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Upon seeing the underexposed scenes, Bush reportedly "lost confidence"  and was subsequently dismissed, which forced Friedkin to employ a new camera crew.
Stephens with whom he had worked under David L. Stephens applied necessary changes, including the employment of reflectors balancing "the deep shadows of the tall trees", as well as replacing lenses and film stock.
This resulted in a leap of cinematographic quality which delighted the director, who has said "the locations looked beautiful to the eye".
Apart from Bush, Friedkin had a feud with the chief Teamsters representative whom he dismissed at some point and which prompted the director to find another trucker crew.
The director also fired five production managers, which upset Scheider, who said that he was "tired of going to the airport and saying goodbye to them," as well as adding that he was the only person Friedkin could not drop, as he was the leading actor.
Friedkin regretted this situation, as he praised Salven greatly for his previous contributions to his movies. He was replaced by Ian Smith, whom the director described as "experienced and efficient".
It reportedly took two weeks to replace the crew workers. In The Friedkin Connection he added that "almost half the crew went into the hospital or had to be sent home.
The sound design crew included Jean-Louis Ducarme, with whom Friedkin had worked on The Exorcist and of whom he thought very highly.
The sound crew employed distorted samples of tiger and cougar roars for the truck engines' sound. Schexnayder noted that such a technical exercise was "relatively unique for the period"; but, over the years, techniques such as these became a staple of film-making.
In the bottomless silence. Without warning A curtain slowly ascends revealing A midnight dawn. A whisper of chill wind And white sun eclipsed by pale yellow moon.
Rumor of distant thunder trembles along the edge of a galaxy Cascading down infinite corridors of burning mirrors reflecting and rereflecting momentous oceans of stampeding wild horses.
Glass shatters, shrieks and spins away becoming clusters of starfall that scatter from hidden places. Relentless like a recurring nightmare.
Centaurs throb within the blood crossing arteries of storming cavalries that crash though the top of your head Recycle and recur Again and again Reminding of white suns eclipsing oceans of stars shrieking through the midnight dawn.
Sorcerer soundtrack back cover . Sorcerer marked the first Hollywood film score for the German krautrock and electronic band Tangerine Dream.
William Friedkin, during his visit in Germany, attended their concert in a derelict church in the Black Forest. The band seemed to him "on the cutting edge of the electronic synthesizer sound" that soon would become a staple in mainstream culture.
He assessed their music as a mixture of classical music played on synthesizers and "the new pop sound", and described the experience as "mesmerizing".
However, upon learning Friedkin intended to reimagine Wages of Fear , Froese called Friedkin back and asked for video material to be worked on,  but Friedkin suggested the band create the score based solely on their impressions of the script, without seeing a single minute of video footage.
Friedkin, an admirer of the band, stated in the liner notes for the soundtrack that "[h]ad [he] heard them sooner [he] would have asked them to score [ The Exorcist ]", and that he considers the film and the score to be "inseparable".
When our trailer [for Sorcerer ] faded to black, the curtains closed and opened again, and they kept opening and opening, and you started feeling this huge thing coming over your shoulder overwhelming you, and heard this noise, and you went right off into space.
It made our film look like this little, amateurish piece of crap. I told Billy [Friedkin], 'We're freaking being blown off the screen.
You gotta go see this. Friedkin's fears were correct; when Sorcerer debuted at the theater, it was so unsuccessful by comparison that Star Wars quickly returned.
Several critics theorized that another probable factor in the film's box office failure was the confusion related to its title. Cyriaque Lamar of Cracked.
To him the title might have indicated a certain likeness to The Exorcist and thought the audiences at the time were either bored with yet another film about exorcisms or that was precisely what they wanted and upon seeing the movie, they got confused, asking themselves "where's the devil?
Furthermore, the opening sixteen minutes contain no English language, which made the audiences think that it was a foreign subtitled film,  and caused walk-outs.
After the film's poor reception, its financial disaster prompted Universal executives to void their contract with Friedkin immediately.
Sorcerer was not received as well by the public or film critics as Friedkin's previous two films had been. American movie reviewer D.
Holm hinted that all criticisms might have stemmed from the very fact that Friedkin even dared to reimagine a French classic. In Leonard Maltin 's annual "TV Movies" ratings book, the film receives only two-and-a-half out of four stars, with the critique, "Expensive remake of The Wages of Fear never really catches hold despite a few astounding scenes.
