#anton furst

[cgbcomics]

#Anton furst #gotham city #batman #90s comics #legends of the dark knight

[noconcessions]

#pinewood studios #Batman #tim burton #backlot #gotham city #Anton Furst

[spaceintruderdetector]

Batman documentary 1989

#comics history #comics #will eisner #bill finger #anton furst

[9kmovies-biz]

Supergirl, Batsuits, Man of Steel

Screenshot: DC Studios We end on Barry getting a look at the cinematic O.G.—Anton Furst’s Batmobile, and it looks as gorgeous as ever. The Flash’s first title lifts a little bit more off of the lid of just how and why we’re getting this Barry Allen/Bruce Wayne/Kara Zor-El smashup. Bringing us all the way back to the events of Man of Steel is a fascinating way for The Flash to put an end cap on…

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#Andy Muschietti #Anton Furst #Barry Allen #Barry Something #Barry v Barry #Batfleck #Batman #Batmobile #Batsuit #Ben Affleck #Bruce Wayne #Clark #Costume design #DC Comics characters #DC Extended Universe #DCEU Barry #Elfman #Ezra Miller #Fictional characters #Fictional people #Flash #Gizmodo #James Gunn #Kal-El #Kara Zor-El #Kent #Kryptonians #Man of Steel #Martha #Michael Keaton

[rassilon-imprimatur]

Batman: The Book of Shadows - written by Pat Mills and Debbie Gallagher, art by Duke Mighten, colors by Digital Chameleon, lettering by Bill Oakley

I still don’t know how I feel about this one, but it’s a shame Duke Mighten’s art has been so forgotten, it’s strikingly stellar Batman? The characterization of Bruce is also achingly good. And he looks REALLY fucking good. Mighten understood the assignment. 

The implication of what the demons did to the poor boy vs Batman later seeing his ghost really resonates with me. Batman just needs to see people’s ghosts more often for no explained or contextual reason, especially on hauntingly wrathful quests to avenge them. 

Also, cameo Asuka and Kaneda.  

#the Long Halloween poster and the Batman Returns cat too lmao #I think we should go back to the trend of drawing Gotham exactly like Anton Furst concept sketches #I think that'd be nice we should do that #Batman #Batman The Book of Shadows #Duke Mighten #Pat Mills #debbie gallagher #bruce wayne

[vibe-stash]

Full Metal Jacket (1987)

Director: Stanley Kubrick Cinematography: Douglas Milsome Production Design: Anton Furst

#cinematography #film stills #visual storytelling #full metal jacket #stanley kubrick #80s cinema #80s films #vietnam war movies #vincent d'onofrio #matthew modine

[hedgerowdevil]

The Company of Wolves

Neil Jordan | 1984

A belated birthday present for myself was the 4K collector's edition blu-ray of The Company of Wolves (it will keep my DVD steelbook company at least!)

"The Shattered Dream"

This film, a woozy Freudian reverie about the Little Red Riding Hood fairytale during the restless sleep of a teenager struggling to forge an identity for themselves in light of the transformative potential of sex, was a formative film for me as an adolescent for its themes and aesthetics, as well as the way it chose to present those concepts.

Based on three short stories in Angela Carter's The Bloody Chamber anthology, Neil Jordan's film pays direct homage to European surrealism and strongly evokes Jaromil Jireš’ dreamlike Valerie and her Week of Wonders (1970).

The primary location being a storybook hamlet, with the surrounding mist-enveloped, wolf-haunted wild wood serving to heighten the sense of foreboding. Anton Furst's intricate gothic fairytale production designs were brought to still impressive life on the soundstages at Shepperton Studios.

Unusual and exceptional in terms of setting and atmosphere, the film is perhaps slightly marred by the obvious influence of An American Werewolf in London in the decision to feature extended werewolf transformations amid the magical realism and sexual allusions. And even in a film as stylized and fantastical as this one, these special effects sequences are a little too unreal and stiffly animatronic.

There are some sequences that are filled with wonderfully strange, haunting imagery, such as when a severed wolf's head is sent flying into a barrel of milk, and as the pale milk turns pink with blood, a human head bobs to the surface. Also, the wolf's snout bursting out of a human mouth is still a very effective bit of practical effect.

Even so, and strange as it may seem, they make the mistake of trying to partially turn the film into another entry into the run of '80s werewolf horror.

