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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Today in pulp I'm looking back at a very popular (and collectable) form of art: Micro Leyendas covers!
Micro Leyendas (mini legends) are a Mexican form of fumetto, small graphic novels normally pitting the everyday hero against the weird, the occult and the unfathomable.
The art of Micro Leyendas is bold, macabre and very funny. The books often tell a cautionary tale of revenge or humiliation, much like a modern folk tale.
Today in pulp: what makes a good opening sentence for a pulp novel?
Now this is a tricky one…
The opening sentence has an almost mythical status in writing. Authors agonise for months, even years, about crafting the right one. Often it’s the last thing to be written.
Which is odd, because very few people abandon a book if they don’t like the first sentence. It’s not like the first sip of wine that tells you if the Grand Cru has been corked! Most people at least finish Chapter One.
The Time Machine, Brave New World, 1984: these weren’t the first dystopian novels. There's an interesting history of Victorian and Edwardian literature looking at the impact of modernity on humans and finding it worrying.
Today in pulp I look at some early dystopian books…
Paris in the Twentieth Century, written in 1863, was the second novel penned by Jules Verne. However his publisher Pierre-Jules Hetzel rejected it as too gloomy. The manuscript was only discovered in 1994 when Verne’s grandson hired a locksmith to break into an old family safe.
The novel, set in 1961, warns of the dangers of a utilitarian culture. Paris has street lights, motor cars and the electric chair but no artists or writers any more. Instead industry and commerce dominate and citizens see themselves as cogs in a great economic machine.
In January 1919 a new magazine heralded the dawn of the Weimar era. Its aesthetic was a kind of demented Jugendstil, and its stories were dark gothic fantasies.
This is the story of Der Orchideengarten...
Der Orchideengarten: Phantastische Blätter (The orchid garden: fantastic pages) is probably the first ever fantasy magazine. Published in Munich by Dreiländerverlag, a trial issue appeared in 1918 before the first full 24 page edition was published in January 1919.
"The orchid garden is full of beautiful - now terribly gruesome, now satirically pleasing - graphic jewelery" announced the advanced publicity. It was certainly a huge departure from the Art Nouveau of Jugend magazine, which German readers were already familiar with.