The result is dire. Cumbow in the September issue of Movietone News also panned the film, criticizing camera placement as "faulty", which in his opinion led to substandard exposition.
Moreover, he also deemed the film's editing "ridiculous" and thought Sorcerer lacked character involvement. He concluded the review by saying that with "films like this, feeling is everything.
Gene Siskel claimed that the characters "seem to be a little cold", as well as expressing an opinion that the special effects overpowered the protagonists.
John Simon wrote of how Friedkin 'spent twenty-one million dollars to perpetuate a film that could be usefully studied in courses on how not to make movies'.
James Monaco praised the cinematography and assorted craftsmanship, and stated that "Friedkin has a commitment to this story," but concluded that "somehow technique overwhelms meaning and emotion.
David Badder, in Monthly Film Bulletin , was of the opinion that even if the film had been truncated, it would not improve its quality.
He described Sorcerer as "remarkably lacklustre", and did not appreciate the unstable tone of the movie which he called "impenetrably obscure".
Additionally, he considered Scheider's role to be severely underdeveloped and "consist[ing] of meaningful stares off camera and mournful grimaces.
Ebert, in a November episode of Sneak Previews with Gene Siskel , called the film an "overlooked classic", and was shocked that the film "was so completely overlooked" despite starring Academy Award nominee Roy Scheider and being directed by William Friedkin, an Oscar winner.
Furthermore, he stated the movie had "lots of fun" and praised the suspension bridge scene in particular, saying it "is maybe the most astonishing scene of the whole film.
It's a combination of desperation, suspense and great special effects as Roy Scheider and his partners try to maneuver a giant truck filled with nitrogliceryne through the heart of this jungle across a suspension bridge.
Canby called Sorcerer "a good little melodrama surrounded by pulp"  and praised Scheider's and Cremer's performances, which he thought were "extremely good";  Scheider brought "the dominant note of reckless desperation".
The film today is more positively received by professional film critics. The website's critical consensus reads, " Sorcerer , which obstinately motors along on its unpredictable speed, features ambitious sequences of insane white-knuckle tension.
Film critic Robert C. On March 16, , writer-director Peter Hanson summarized that Sorcerer contrasts with frequent self-indulgence of the s and stated that the film is tremendously thrilling with a great deal of tension which he attributed to the plot's construction as "a probing descent into the psyche of an archetypal character driven insane by circumstance".
He also praised the bridge crossing scene and lauded it "one of the most elaborately filmed suspense sequences in cinema history", noting an overwhelming amount of camera set-ups which in his opinion amounted to creating "an exruciating level of tension" and such dedication is palpable throughout the whole film.
Holm , in his book Film Soleil , described the film as "superior to both its model and the novel from which both are loosely taken", as well as deeming the opening vignettes as an "innovation".
According to Holm, one of the most prominent threads in Sorcerer is that "coping with frustration is the 'journey' of life", which in his opinion "excellently set[s] up" the cliffhanger finale.
Academy Award nominee, screenwriter and director Josh Olson , most famous for his screenplay for A History of Violence , made a video review of Sorcerer for the Trailers from Hell webseries in He praised the movie highly, stating that it is Friedkin's best effort " Sorcerer is Friedkin at the top of his game" and was "at least equal to the original.
You can feel the humidity down there in South America. You can feel the sweat on the sticks of dynamite. Olson felt that "the movie deserved a huge audience" as well as fantasizing that "somewhere there's an alternate universe where Sorcerer is a massive game-changing hit in Hollywood and I'm doing Trailers from Hell commentary on some unknown cult classic called Star Wars.
In his list of "20 [movies] that never disappoint," King placed the original Wages of Fear at 2 and Friedkin's Sorcerer at 1, stating that although Wages of Fear "is considered one of the greatest movies of the modern age", he preferred Sorcerer , and stated that Scheider's Role as Jackie Scanlon was one of the two best roles in his entire career, as well as saying that the film "generate[s] suspense through beautiful simplicity".
A prominent English film critic, Mark Kermode , also expressed his appreciation for the movie, saying that he had "got a fondness for William Friedkin's version of Wages Of Fear Sorcerer ," however adding that "only an idiot would argue that Sorcerer is a better movie than Wages Of Fear.
The film's European as well as Australian  cinema release cut 28 minutes from the original but not in France, where the movie was distributed in its full-length version.
