As Ming the Merciless is suddenly trending I think it's time to look back at a certain favourite movie of mine.
Dum dum dum dum
DUM DUM DUM DUM...
The number of epic stories associated with the 1980 Flash Gordon movie is legion. Today I'll share a few with you, but there are many, many more!
Dino De Laurentiis had already produced Barbarella, Death Wish and Serpico by 1974 when he acquired the rights for Flash Gordon. George Lucas asked De Laurentiis for the rights in 1975 but was rebuffed. So he wrote Star Wars instead.
De Laurentiis actually wanted Federico Fellini to direct Flash Gordon. When Fellini declined he tried Sergio Leone, before finally asking Nicolas Roeg - who was then sacked after a year's pre-production work. Mike Hodge was the eventual director.
Lorenzo Semple Jnr - who had worked on the 1966 Batman TV show - created the initial Flash Gordon script. However it was very badly translated into Italian, so De Laurentiis didn't spot the comedy kitsch nature of Semple's screenplay: he thought he was getting an action movie.
Danilo Donati was lead designer for the Flash Gordon film, though he never read the actual script. One idea he had was to build an actual three lane highway through the forest of Arboria set. But the trees of the Aboria set were so big the cameras couldn't be set up properly.
Both Kurt Russell and Arnold Schwarzenegger were considered for the title role of Flash Gordon. In the end De Laurentiis's mother saw Sam Jones on a TV quiz show and demanded he be hired, as his lack of acting background would add authenticity to Flash's character.
Brian Blessed got the part of Vultan by marching into De Laurentiis's office, jabbing his finger at the character in the comic strip, and bellowing "IT'S BLOODY ME!!"
"No," replied the confused producer, "It's a comic book."
Director Mike Hodges originally wanted Pink Floyd to do the music for Flash Gordon. However Queen were recommended to De Laurentiis instead, leading to the confused producer's famous quote "But who are the queens?"
Script mix-ups dogged the production of Flash Gordon. At one point Melody Anderson spent six hours in make-up being turned into a giant vampire spider, before De Laurentiis pointed out it had nothing to do with the film and ordered her to change.
The Hawkmen actors could not sit down on set because their costume wings would rip into their backs. Instead they spent their rest periods on set lying on their stomachs and struggled to get up again.
De Laurentiis was furious when he discovered the English technicians howling with laughter at the Flash Gordon rushes. His Italian film crew didn't speak enough English to report back that the film was headed in a very different direction from his original epic vision.
Sam Jones fell out with De Laurentis before Flash Gordon was completed and refused to co-operate on post-production. Some (possibly all) of Flash's dialogue had to be re-dubbed using somebody else's voice.
Arthur Byron Cover (author of The Platypus of Doom and Other Nihilists) wrote the novelisation of the Flash Gordon screenplay. I have a pristine copy of this, and I can confirm it is pure unadulterated smut from beginning to end.
There are many wonderful stories about the making of Flash Gordon. But the most important thing is this: nobody should ever, EVER try to re-make it.
Just. Don't.
More pulp stories another time...
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Given the current heatwave, I feel obliged to ask my favourite question: is it time to bring back the leisure suit?
Let's find out...
Now we all know what a man's lounge suit is, but if we're honest it can be a bit... stuffy. Formal. Businesslike. Not what you'd wear 'in da club' as the young folks say.
So for many years tailors have been experimenting with less formal, but still upmarket gents attire. The sort of garb you could wear for both a high level business meeting AND for listening to the Moody Blues in an espresso bar. Something versatile.
Today in pulp I look back at the publishing phenomenon of gamebooks: novels in which YOU are the hero!
A pencil and dice may be required for this thread...
Gamebooks are a simple but addictive concept: you control the narrative. At the end of each section of the story you are offered a choice of outcomes, and based on that you turn to the page indicated to see what happens next.
Gamebook plots are in fact complicated decision tree maps: one or more branches end in success, but many more end in failure! It's down to you to decide which path to tread.
He was the terror of London; a demonic figure with glowing eyes and fiery breath who could leap ten feet high. The penny dreadfuls of the time wrote up his exploits in lurid terms. But who was he really?
Today I look at one of the earliest pulp legends: Spring-Heeled Jack!
London has always attracted ghosts, and in the 19th Century they increasingly left their haunted houses and graveyards and began to wader the capital's streets.
But one apparition caught the Victorian public attention more than most...
In October 1837 a 'leaping character' with a look of the Devil began to prey on Londoners. Often he would leap high into the air and land in front of a carriage, causing it to crash. It would then flee with a high-pitched laugh.