Over on Chuck Dixon's message board, the question was posed: who are your top ten favorite fictional characters? So here's mine, in no particular order:
James Bond – from both Ian Fleming's books and the movies Tarzan – from both Edgar Rice Burroughs' books and the movies John Gaunt a/k/a Grimjack Dick Grayson a/k/a Robin, Nightwing Parker – from the Richard Stark novels Mike Hammer – from Mickey Spillane's novels (and I like Stacy Keach's version, too) Matt Helm – from the Donald Hamilton novels Richard Wentworth a/k/a The Spider James Tiberius Kirk Sherlock Holmes
Runners-up: Sinbad the Sailor, Batman, Carl Kolchak, Lawrence Talbot, Conan, Indiana Jones, Flash Gordon and John Carter.
Over the weekend, Brandi and I finally got to see Bryan Singer's Superman Returns on DVD.
While there were things about it I liked ("wait for it"), overall, I was disappointed. Now, don't get me wrong – just by its sheer scope and technical competence, it far surpassed any of the other sequels to Richard Donner's original film (which I happen to like a great deal, despite its flaws), but, unfortunately, Returns just wasn't very satisfying.
While I understand the practical reasons for casting young, Brandon Routh still looked more like Superboy to me than Superman (I had the same problem with Dean Cain). While I was willing to give it a chance after seeing the initial stills, I ended up hating the revised costume. Dark, dingy and with an understated "S" shield, it almost looked like the production people were embarrassed by the openly idealistic, bright colors of the traditional costume, and thought that by darkening it up, it would seem less... I dunno? Cheerful? Inspiring? In fact, there seemed to be a palpable cynicsm regarding the character and what he's traditionally represented, which seemed odd, especially considering Singer's slavish narrative devotion to the original, more upbeat, 1978 film.
Routh looks okay, but he delivers more of a Chris Reeve impression than an actual performance, and, unfortunately, he lacks Reeve's charm and charisma. The chick who played Lois was unmemorable and bland, and Frank Langella's Perry White came across as a stock Hollywood newspaper editor, with no attempt made on the actor's part to rise above the thinly-written material. Kevin Spacey could have been a fine, effective Luthor... if he wasn't forced to reprise the Gene Hackman interpretation. Oh, he's slightly more menacing, but only slightly. The always annoying Parker Posey essentially plays the Valerie Perrine role... and she's no improvement. At least Perrine provided some sexy eye candy. On the other hand, I kinda wish Posey had played Lois – at least she could have brought back some of Margot Kidder's neuroses and quirkiness.
The plot – well, it sucks. It's essentially an inflated remake of the '78 film with bigger FX, but even less logic. Additionally, the overall pretentiousness of the exercise sucks a lot of energy and charm out of what little's there.
And speaking of pretentious – okay, the Christ allegory has always been inherent in the Superman mythos, but it really didn't need to be played up so obviously and in such a hamfisted manner.
A digression, if I may: Personally, I never saw Supes as a "savior." Instead, he always just struck me as a good neighbor and citizen, who was brought up right by strong, moral foster parents. A guy who did right because it was right, and helped people because he could.
I guess that just isn't believable nowadays.
So, what did I like in Superman Returns? Well, it sure looked like most of the film's record-breaking budget was up there on the screen, so that's cool. The photography and production design were beautiful. The offices of the Daily Planet finally looked the way I always thought they should, and the effects were... well, super.
Filmmaking technology has finally caught up with the Man of Steel. Never before on film have Superman's powers and abilities been showcased as impressively as here. The flying scenes are amazing; no longer does he look like he's pasted into stock aerial footage. His strength, invulnerability and speed have never been as impressively and convincingly displayed. Every time Supes got to strut his stuff, my inner fanboy was thrilled.
John Williams' score still impresses and stirs the emotions, and John Ottoman does a fine job of adapting and expanding on the classic themes. I loved seeing Jack Larson in a cameo – the 1950's Jimmy Olsen still looked spry and healthy, and was even given a few lines of dialogue and some decent screen time.
I hope that in the next one, Singer & company – now that they've gotten their valentine to Donner and Reeve out of their system – will take the character in a new direction. I'd like to see them use a different villian (Brainiac, maybe) and bring some of the brightness and idealism inherent in the character back to the screen.
Most of all, I'd like to see Routh abandon the Reeve impression, and find his own take on the character.
I wanted to like it more. I may buy a copy eventually, just for the action/FX scenes and because I'm a Superman fan... but I doubt I'll watch it very often.
I have once again contributed a special DVD Late Show column to IDW Publishing's DOOMED magazine.
The article appears in Issue #4, which hit the shelves last week.
I understand there's some pretty good comic book adaptations of classic horror stories in there, too. Stuff like Robert Bloch's "Ego Trip," F. Paul Wilson's "Faces," David Schow's "Coming Soon To A Theater Near You," and Richard Matheson's "Legion of Plotters," featuring horrific art from Ashley Wood, Toby Cypress, Rufus Dayglo, and Dario Bruzuela. Plus a Richard Matheson retrospective, and words of loathing from Ms. Doomed, of course. Spectrum Award-winning artists Ashley Wood and Jeremy Geddes provide macabre covers.
The talented Tom Floyd, creator of the online adventure comic Captain Spectre and the Lightning Legion, is the interior illustrator for Moonstone's upcoming Spider anthology.
Over on his website, Tom's set up a Flash-animated slideshow which previews all the gorgeously grotesque illustrations that he's done for that forthcoming volume of blood & thunder fiction.
Now, I've been a fan of Tom's pulp-styled art for a few years now, but these marvelous drawings really blew me away, and made me very eager to read the stories that will accompany them. That one of them was written by yours truly makes it even more of a thrill.
Check it out for yourself. You won't be disappointed.
Nothing new to add to the thousands of other online memorials to the fine actor, except that I admired him greatly. He starred in probably my favorite X-Files episode, was great on Everybody Loves Raymond (I didn't love Ray – but I liked his mom, dad and brother) and appeared in many of my favorite movies... including this one:
This is probably the most-linked to video around right now... and it deserves to be. It's a classic cinema moment, and Boyle is much of what makes it magic.
A couple of interesting announcements in the last few days from Hollyweird.
Sam (Spider-Man, Evil Dead) Raimi is going to be producing a new Shadow movie.
While I thought the early 90's Shadow film had some nice visuals, the tone was all over the place, shifting from blood & thunder pulp to broad slapstick comedy – sometimes in the same scene! I'm hopeful that Raimi and his collaborators will come up with something closer to the character's pulp roots and Walter Gibson's concept. Here's an excerpt from the official announcement:
(Culver City, Ca – December 8, 2006) – The Shadow, the legendary Conde Nast comic book character, will come to the big screen from Columbia Pictures and producers Sam Raimi and Josh Donen of Buckaroo Entertainment and Michael Uslan of Comic Book Movies, LLC/Branded Entertainment, it was announced today by Matt Tolmach and Doug Belgrad, Presidents of Production for Columbia Pictures.
The screenplay is being written by Siavash Farahani. CBM/Branded’s FJ DeSanto will co-produce the film. Sam Dickerman is overseeing development of the movie for Columbia Pictures.
Raimi says, “I’ve been a passionate Shadow fan ever since I was a kid and have long dreamed of bringing this character to the screen.”