In most regions of the world it was also retitled as Wages of Fear and distributed by Cinema International Corporation later renamed as United International Pictures ,  a joint venture between Universal and Paramount specifically established for overseas distribution.
The cuts were made by the international distributor Cinema International Corporation, without Friedkin's consent  in order to obtain more screenings.
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.
The film's release on video was held up for many years; executives at Paramount and Universal argued it was ownership issues that was preventing a release, though a Universal spokesperson suggested that a lack of public interest might be another reason.
In September , Friedkin announced that new, remastered home video releases on Blu-ray and DVD  were supposed to be released on April 14, ,  however, both ended up being pushed to April Critics argued that the fiasco of these films, among others, contributed to ending a period of auteur approach to the American cinema that was prominent in the s.
In the opinion of several critics, the release of Star Wars marked a distinctive demographic shift among the audiences as well as altered trends in movie industry drastically which at the same time attributed to Sorcerer ' s financial and critical fiasco.
Sean Macaulay notes that Star Wars changed the movie-going demography, considerably "reset[ting] American cinema back to comforting fantasy"  According to reviewer Pauline Kael , Star Wars contributed to "infantilizing the audience" as well as "obliterating irony, self-consciousness, and critical reflection"  and to Tom Shone, who drew from Kael, was impossible to compete with by Friedkin and Sorcerer.
Bill Gibron marks the demise of unrestrained writer-director creative control in favor of studio-governed film-making with Heaven's Gate , and adds that Sorcerer also significantly contributed to this trend.
This was, in contrast to the "subversive attitude" which then journalists heralded as the pinnacle of filmmaking.
Furthermore, he states that the last favorable year for New Hollywood was , and "socially critical, stylistically adventurous cinema" would soon be substituted by "ideologically and formally conservative work" of directors like Steven Spielberg and George Lucas.
The critic holds opinion that several financial fiascoes, including Sorcerer , New York, New York , Apocalypse Now , One From the Heart , and Heaven's Gate , were auteur movies aspiring to achieve mainstream success but were panned by the movie-goers and critics alike.
Hoberman to whom the period immediately following 's One Flew Over the Cuckoo's Nest marked the point when "experimental films became less and less able to recoup their costs".
Justin Wyatt concludes that the downfall of "the experimental period" was followed by a retreat to "large-scale grand filmmaking", a Hollywood staple from early to mids and adds that filmmakers such as Peter Bogdanovich , Friedkin, and Arthur Penn still continued their cinematic involvement but their most ambitious work had been produced during the peak of New Hollywood era, which was characterized by "financial experimentation".
On the other hand, the director thinks this trend is impossible to return, because he feels that nowadays "a film has to serve the greater good of the corporation in order to get made and it cannot be subversive in nature.
As well as, has to have the broadest possible appeal, so that it will help other divisions of the corporation".
The film was selected for screening as part of the Cannes Classics section at the Cannes Film Festival. In April , it was reported that Friedkin was suing Universal and Paramount over the domestic rights of Sorcerer for a share of the movie's profits.
In a July interview, Friedkin said that the film's case was pending at the Ninth District Court of Appeals in California with a settlement to be announced by November Had no settlement been reached by that time, the jury would have to set a trial date for March The director emphasized that his intent is not dictated by profits but by the desire to have it released on DVD and Blu-ray , as well as having a film print for various outlets, such as film societies and universities.
He also highlighted that if this case becomes precedential, he wishes it would help other pictures in a similar situation.
According to Friedkin in a July interview, Universal and Paramount both claimed that they did not own the film and were not aware who did.
The resulted situation is a consequence of the bankruptcy of Cinema International Corporation , a company granted an ownership by Universal Studios and Paramount Pictures, and commissioned to release films on international markets, and not domestically.
At the time, Friedkin believed any issues related to the matter were of bookkeeping nature. In December , Friedkin revealed that the film rights were in fact owned by Universal, as the Paramount lease had expired after 25 years.
He also added he would meet Warner Bros. Additionally, he announced that he would be having a meeting with the head of Universal Studios ; if its outcome would be negative, he would have to resort to the legal case.
Friedkin also indicated that restoration of Sorcerer would require a considerable amount of work, stating that he does not possess any prints in good quality.
Furthermore, he added that Paramount was responsible for creating one between the end of and the beginning of , and he was trying to locate it, noting the difficulties related to obtaining the print as the studio no longer possesses an adequate capacity to deal with this matter and off-shore companies involved in the legal matters were now greatly reduced in staff and stated that is the reason why acquiring the film's print is a time-consuming process.
