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Late Childhood and the 70s
Ts
(Romanian)
As we’ve “announced” in previous episodes, the late 70s isn’t all about “Star Wars”…
Yes, it is true that the success of films like “Star Wars” and the already veteran “Star Trek” have created high expectations for science fiction films…
But, also “discussing” other “masterpieces” of the “science fiction field” (at the end of the 70s) represented by “Superman” (1978, in which the main role belongs to Christopher Reeve), “Mad Max” (1979, in which the main role is assigned to Mel Gibson), and “Alien” (also 1979, under the “wand” of Ridley Scott), these “expectations” can be considered to be “such a fulfillment”…
So here are a few words about these “achievements”, starting with “Superman”…
At least at this point in the year 2024, few know that “Superman” was the result of a “long” series of factors that “focused” at an opportune moment, giving rise to an enduring cultural and cinematic phenomenon.
First would be the revival of interest in comics, with the 1960s and 1970s clearly “marked” by a revival of interest in comics, especially superheroes.
Superman’s first appearance (June 1938) in a comic magazine with writer Jerry Siegel and artist Joe Shuster as creators revolutionized the comics industry, introducing the concept of the superhero and establishing a formula that was imitated countless times.
The “Golden Age of Comics” (the 1940s) followed when Superman’s popularity exploded and the character began to appear in his series and various anthologies, introducing Lois Lane, the reporter in love with Superman and the most frequent “ his “love interest” (in World War II, Superman was used as a propaganda tool, fighting Nazism and other forces of evil).
“After the World War” is known as the “Silver Age of Comics” (the 50s and 60s) in which Superman was reimagined more optimistically, with more complex and science-fiction oriented stories (also now comes “Legion of Super-Heroes”, when Superman was integrated into the DC Comics future by joining the superhero team Legion of Super-Heroes).
So there was a “normal step”, a kind of “revival” of interest, through Adventures of Superman, the television series made between 1952 and 1958…
As a miscellaneous fact, the series starred actor George Reeves (whose death, amid declining interest in the series, apparently prompted the “cessation” of production), the 1978 film being “starred” by the actor Christopher Reeves (no relation — Reeves), had some influence on the popularity of the “new release”…
But fundamentally, I don’t think they’re wrong in that statement, audiences have always been looking for new heroes, and Superman, with his values of honor, justice, and compassion, was an inspirational figure in a time of social and political change. , of cultural orientation, of “conflict between generations”, blah, blah.
A trend that had already created an enthusiastic fan base for big-screen adaptations of comic book characters such as Batman and Spider-Man into TV and animated productions that demonstrated the commercial potential of these characters, with a base already in place of fans eager to see their favorite character on the big screen, in this case, Superman.
La acestea s-a „adăugat” succesul filmelor de science fiction din anii ’70, cum ar fi 2001: A Space Odyssey (1968), Close Encounters of the Third Kind și Star Wars (1977), fără a mai aminti de alte „producții” (filme, seriale, bla, bla) de care am amintit în episoade anterioare și care au demonstrat că filmele de science fiction pot fi atât artistice, cât și comerciale, deschizând calea pentru alte producții de acest gen.
To these were “added” the success of 1970s science fiction films such as 2001: A Space Odyssey (1968), Close Encounters of the Third Kind, and Star Wars (1977), not to mention other “productions” (movies, series, blah, blah) that we mentioned in previous episodes and that proved that science fiction films can be both artistic and commercial, paving the way for other productions of this kind.
Is there any point in mentioning the genre literature, where the “Star Trek” sequels were developing, feeding on a solid foundation already developed by, for example, Frank Herbert’s Dune, originally published in 1965, but which gained popularity, especially in the 70s…
Or why not Larry Niven and Jerry Pournelle’s The Mote in God’s Eye (1974), a hard science fiction novel that explores the encounter between humanity and a highly advanced extraterrestrial civilization, raising profound questions about the nature of intelligence and intergalactic contact.
Then why not (I just mentioned the “bridge from literature to the screen”), would it be necessary to mention the evolution of special effects?
The technological progress in the field of special effects allowed the realization of impressive, spectacular, and believable visual sequences, which were essential to bring to life, for example, a superhero like Superman.
So you notice a whole set of “connections”?
Care, au atras lansarea în 1980 a lui Superman II, și a eșecului de popularitate din 1983 reprezentat de Superman III și „catastrofalul” Superman IV: The Quest for Peace (din 1987).
This attracted the 1980 release of Superman II, and the 1983 failure of popularity represented by Superman III and the “disastrous” Superman IV: The Quest for Peace (from 1987), the “themes” being “long smoked”.
In 1993, a new attempt was made, with the series Louis & Clark (which would be produced until 1997) encouraging the release in 1996 of the animation Superman: The Animated Series, which would be produced until 2000, after which numerous animation productions will follow with this hero, even reaching placements in “alternative universes”, proving the longevity of the theme with the release in 2013 of Man of Steel and in 2016 of the film Batman v Superman; Dawn of Justice.
The last “production” is the animated series My Adventures with Superman (which started in 2023), which is enjoying success, confirming a kind of return of the viewers’ “taste” for heroes…
It’s the “turn” of the anti-hero Mad Max (Max Rockatansky, a loner who survives in a post-apocalyptic future, an environment often erroneously associated with the cyberpunk aesthetic, which fits more into the mold of the classic hero, motivated by revenge and survival, in a kind of western with a “post-apocalyptic” setting, possibly dystopian)…
The “precursor milieu” of this film, represented by the previous “decades” achievements of cyberpunk and dystopia, attracted this “science fiction” attempt, describable as only a post-apocalyptic, western, distinctly dystopian future, of “action” (repetition is intentionally used, with emphatic value)…
But the tastes of the public, even with vague “science fiction” hints, are not discussed.
This is why, perhaps, “taking advantage” of the charisma and success of Mel Gibson (and even Tina Turner), they attracted the success represented by Max Max 2 (from 1981) and the “common” of Max Max Beyond Thunderdome (from 1985), with rare but successful returns in 2015, Mad Max: Fury Road or Furiosa: A Mad Max Saga in 2024.
More interesting is the case of Alien… Considered to be a masterpiece of science fiction horror, revolutionized this genre, and left an indelible mark in cinematography through the iconic creature represented by the xenomorph.
But “science fiction” veterans know that we are discussing a very old theme…
De exemplu, discutăm despre o formă „xenomorfă” a…
“The Thing” by John W. Campbell (published 1938), which has been adapted and expanded several times, features a team of Antarctic explorers who encounter an alien life form that can mimic its hosts, each person becoming a potential threat, in a claustrophobic environment, limited by the ice of Antarctica.
„Rezultatul” este clar horror, profitând de tema izolării și a suspiciunii, precum și creatura extraterestră care își schimbă forma, fiind elemente care amintesc de Alien, „rețeta horror” fiind confirmată a fi de succes, „servind” drept bază pentru filmul The Thing din 1982 regizat de John Carpenter (inclusiv „revenirea” The Thing, din 2011). (fără mai aminti și de „manifestările” în jocurile video)
The “result” is horror, taking advantage of the theme of isolation and suspicion, as well as the shape-shifting alien being elements reminiscent of Alien, the “horror recipe” being confirmed to be successful, “serving” as the basis for the film 1982’s The Thing directed by John Carpenter (including the 2011 “comeback” The Thing). (not to mention the “manifestations” in video games)
Or about “The Puppet Masters” by Robert A. Heinlein (published in 1951), which presents an alien invasion in which “creatures” take control of humans, exploring the theme of alien parasitism, a theme that also appears in Alien.
Yes, it is very true that the xenomorph, whose design was created by H.R. Giger, is so iconic that he turned Alien into a true franchise (preceding and throwing Xtro into the “unknown” or making the perhaps equally well-known Chucky from “Child’s Play” “out of science fiction”).
Or that Ripley, played by Sigourney Weaver, became a symbol of female heroism in action movies.
Or that Alien influenced an entire generation of science fiction and horror films, inspiring both its creature design and its thematic approach.
Or that sequels and prequels were made, with new types of xenomorphs appearing, each with their own characteristics and abilities, adding complexity and variety to the Alien universe, each series exploring different aspects of the Alien mythology, from the origin of the xenomorphs to the war between humans and these creatures (including “interventions” of manifestation and interaction with an AI).
But we’re just talking about an ever-evolving franchise… That continues to fascinate audiences and inspire new creations in the realms of cinema and video games.
Why do I state this truth?
The next Alien was made under the name Aliens (in 1986) benefiting from the “science fiction” genius of James Cameron, registering a similar success to that of the original film (in my view superior), then Alien 3 (1992) which it doesn’t really “convince” anymore and it’s downright “tiring” in Alien: Resurrection (1997), under other “wands.
In 2004 he returned to a “hybrid” background (franchise combinations) with the film AVP: Alien vs Predator (an idea “taken” from a series of successful Alien-themed video games, to which the Predator theme is also added), forcing in 2007 with the production of AVRP: Alien vs Predator Requiem, but without much success with the public (despite the special effects and the exotic “plot”) and it is no longer “resurrected” even in 2012 with the production of Prometheus, with the return to the “wand” of the cinematographic genius represented by Ridley Scott (who initially brought a unique and original vision to this project, creating a cinematic experience that exceeded the expectations of the public), or in 2017, through the production of Alien: Covenant.
Perhaps, Alien Romulus (2024), through the “strange” adherence to the young audience, will change the perception (it is premature to intuit the “final” perception, having been released a short time ago — August)…
My conclusion… The repositioning of old themes, modified by the fashion of “transition to the screen” or by the “exoticism” of the teams that collaborated with genius directors… Or with the evolution of special effects… It gives results…
Manifesting in the subtle environment of the “commercial” that increasingly leaves the “printed” creation of authors who create new universes and migrates to the area of ”successful recipe combinations”…
What will be evident during the “pioneering” period of the 80s…
Merticaru Dorin Nicolae
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