The Company of Wolves is a werewolf film that isn't about werewolves. Specifically, it is less about wolf-men and more about the 'wolf,' or the beast, that already exists in men - and "meets its match in women." The themes and subtexts from Angela Carter's book and her co-written screenplay are still presented clearly in the film, despite the emphasis placed on showy special effects that are now somewhat dated.

Angela Carter: “ I was using the latent content of those traditional stories, and that latent content is violently sexual.”

In the end, when the mist rises and the path through the gnarled wood becomes clear, The Company of Wolves can be seen for what it is: a horny film about being horny, the female id, and what to do with those horny feelings.

A-woo!

This review on Letterboxd:

#the company of wolves #werewolves #Angela Carter #folklore #fairy tales #fairy tale retelling

[batmannotes]

Batman: The 1989 Movie Adaptation is being re-released

Relive one of the greatest moments in cinematic history with this stunning adaptation of director Tim Burton’s masterpiece Batman, the 1989 film that redefined what comic book movies could be. Relive one of the greatest moments in cinematic history with this stunning adaptation of director Tim Burton’s masterpiece Batman, the 1989 film that redefined what comic book movies could be. This softcover version of the adaptation crafted by comics legends Dennis O’Neil and Jerry Ordway perfectly captures the moody atmosphere of Burton’s film and the gothic architecture of the late production designer Anton Furst in compelling graphic novel form that fans can “rewatch” again and again.

Preorder now at Amazon. Direct link here.

#batman #dc comics #comic book #comicbook #comicbooks #news #notes

[signalwatch]

Kevin Conroy Merges With The Infinite

Here at The Signal Watch, we're absolutely heartbroken to hear that actor Kevin Conroy has passed.  

Conroy voiced Bruce Wayne/ Batman across innumerable cartoons, video games and other projects.  For generations of Bat-fans was the definitive portrayal of the character.  

In 1992, when Batman: The Animated Series hit the air, I was a Senior in high school, and - I don't think unreasonably - skeptical of any new Batman cartoons that might appear, believing that they'd be of about GI Joe or Transformer levels in quality of story and art, the same voice actors working from show to show.  I don't think it was snobbery.  I was just now older and stuff aimed at 8 year olds was not in my wheelhouse anymore.

You don't often remember the first time you saw a cartoon, but... boy, do I remember that one.  It was the pilot Man-Bat episode that was an absolute showcase for what they were doing stylistically and technically.  I had not heard of Bruce Timm at the time, but I knew someone had read and understood the comics.  And, look, I am a fan of the Michael Keaton/ Tim Burton Bat-films, but they're their own thing.  They bear almost zero relation to Batman of the comics.  This was the storytelling of the comics, but with a look and feel that borrowed one part from the Anton Furst designs and one part from Dick Tracy and one part from the Fleischer cartoons.  Absolutely gorgeous stuff no one had seen on TV before.

The point is, I don't know what I expected a Batman cartoon to be in 1992, but I remember Batman opening his mouth and a baritone, gravelly voice came out that was somehow exactly how Batman should sound.  Even more incredible, when he removed the cowl and spoke as Bruce Wayne - he had an actual alter-ego.  

And then my girlfriend at the time called and I remember "uh-huh"ing my way through the conversation as I watched this incredible show unspool in front of me.  And given the way shows worked back then, I lost my mind knowing this would be on five days per week.  How?  I do recall trying to explain what was happening on TV to my ladyfriend, and her saying "Ok, cool.  Anyway..."  You will note, that romance was not to last.

This was 1992, so social media didn't exist.  If BBS's covered it, I didn't know because my family hadn't had a computer since the Apple IIe was boosted in the infamous break-in in Spring of 1991.  

So, by myself I watched this show somewhat religiously. I didn't have friends into this stuff, so it took a visit by my brother from college before I could do the "LOOK.  LOOOOOOOOOK!!!" thing I wanted to do so badly.

My first year at the University of Texas, I found myself reunited with JAL (he of the podcast), a pal from my days growing up in Austin (I moved to Houston in 1990) and I think we'd been hanging out for maybe an hour when JAL said "you know the guy who plays Batman looks just like Scott Summers" (that's X-Men's Cyclops to you and me).  It was maybe 2-3 years before I saw a picture of Kevin Conroy, and, wow, was JAL right.

