1995

Dredd vs Judge Dredd (2012 /1995)

http://www.youtube.com/watch?v=6aZjbAkwVis

Judge Dredd is back on the streets. Judge, Jury and Executioner on the streets of Megacity One. Back in 1995, Sylvester Stallone filled the oversized biker boots of the ultimate Judge – in 2012 it’s the slightly more svelte Karl Urban (LOTR and Star Trek). Obvious critical antipathy aside the problem back then was not Stallone, quite frankly the iconography, CGI, battle sequences and hard edged machismo on display matched what was taking place in the pages of 2000AD at the time very well though in the intervening years it’s aged inevitably, Roy Schneider, too many plot lines and a weird ending derailing a promising comic book adaptation.

The modern remake looks to be taking a less bombastic approach to Megacity One, with intermittent Megablocks between normal buildings, more of a sprawling metropolis than a monolithic tech city – reminiscent of District 9 and Predator 2 rather than Attack of the Clones and Blade Runner – which fits in with the sombre rethinks of other iconic comic book characters in recent years – though is just as likely to date it for future generations. It appears smarter and more universal perhaps than its predecessor on the whole though.

The problem in 1995 was flash-in-the-pan silly voiced ‘comedy actor’ Rob Schneider, dropped in to provide some misjudged light relief. Max Von Sydow and Diane Lane as Chief Justice Fargo and Judge Hershey were well placed but a retread of an old ‘clone’ story in which Dredd’s ‘brother’ Rico (played by Armand Assante) pushed the Sci-fi too far too quickly before Dredd was properly developed. Cramming ABC Warrior references, The Angel Gang (in particular JD strip regular Mean Machine Angel, a clone storyline and an intro that used elements of Wagner’s original Block War storyline into one short film caused a mess to ensue. By the denouement, set in an unexplained hideout in the head of the Statue of Liberty, apparently moved to the middle of Megacity One for no other reason than to have an exciting setting for the ending, things were confusing and a little overblown.

The new version has involved the creative teams that created Dredd in the first place, screenwriter Alex Garland (The Beach, 28 Days Later) has worked closely with Dredd creators John Wagner and Carlos Ezquerra to get the characters as close to the original concept as possible. Their plans seem to be very much more long term as well in this age of franchises, with the trailer suggesting only the utilisation of Wagner’s early Dredd storyline ‘Block Wars’ in which Dredd has to fight his way through one of the Megablocks (giant housing blocks) to take out Ma-Ma Madrigal, the dealer of Slo-Mo, a drug that causes the taker to slow their perception of time.

The other controversy back in 1995 was the decision to reveal Dredd’s face – as Sly – though really this could be a redundant concern as the world and his mates dog knew what Sylvester Stallone looked like and frankly Stallone filled the role very well, even down to the twisted lantern jaw.

This time it looks like the helmet is firmly stuck on, which is a shame in some respects as Karl Urban has a less interesting chin than Sylvester Stallone. This, in itself, might kick up it’s own controversy in film fans that are not so familiar with the source material. Never-the-less, hats off to anyone who wants to stick as resolutely as possible to any long standing character – made easier no doubt by Alex Garland’s position as Producer.

Never the less, both have moments of cleverness, the original’s section in the Cursed Earth and the depiction of the senior Judges (in particular Max Von Sydow’s Chief Judge Fargo) was well translated and the meaty, cartoon violence and tongue in cheek satire of rampant total martial law was imbedded nicely without becoming part of the plot, as in the books themselves. The action sequences were on the whole nicely put together (excluding the last) and Stallone was effectively born to play the Judge of Judges. Ultimately it’s flaws brought it down but it was a worthy attempt brought down through too much fiddling by the powers that be.

This version looks more careful and considered with a sharp eye on the future of the franchise as well as a neat look at the past that inspired it. Whether relying on Wagner and Ezquerra, geniuses though they are, to imbed ideas that have been developed since will prove a great idea is yet to be seen but the more I watch the trailer the more I think they’re on to something. However, in the cold, gritty realism they’ve claerly aimed at alla Christopher Nolan’s Dark Knight franchise is there room for Mean Machine Angel and more to the point, the snickering countenance of Judge Death…. probably not based on what we see here… but there’ll always be another franchise in another 17 years and franly I’m psyched to see what this one holds in store for us.