Tolmach adds, “We’re thrilled to be re-teaming with Sam as he brings another legendary comic-book character to a new generation of fans. This property is in the perfect hands.”
Uslan says, “My first comic-book writing gig in the 70s was writing for DC’s ‘Shadow’ comics. I had the chance to spend time with Walter Gibson and derive my understanding of the character directly from the original source himself. Working with Sam, Josh, and the entire team at Columbia, I know I am working with the Shadow Dream Team.”
Donen says, “We envision building a strong, character-driven, plot-intensive story filled with mystery and action that establishes a Shadow true to its roots and unlike any way he’s been presented in the past.”
Jerry Birenz, Counsel to Conde Nast, says, “Conde Nast has had a number of important filmmakers and companies approach us over the past few years, but only this team, as proven by the fact they have so successfully brought characters to the screen who are the crown jewels -- the life-blood -- of their respective comic book companies, has the incredible passion and experience to reignite and re-imagine The Shadow for a new generation. It doesn’t get better than knowing our film is in the talented hands of producer Sam Raimi.”
Also announced today was a new television series in development based on Raymond Chandler's classic P.I. character, Philip Marlowe. Rather than be set in period like the 80's HBO series with Powers Boothe, this one will be updated to the double-oughts and be called Marlowe (like the James Garner film, which was also updated to the then-present).
Here's part of the Variety article on the project:
Philip Marlowe could soon be back on the case.
ABC is teaming with producer Sean Bailey for a fresh take on Raymond Chandler's hard-boiled detective. Greg Pruss and Carol Wolper will write and exec produce the potential series along with Daniel H. Blatt, Phil Clymer and Bailey.
Hourlong drama "Marlowe" -- one of three scripts Bailey has set up at the Alphabet this season via the LivePlanet banner -- would be a present-day procedural crime drama with noir aspects and set in Los Angeles. Touchstone Television, which has an overall deal with Bailey, will produce if the project goes to pilot.
Bailey said "Marlowe" will be "a detective show, but very much a character-based one. "He's a guy who can travel in the highest echelons of power and the darkest and dirtiest corners of the city," he added, noting the new Marlowe will still "get his ass kicked every once in a while."
As of now, there are no plans to use any of Chandler's Marlowe books ("The Big Sleep," et al.) as source material for storylines. Still, "You can expect to see your femme fatales and very wealthy individuals," Bailey said.
Producer said the project came together when Endeavor, along with the rights holders to the Marlowe character, contacted him "with the idea of updating the DNA of Marlowe and taking him into 21st century LA."
Like a lot of folks, I've been watching a lot of Superman lately. Everything from the Kirk Alyn serials to the 80's Superboy show to Lois & Clark. Just about the only thing I haven't watched recently is Superman Returns... and I intend to rent it soon.
One thing I've noticed is that the various Superman film and TV shows have almost always been well cast. But I still have my favorites.
Even though no one asked, here are my choices for best actor/character match ups.
Superman: Christopher Reeve (Superman the Movie)
Runner Up: Kirk Alyn (Superman serials) Clark Kent: George Reeves (The Adventures of Superman) Lois Lane: Phyllis Coates (Adventures of Superman S1)
Runner Up: Terri Hatcher (Lois & Clark) Jimmy Olsen: Michael Landes (Lois & Clark S1) Perry White: Lane Smith (Lois & Clark)
Runner Up: John Hamilton (Adventures of Superman) Jonathan Kent: 3-Way Tie – Glenn Ford (Superman the Movie), Stuart Whitman (Superboy), John Schneider (Smallville) Martha Kent: K Callan (Lois & Clark)
Runner Up: Annette O'Toole (Smallville) Lex Luthor: Tie – Michael Rosenbaum (Smallville), Clancy Brown (Superman the Animated Series) Superboy: Gerard Christopher (Superboy S2-4) Lana Lang: Tie – Stacy Haiduk (Superboy) and Annette O'Toole (Superman 3)
And my favorite Jor-El and Lara are George Lazenby(!) and Britt Ekland(!) from Superboy (even if they were, technically, imposters.).
Least favorites: Superman: Dean Cain (Lois & Clark) – Not a bad Superman, just my least favorite. Lois Lane: Noell Neill (The Adventures of Superman) – Not bad in the serials, though. Superboy: Tom Welling (Smallville) – This guy just annoys me. Lana Lang: Kristin Kreuk (Smallville) – Ditto.
I pretty much enjoy my time on MySpace. I have met some cool people there, been able to spread the word some about my work, and there's no question that the recent financial crisis with my kitty was helped considerably by my Friends there.
But lately I've been doing most of my blogging here, and the number of legitimate MySpace Friend Requests I've been receiving has been dwindling. Lately, it's all naked ladies and hip-hop musicians, and I really don't think they're all that interested in me or my work, actually, just artificialiy inflating their "Friend" numbers.
The last few days, I've been spending a lot more time over on ComicSpace, which is kind of like MySpace for comics fans and professionals. Over there, I feel like I actually have at least one thing in common with every single person on my Friends list – a love for comics.
Right now, it's skewed toward webcomics creators and fans, but a number of print guys are starting to join in. Warren Ellis, who has always known the value of the viral nature of the web for self-promotion, signed on early, and a number of other recognizable names have followed suit.
In doing my comics on the web over the past few years, I've gotten an awful lot of attitude from both webcomics folks and print folks. The dead trees folks tend to look down on the web guys, and the webcomics folks tend to be dismissive of print comics – and both groups are damned snobbish. I'm hoping that with ComicSpace, the two communities will actually start to come together, and realize that it's all about the comics, and that's what really matters.
The site's only a few days old, and doesn't offer all the features that MySpace does, but it's still evolving. It's going to be fun seeing if it can keep pace with its rapidly growing membership and fulfill some of its great potential.
If you're interested, you can find me over there on this page. I've also set up another page to preview and promote the upcoming Femme Noir miniseries I'm doing with Joe Staton.
If you're a comics fan or pro, you should check it out.
Thanks to the generosity of an unnamed benefactor (Hi, CR!), I recently got my hands on IDW Publishing's The Complete Chester Gould's DICK TRACY, Volume 1, the first installment in an ambitious program to eventually reprint in beautiful, hardbound editions, the entire run of Gould's seminal newspaper adventure strip.
The first volume covers the years of 1931 to 1933, and includes nearly 600 daily and Sunday comic strips.
Now, I love crime comics, so I'm automatically a Tracy fan, but I can't claim to any great authority regarding the actual strip. It never ran in any of the local Maine papers while I was growing up (still doesn't, actually), so my exposure to the character is limited to a few random comic books, the Republic serials of the 30's, the RKO B-movies of the 40's, a couple of reprint volumes... and the Warren Beatty film (which I actually like quite a bit, despite its weaknesses). Of course, I've also read Max Allan Collins' Tracy novels, which spun out of that film's merchandising.
Therefore, this is my first exposure to the early strips, and... wow!
No political correctness here! Heinous acts of bloody violence are carried out on almost a daily basis, frequently occurring on-panel. Even the origin story is surprisingly grim: Tracy begins his legendary law enforcement career after his girl, Tess Trueheart's, father is shot, and she is kidnapped by mob boss Big Boy's hoods. All the more shocking, Tess is then pressed into service as the gangster's reluctant moll! Tracy joins up with the police department (being immediately made a plainclothes detective!) to find his abducted girlfriend and avenge her father's death!