Kevin Conroy brought gravitas and drama to Batman.  While I understood the wild-eyed danger of Michael Keaton (who I think showed his true menace perfectly in the Spider-movies), he was not Batman as I understood him to be from multiple comics per month that I'd read for a few years now.  Nor were two 2-hour movies the same as 30 minutes, 5 days per week.  Timm's design, Dini's story aesthetic - all fantastic.  But it was in making Batman rumble through your TV's tinny speakers that Conroy brought the myth of a Batman to life.  

This was a voice that would send shivers up the spines of criminals, but Conroy also humanized it when it was right to do so.  He was genuinely acting, not reading off lines on a page.  In part, you can thank the always amazing Andrea Romano for working with the showrunners to find that sweet spot that went from that first episode of Batman to the final scenes of JLU.  And in the years to come, when Conroy would step back in front of the mic, he was both a reminder of the greatness of the era and a pointer to what WB could have done better in every project after Romano retired.  

By the early 00's, Conroy was appearing in DVD extras and then online, and at Cons.  His fans got to know who he was, and he did not disappoint.  While a mere mortal of good humor, he very much understood what it meant to be the voice of Batman to multiple generations of fans, and he never took it lightly or seemed to think it was silly or just a job.  He got what people looked for and heard in his performance.  

It was a nuanced performance over the years, including the surprisingly resonant Batman: Mask of the Phantasm to Batman sitting with Ace as she blinked out in that one episode of JLU.  No matter what the edgelords would think a *real* Batman was like - we'd know.  Conroy had brought it to life.

During the CW's daring Crisis on Infinite Earths riff, he actually did play Bruce Wayne, so the role was not limited to animation.

In those interviews, etc...  I genuinely liked the guy.  He seemed like the kind of person you'd want to include in your "you can have dinner with any six people" kind of conversation.  But, mostly, I don't think you can measure how much Conroy helped push Batman and superheroes from a novelty when it wasn't a campy disaster or mediocrity for undiscriminating kids to set the stage for everything that would come after - from video games to the MCU.  I'm not sure you get the recent Batman film without Conroy's Batman carrying Batman for decades and people growing up believing that taking Batman seriously is a normal thing to do.

I'm absolutely stunned at Conroy's passing.  He was only 66.  I'd heard nothing of illness, just what he might be up to next.  Like Chadwick Boseman passing, it's catching me totally by surprise.  

What I can say is that Bat-fans and comic folk are a bit like baseball fans.  Many consider Conroy the ideal version of Batman - myself included - and like a good baseball fan, we'll pass down the names of the greats for a hundred years.  And the good news is, there's so much of a record of that performance.  We'll be able to return to it again and again, and it will guide performers for generations.  

https://ift.tt/DOvEXL7

#The Signal Watch #Kevin Conroy Merges With The Infinite

[illinformedcomicfan]

What lessons do you think superhero comics should take away from the films based on them?

Broad question, but an interesting one, as there's really a lot of stuff any number of comics could take from adaptations depending on what film we're talking about.

First up, there's some literal 1:1 characterization stuff like "comics Peter and Miles should be more like the ITSV versions", "Aquaman should be more of a bro like Momoa", "you could do a Suicide Squad story where everyone's as funny as the Gunn movie", and "616 Morbius should be even a fraction as funny as the version of the movie that exists in people's heads" etc. among others

In the same category of 1:1 translations, there's some environmental/visual stuff like "Gotham should look like an art-deco/Anton Furst nightmare" (which has mostly been ongoingly implemented in Batman comics since then) or "Spider-Man should hang out with his neighbors and help out with normal non-criminal stuff a lot more like he does in the MCU".

Beyond that though, on a deeper more conceptual level, and I hope I'm not pigeonholing myself seeing as all of my few posts so far are just a variation on "We should let (X) change!" but... I mean yeah. If there's really one big lesson comics would do well to adopt from their big movie adaptations is that the movies, by their very definition and how they work as a different medium, are almost entirely defined by permanent major changes (either in status quo or characterization).

For all the faults and criticisms I can leverage at the MCU in terms of quality, the struggles creatives face, their mishaps with handling sensitive topics & diversity, dominance in pop culture/the contemporary cinema landscape and all that type of stuff, looking at it strictly in terms of content and how the narrative of the universe progresses, I'm a big fan of how they're constantly going in a new direction, particularly when it comes to characters' status quos.