In the meantime, below is the 1995 trailer that inspired me to convince 50 mates to go see it – something I paid for dearly. I still blame Schneider. Pre-CGI Jar Jar that he was!! Compare and contrast – based on the trailer below you’d be a fool to miss it, sadly the end result wasn’t quite on par, but do note how irritating it gets the moment Schneider turns up. Fingers crossed for September 2012.

Practitioners 48: Frank Miller (Part 2)

With the monumental success of the Dark Knight Returns at DC, Miller himself had returned to Marvel as the writer of Daredevil. Following his self contained story ‘Badlands’ pencilled by John Buscema in #219 and writing #226 with departing writer Dennis O’ Neill, Miller teamed up with David Mazzucchelli, crafting a seven-issue story arc that redefined the character of Daredevil. Miller often takes his marks from his previous projects and this was no different. Having offered DC’s Batman a dark and brooding future in the Dark Knight Returns it came now for Miller to obliterate Daredevil’s present. Daredevil: Born Again (#227-233) chronicled the hero’s catholic background and the destruction and rebirth of his secret identity, Manhattan Attorney Matt Murdock, at the hands of malevolent Wilson Fisk, also known as the Kingpin. Taking Murdock to the edge by losing his job, his identity, his ability to continue as Daredevil – Miller had Murdock do something unexpected. Cope. Rather than destroy Murdock completely and have him fight back from the bottom, Miller proved him a different type of hero. Not unbreakable and ultimately vulnerable but unflappable. This wasn’t the last time that indominitable trait has surfaced in Miller’s central figures. All others afterwards have stood defiantly in the centre of battlefields against unstoppable numbers or survive being hit by cars amidst rain mottled gunfire on a darkened street. Though Murdock was the last of these figures that could exist in the real world, a lawyer and a reasonable human being. Whether it be Leonidas of Sparta with his unbounded rage, Marv with his alcoholism and violent compunctions or Robocop with his unrelenting pursuit of the law the other characters are subjects of their worlds, also created by Miller. Outside of them they would be redundant. As such, Miller’s work on Daredevil is probably his most subtle.

Miller and artist Bill Sienkiewicz produced the graphic novel Daredevil: Love and War in 1986. Featuring the character of the Kingpin, it indirectly bridges Miller’s first run on Daredevil and Born Again by explaining the change in the Kingpin’s attitude toward Daredevil. Miller and Sienkiewicz also produced the eight-issue miniseries Elektra: Assassin for Epic Comics. Set outside regular Marvel continuity, it featured a wild tale of cyborgs and ninjas, while expanding further on Elektra’s background. Both of these projects were well-received critically. Elektra: Assassin was praised for its bold storytelling, but neither it nor Daredevil: Love and War had the influence or reached as many readers as Dark Knight Returns or Born Again.

Miller’s final major story in this period was in Batman issues 404-407 in 1987, another collaboration with Mazzucchelli. Titled Batman: Year One, this was Miller’s version of the origin of Batman in which he retconned many details and adapted the story to fit his Dark Knight continuity. Proving to be hugely popular, this was as influential as Miller’s previous work and a trade paperback released in 1988 remains in print and is one of DC’s best selling books and adapted as an original animated film video in 2011.

Miller had also drawn the covers for the first twelve issues of First Comics English language reprints of Kazuo Koike and Goseki Kojima’s Lone Wolf and Cub. This helped bring Japanese manga to a wider Western audience.

During this time, Miller (along with Marv Wolfman, Alan Moore and Howard Chaykin) had been in dispute with DC Comics over a proposed ratings system for comics. Disagreeing with what he saw as censorship, Miller refused to do any further work for DC, and he would take his future projects to the independent publisher Dark Horse Comics. From then on Miller would be a major supporter of creator rights and be a major voice against censorship in comics.

Miller, like many of his colleagues had had enough and declared that he would only work through Dark Horse, preferable because it was an independent publisher. Miller completed one final piece for Marvel’s mature imprint, Epic comics. Elektra lives again was a fully painted one-shot graphic novel, written and drawn by Miller and finished by his long term partner Lynn Varley (who had coloured the Dark Knight). Miller has had a complicated relationship with Elektra, having killed her off once but brought her back several times since – of which this is the first in a story of Elektra’s resurrection and Daredevil’s attempts to find her. Released in March 1990 it marked the beginning of a decade of great change for Miller. This was the first time that Miller had inked for himself, dispensing of the brilliant Klaus Janson.

Meanwhile Miller was working on an amazing piece of pulp comic book artwork, Hard Boiled. In it, Carl Seltz, an insurance investigator, discovers he is also a homicidal cyborg tax collector who happens to be the last hope of an enslaved robot race. Drawn by the inimitable Geoff Darrow, Miller’s script encouraged incredibly meticulously detailed design work and a happy nightmare for any eyeballs brave enough to brush over it. Effectively, Where’s Wally if you are looking for a robot nipple or a discarded bullet casing instead of a fool in a bobble hat, it is a visual feast. Published by Dark Horse Comics Frank Miller and Geoff Darrow won the 1991 Eisner Award for Best Writer/ Artist for Hard Boiled. A largely forgotten piece now outside of collectors, Hard Boiled was a diamond made of corrugated Iron and blasted with a blowtorch.

At the same time again, Miller teamed up as writer with another even more legendary artist, Dave Gibbons and produced Give Me Liberty. The story is set in a dystopian near-future where the United States have split into several extremist factions, and tells the story of Martha Washington, a young American girl from a public housing project called “The Green” ( Chicago’s Cabrini–Green). The series starts with Martha’s birth and sees her slowly grow up from someone struggling to break free of the public housing project, to being a war hero and major figure in deciding the fate of the United States. After three series, according to Dave Gibbons himself at last years Kapow! – Martha Washington is dead. But those three series allowed Miller to flex his satirical muscle, using it forcefully on the political structure of the United States and its major corporations.

Falling out of love with the movie making process during ‘interference’ on his script writing duties on Robocop 2 and 3, Millr wrote Robocop vs. Terminator with art from Superman artist Walt Simonson. In 2003, Miller’s screenplay for Robocop 2 was adapted by Steven Grant for Avatar Press’s Pulsaar Print. Illustrated by Juan Jose Ryp, the series is called Frank Miller’s Robocop and contains elements of plots from both Robocop 2 and 3.

In 1991, Miller started work on his first story set in Sin City. His time in LA had brought about the same effect as his time in Hell’s Kitchen New York, only this time with an imaginary city populated by every dreg and lowlife you can think of. Every corner now a dank shadow for a mugger or rapist to wait, every street a setting for a murder, a shooting or a car chase. This was noir darker and with only two colours consistent throughout. Sharp black against a savage white. Using innovative silhouette techniques by colouring in the shadow to form figures, buildings and compositions.

The first Sin City ‘yarn’ was released in 1995 under the name The Hard Goodbye. Sin City proved to be Miller’s main project for the rest of the decade, as, responding to demand, Miller continued to put out more Sin City yarns. With it, Miller helped to revitalise the crime comics genre – giving way to other sprawling crime epics like Azzarello and Risso’s excellent 100 Bullets.

Teaming up with John Romita Jr, an artist comparable in style to Miller himself, Miller returned to the Daredevil canon. This time rewriting again the creation story of Daredevil and provided additional detail to his beginnings. Miller also returned to superheroes by writing issue #11 of Todd McFarlane’s Spawn. In 1995, Miller and Darrow on Big Guy and Rusty the Toy Robot, published as a two-part miniseries by Dark Horse comics. in 1999 it became a cartoon series on Fox Kids. During this period, Miller became a founding member of the imprint Legend, under which many of his Sin City works were released, via Dark Horse, Miller did any number of covers for many titles in the Comics Greatest World / Dark Horse Heroes line – immeasurably valuable as one of the most recognisable and popular artists in the world.

Written and illustrated by Frank Miller with painted colors by Varley, 300 was a 1998 comic-book miniseries, released as a hardcover collection in 1999, retelling the Battle of Thermopylae and the events leading up to it from the perspective of Leonidas of Sparta. It played on the most basic Miller themes to great of success – those of honour, self determination and bravery in the face of great adversity. 300 was particularly inspired by the 1962 film The 300 Spartans, a movie that Miller watched as a young boy. In 2007, 300 was adapted by director Zack Snyder into a successful film, with Miller and Varley’s visuals the basis of the look of the entire film. Entire panels were effectively populated and animated digitally in a way that saw it leave an indelible mark on cinema goers minds. Even now, 5 years later, 300 is the film that prolific actor Gerard Butler is asked about most – most notably because of the notorious ‘eight pack’ on his stomach developed in order to match Miller’s incredible artwork.

Finally putting aside his dispute with DC, Miller picked up the pen once more for the giant and wrote the sequel to The Dark Knight, Batman: Dark Knight Strikes Again. Released as a three issue miniseries it was universally panned by critics and fans for beinga shadow of it’s predecessor and introducing too many obscure characters. In 2005, he took on writing duties for another alternative universe Batman story for All Star Batman and Robin the Boy Wonder, with Jim Lee on pencils. This also proved to not turn out as intended – somehow the characters unsympathetic and uneven – the Dark Knight himself unpredictable and aggressive. Jim Lee’s visuals also struggled to put across the hard edged nature of Miller’s script which hindered the expression inherent in it. A rare team up, it was perhaps ill advised – although both are clearly at the same level in their careers, neither had worked with someone like the other.

Miller has said he opposes naturalism in comic art. In an interview on the documentary Legends of the Dark Knight: The History of Batman, he said, “People are attempting to bring a superficial reality to superheroes which is rather stupid. They work best as the flamboyant fantasies they are. I mean, these are characters that are broad and big. I don’t need to see sweat patches under Superman’s arms. I want to see him fly.”

Miller’s previous attitude towards movie adaptations was to change after he and Robert Rodriguez made a short film based on a story from Miller’s Sin City entitled “The Customer is Always Right”. Miller was pleased with the result, leading to him and Rodriguez directing a full length film, Sin City using Miller’s original comics panels as storyboards. The film was released in the U.S. on April 1, 2005. The film’s success brought renewed attention to Miller’s Sin City projects. Similarly, a film adaptation of 300, directed solely by Zack Snyder, brought new attention and controversy to Miller’s original comic book work. A sequel to the film, based around Miller’s first Sin City series, A Dame to Kill For, has been reported to be in development.

Miller is no saint. In the renewed scrutiny over his existing projects, popular culture has balked at his depiction of female characters in particular. In Sin City almost every female character is a prostitute, victim, psychologically damaged or a killer. His depiction of women in his books is reminiscent of Noir conventions – and the men represent those conventions just as clearly. However, in the case of the female characters those conventions have perhaps become outdated and have less place in popular culture as a result.

With the poor critical response to his two most recent books and the furore throughout the comic industry over his statements about the Occupy Movement in the US, Frank Miller is perhaps a practitioner for his time. However, equally his work is, almost completely, a perfectly timeless collection, that may fall out of favour at times and find great recognition at others. Regardless, at the time – almost every comic book fan knows the adventures of Leonitus of Sparta, Robocop and Marv and in comic book stores all over the world copies of Martha Washington and Hard Boiled sit, hidden and waiting to be discovered by someone in that way that all great literature should be. But no one moves through the comics world can say they aren’t aware of The Dark Knight Returns, a book that will outlast Miller himself in terms of bringing generations of future readers, if not joy, a steady dose of gritty, hard won realism. And really, you suspect, that’s just the way Miller wants it.