Great stuff, and IDW's presentation is astounding. The artwork is clear and crisp, as if shot directly from Gould's original art (and for all I know, it may have been!). There's a fine introduction by the aforementioned Max Collins, as well as a vintage interview with Gould, conducted by Collins and Matt Masterson. The book also includes Gould's original try-out strips, which he called Plainclothes Tracy. ("Dick" was the syndicate's idea.)
I only hope that this first volume sells well, that IDW can continue publishing the series, and that I can somehow keep getting them!
As some of you may know, I'm writing a three-issue Kolchak the Night Stalker miniseries for Moonstone Books, called "Night Stalker of the Living Dead." The three-parter is drawn by Tim Hamilton and – as the title suggests – involves Carl Kolchak with George Romero-esque zombies. It's being drawn now, and should be out sometime in '07.
But here's an interesting bit of trivia: this isn't the first time I've written the character in comics.
Okay, it's the first time officially. But, back in the mid-Nineties, while I was an editor for Tekno Comix and writing their flagship title, Leonard Nimoy's Primortals, I slipped in a three-panel cameo appearance for a tabloid reporter, whom I simply called "Carl."
Now, in the script, I simply described him physically – never using the words "Kolchak" or "Darren McGavin" – but artist Scot Eaton wasn't fooled. He knew who I was describing, and drew a pretty fair likeness of the late Mr. McGavin. (Click on the image for a slightly larger view.)
Yeah, I know I spelled "Vincenzo" wrong (I did in my first Moonstone script, too. Oops.). And take a gander at that mid-Nineties cel phone!
So, you're thinking about picking up a copy of The Night Driver graphic novel (adapted by yours truly) or the forthcoming The Spider Chronicles (which includes my short story, "The Spider and the Monster Makers," among its varied literary riches), but don't know where to find them?
Well, in an effort to aid the curious consumer in locating (and, one hopes, purchasing) these extraordinary publications online, here are the respective Amazon.com listings (just click on the titles):
The Night Driver A full-color, square bound graphic novel based on a story by John Cork, adapted by yours truly with art by Christopher Legasse. Published by Cinemagraphix and Moonstone Books.
The Spider Chronicles A trade paperback prose anthology containing all new adventures of the legendary pulp hero by such authors as John Jakes, MortCastle, Bill Crider, Shannon Denton, Chuck Dixon, Steve Englehart, Martin Powell, Joe Gentile, Rich Harvey, John Helfers, C. J. Henderson, Howard Hopkins, Anthony Kuhoric, Elizabeth Massie... and, well, me, with illustrations by my pal, Tom Floyd. Also published by Moonstone Books.
Now, I won't actually make any additional money if you buy these – I was paid a flat fee for my contributions – but hey, despite spurious rumors to the contrary, I'm a team player and want to help spread the word on these fine books. They were fun projects to work on, and will hopefully do well for all involved.
Shaun of the Dead was one of my favorite films of recent years; a smart, clever and hysterically funny comedy, yet respectful of the genre it was having fun with. In other words – a spoof of zombie films that was actually a great zombie film! Not an easy trick to pull off, but they did it.
Been meaning to write about Hard Case Crime for a while now. If you're not familiar with HCC, it's a publishing imprint that's just about to go into its third year, offering top-quality hardboiled (mostly) crime fiction – both vintage reprints of rare pulp and old school-style originals – in paperback, with brand new painted covers and graphic design that evokes the era of the great PBO publishing houses like Gold Medal.
Among the authors in their stable are such names as Max Allan Collins, Lawrence Block, David Dodge, Cornell Woolrich, Richard S. Prather, Charles Williams, Ed McBain, Richard Powell, Ken Bruen, Jason Starr, Donald E. Westlake (and Richard Stark), and Stephen King, among many others. In fact, among them are line founders Charles Ardai and Max Phillips, who have both contributed their own books to the line; Ardai writing as "Richard Aleas." Authors announced for future volumes include Gil Brewer, David Goodis... and Mickey Spillane!
The cover illustrations are gorgeous. Artists include Richard B. Farrell, Michael Koelsch, Gregory Manchess, Chuck Pyle and Glen Orbik. Hard Case Crime has even managed to coax brand new paintings out of legendary paperback illustrator Robert McGinnis... and they've been among his best!
Unfortunately, finances have prohibited me being able to buy every title the line, which generally releases a book a month, but I've got probably two-thirds of the Hard Case library, and not one has been a disappointment.
Hell, I've even been published by Hard Case! Sorta. When HCC republished Donald Hamilton'sNight Walker with a quote on the back culled from the Thrilling Detective Website – the quote was from an article I wrote! Too bad they didn't attribute it to me on the cover, but hey – it's there, it's mine, and as a huge fan of Hamilton, I'm appropriately... thrilled!
Speaking of Thrilling Detective, after a long hiatus, hardboiled webmonkey Kevin Burton Smith has just posted a new "issue" of his amazing and invaluable website, with a bunch of brand new short fiction and over 300 new or updated files added to its already extensive database of private eye characters, authors and scholarship.
I've been a fan of the site for years, and long ago, I had the honor of being among the first authors to have their P.I. fiction published on the site, with stories featuring my own P.I. character Matthew Dain. Surprisingly, even after all these years, I still occasionally get e-mails from folks saying kind things about my stories there.
In less than 24 hours we've received enough donations to pay for Audrey's surgery, so we've stopped accepting contributions. Our deepest and most heartfelt thanks to everyone who donated.
I'll keep you updated here about how Audrey is doing. Right now, the surgery is scheduled for next Thursday.
If you were planning to donate and didn't get the chance, why don't you consider making a contribution to your local shelter or to another animal organization in need? I'm sure they would appreciate it just as much as we do.
Again, thank you all from the bottom of our hearts. It's enough to make an old cynic cry.
Well, I assume it's available... I just got a couple of comp copies of The Night Driver – my first graphic novel and first published work in several years – in the mail.
Purely a work-for-hire assignment, I was commissioned by CinemaGraphix last year to adapt a screenplay by John Cork into graphic novel form, and it was illustrated by newcomer Christopher Legasse. Although the story isn't my own, it was a real challenge for me as a writer to take a script intended for film (which has sound and motion) and make it work in comics form (static images and text), especially as it's a suspense story, a decidedly unusual genre for comic books.
Overall, I think the final book turned out pretty well. I hope that it does well for Moonstone and CinemaGraphix, and I want to thank CGX honchos Ed Polgardy and Darin Scott for the opportunity to work on the project. It was a challenge, but I learned a lot.
If you can't find a copy at your locals comics shop, I'm sure the fine folks at Moonstone will be happy to sell you one!
I probably should illustrate this memorial post with one of Dave Cockrum'sX-Men or Legion of Super-Heroes covers, as those are the titles he was best known for – or maybe one of his own creations, like The Futurians. But I know Dave was a huge fan of Blackhawk, and contributed several very strong covers to the title's mid-80's revival... and I like this one a lot. It seems appropriate, somehow.
