible."[44] Stempel additionally alluded the film's episodic structure to Robert Altman's work.[10] Crawford also observes that the film possesses "cinema verite sensibilities", which in his opinion allow the director to capture "its grimy realism".[14] Dancynger also touches upon this thread and assesses the Jerusalem prologue sequence as shot entirely in "cinema verite fashion".[44]
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The stunt coordinator for the film was Bud Ekins, who was Steve McQueen's stunt double in The Great Escape. He was friends with the film editor, Bud Smith, who recalls Ekins being "as cool as cucumber".[62] In some cases stuntmen were employed throughout the making of the film but generally speaking the principal actors acted as their own doubles and were actual truck drivers. For instance, since Roy Scheider's character Jackie Scanlon was meant to be a mob's wheelman, he had to undertake a special preparation for maneuvering a vintage truck with the purpose of gaining the necessary driving skills. He summarized the experience as "rehearsing to stay alive". Scheider has emphasized that no rear-screen projection or any other kinds of "trick photography" were used, due to the distance between the cameras, the vehicles and the surrounding terrain.[51] In a 1977 interview for The New York Times, Scheider said that shooting Sorcerer "made Jaws look like a picnic." He mentioned that the stuntmen were unhappy because of the fact the leading actors performed their own stunts, and added that the scene involving crossing a suspension rope bridge is "what really happened". Scheider called it the most perilous sequence he has ever taken part in.[63] Amidou, in an interview for the Morocco Times in 2005, stated that out of all movies in his oeuvre, Sorcerer left the most lasting impression on him since he "refused to have a substitute and paid for it physically."[64]
The aforementioned changes were approved by Verna Fields and commissioned to Jim Clark, who reluctantly agreed, and Cynthia Scheider. Fields was a Universal Studios executive who thought shortening and restructuring the movie would increase the film's commercial potential. Scheider was also interested in applying those changes, offering his cooperation. Jim Clark was reportedly assured by Fields that Friedkin permitted changes, but was very suspicious about the authenticity of this claim. Therefore, Clark wrote an indemnity preventing Friedkin from any form of interference. Some additional dialogue written by Clark and Ken Levinson was later dubbed in. The studio did not possess the original work print; hence it was forced to work on the combined print. Jim Clark said the cut was "at best, passable" and was of the opinion that if he "had left Friedkin's version alone, it would have had exactly the same fate."[58] 2ff7e9595c
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