Unlike the comics, due to the movies existing in the real world and having to deal with actors aging, contracts expiring and the like, the version of the Marvel universe presented to general audiences is one where mantles are passed down, teams disband, villains and heroes die, and things mostly stay that way. Which I think is just a largely cool & good thing as far as getting worldwide audiences used to the idea of continual momentum and narrative progress, and who knows, maybe even eventually, an ending.

Tony Stark and Steve Rogers are dead, and while they'll most likely inevitably return for the big Secret Wars multiversal portal cameo fest, their stories are done. Sam Wilson is now 100% Captain America, with no chance of Steve usurping that role again like he did in the comics, and whenever Mackie calls it quits the role will probably go to the kid who plays Patriot. Same for Cheadle taking over the role of resident Iron Man and eventually passing it to Riri Williams, Clint passing the mantle to Kate Bishop, Ant-Man with his daughter, Thor with Valkyrie and Korg, the Guardians with whoever's still alive at the end of Vol. 3 and so on and so on. The way the universe works is pretty much just diametrically opposed to the way the comics world works, and for the better in most cases.

Outside Marvel and the MCU, more particularly looking over on the other side at DC and how their movies work, would just be getting used to the idea of continual reimaginings and playing it more risky with creating new imagery. Since and including the original Crisis, Batman's been rebooted close to 5 times depending on how you count, but he's stayed largely the same, both as a character and tonally. Brooding guy in a grey-and-black costume who fights colorful supervillains in a big scary city.

But since these continuity resets are basically always guaranteed and happen quite often, you might as well lean into it and reinvent Batman, his world, supporting cast and such radically each time for the sake of just seeing what happens. Instead of remaining largely the same character with a few retcons here and there, imagine if every 5 years the character got as big of a visual and tonal change in stories the way Burton's, Schumacher's, Nolan's, the Arkham games'. Snyder's, and Reeves' takes were all wildly different from each other. Same for other characters of course, just like Superman, Wonder Woman, Harley Quinn, and whoever else that can be continually reinvented such as they are in external media.

That's really it! Not much more to say, but to summarize, basically superhero comics (and the execs that work there/the companies that own them) should stop looking at themselves as IP/idea fodder for the adaptations and try to apply some of that energy the other way around, seeing if taking some of the continual change their silver screen versions are defined by helps revitalize them in any way. Can't hurt to try, right?

Art by Alex Ross for Generations

#mcu #dceu #dc #marvel #marvel comics #dc comics #marvel cinematic universe #spiderman #into the spider verse #batman #aquaman #suicide squad #the suicide squad

[honeyleesblog]

Unlocking the Zodiac Sign and Personalities of Those Born on May 6

They are unpretentious individuals, who battle with diligence towards their ventures and life objectives. Very sluggish and difficult to finish things. They falter in some cases. They appreciate harmony and rest after work. They grow progressively with their various encounters. They can take what is great and adjust it to their current circumstance. They express the sensation of being nearly mediumship. They are ready for anything and certainty. They have the advantage of prevalence over others. They safeguard their goals and battle for their convictions. In discussion, they are definitive and equipped for creating extraordinary strength. At the point when they connect with their own kin, they can be extremely vocal. In these circumstances your character stirs. They have fascinating accomplishment with regards to their childhood. They can accomplish acknowledgment through their imaginative and scholarly inventiveness. They can likewise accomplish positive outcomes in the areas of science or governmental issues. In any case, from here on out, you might choose to stop to rise in a profound way and cutoff the faculties and matter. Enriched with instinct and dream, frequently communicating critical melodic ability. They are portrayed by inventive capacities of singular reflections and the capacity to zero in on their work and life undertakings. They are by and large delayed to make decisions. On the off chance that they do, it is on the grounds that they have a full comprehension of the circumstance. In this manner, they frequently accomplish a decent position, contingent likewise upon their starting point and the training got. They may ultimately be regarded by others and earn general respect. Unlocking the Zodiac Sign and Personalities of Those Born on May 6 