On February 11, , Friedkin published news that Sorcerer was being budgeted to create a new, digital master copy as well as asserted that the original negative is in a good state.
In March , Friedkin revealed that he had dropped his lawsuit against Universal and Paramount, and that he and a "major studio" were involved in the creation of a new, recolored digital print of Sorcerer , to be tentatively screened at the Venice Film Festival and to receive a Blu-ray release:.
We're working off the original negative, which is in pretty good shape, but without changing the original concept we have to bring it back in terms of color saturation, sharpness and all the stuff The film been in a legal whirlpool for 30 or 35 years.
And a lot of people have come and gone from the studios during that time, so it just takes awhile to unravel everything, but we're very close to announcing a premiere date.
Friedkin remarked that the film "hasn't dated It's set in a kind of limbo and neither the haircuts nor the wardrobes nor the sets have aged poorly.
On May 2, , the director announced the re-release, a new, digital print, along with a precise premiere date—on August 29—at the Venice Film Festival ,  where he is set to receive a lifetime achievement award.
On June 4, , the director declared that the color grading would commence on June 10, ,  which he later followed up with a tweet on June 25, stating the process is now completed, without distorting original colors, and that 5.
From Wikipedia, the free encyclopedia. This article is about the U. For other films with similar name, see Sorcerer.
Theatrical release poster designed by Richard L. John M. Stephens Dick Bush. Sketches for the trucks made by production designer John Box.
Above is the titular "Sorcerer", and below the "Lazaro". Main article: Sorcerer soundtrack. William Friedkin, untitled poem.
Never ending. Without warning. To dramatize the diverse backgrounds of the principal characters in 'Sorcerer', two of the opening sequences were filmed in the appropriate foreign languages — with sub-titles in English.
Other than these opening scenes, 'Sorcerer' is an English language film. New York Times. Retrieved June 26, Retrieved May 29, The Wrap.
Retrieved June 28, January 13, Leonard Maltin's Movie Guide. Signet Books. Halliwell's Film Guide.
HarperCollins Publishers. Syracuse University Press. Hollywood Bloodshed: Violence in s American Cinema.
SIU Press. The Friedkin Connection: A Memoir. Archived from the original on June 26, Josh Olson on "Sorcerer " ". Retrieved May 14, Complex Magazine.
Retrieved May 30, Harvard Film Archive. Archived from the original on June 4, Retrieved June 3, Retrieved May 27, Tangerine Dream official website.
Retrieved May 24, January 6, Archived from the original on May 17, Retrieved May 15, The Film Journal.
Archived from the original on September 3, Retrieved October 27, Genji Press. The Guardian. Universal Home Video.
Archived from the original on March 4, Retrieved May 21, The Podwits. May 10, Retrieved May 23, Sorcerer ".
Spectrum Culture. Archived from the original on June 30, Archived from the original on March 10, Focal Press. Warren Oates: A Wild Life. University of Kentucky Press.
Entertainment Weekly. February 13, Retrieved May 25, University of California Press. The National. Retrieved June 24, Chicago Tribune.
Retrieved May 28, Dream Repairman: Adventures in Film Editing. Landmarc Press. Schenectady Gazette. Sarasota Herald-Tribune. The Directors: Take Two.
Allworth Press. Bud Ekins". Film Forno. Retrieved June 29, Archived from the original on April 24, November 25, Retrieved May 26, Money Into Light.
Urban Cinefile. December 5, February 29, Retrieved October 5, Evolution Garden Music Award.
March 9, Library of Congress. On Second Look. June 15, Rotten Tomatoes. Fandango Media. Retrieved April 23, Retrieved The Screening Room.
Retrieved May 11, The Hollywood Reporter. Retrieved December 10, Lionsgate Home Entertainment. Retrieved June 23, The Village Voice.
Retrieved June 25, Cumbow, Robert April 13, Parallax View. The Miami News. Films Illustrated. March Crown Publishers Inc.
Oxford University Press. Monthly Film Bulletin. Roger Ebert. Los Angeles Review of Books. Archived from the original on May 21, British Film Institute.
Retrieved June 27, Gamble, Patrick September 30, He vows vengeance if he can survive his own hanging. In s England, a cruel witch-hunting magistrate, who often tortures innocent villagers for his entertainment, runs afoul of a witch who conjures a banshee to kill the magistrate and his family.
