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Green River, The Time of the Yakurunas is a sensory journey into the spiritual depths of the Amazon. The film follows the flowing waters of the Amazon river that connect the lives of the people of three isolated villages of the rainforest. While it may start with an anthropological purpose, the movie relies on its beautiful photography and its stunning soundscape to fully immerse the viewers in this Amazonian catchment area. Lulled by the spiritual sounds of Ayahuasca chants the river becomes the main protagonist and acts as a reflection screen for the shadows that move along its seemingly calm waters.
In the director's opinion, the premise of The Wages of Fear (both the novel and the first film adaptation) seemed to him a metaphor for "the world [being] full of strangers who hated one another, but if they didn't cooperate, if they didn't work together in some way, they would blow up." Walon Green, the screenwriter, said that he and Friedkin "wanted a cynical movie where fate turns the corner for the people before they turn it themselves". Additionally, their intention was to "write a real movie about what we thought was the reality of Latin America and the presence of foreigners there today".
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 2007. 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." He also applauded the atmosphere, which he said had "a wonderful tone to it and a real sense of dread and desperation [...] it's tight and suspenseful, every scene grabs you by the collar, and it's beautifully shot. You can feel the humidity down there in South America. You can feel the sweat on the sticks of dynamite." He concluded the review by saying that the only aspect in which the movie failed was the fact that it came out around the same time as Star Wars. 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 that world Hollywood has spent the next 30 years making smart, edgy movies for grown-ups, the literacy rate is 100%, we haven't been in a war since Vietnam and world hunger is just a memory."
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. This version opens in the village with the drivers already present, and ends with the delivery of explosives. The cuts were made by the international distributor Cinema International Corporation, without Friedkin's consent in order to obtain more screenings. Friedkin referred to this cut as a "mutilated" version of his work. The opening vignettes are somewhat retained, albeit heavily shortened and inserted as flashbacks. Although the European cut is shorter, there are almost sixteen minutes of unique footage not shown in the original American theatrical version.
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." 2b1af7f3a8