I always enjoyed Cockrum's artwork. When he was firing on all cylinders, no one could beat his clean, solid draftsmanship and straightforward storytelling. He was also a hell of a graphic designer; even today he's still regarded and recognized as the master of super-hero costume design.
I only met him once, at a convention in New York City, circa 1983. Somewhere in my collection is a copy of Ms. Marvel issue #20 (pictured at left – isn't that beautiful?) that he autographed for me that day, just one of many Cockrum-drawn books residing with honor in my treasured longboxes. I only spent a moment with him that afternoon, but I'm glad I had that opportunity to tell him how much I enjoyed his work.
He passed away this morning, after a long battle with diabetes and complications arising from that condition. He was 63.
Mr. Cockrum was best known for his work on Legion of Super-Heroes and Uncanny X-Men, though his route to comic books wasn't as direct as one might imagine. The artist first spent six years in the United States Navy before finding employment at Warren Publishing. He soon became an assistant to inker Murphy Anderson, which soon brought Dave Cockrum into the orbit of Superboy & The Legion of Superheroes. His work on Legion in the seventies, re-designing the costumes and aesthetic of the series, remains a highpoint in the popular superteam's history. Later, teamed with Len Wein and Chris Claremont, the artist redefined the X-Men at Marvel Comics in Uncanny X-Men and Giant Size X-Men.
Well, I finally got to see Casino Royale on Wednesday night, with a crowd of obnoxious, young, attention-deficit plagued people who really shouldn't be allowed to go out in public. In an attempt to put some distance between ourselves and them, my wife and I ended up sitting a bit too close to the screen, which made some of the frenetic action of the first act a bit hard to follow.
Overall, while I think Casino Royale '06 may be one of the better entries in the series (albeit a distinctly aytypical one), it does have a few problems. In an admirable effort to maintain fidelity to Ian Fleming's original, somewhat action-deprived novel, the screenwriters were forced to create a whole new plot to lead into the events of the book. This new plot takes up the first third of the movie, and probably 80% of the film's action sequences occur in this portion, making the movie top-heavy with stunts and pyrotechnics.
The second and most of the third acts of the film are fairly faithful to Fleming's plotting, which, unfortunately, lacks a dramatic, cinematic climax. The filmmakers have grafted on a last act gunfight in a collapsing building, but it really doesn't provide the sort of "bang" that audiences have come to expect from the franchise.
As for Daniel Craig – well, I still have no idea how he'll play Bond. The conceit of the film is that we're seeing the man being forged into the suave gentleman spy we've come to know, which means that until the very end of the flick, Craig is playing "proto-Bond." So, it'll be a couple years before we know how Craig actually interprets the role.
My early concerns were not allayed, unfortunately. I still think Craig is too old for the role as written; too mature and weather-beaten to be the raw young recruit the script posits. And having Judi Dench – no matter how damned good she is in the role – reprising the "M" character only confuses the whole "prequel" issue. I know many of the people in our audience were baffled as to what was going on.
I also thought the change from baccarat to poker was arbitrary and unnecessary, and actually contributed to the pivotal card game being far too protracted. Yeah, it's an important story point, but in a two-hour-and-forty-minute movie, the card game could have been streamlined and probably should have. As it stands now, I felt it lacked the tension and suspense it should have possessed.
I was pleased to see how much of Fleming's novel was retained, however. It's been a long time since a Bond movie could honestly claim to be based on the book with which it shared a title; the last was probably On Her Majesty's Secret Service in 1969!
Anyway, it's obviously going to take a few more viewings before I can really figure out how I feel about it, but while I can't say I was disappointed, neither was I blown away by it, either.
As I prepare to set out for my sister's place for Thanksgiving dinner, I'm already planning my DVD watching upon my return home later this evening. You see, not only is it Thanksgiving for us Yanks, but it is the birthday of legendary limey William Henry Pratt as well, the sinisterly lisping star better known as Boris Karloff.
As befits the day, I'm particularly thankful that both Universal and Columbia saw fit to dip into their respective film vaults and unearth their remaining Karloff treasures on DVD this year. Between the two collector's sets, we now have availaible – for the first time on home video, in many cases – such relatively obscure melodramatic treasures as Night Key, The Man They Could Not Hang, Before I Hang, Tower of London, The Strange Door, The Climax, The Black Castle and The Boogie Man Will Get You!
As for my holiday viewing, I think this evening calls for a showing of The Black Room, which features the distinguished Gentleman of Horror shining in dual roles as twin brothers, ably directed by Sherlock Holmes vet, Roy William Neill.
Happy 119th Birthday, Boris – and a Happy Thanksgiving to the rest of you!
* Look for my thoughts on Casino Royale later tonight or tomorrow. Still processing....
This just in: Space Academy is coming to DVD in January!
January 16th, in fact, as a four-disc special edition from the fine folks at BCI Eclipse.
Space Academy has long been a personal favorite of mine, even moreso than its more action packed, comic book-styled spin-off, Jason of Star Command. In fact, I believe that Academy, if remade today, would make a great series for modern teens and young adults. I imagine something that combines contemporary campus soap opera with the interstellar adventure of Star Trek... and lots of hot female cadets in short skirts.
After all, you want to stay somewhat faithful to the source material, and the original series had those short skirts (and brunette Maggie Cooper was particularly fetching in hers), along with some very memorable and impressive special effects footage – effects that, IMO, rivaled the quality and variety of those on Space: 1999, produced a year earlier on five times the budget. But then, I'm a sucker for "old school" (get it?) special effects – give me honest-to-Harryhausen handcrafted miniature spaceships and live action pyrotechnics over flashy CGI cartoons any day.
Overall, it looks like another exceptional Saturday Morning nostalgia release from BCI, who have really gone the extra mile on these Filmation discs. One personal disappointment: it looks like short-skirted space cadet Maggie Cooper didn't show up for the class reunion, which is a real shame. Man, I had such the crush on her. She had a devastating smile (and nice legs, too).
Anyway, it looks like it's time to toss my bootlegs. Here's an excerpt from the official Press Release:
Space Academy features all 15 episodes from the 1977 series starring Jonathan Harris as the Commander Isaac Gampu who leads the young cadets attending Space Academy in the year 3732. The series also features Pamelyn Ferdin, Ric Carrott, Ty Henderson, Maggie Cooper, Brian Tochi and Eric Greene. Additionally, the special effects team was comprised of some of the technical wizards who created Star Wars that very same year.
The series premiered on CBS in the 1977 season and was later syndicated worldwide. The success of the series led to a spin-off the following season called Jason of Star Command.
Special Features include: 35 minute documentary, "Back to School with Space Academy" Two commentary tracks featuring executive producer Lou Scheimer, actors Ric Carrott, Brian Tochi, Eric Greene, plus special effects supervisor Chuck Comisky Photo and art galleries Scripts and series bible Easter eggs Booklet with episode guide Ink & Paint trailers Spanish language tracks
Producing the special features, documentaries and most of the extra content is entertainment writer Andy Mangels, a best-selling novelist, and author of Animation on DVD—The Ultimate Guide.
This weekend, I've been both too busy and too ill to get to the movie theater to see Casino Royale, which makes the first time since 1979 I haven't seen a new Bond film on its opening weekend.
Maybe tomorrow.
