Color Cuties

An experiment, Sharpie markers on card stock...

Smoothed out a bit by digital colorist Jim Ludwig

A Quick Look: WAR OF THE MONSTERS (1966/67 - color)

   WAR OF THE MONSTERS was the second film to star Gamera the giant, fire-eating, flying, prehistoric turtle. It's also one of the best Japanese giant monster movies of the boom kicked off by the runaway success of Godzilla. In the previous film, GAMMERA THE INVINCIBLE, an atomic explosion released from the ice the monster Gammera, who naturally hit Tokyo while on his world tour. Scientists finally stopped Gammera by trapping him in the nosecone of a tremendous rocket and blasting him into space. As WAR OF THE MONSTERS picks up, a meteor smashes into Gammera's orbiting prison and releases the terror. (Actually, for the rest of the series, his name is spelled with only one M, as they were handled by a different company than the one that released the first film.) While Gamera searches the globe for sources of intense heat to feed on, some explorers trek into a forbidden jungle to recover what one fella thinks is a rare gem. Turns out the gem is actually the egg of a generational dinosaur called Barugon. In times past, the natives would use a big diamond to lure Barugon into the sea where he would dissolve. Unfortunately, this new Barugon is mutated and loose in Japan. Gamera shows up and gives battle, but is quickly outmatched by the new guy. Will he win the rematch? While GAMMERA THE INVINCIBLE had been a successful theatrical release, AIP-TV scooped up the sequel and released it directly to the small screen. It played for decades, until more or less replaced by a new dub issued on video by Sandy Frank, under the title "Gamera vs Barugon" in the 80's. In more recent years, a scope transfer of the Japanese print hit the market, but the release lacked either dub track. The old AIP dub was vastly superior to the later Frank dub, which was the "international dub" if I recall correctly, but AIP's version was also edited for time constraints (which means you can't simply lay the superior dub onto the scope Japanese version). Despite those complications, though, the film was a very well-made, moody, and rather adult drama. Way back in the original Japanese release, it was noticed this more adult take failed to keep the kiddies in their seats, and the following films would get increasingly goofy in their efforts to entertain children.

A Quick Look: THE DAY THE EARTH CAUGHT FIRE (1962)

   THE DAY THE EARTH CAUGHT FIRE predates the disaster cycle of the 70's by nearly a decade, although it captures a lot of the same elements. In it, a divorced newspaperman strikes up a relationship with a pretty secretary as the world starts to suffer bizarre and increasingly destructive happenings. It seems a pair of atom bomb tests have caused a chain reaction that's thrown the planet off her axis and is pushing her nearer and nearer the sun. British film is written for adults (in fact Janet Munro filmed a small nude scene for the film, although it was cut before the film was released). Even so, the story is gripping and it becomes increasingly so as civilization deteriorates in the face of growing cataclysm. Although technically a science fiction picture, it remains serious drama throughout, and actually makes for a pretty good look at newspaper production back when the format was still the main outlet for news on breaking events. Cynicism and earnestness are balanced nicely, with some very natural performances from all. A shame the film is so obscure.

A Quick Look: CRITTERS (1984 - color)

   This film was a major hit, spawning three sequels. This first film is the best one, though, sporting the firmest script and best dialog. CRITTERS told the story of a rural family that finds their house infested with intelligent, flesh-eating creatures that have escaped from an inter-galactic prison. A pair of alien bounty hunters hit town in pursuit. The film is a perfect example of how screenwriters in the 80's had a much better feel for Small Town USA than have the writers come since. The second film is pretty good, too, although a bit bigger in presentation. It lacks the intimacy and overall meat of the first film, no pun intended. The third entry has it's moments, but the fourth one killed the franchise. Those looking for a decent 80's monster movie will find the original film delivers in full.

A Quick Look: VILLAGE OF THE GIANTS (1965 - color)

   Believe it or not, the H.G. Wells novel The Food Of The Gods wasn't adapted to the screen until 1965, at which time it formed a very loose basis for Bert Gordon's JD monster flick, VILLAGE OF THE GIANTS. In the film, a gang of rowdy (and quite possibly stoned, if their early behavior is any indication) teenagers crash their car near an isolated, idyllic all-American small town. In this town lives scientific prodigy Genius, played by Ronny Howard. Genius accidentally creates an edible substance dubbed Goo. Goo causes fantastic growth which turns a housecat into a cattle-sized beast, thus presenting some intriguing economic possibilities. Tommy Kirk feeds some Goo to a pair of ducks, which soon make the scene at the local go-go joint. While the town enjoys a massive barbecue, the rowdy gang plots to steal the Goo. Somewhat short-sighted, considering what the substance is worth, the group consumes the Goo and balloon to massive size. They quickly take over the town and declare martial law on adults. Now Kirk, Howard, and the rest of the kids in town must mount an effort to win back their hamlet from the giant fingers of Beau Bridges and his toughs. Partly a traditional B science fiction picture, VILLAGE OF THE GIANTS also tries to play to the audiences of the then-popular beach cycle. Though not an out and out comedy like those pictures, our subject is rather wild and light in tone for much of it's runtime. Conversely, the giant delinquents are truly frightening menaces gone mad with power. Their overthrow of town is presented in a straight-forward and disturbingly believable fashion. Kirk's near death in battling a giant tarantula is fairly suspenseful stuff, too. Ultimately, the film seems unsure as to which tone it should embrace. Still, 60's pop is all over this movie, and it remains delightful fun. Girl watchers will in particular dig this one. I will note that the giant body part props (with the exception of Joy Harmon's massive bust) are patently goofy-looking. Bert Gordon would later do a straighter adaptation of THE FOOD OF THE GODS, though that star-studded epic fell victim to 70's relevancy. It's a fairly intriguing picture in it's own right, but it's hardly Gordon's best work. Neither is VILLAGE OF THE GIANTS, but it's such breezy fun it's hard to take much issue with it!