Horror thriller set in 17th century England about the children of a village slowly converting into a coven of devil worshipers.
Kurt Ingston, a rich recluse, invites the doctors who left him a hopeless cripple to his desolate mansion in the swamps as one by one they meet horrible deaths.
Man investigates the disappearance of two of his friends who were the guests of a sinister Austrian count. The great hypnotist Professor Montserrat has developed a technique for controlling the minds, and sharing the sensations, of his subjects.
He and his wife Estelle test the technique on Mike Roscoe, and enjoy 'being' the younger man. But Estelle soon grows to love the power of controlling Roscoe, and the vicarious pleasures that provides.
How far will she go, and can the Professor restrain her in time? When they meet their friend Alan Victor Henry , he dances with Nicole while Mike goes to a nearby bar.
Meanwhile, the hypnotist Prof. Marcus Monserrat Boris Karloff has developed a piece of equipment for controlling minds and decides to seek out a guinea pig on the streets to test the device.
He meets Mike in the bar and invites him home, where he introduces his wife Estelle Monserrat Catherine Lacey to the youngster.
They test the system on Mike, controlling his mind and sharing his feelings. However the wicked Estelle enjoys the sensation and decides to use Mike in evil acts, and Marcus is incapable to control his wife.
What will Estelle do with Mike and will Marcus succeed in stopping his deranged wife? Catherine Lacey has an impressive performance in the role of a wicked old lady that becomes addicted in sensations of the youth and transgressions.
Susan George has a minor part in the beginning of her successful career. My vote is seven. Sign In. Keep track of everything you watch; tell your friends.
Full Cast and Crew. Release Dates. Official Sites. Company Credits. Technical Specs. Plot Summary. Plot Keywords. Parents Guide.
External Sites. User Reviews. User Ratings. External Reviews. Metacritic Reviews. Photo Gallery. Trailers and Videos.
Crazy Credits. Alternate Versions. Rate This. An aging hypnotist creates a device that allows the user to control the mind of another person, but his wife abuses its power by manipulating a younger man to commit evil acts.
Director: Michael Reeves. Available on Amazon. Added to Watchlist. Leading Men to Watch on Prime Video.
UK Filme 60er Jahre. Old films to watch. Halloween Share this Rating Title: The Sorcerers 6. Use the HTML below. You must be a registered user to use the IMDb rating plugin.
Edit Cast Complete credited cast: Boris Karloff Marcus Monserrat Catherine Lacey Estelle Monserrat Elizabeth Ercy Nicole Ian Ogilvy Mike Roscoe Victor Henry Alan Sally Sheridan Ron, the mechanic Meier Tzelniker The Jewish Baker Gerald Campion Customer in China Shop Susan GeorgeJe suis le seul a avoir ce probleme? Der Humor des Spiels konterkariert die Fantasywelt. Die fehlenden englischen Untertitel sind aber ein klarer Malus. Echt schade und sein Geld nicht wert! Der Leiter beauftragt daraufhin Jackie have Thomas Anders Kind opinion drei weitere Arbeiter aus dem Dorf damit, zwei alte Trucks herzurichten und das Nitroglyzerin sicher an die Ölquelle zu transportieren. Edit — über die Karte kann man dann doch weiterreisen. Kompatibilität Erfordert iOS 8. Gemeinsam fliegen sie mit einem Helikopter zu einem alten Dynamit -Lager, um das Sprengmaterial abzuholen, doch The Sorcerer stellt sich heraus, dass dieses falsch gelagert wurde und das Nitroglyzerin shall Trikot Englisch seems den Sprengstäben in die Verpackung ausgelaufen ist. Amazon Business Kauf auf Rechnung. dewapokers.co: Die Legende der Weißen Schlange - The Sorcerer and the White Snake: Movies & TV. sieh dir Screenshots an und erfahre mehr über Simon the Sorcerer. Lade Simon the Sorcerer und genieße die App auf deinem iPhone, iPad und iPod touch. Read reviews, compare customer ratings, see screenshots and learn more about Simon the Sorcerer (Both Parts): 25th Anniversary Editions. Download Simon. Common people with personal problems would address themselves to the local sorcerer. This sociological situation is well known in other cultures, for example. Many translated example sentences containing "sorcerer" – German-English dictionary and search engine for German translations.
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