On a completely unrelated note, I discovered this weekend that Fox's next Mr. Moto Collection, due out on February 13th (Hon, if you're looking for a Valentine's gift...?), will include not only the four remaining Peter Lorre Moto films – Mr. Moto's Gamble, Mr. Moto in Danger Island, Mr. Moto Takes a Vacation, and Mr. Moto's Last Warning – but the 1965 "Bond-inspired" re-invention, The Return of Mr. Moto, starring Henry Silva as the inscrutable Japanese agent.
Cool! I've always wanted to see that flick, regardless of its poor reputation! What a great "Bonus Feature" from Fox.
Yesterday I received my TARZAN COLLECTION VOL. 2 DVD set from Deep Discount, containing Johnny Weissmuller's second set of six Tarzan pictures. This half-dozen were produced not by MGM, but by RKO, and were somewhat less lavish than the initial batch from the larger studio. Also, Maureen O' Sullivan was still under contract at Metro, so the two Johnnys (Weissmuller and Sheffield a/k/a "Boy") had to go on without their beloved Jane. For a couple movies, anyway.
Well, I've already watched four of the flicks, and while I may have caught bits and pieces of these over the years on television, I can honestly say I'd never actually seen any of them all the way through before. Overall, I've found them to be extremely entertaining, well-produced, and somewhat less repetitive than the earlier MGM series (five of which feature pretty much the same plot). Like any other character-centric series, be it James Bond, Sherlock Holmes or Freddy Krueger, there are certain elements that have to be in every installment – a formula to follow – otherwise the audience feels cheated. For my money, the RKO screenwriters were more imaginative in wringing new twists out of the recipe than their counterparts at Metro.
Sure, Weissmuller's getting older and no longer the lithe, well-sculpted figure of Tarzan and His Mate, but he still cuts a formidible figure of an Ape Man – at least in these first four flicks.
The first of the RKO series, Tarzan Triumphs (1943), begins with Tarzan off picking up a letter from Jane (who's visiting family in England) at a distant trading post. Meanwhile, Boy nearly falls to his death while doing some unauthorized exploring. Boy is rescued by the lovely Zandra, a native of a lost civilization hidden in a valley (and this won't be the last of these – not by a long shot). Zandra is played by the gorgeous Frances Gifford, who had previously headlined Republic's serial, Jungle Girl. She's great in this, and I wish RKO had cast her as Jane. Anyway, soon a Nazi combat unit shows up and occupies Zandra's peaceful city, and she runs to Tarzan for help. But Tarzan's an "isolationist," and it takes experiencing some Nazi cruelty first hand to finally motivate the Ape Man to take action: "Now Tarzan make war!"
So, the propaganda level's a bit high. But it's a satisfying adventure, nonetheless.
Tarzan's Desert Mystery (1943) has Tarzan and Boy crossing an unnamed desert in search of a medicinal plant that only grows in a distant jungle. Enroute, they become entangled in the local politics of a small desert kingdom, befriend a pretty American stage magician (!) and bedevil a foreign agent/racketeer. When they finally get to the jungle where the rare plants grow, it turns out to be chock-full of dinosaurs (played by optically-enlarged lizards), man-eating plants, and giant spiders!
It's a little slow in the middle, but once they get to the "lost world" jungle, it picks up nicely!
Tarzan And The Amazons (1945) has Jane re-joining her jungle family – only now she's a blonde with an American accent (pretty but bland Brenda Joyce). When a group of explorers want Tarzan to lead them to a lost city of women (hidden in a mountain valley – see? I told you!), he refuses, having sworn to protect the secret of the city's location. Unfortunately, Boy hasn't sworn any oath and knows the way, so he leads the safari to the Amazon paradise, where they're all promptly captured and sentenced to a life of hard labor in the gold mines! You know, by now, you'd think people would realize that when Tarzan says "no," there's usually a good reason!
Finally, I watched Tarzan And The Leopard Woman (1946). Weissmuller obviously worked to tone up for this one, and he looks great. The plot here is pretty basic, but cool. A cult of leopard men and their priestess (Acquanetta) are trying to prevent civilization from encroaching on their territory by attacking caravans and making it look like animal attacks. Of course, Tarzan isn't fooled for a minute. Good fun with a great ending.
I've got two more to go – Tarzan And The Huntress and Tarzan And The Mermaids. I suspect these will be the weakest of the batch, but I'm looking forward to them anyway. Hopefully this set will sell well and Warners will release the five Lex Barker Tarzan films soon!
In my "Forbidden Memories" post below, I waxed nostalgic about the classic science fiction movie Forbidden Planet, and its real star, Robby the Robot (pictured above with his lovely co-star from that film, Anne Francis).
The distinctive automaton was designed by the talented Robert Kinoshita, and built in mid-1955 by the MGM prop department at a reported cost of $125,000.00. Several "clones" have subsequently been built over the years by both fans and professionals, including, I believe, Fred Barton (who today sells authorized, full-sized replicas), Robert Short and Bill Malone.
Robby is frequently confused in the minds of the public with his younger "brother," the Robot from the TV series Lost In Space. Of course, Robot does have a similar design – which is probably not coincidental, since the Jupiter 2's cybernetic crewmember was also designed by Kinoshita.
Over the years, Robby – or his various clones – have made numerous guest appearances in both feature film and television shows, sometimes sporting an altered head or color scheme. Not long ago in this very blog, I was wondering if anyone had compiled a definitive list of Robby's "acting credits." I searched around a bit online, but was unable to find one that seemed complete.
Here’s a partial list, though, compiled from several sources, including Wikipedia, the IMdB and my own memory. Additions and corrections are welcome!
The Perry Como Show (1957) The Invisible Boy (1957) The Thin Man (TV series), "The Robot Client" (1958) The Gale Storm Show, "The Robot from Inner Space" (1958) The Dobie Gillis Show (196-) Hazel (1962) The Red Skelton Show (196-) The Twilight Zone, "Uncle Simon" & "The Brain Center At Whipple's" (1963 & 1964) The Man from U.N.C.L.E., "The Bridge of Lions Affair" (1966) Lost In Space, "War of the Robots" & "The Condemned of Space" (1966 & 1967) The Addams Family, "Lurch's Little Helper" (1966) The Banana Splits Adventure Hour, "Danger Island" (1970) Columbo, "Mind Over Mayhem" (1974) Ark II, "The Robot" (1976) Holmes and Yo-Yo (1976) Hollywood Boulevard (1976) Space Academy (1978) TV commercial for Starlog magazine (1978) Wonder Woman, "Spaced Out" (1979) Mork & Mindy, "Dr. Morkenstein" (1979) Project U.F.O., "Sighting 4010: The Waterford Incident" (1978) Pink Lady & Jeff (1980) The Love Boat Gremlins (1984) The Phantom Empire (1986) Cherry 2000 (1987) Earth Girls Are Easy (1988) Clueless (TV series) Looney Tunes: Back in Action (2003) Stacked, "Gavin's Pipe Dream" (2005) TV commercial for AT&T (2006)
Another tough guy bites the dust. Jack Palance, the craggy-faced, husky-voiced character actor who appeared in over a hundred motion pictures and television shows, such as Panic In The Streets, The Professionals, Shane, I Died A Thousand Times, Torture Garden, Batman, City Slickers, and The Big Knife – as well as such exploitation "classics" as Gor, Alone in the Dark, Angels' Revenge, The Shape of Things To Come and Cyborg 2 – has passed away at age 87.
