Friday, August 01, 2014

Marvels: Journey Into Mystery #100

"The Master Plan of Mr. Hyde" by Stan Lee & Don Heck
(January 1964)

The first part of this story ended with Thor robbing a bank. Of course, that wasn't really Thor; that was Mr. Hyde in the shape of Thor. I don't know why he bothered with his plan to discredit Thor, since the cops can't really do anything do the Asgardian God of Thunder and all Hyde really has to do is wait.

He strikes when Donald Blake and Jane Foster are out on a date, dining at the Ritz Terrace to celebrate her birthday. Then he just shows up with a gun, takes them to an abandoned castle, ties Don to a column with a time bomb sitting nearby, and takes off with Jane. Last time, I complained that his motivation seemed really simple--he just wants to get back at Blake for exposing him as a thief and embarrassing him--and in the month lag between issues it's really just become that Hyde hates Thor for being a good, respected guy: "You represent everything I hate!" It's literally no more complex than: he's evil.

When Hyde and Jane leave, Don taps his cane against the floor and becomes Thor, and most of the story's pages are just the dynamic battle between the two on a Polaris submarine that Hyde is trying to steal. He never gets it going, and is forced to flee when Thor uses his cape to create a small tornado inside the sub.

This issue's real drama is Jane Foster--she's firmly in love with Don Blake now, and she's worried about poor Don, tied to a column with a bomb set to explode in 24 hours. She's holding on to hope that Hyde will, as he claims, return in time to stop the bomb and save Don's life, so she tries to hide Thor's hammer from him when he drops it on the ground. (That seems like a leap; we've already seen that Thor's hammer will return to his hand, so there's either an inconsistency here, or it's just not solidified yet that Thor can call his hammer back. I do remember one earlier issue of Journey Into Mystery mentioning that the hammer will only return if he throws it, so I'm not sure. I'm just saying, this same month the Hulk couldn't even pry the damn thing out of his hand.)

But Odin is watching, and he doesn't understand what Jane's doing. Jane is trying to make sure that Hyde escapes so that Don can be rescued. She doesn't know that Thor and Don are the same person, nor that Thor will revert to Don after sixty seconds away from the hammer. Odin sees Jane aiding Thor's enemy, and denies Thor's position that, if found worthy, Jane could be made immortal.

So, in saving Jane's life, Thor loses her once again.

Stray observations:

:: I still think Don Heck is being wasted on this book--he's just not a fantasy artist--but his Jane and Don are great.

Honestly, his Don is more dynamic and compelling than his Thor.

A little of that flavor Don brought to his Ant-Man stories. Those days are long gone...

:: Mr. Hyde's abandoned New York castle... you know what I have to ask. Is it the same castle from Strange Tales #109? And are they both the same castle from Strange Tales #111? I really need to look up what the proliferation of castles in New York is.

:: "All right, Thor! I hate to resort to anything so commonplace as a gun, but I'm finishing you off here and now!"

"Tales of Asgard: The Storm Giants" by Stan Lee, Jack Kirby & Paul Reinman

This is the first tale of Asgard in the "Boyhood of Thor" series, in which young Thor does great deeds in hopes of one day being worthy of Odin's enchanted hammer.

Here, young lads Thor and Loki follow the Storm Giants, who have stolen the Golden Apples of the goddess Iduna. Thor fights the giants with a pepper shaker, while Loki distracts everyone with a fire and tries to rescue the Apples and leave Thor behind. They both jump on to Agnar, King of the Eagles, and fly back to Odin, where Thor finds it a little easier to life the hammer. Loki seethes in anger, having hoped to receive the credit and gain favor in Odin's eyes.

After each valorous deed, Thor's worth grows. These stories are a fascinating way to show us how Thor became Thor without having to bother with gangsters, crooks and guys in snake costumes, so I enjoy that.

Also, Thor's Prince Valiant hair is kind of hilarious.

Ah, I love comics.

Next Marvels: Baron Strucker!

Thursday, July 31, 2014

Milla

Wednesday, July 30, 2014

C Is for Clodhoppers

One of the things I've always thought was interesting about Jim Henson is that he never really set out to become a puppeteer. He wasn't really that interested in the art of puppetry. In fact, there were times in his life when he rankled at his reputation as "the Muppet guy." He was interested in so many other aspects of art and entertainment, and wanted to do so many other things besides just doing the Muppets. And yet, when he realized that puppets were his way in to the entertainment industry, he studied everything he could about them, went to Europe and delved into the art and history of the form, and became very interested in finding new ways to create puppets that would advance the art.