 In the event that your birthday is on May 6, your zodiac sign is Taurus May 6 - character and character character: insightful, taught, perceptive, miserable, miserable, awful; calling: crystal gazer, engineer, executive; colors: cyan, green, orange; stone: adularia; creature: eland; plant: coconut palm; fortunate numbers: 11,16,27,36,51,58 very fortunate number: 34 Occasions and observances - May 6 Worldwide Day Without Diets. May 6 VIP Birthday. Who was conceived that very day as you? 1902: Max Ophდ¼ls, German movie producer. 1904: Harry Martinson, Swedish author, 1974 Nobel Prize victor for writing, imparted to Eyvind Johnson. 1905: Manuel Mendizდ¡bal, Spanish researcher and government official (f. 1996). 1909: დ?ngel Juan Quesada, Spanish ensemble chief and writer (d. 1988). 1913: Stewart Granger, English entertainer (d. 1993). 1915: Orson Welles, American entertainer and producer (d. 1985). 1916: Robert Henry Dicke, American cosmologist. 1919: Alejandro Finisterre, Spanish designer and writer. 1920: Vicente Fuentes Dდ­az, Mexican government official and antiquarian (d. 2010). 1922: Otmar Suitner, Austrian guide and artist. 1923: Josep Seguer, Spanish footballer. 1924: Nდ©stor Basterretxea, Spanish stone worker and painter (d. 2014). 1925: John Bayard Britton, American specialist killed by an enemy of abortionist (d. 1994). 1926: Helios Sarthou, Uruguayan government official (d. 2012). 1928: Robert Poujade, French government official. 1929: Paul C. Lauterbur, American physicist, 2003 Nobel Prize victor for physiology or medication. 1930: Vladimir Abazarov, Soviet geologist (d. 2003). 1931: Willie Mays, American baseball player. 1934: Luis დ?ngel Rojo, Spanish market analyst, legislative leader of the Bank of Spain (f. 2011). 1937: Rubin Tropical storm Carter, American fighter. 1937: Nდ©stor Isella, Argentine soccer player (d. 2015). 1941: Guillermo Galeote Jimდ©nez, Spanish government official. 1943: Andreas Baader, German head of the RAF. 1944: Anton Furst, English film maker. 1944: Fernando Mდ©ndez-Leite, Spanish producer. 1945: Xosდ© Lluis Garcდ­a Arias, Spanish philologist and essayist. 1945: Sway Seger, American vocalist. 1947: Alan Dale, New Zealand entertainer. 1947: Francisco Galdდ³s, Spanish cyclist. 1947: Martha Nussbaum, American thinker. 1950: Samuel Kanyon Doe, Liberian government official and military man. 1951: Pierre Foldes, French specialist, co-designer of a method to fix the harm brought about by a removal of the clitoris. 1952: Christian Piano, French entertainer. 1952: Fernando Lდ³pez-Love, Spanish legislator. 1953: Tony Blair, English Head of the state. 1953: Omar Pდ©rez Santiago, Chilean author. 1953: Graeme Souness, English footballer and mentor. 1955: Pedro Piqueras, Spanish writer. 1958: Lolita Flores, Spanish vocalist and entertainer. 1959: Julia Otero, Spanish writer. 1960: Juan Luis Cano, Spanish writer, individual from Gomaespuma. 1960: Mauricio Electorat, Chilean author. 1961: George Clooney, American entertainer and movie producer. 1963: Sebastiდ¡n Schon, Argentine stone performer. 1965: Leslie Trust, Canadian entertainer. 1966: Marta Belaustegui, Spanish entertainer. 1967: Vladimir Llakaj, Albanian artist. 1968: Latitia Sadier, French vocalist, of the band Stereolab. 1970: Mariano Closs, Argentine games writer. 1970: Tristდ¡n Ulloa, Spanish entertainer and movie producer. 1970: Manuel Baldizდ³n, Guatemalan legislator. 1971: Chris Shiflett, American guitarist, of the band Foo Contenders. 1972: Martin Brodeur, Canadian hockey player. 1973: Juan დ?ngel Esparza, Mexican entertainer. 1976: Ivდ¡n de la Pena, Spanish footballer. 1977: Andrდ© Sa, Brazilian tennis player. 1980: Carlos Arano, Argentine soccer player. 1980: Dimitris Diamantidis, Greek b-ball player. 1980: Ricardo Oliveira, Brazilian soccer player. 1981: Imprint O'Connell, American drummer, of the band Reclaiming Sunday. 1981: Guglielmo Stendardo, Italian footballer. 1983: Dani Alves, Brazilian nationalized Spanish footballer. 1983: Adrianne Palicki, American entertainer. 1983: Gabourey Sidibe, American entertainer. 1984: Osvaldo de Leდ³n, Mexican entertainer. 1984: Juan Pablo Carrizo, Argentine goalkeeper. 1985: Chris Paul, American b-ball player. 1986: Roman Kreuziger, Czech cyclist. 1986: Goran Dragiე‡, Slovenian b-ball player. 1986: Manuel da Costa, Portuguese footballer brought into the world in France. 1987: Moon Geun Youthful, South Korean entertainer. 1987: Gerardo Parra, Venezuelan baseball player. 1988: Alexis Ajinდ§a, French b-ball player. 1989: Dominika Cibulkovდ¡, Slovak tennis player. 1990: Josდ© Altuve, Venezuelan baseball player. 1992: Baekhyun, South Korean vocalist, model, entertainer and artist. 1993: Dasom, South Korean vocalist, artist and entertainer.