Jack always made something out of even the worst-written roles, bringing his vast charisma and strength of personality to every screen appearance – especially when he played heavies. Sure, sometimes he'd overact shamelessly, but more often, he underplayed masterfully, conveying a cold, reptilian menace that could chill the blood.
He was brilliant in the Dan Curtis television version of Dr. Jeckyll and Mister Hyde in 1968 and pretty damned effective as the undead Count in Curtis' '73 production of Dracula. (Gene Colan always said that he patterned Marvel Comics' Dracula on Palance, and once you know that, it's easy to see the resemblance). With his rough-hewn features and distinctive delivery, he was the perfect Western black hat, but I remember him fondly shaking his fists in defiance of inevitable defeat at the hands of comic strip heroes like Buck Rogers in the 25th Century and Hawk the Slayer.
Most mainstream obits will focus on his Oscar win for his supporting role in 1991's City Slickers, and the one-armed push-ups he displayed for the appreciative and awestruck Academy Awards audience. But to me, the definitive proof of the man's talent and unique charisma lies in the fact that for four years, he made Ripley's Believe It or Not – one of the lamest shows of the 80s – actually watchable.
Holy crap! Sam Raimi does it again! I admit, I had some concerns over the choice to adapt the symbiote black Spidey costume/Venom storyline in the third film, especially since Raimi had been doing such a good job of capturing the "classic era" Spider-Man... but...
When I was about thirteen, I was sound asleep on a weeknight when my mom came in and gently shook me awake. She told me there was a movie coming on – "Planet something, with Robby the Robot?" – and asked me if I wanted to get up to watch it.
Now, I'd already been reading Starlog magazine for a couple years, so I knew that she had to be referring to Forbidden Planet – one of those old movies that the magazine frequently referenced between articles on Star Wars, Star Trek and Space: 1999, and one that I desperately desired to see. Of course, back in those pre-home video days, you couldn't just watch a movie whenever you wanted, you had to wait for it to come on television.
In this case, it was airing on the CBS Late Movie... on a school night.
Absolutely amazed that my mom would make such an a offer, considering the lateness of the hour and my scholastic responsibilities of the next day, I nonetheless quickly sprang from my bed and headed for my parent's room, where I sat silently on the edge of their bed while they slept, watching in rapt attention as the wonders of Altair 4 (in the constellation of Aquilae, some 17 light years from Earth) unfolded before my eyes.
There was Robby, of course, and the sinister Doctor Morbius. There was his daughter, the lovely Altaira (as portrayed by Anne Francis) and square-jawed Commander Adams (Leslie Nielsen). But most astounding of all, there were the spectacular Krell laboratories, buried deep in the heart of an alien world with green skies, and the terrifying, unseen "Id Creature!"
When that invisible menace from Morbius' twisted subconscious attacked the heroes' space cruiser (a flying saucer!) and was illuminated by the ray blasts of their defensive cannons, I trembled with excitement – it was thrilling!
I'm pretty sure I had a rough time at school the next day, shuffling around like a teenage zombie, but the memory of that first viewing is still pretty vivid in my mind. It's also the only time I remember my folks indulging my love of sci-fi and fantasy in quite that way, and while I'm sure they've long forgotten the event, I never will.
Next week, Warner Home Video is re-releasing Forbidden Planet on DVD in both a 2-disc special edition and in an "Ultimate Collector's Edition." I can't afford either version right now, but when I can, it'll definitely be that collector's set that I spring for. Check it out!
Aside from a newly re-mastered transfer of the film itself, the set includes:
Additional scenes
Lost footage
Excerpts from the MGM Parade TV series
Two follow-up vehicles starring Robby the Robot: 1958 MGM feature film The Invisible Boy and The Thin Man TV Series Episode "Robot Client"
Three documentaries
Science-fiction movie trailer gallery
Vintage memorabilia
Robby the Robot replica!
Collectible packaging
Mail-in offer for a reproduction of an Original Forbidden Planet theatrical poster
To today's audiences, Forbidden Planet may seem slow or cheesy, but to me, it will always have a special place in my movie-loving heart. Beyond the nostalgia factor, it's a smart, styish, science fiction classic on an unprecedented epic scale, both thoughtful and suspenseful. The look of the film is pure 50's pulp, and the "electronic tonalities" that comprise the film's background score are still eerily chilling today.
Plus, it has Robby the Robot. And there has never been a cooler automaton.
Haven't posted a Godzilla video in a couple weeks, so here's the Big G starring in a heartwarming public service announcement with the Pillsbury Doughboy. I mean, Minya.
I got paid for some freelance work recently, so over the last few days, both Brandi and I have ordered some DVDs online, discs that we're very eager to get our grubby hands on.
Brandi ordered the second and final wave of Fred Astaire/Ginger Rogers RKO musicals from Amazon. She's a huge fan of musicals – and Astaire in specific – and can't wait to get these discs for our collection. To be fair, I enjoy these films, too. Sure, I like to make fun of them just to annoy Brandi, ("Hon? Where's the music coming from? Hon? How come they all know the words? Hon? Why doesn't he just tell her he's not who she thinks he is?") but I can't deny the talent and charisma of the stars. Ginger Rogers was a strikingly beautiful woman and delightfully charming comedienne, and that skinny guy in the top hat and tails wasn't bad, either.
Me, well, as usual, my tastes are bit more eclectic. Here's what I ordered from Deep Discount DVD:
The Tarzan Collection, Vol. 2 – This one features Johnny Weismuller's six RKO Tarzan films: Tarzan Triumphs, Tarzan's Desert Mystery, Tarzan and the Amazons, Tarzan and the Leopard Woman, Tarzan and the Huntress and Tarzan and the Mermaids. I don't think I've seen any of these – at least, not since I was a kid – but in recent years I've become a big fan of backlot jungle "epics," so I'm sure I'm going to enjoy them.
Flight to Mars – A 1951 interplanetary adventure from Poverty Row studio Monogram Pictures! In 2-strip Cinecolor, no less! I've never actually seen this, but what can I say? I've been in a 50's sci-fi mood lately, and after recently re-watching Rocketship X-M, Project Moonbase, IT: The Terror From Beyond Space and Destination Moon, I wanted something "new."
The Phantom Planet – A 1961 low-budget sc-fi take on Gulliver's Travels, infamous for its skewering by Mike and the 'Bots on Mystery Science Theatre 3000. Never seen this before, either, believe it or not.
Charlie Chanand the Curse of the Dragon Queen – the 1981 spoof of the Charlie Chan series. While I've been collecting the Charlie Chan series on DVD, I'm interested in this particular movie mostly because of the bizarre cast: Peter Ustinov (as Chan!), Richard Hatch (as his grandson!), Angie Dickenson, Michelle Pfiefer, Brian Kieth, and Roddy McDowell! Sure, it will probably suck, but I've wanted to see it for a long time, and hey, the disc was cheap!
Speaking of cinematic spies, I finally caught up withM:I:III(or, as Stephen Colbert calls it, "Mehhh") on DVD.