The Clodhoppers began their short life in 1972, designed for a Broadway show that never happened. The performer's feet are the puppet's feet, and then the performer controls the head and hands (though you'll notice the hands don't really have any movement; I wonder if the performer just sort of angles the arms). The performer dresses all in black against a black background and the right lighting, and that's how you get a chorus line of Muppets.

The Clodhoppers, like most of Jim's ideas, didn't just get thrown in the bin when their planned appearance didn't work out. Instead, they made their debut in the 1975 TV special Julie Andrews: My Favorite Things. They then appeared on two episodes of The Muppet Show. Here's their most prominent appearance, dancing in a sketch with Valerie Harper (performing "Nobody Does It Like Me," from the musical Seesaw) on a first season episode.



They later appeared as a Dixieland band on a third season episode in a sketch where Cheryl Ladd danced with Timmy Monster. They appeared one more time, in 1997, in a sketch on the Paula Abdul episode of Muppets Tonight, and were never used again.

They're not very sophisticated, true, but they're an interesting experiment in puppetry. Not all of Jim's experiments were truly great, but they were always intriguing and they almost always led to advances in the operation of creatures and puppets. Jim's imagination was limitless.

ABC Wednesday

Film Week

A review of the films I've seen this past week.

PIRANHA (1978)
For some reason, I'd just never seen this Roger Corman-produced horror flick before. Joe Dante is one of my favorite directors, and here he and screenwriter John Sayles craft a Jaws rip-off that has a lot of goofy charm in large part because it's not trying to do anything more than just be a by-the-numbers horror flick. It feels more like a movie some people made on the weekends with friends, just enjoying the silliness of the whole thing and then casting greats like Kevin McCarthy, Barbara Steele, Keenan Wynn, and my beloved Dick Miller. It doesn't feel like a cheap rip-off--even though it basically is--because it feels like the people making it are just enthusiastic about making movies. I don't feel that in a lot of movies these days. And hey, Phil Tippet and Rob Bottin worked on it, too. This is my generation of filmmakers. ***1/2

VERY GOOD GIRLS (2014)
Two friends want to lose their virginity in the summer between high school and college. It's pretty to look at, but boring and empty. Dakota Fanning and Elizabeth Olsen are the girls, and they are completely miscast. They've obviously been cast because they were never in typical teen movies, and writer-director Naomi Foner wants this to be a more profound, measured movie. But there's a timing issue here; Fanning and Olsen are 20 and 25, and I just saw Elizabeth Olsen playing a mother in Godzilla two months ago, so they both seem beyond their roles. They've played wise-beyond-their-years so many times that it's very hard to buy them as awkward teenagers navigating a summer romance; though Olsen makes her character a little more believable (she's clearly the better actress here, and she's underused), they mainly come across like aliens who don't understand this human world around them, and have decided to cope with it mainly by staring off into the distance (though their faces do look lovely on camera). The guy who is their object of their affections, Boyd Holbrook, is believable as a crush object. Unfortunately, the movie makes him a romantic lead, and he's not capable of it; he's like if they sucked the personality out of Ryan Gosling and now we're just left with a pile of shrugs and mumbles and condescending, dead-eyed looks. So Dakota likes him and starts sleeping with him, but doesn't tell Elizabeth, who likes him and wants to sleep with him, and then there's stuff with their miscast parents and it just sort of sits there. It's weird how every story beat seems calculated for maximum effect, and yet the girls are just steady and boring the whole way through, completely disaffected in a very, very dull movie. **

Tuesday, July 29, 2014

Marvels: Fantastic Four #22

"The Return of the Mole Man!" by Stan Lee, Jack Kirby & George Roussos
(January 1964)

The Mole Man was the first villain the Fantastic Four ever faced, way back in the first issue. Back then, I didn't think he was much of a villain, but I liked that he was in the grandiose tradition of movie serials. This time, he proves much more capable of menacing the Four.

But before we get there, let's talk about this issue's big development: Sue's expanded powers!

Finally, Sue has more active powers. I've been impatient to get here, because we've really explored the limits of Reed and Ben's powers, and the various writers have been really creative in exploring what Johnny can do just with heat and flame. But Sue has only had this ability to turn invisible so far, which comes in handy more often than not, but when it doesn't, she barely has anything to do (awesome judo flips against Doctor Doom aside).

Now she can create invisible force fields which are hard enough to stop the Thing and can totally withstand the Human Torch's flame. She can also turn other objects (and people) invisible. The only limit is that she can't do all of these things at once, but it's exciting watching her grow.

Stan & Jack have a lot of fun with this one; the first third of this issue is people coming in and complaining about the Fantastic Four and the various dangers and nuisances they create (having an ICBM on the premises, experiments with radioactivity, destruction of public property), and being driven off by Sue's new powers. The complaints get so irritating that Reed starts to consider moving their headquarters out of the Baxter Building, only to find an island for sale off the coast of New Jersey.

The island itself turns out to be little more than a rocky outcropping surrounded by a barrier reef. And, anyway, the whole thing is just an elaborate trap set by the Mole Man!

Still hungry for revenge on the world, the Mole Man has been spending the years since we last saw him building huge hydraulic platforms under the largest cities on Earth. How? Shh, never mind. The Mole Man's also been ruling an underground race of creatures who must be incredible engineers. I'll allow that, but where is he getting his resources from? It's just... what? Doctor Doom, sure, but the Mole Man? Guy living underground because he's so ugly and with no super powers of his own? I just... let's move on. I'm just saying, if you saw it in a movie and they never answered these questions, you'd be frustrated.

Anyway, he plans to pull New York City and Moscow underground at the same time so that both the US and the USSR, thinking it was a "sneak A-bomb attack" by the other side, will start World War III and decimate the population. (Trust me, guys, if it was an A-bomb, you'd have heard something.)

Mole Man is smarter this time, separating the FF into a series of traps designed to kill them. Mr. Fantastic is trapped in a room with walls made from non-porous plastic, so he can't thread through them. Invisible Girl is stuck in a room where everything is a hologram illusion. The Human Torch is in a cold environment with ice growing around him, and the Thing is dropped onto a gigantic cotton mound that he can't punch his way out of.

Of course, they all find creative solutions--Mr. Fantastic expands his body until the walls are smashed, Invisible Girl uses her new powers to make the holograms invisible and finds the door, the Torch smashes a circuit panel with an icicle, and the Thing finds an outlet tunnel where cotton was being piped in to suffocate him--and then have to rush around in the dark trying to reunite, defeat the Mole Man, and escape. While being chased through the tunnels and back to the surface, Reed has time to rewire the Mole Man's circuit board so that when he tries to destroy New York and Moscow, he actually destroys his own island.

And once again, Reed leaves Mole Man to die in an explosion.

Stray observations:

:: See this guy?

No one uses his name, but that's Officer Francis Muldoon, Fred Gwynne's character from Car 54, Where Are You?

:: One of the groups that comes to the Baxter Building to complain is the Women's Canasta and Mah Jong Society. I love Reed's harried "I tell you what, ladies! Why don't you write me a letter?"

:: The Mole Man's minions are the Moloids, though they're not called that yet. They have a neat, very Kirby design. I remember in the story "Beauty and the Beast," back in Incredible Hulk #5, underground ruler Tyrannus had minions that looked a little similar. The design was just too good not to use again.

:: This is the first time the Thing yells "It's clobberin' time!"

:: The letters page is a goldmine of future professionals. Future X-Men artist (my personal favorite X-Men artist) Dave Cockrum especially likes the Angel and the Sub-Mariner. John Lasruk says he has 500 comics, and I wonder if it's the artist John Lasruk. His bio says he was born in Toronto, and the letter is from Downsview, Ontario, so maybe. If so, that's pretty neat. Wayne Howard from Cleveland writes a poem praising Marvel, and I'm pretty sure that's this Wayne Howard, the legendary African-American comic artist who mainly worked at Charlton and also got a "created by" credit on Midnight Tales that set an industry precedent. Jack Harris praises Kirby's art but doesn't care for Dick Ayers' inking and thinks the Fantastic Four are cosmic heroes, not superheroes; I'd love to think that's Jack C. Harris, the DC writer and editor who wrote Wonder Woman and edited two of my favorite late-seventies books, Firestorm and Black Lightning. And there's another letter from Roy Thomas, who complains that he's spending $1.95 a month to keep up with Marvel's great comics. Wow, you couldn't even buy half of a comic for that nowadays.

:: Stan also takes the time to reassure one reader that Thor is a legendary god, not a god in a religious sense. I'm kind of surprised, given the time period, no one's brought that up earlier.

:: There's also some more talk about just how many readers don't like X-Men. Stan thinks it will be Marvel's most popular book within a year. Would you like to try for several more than just one, Stan?

This was a, pardon the wording, fantastic issue of Fantastic Four. Yeah, it's still clinging to the formula, but the formula allows for a lot of character development, and developing Sue's powers is an exciting (and necessary) change. I still don't think much of the Mole Man, but he proved a much more effective villain in this one.

Good stuff, man. Good stuff.

Next time: Thor's showdown with Mr. Hyde.

Monday, July 28, 2014