My favorite gag from Cartoon Cuties...

This is a panel detail from a story which will appear in the second issue of Cartoon Cuties. The first issue is coming soon...

Never....

R.I.P. Burt Reynolds

    I was stunned to hear of the passing of Burt Reynolds, a true American icon. I imagine you'll be seeing a lot of this particular photo for a while, as without a doubt SMOKEY AND THE BANDIT remains the definitive Burt Reynolds movie. As a charismatic television actor, Reynolds made the most of supporting roles which eventually lead to feature casting. In short order, he became the biggest star in the world, to the 70's what John Wayne had been to the 50's. Though a movie star in the truest sense, Reynolds retained a regular-guy presence with his easy manner and self-spoofing humor. It's probably because of this that it's often overlooked just how good of an actor he really was. Reynolds and director Hal Needham spearheaded a southern-fried brand of comedy, cars, and big stars with their runaway hit SMOKEY AND THE BANDIT. This kicked off a wave of similar films, of which Burt remained the genre's most prominent star. He even played the Bandit again in a (still funny, but less charming) sequel. The genre reached it's zenith with the all-star road comedy THE CANNONBALL RUN, which again teamed Reynolds with his dear friend Dom DeLuise. Reynolds landed a historic five million dollar salary for the film, and returned for CANNONBALL RUN II, the hysterical follow-up. Though he continued to headline, some critics felt Reynolds' best days were behind him as he starred in a string of action comedies like COP AND A HALF. He enjoyed a nice uptick by voicing the main character of the Don Bluth animated hit ALL DOGS GO TO HEAVEN before settling into the character actor phase of his career (though the 21st Century still found him headlining the occasional picture). Always a stud, he became emblematic of the macho American male even through his later years. After leaving Sally Field, Burt married Loni Anderson, creating a truly iconic pairing of Dream Man and Dream Woman. Because his films were so appealing to American audiences, they, and he, have largely been the subject of disdain from critics large and small. The public loved them, though, and the public loved Burt. What's more, fans got the impression that Burt genuinely loved them. A gigantic star, Reynolds never came across as pretentious. Even at his most suave, he was a regular guy, and that won him fans of both sexes. His trademark laugh will be missed. God bless you, Bandit, and thanks for everything.

Full steam ahead on Carton Cuties no. 2!

Issue one should be available soon. In the meantime, here's a preview of the art from issue 2! Colors by Jim Ludwig. All characters (including the pictured Minerva Mallen) and art (c) Rock Baker 2018

A Quick Look at TV: CAPTAIN SCARLET AND THE MYSTERONS

   Captain Scarlet and the Mysterons was an incredible leap forward in Supermarionation. The more realistic puppets allowed for more realistic drama, and the series was a bit darker than the comparatively whimsical earlier shows. Something of a cross between The Invaders and the later Anderson series UFO, Captain Scarlet and the Mysterons told of an international security force, SPECTRUM, trying to prevent the phantom-like Mysterons from taking over Earth in retaliation to an unprovoked attack upon the Mysteron home city on Mars. The Mysterons would kill human beings and replace them with look-a-like agents, one of the first being Captain Scarlet of SPECTRUM. Scarlet's double is killed by Captain Blue, but Scarlet returns to life with no memory of ever being a Mysteron agent. As a useful side-effect, Scarlet is now indestructible. He can be shot, and will feel the pain, but within hours his body will miraculously heal itself and Scarlet is back on the job. This unique ability makes Captain Scarlet SPECTRUM's most valuable agent in the war of nerves being waged by the Mysterons. On the other side of things is Captain Black, the very first man corrupted into a Mysteron agent. The typical episode will have the Mysterons announcing what calamity they plan to inflict and challenging SPECTRUM to stop them. Captain Black puts a plan into operation, SPECTRUM pieces together the meaning of the latest threat and blasts into action. The crisis of the day may be anything from an assassination attempt to the detonation of an atomic bomb in a populated area. A happy ending wasn't guaranteed, either. It was with this show that I came to fully appreciate just what could be done with miniatures. It's pretty incredible. "Captain Scarlet is indestructible. You are not. Remember this, do not try to imitate him."