Now, I really liked the first entry in the Mission: Impossible film series, and thought that it was a surprisingly smart and relatively adult adventure film, well-directed by Brian DePalma. I still feel that way, especially as it's one of the few Tom Cruise films that actually enables me to overcome my inherent aversion to Mister Teeth and actually have a good time with it. I wish that Peter Graves had agreed to play Jim Phelps in it, though.
I was really looking forward to #2, especially when John Woo was attached to direct (I'd been a Woo fan since The Killer first hit VHS), but unfortunately, I found Mission: Impossible 2 disappointing. The clever, twisty plot of the first film was replaced with a simple chase after a generic McGuffin, and padded out with a lot of flashing teeth and slo-mo action scenes. It's nicely shot, but really, I can never remember anything about the story after it's done.
So, when M:I:III hit theaters early this Summer, I was conflicted. Early reviews were generally positive, but the box office wasn't very strong and Mr. Lookatme Cruise was just plain annoying in promoting the film. And, while I enjoy Lost, I'd never seen Alias, and had no real expectations for first-time feature director J.J. Abrams. So, money being tight, I passed on seeing it in the theaters.
But I picked up the DVD last week, and I was pleasantly surprised with the film. A good story, great stunts, strong villian and a surprisingly likeable Cruise added up to a pretty nifty spy movie with a tiny bit more emotional punch than either of the previous entries. Sure, there's a lot of chasing around after a silly McGuffin in this one, too, but Abrams and the screenwriters know it, and are canny enough not to dwell too much on the ambiguous "Rabbit's Foot," treating it much as Hitchcock intended when he invented the term, focusing on on the characters and their actions in obtaining it, instead. I also liked the return – if somewhat halfheartedly – to the "team" concept of the TV show. Sure, it's still all about Cruise's Ethan Hunt in these movies, but at least in this one (unlike #2), there's a bit of lip service paid to the original Bruce Geller IMF team concept.
And, frankly, team member Maggie Q is particularly pleasant eye candy.
I deliberately picked up the bare-bones DVD (I may collect the series, but there's only so much behind-the-scenes Cruise I'm willing to subject myself to) – the widescreen transfer is crisp and beautiful to behold, and the soundtrack is suitably explosive.
For what it's worth, I liked it. If you haven't checked it out, you might want to give it a try.
I guess it's appropriate that Casino Royale has a plot centered around high stakes gaming, since taking a franchise that's been around since 1962 and, to all intents and purposes, starting it over, has got to be a huge gamble. Add into the mix that you have a new lead actor stepping into one of the most iconic roles in film history, one who's all but unknown to the U.S. market (a vital part of the overall box office tally), who is replacing an extremely popular star, and who hasn't been particularly well-received by a fair number of vocal fans and journalists, and the producers have got to be sweating... at least a bit.
But, as a huge Bond fan since I was a kid (I've seen every 007 flick in the theater on the opening weekend – usually the first night – since 1979's Moonraker), I've got to say I'm looking forward to the new Royale.
I'm not quite as hyped up about it as I was when Goldeneye was about to be released – in that case, there hadn't been a Bond film in sevenyears, and I was really jonesing for some spectacular stunts, sexy femme fatales, sleek sports cars, cool gadgets and vodka martinis (shaken, of course – not stirred) – but with Casino Royale's debut just two weeks away, I am starting to feel that familiar tingle of anticipation that, for me, anyway, has always preceeded the premiere of a new 007 adventure.
Yeah, I still think Daniel Craig's a little old to be playing a neophyte 00 agent, I wish that Judi Dench wasn't playing M again (nothing against her, but it certainly confuses the timeline), and I'm annoyed that they've made so many seemingly arbitrary and unnecessary changes to the backstory (Texas Hold'em instead of baccarat? Ex-SAS instead of Royal Navy?)... but I'm still eagerly looking forward to seeing the movie. The trailers look good, and I am interested in seeing how Craig handles the role. I've liked all the previous Bond actors to different degrees, and I'm curious to see where Craig falls in my esteem.
There's something magical about it. Done right, it's storytelling without limitations. You can draw (or render on a computer) anything you can imagine. You don't have to worry about sets, special effects, costumes or even what your actors look like.
Which is why I'm so disgusted with this current wave of CGI animated films. Now, honestly, I can't claim to have seen many of them, but I don't think I have to. They're all the same. You can tell from the trailers and commercials.
And while I'll usually rail against people who criticize stuff they haven't seen, this time I feel relatively justified in committing the same sin. Others have subjected themselves to those so-called animated movies so I don't have to.
Now, there have been a few bright spots in the past year or so, but they pretty much were ignored by the mainstream audiences. Fortunately, thanks to DVD, they're still out there and still have a chance to find appreciative viewers.
This past weekend the wife and I finally caught up with some films we'd missed, including Hayao Miyazaki's Howl's Moving Castle. What a brilliant piece of filmmaking and storytelling... but then, what else do you expect from Miyazaki? This is the man responsible for Spirited Away, after all. The movie completely subverts Western narrative conventions and defies expectations at every turn. Too bad more people won't see it.
And you want to see a computer-animated feature that doesn't suck? Check out Hoodwinked. Made for less than half of the average CG-toon's budget, the animation isn't as smooth or polished as what you'll see in Over the Hedge or Cars, but the story – a twisted take on Little Red Riding Hood – is clever and full of surprises, with some damned funny bits and great characters. Ignore the reviews that obsess on the flaws in the animation. The movie has a great story, witty script, and some genuine genius behind it.
If I was John Lasseter, I'd be doing a little head-hunting and bring some of those Hoodwinked guys over to Pixar.
Since moving to Maine almost two years ago, my wife and I haven't had cable TV. With an antenna, we can manage pretty good reception of the local ABC, PBS and CBS affiliates, and since the only TV show we're interested in watching that's on any of those stations is Lost, we rarely ever watch current TV.
Sure, I'd love to get Sci-Fi Channel so I could stay on top of Battlestar Galactica and Doctor Who... but there really isn't all much else on these days that interests us enough to pay the extortionate cable fees. Since most everything we're interested in eventually makes its way to DVD, we've learned to be patient and avoid spoilers... which, admittedly, is pretty tough to do when you spend as much time online as we do – but we manage. The digital format also allows us to own complete runs of vintage TV series and enables us to enjoy them without blaring commercials, annoying network promos and... well, commercials. It's also nice to be able to pop in a couple of Have Gun Will Travel or Rat Patrol episodes at four a.m. to unwind after I've finished my night's labors and before turning in.