[vibe-stash]

Full Metal Jacket (1987)

Director: Stanley Kubrick Cinematography: Douglas Milsome Production Design: Anton Furst

#cinematography #film stills #visual storytelling #stanley kubrick #full metal jacket #vietnam war #vietnam war movies #matthew modine #vincent d'onofrio #war movies #80s films #80s cinema

[levisgeekstuff]

Batman ‘89

Nadat in februari de trailer van de nieuwe Flash film viraal ging, was er op internet slechts één gespreksonderwerp. Niet hoe Flashpoint een mogelijke reboot kan worden voor de DC films. Nee, de terugkeer van Michael Keaton als Batman was hét onderwerp. Voor een hele generatie (mezelf op de eerste plaats 😎) is en blijft hij, zelfs op zijn 72e, de enige échte Batman. Maar hoe zit het eigenlijk met de ‘Michael Keaton Batman’ in de strips?

De eerste verschijning in stripvorm van ‘Batman 89’ was, je raad het nooit, de filmspecial uit 1989. De film van Tim Burton was een wereldwijde hit en zorgde voor een ongeziene Batmania. Nooit eerder had een popcultuur film zo’n impact gehad qua merchandising. Letterlijk álles was te vinden met een Batman-logo op. En uiteraard was er dus ook een stripbewerking van de film. Net als de originele versie in de Verenigde Staten verscheen die bij ons als aparte special: de Batman Filmspecial nummer 1 bij Baldakijn Boeken. Dat is trouwens best een goede comic, voor zover dat bij een filmbewerking mogelijk is. Het schrijfwerk is van ouwe getrouwe Denny O’Neil, maar vooral het prachtige tekenwerk van Jerry Ordway valt op. Alle acteurs lijken zo van het scherm in de strip te zijn beland. 

Terugkeer

In 1992 kreeg ook vervolgfilm Batman Returns zijn eigen filmspecial. Die werd ook in Nederland en België uitgegeven door Baldakijn. Denny O’Neil was wederom schrijver. Het tekenwerk was dit keer van Steve Erwin. Niet verkeerd, maar toch allemaal nét wat minder dan in de eerste filmspecial.

Anton Furst

Een jaar later, in 1993, zou het Gotham City uit de Batman-films van Tim Burton zijn opwachting maken in de reguliere Batman-strips. In het verhaal ‘De Destroyer’ in Batman nummer 54 en 55 van Baldakijn, vernielt een terrorist een aantal saaie kantoorgebouwen in de stad waardoor plots de verborgen parels van het oude Gotham weer zichtbaar worden. De ontwerpen van die gebouwen zijn aan de hand van Anton Furst, de man die ook de decors en sets van Gotham in de films ontwierp. Ik vond het destijds een erg leuke toevoeging aan de comics en een mooi eerbetoon aan de films. Helaas zouden de ontwerpen na de No Man’s Land saga (nooit in het Nederlands verschenen) weer uit de strips verdwijnen.

Het boek van de film

Geen comic, maar wél in het Nederlands verschenen, is ‘Batman: het Boek van de Film’. Dit boek geschreven door John Marriott was destijds een schat aan informatie en behind the scènes foto’s. In 1989 was er nog geen sprake van het internet, dus dit soort info en foto’s moest je wel uit een boek halen. Het blijft nog steeds een interessant boek, vol met nostalgie. 

Batman ‘89

In de Verenigde Staten verscheen in 2021 de strip Batman ‘89. Een ‘echt’ vervolg op de eerste twee films van Tim Burton. De comics zijn geschreven door Sam Hamm, die ook het scenario van de film uit 1989 op zijn naam heeft. Tekenwerk is van Joe Quinones. In deze comic zien we oa. de ‘Marlon Wayans Robin’ opduiken en zien we hoe de ‘Billy Dee Williams Harvey Dent’ verandert in Two-Face.

Helaas is deze strip voorlopig nog niet in het Nederlands verschenen. Hopelijk pikt Dark Dragon Books deze alsnog op. Lijkt me toch geen slechte keuze, gezien de Michael Keaton Batman hype die er rond de nieuwe Flashpoint film hangt 😉.

#Held in de kijker #Baldakijn #batman

[docrotten]

THE COMPANY OF WOLVES (1984) – Episode 226 – Decades Of Horror 1980s

“Never stray from the path, never eat a windfall apple, and never trust a man whose eyebrows meet.” “Good advice,” he said after first checking in the mirror. Join your faithful Grue-Crew – Chad Hunt, Bill Mulligan, Crystal Cleveland, and Jeff Mohr – as they check out maybe a more accurate telling of “Little Red Riding Hood” than you’re used to in The Company of Wolves (1984), as envisioned in three stories from The Bloody Chamber, a short story collection by Angela Carter.

Decades of Horror 1980s Episode 226 – The Company of Wolves (1984)

Join the Crew on the Gruesome Magazine YouTube channel! Subscribe today! And click the alert to get notified of new content! https://youtube.com/gruesomemagazine

A teenage girl in a country manor falls asleep while reading a magazine, and has a disturbing dream involving wolves prowling the woods below her bedroom window.

Director: Neil Jordan

Writers: Angela Carter & Neil Jordan (screenplay); Charles Perrault (Quotations from “Petit Chaperon Rouge”)

Adapted from: “The Company of Wolves,” “Wolf-Alice,” and “The Werewolf” in the short story collection The Bloody Chamber (1979) by Angela Carter

Production Design: Anton Furst

Selected Cast:

Sarah Patterson as Rosaleen

Angela Lansbury as Granny

David Warner as Father

Tusse Silberg as Mother

Micha Bergese as Huntsman (his first role in a feature film)

Brian Glover as Amorous Boy’s father

Graham Crowden as Old Priest

Kathryn Pogson as Young Bride

Stephen Rea as Young Groom

Georgia Slowe as Alice, Girl Killed by Wolves

Susan Porrett as Amorous Boy’s mother

Shane Johnstone as Amorous Boy

Dawn Archibald as Witch Woman

Richard Morant as Wealthy Groom

Danielle Dax as Wolfgirl (a non-speaking role)

Jim Carter as Second Husband (uncredited)

Terence Stamp as The Devil (uncredited)

The Company of Wolves is directed by Neil Jordan (The Crying Game, Interview with a Vampire) and stars Angela Lansbury, David Warner, Micha Bergese, and Sarah Patterson in her film debut. The tales woven into Jordan’s second feature film are primarily based on three werewolf stories (“The Company of Wolves,” “Wolf-Alice,” and “The Werewolf”) in Angela Carter’s short story collection The Bloody Chamber (1979).

An entirely different kind of werewolf movie, The Company of Wolves (1984) is definitely one you should consider for your must-watch list. Join the Grue-Crew as they revisit this wicked twist on fairy tales featuring Granny and Rosaleen – familiar, yet creatively original.

At the time of this writing, The Company of Wolves is available to stream from Peacock, Tubi, and Kanopy, among others. It is also available as a 4K UHD Collector’s Edition from Shout! Factory.

Every two weeks, Gruesome Magazine’s Decades of Horror 1980s podcast will cover another horror film from the 1980s. The next episode’s film, chosen by Crystal, will be Vampire’s Kiss (1988). Is everyone ready for some Nicolas Cage energy?

Please let them know how they’re doing! They want to hear from you – the coolest, grooviest fans – so leave them a message or comment on the gruesome Magazine Youtube channel, on the website, or email the Decades of Horror 1980s podcast hosts at [email protected].

Check out this episode!