Who is saved by a conscientious villager who them raises him as his own, teaching him the arts of logic and sword-fighting as he patiently comes of age.
As he matures he also learns that he has a natural gift with animals, and can indeed converse and interact with them as if they were taxonomic kin.
Soon his village is attacked by fierce barbarians and in the aftermath he alone survives, setting out to grieve incarnate wandering upon the open road.
By chance, one day he encounters two nimble maidens frolicking unrestrained, one who seems to take an interest in his imposing derelict tragedy (Tanya Roberts as Kiri).
But she is to be sacrificed and must be boldly saved and then set free, Dar befriending other victims of injustice correspondingly, whom he agrees to fight along side.
They must save a dynamic city from the very same evil priest of long ago.
Who's allied with the barbarians.
And hellbent on pernicious ritual.
A just emancipating vision disposed to humble daring legend, adventurously emerges as noble Dar quests impassioned.
Instinctual freedom untethered largesse distinctly abound with forthright recalcitrance, within a realm chaotically composed through distraught prayer and demonic terror.
In an age creatively refusing to be limited by impossibility, Beastmaster brazenly interrogated lavish budgets and special effects.
If you want to imaginatively conceive beyond disheartening technological constraints, look to Don Coscarelli and his crafty film which pursued fascination reprieved regardless.
His animals were real and he wasn't confined by dismissive inconsiderate assumptions (don't make this: it will be cheesy), proceeding epically unimpeded by pejorative disjunction.
Perhaps inspiring many who work for Marvel or DC or independently this postmodern day, remarkable to see how much things change, over the course of the passing decades.
You think, "how could things surpass contemporary animate production design?"
While longing for long lost muppets.
Audacious initiative.
Impossibility.
With John Amos.
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