Partially because of my reviewing gig, and partially through some cunning bargain hunting, we've accumulated quite a collection of television programming on disc. Our tastes are eclectic, to be sure, but you'll notice there's a definite leaning toward sci-fi and fantasy: The Adventures of Brisco County Jr. – The Complete Series The Adventures of Superman – Seasons 1 & 2 Alien Nation – The Complete Series Angel – Seasons 1-5 Ark II – The Complete Series Babylon 5 – Seasons 1-5 Babylon 5 – The Movie Collection – Babylon 5: The Legend of the Rangers – TV Movie Batman: The Animated Series – Seasons 1-4 Battlestar Galactica – The Complete Series Battlestar Galactica – Seasons 1, 2.0, 2.5 Blackstar – The Complete Series Buck Rogers in the 25th Century – The Complete Series Buffy the Vampire Slayer – Seasons 1-7 Clerks: The Animated Series – The Complete Series Conan – The Complete Series Coupling – Seasons 1-4 Crusade – The Complete Series Dark Shadows – The Complete Revival Series Defenders of the Earth – Vol. 1 Dracula the Series – Vols. 1 & 2 Dune – The Miniseries Dungeons & Dragons – The Complete Series Earth 2 – The Complete Series Fawlty Towers – The Complete Series Farscape (Starburst Editions)– Seasons 1-4 Farscape: The Peacekeeper Wars – The Miniseries The Flash – The Complete Series Freaks And Geeks – The Complete Series Firefly – The Complete Series Futurama – Seasons 1-4 Gene Roddenberry's Andromeda – Seasons 1-5 The Greatest American Hero – The Complete Series Groovie Goolies – The Complete Series Have Gun Will Travel – Season 1 Hercules The Legendary Journeys – Seasons 1-6 Hitchhiker's Guide to the Galaxy – The Miniseries The Incredible Hulk – Season 1 – The Return of the Incredible Hulk– TV Movie – The Trial of the Incredible Hulk– TV Movie – The Death of the Incredible Hulk– TV Movie The Invisible Man – Seasons 1 & 2 Jack of All Trades – The Complete Series Jonny Quest – Season 1 Kolchak The Night Stalker – The Complete Series The Land of the Lost – Seasons 1- 3 Lois & Clark – Seasons 1 & 2 Lost – Seasons 1 & 2 Lost In Space – Season 1 Magnum P.I. – Seasons 3-5 The Magnificent Seven – Season 1 Malcolm in the Middle – Season 1 The Martian Chronicles – The Miniseries Mickey Spillane's Mike Hammer Private Eye – The Complete Series The Monkees – Season 1 The Muppet Show – Season 1 My So-Called Life – The Complete Series The New Adventures of Flash Gordon – The Complete Series The New Avengers – Season 1 Night Court – Season 1 The Outer Limits – Season 1 Peter Gunn – Season 1 Planet of the Apes – The Complete Series The Prisoner – The Complete Series The Rat Patrol – Season 1 Remington Steele – Seasons 1-5 The Rockford Files – Seasons 1 & 2 She Spies – Season 1 Shogun – The Miniseries Simon & Simon – Season 1 The Simpsons – Season 1 Sledge Hammer – Seasons 1 & 2 Soap – Seasons 1 & 2 Space: 1999 – Seasons 1 & 2 Space Academy – The Complete Series Spin City – Best Of, Vols. 1 & 2 Storm of the Century – The Miniseries Superboy – Season 1 Superman: The Animated Series – Seasons 1 - 3 The Tick – The Complete Series Twin Peaks – Season 1 UFO – The Complete Series Ultraman – Season 1, Vol. 1 V – The Miniseries V: The Final Battle – The Miniseries V – The Complete Series The Venture Bros. – Season 1 Voyage to the Bottom of the Sea – Season 1, Vol. 2 Wanted Dead or Alive – Season 1 Wild Wild West – Season 1 Wonder Woman – Seasons 1- 3 Xena, Warrior Princess – Seasons 1-6 The Young Ones – The Complete Series
I first recall hearing about Infra-Man on an episode of Siskel & Ebert At the Movies (actually, it was probably Sneak Previews back then, right?) back in the mid-Seventies. The fact that it stuck in my mind at such a young age is meaningful, I think. I vividly remember a brief clip of the titular hero battling a bunch of bad guts in monster suits, and that Gene Siskel was sneering at this goofily giddy Hong Kong super-hero flick, while Roger Ebert sang its praises. I knew I had to see it.
Unfortunately, if it ever played theatrically in Central Maine, I missed seeing the ads in the newspaper. If I had seen such an advertisement, I know I would have begged my mom to take me to see it. Fortunately for her, I never did.
When the home video boom came along some years later, I saw the Prism VHS pre-record of Infra-Man in pretty much every video store I walked into. But, oddly, I never bothered to rent it. You see, I'd grown up a bit since the film's U.S. run in 1975-76, and I thought I was above such things. (This was around the same time that I turned my back on cartoons, too.)
By the early 90's, though, I was once again happily indulging my inner child, and I came across a used copy of the tape for sale in a South Florida video store for about $5. I bought it, took it home, and gave it a screening.
Man, what fun!
The story begins when the mysterious Princess Dragon Mom appears and threatens the world with her army of monsters and skeleton-men. ("Greetings to you, Earthlings, I am Princess Dragon Mom. I have taken over this planet. Now I own the Earth and you'll be my slaves for all eternity.") In response to this awesome threat, the governments of Earth cede all authority to the smartest man in the world, Professor Chang, and his Science Patrol – a group of athletic young Asian men dressed in Vegas-era Elvis-styled uniforms (one of whom would soon go on to gain exploitation film fame as "Bruce Le!"). Professor Chang persuades one of his blindly obedient operatives (future HK superstar Danny Lee of Mighty Peking Man and John Woo's The Killer) to submit to extensive operations which turn him into the "bionic" super-hero, Infra-Man.
With his stylin' new suit of red and silver, AM-FM equipped helmet, and newfound powers of flight, super kung fu, bionic backflips and "thunderball" fists (it is not revealed whether these include goldfingers – ha! Get it?), the invincible Infra-Man is unleashed upon the monstrous minions of Princess Dragon Mom, who are – let's face it – simply overmatched.
Call it the ultimate lazy Saturday afternoon veg-out flick. Ninety minutes of kung fu fightin', rubber monsters, mad science, cheesy special effects, and swingin' Seventies sci-fi schtick... I mean, seriously – what more could anyone possibly want from a movie?
Produced by Hong Kong's Shaw Brothers studio, home of hundreds of kung fu flicks, Super Inframan (its official English title) was an attempt to duplicate the success of Japanese super-hero shows like Ultraman and Kamen Rider, which all featured garishly-costumed heroes who battled rubber-suited monsters. Shaw Brothers even imported some Japanese talent to help whip up their creature costumes. Ultimately, though, it was the studio's (and the country's) only full-fledged attempt at the genre... and that's a shame.
For, while it may have been an imitation of Japanese super-hero shows, the final film had a unique Hong Kong vibe and distinct identity of its own.
Image Entertainment (as part of their Shaw Brothers collection) has now released Super Inframan on a really nice widescreen DVD. The print and transfer are virtually flawless, with bright colors and sharp details, and it's even cooler looking in its proper "Shaw Scope" aspect ratio. The film is presented in its original Mandarin with subtitles... and in the wonderfully comic book-ish English dub, which, for once, is actually preferable, as the Mandarin dialogue – if the subtitles are accurate – is rather straight-forward and dry. The English track is much more fun, with over-the top dialogue and goofy voices for the monsters.
Here's the U.S. theatrical trailer. The picture quality sucks, but you can't beat that voice-over!
I highly recommend indulging your inner child. Check it out. Just be sure that when you sprawl out on the couch to watch it that you have plenty of soda pop and candy handy!
Over on Chuck Dixon's message board, the question was posed: who are your top ten favorite fictional characters? So here's mine, in no particular order:
