I keep doing this, y’know. This is like when I reviewed the Universal Dracula and Frankenstein, and just assumed that because they were both horror movies made in the thirties by the same studio they must be roughly equivalent in quality.
Not so, dear reader. Not so.
Now, The Batman, the first big screen outing of the caped crusader, was not a good film. Even looking past its use of yellowface and a stance on the internment of Japanese Americans that could charitably be called “a bit unwoke”, it was very much a movie serial of its time: cheap, poorly paced and of interest to the modern viewer mostly as a curiosity. But hot damn, compared to its sequel it is a masterpiece.
Take it from me, the gap in quality between The Batman (1943) and Batman and Robin (1949) is on par with that between The Batman (2022) and Batman and Robin (1997).
So much so, that I genuinely needed to resort to watching the Rifftrax version to even make it through the damn thing.
Heavy Metal began in 1977 as an American translation of Metal Hurlant, a French science fiction fantasy magazine that featured seminal work by such legendary creators as Moebius, Enki Bilal and Jean Claude Forest and had a massive influence on the entire comic book medium because TITS.
Was there some genuinely thought provoking and visually spectacular sci-fi in its pages? Absolutely! Playboy also published plenty of great articles, what’s your point?
Heavy Metal, the 1981 anthology animated film that adapts many of the magazine’s most iconic stories, has tits. It has many tits. It has big tits and small…actually no, it only has big tits. In the ancient swamp of the pre-internet age, that really was enough. The marketing campaign could literally have been the words “CARTOON BOOBS, YA DIG?” plastered on every available surface and this movie would have been a success.
But for a jaded, modern reviewer who sees boobs once (maybe even twice) a month, it’ll take more than that. So, is there more to Heavy Metal than awesome bewbage? Let’s take a look.
Hello everyone, and welcome to a new series here on Unshaved Mouse where I review every Batman movie except for the ones thatI’vealreadyreviewed. Well, most of them. I mean, some of them. Look, the character’s been featured in over eighty films at this point and I have a life, allegedly. But let’s kick this off with a thematically appropriate question. Riddle me this! What is the first superhero movie?
Well, not to get all Bill Clinton on ya, but that really depends on your definition of “movie”, “superhero”, “first” and “the”. You can argue, and many do, that the superhero genre has always been with us. That Superman and Batman are just the latest iterations of characters like Enkidu, Herakles, Thor and Cúchulainn. At the opposite end of that maximalist take is the concept that the first superhero was Superman, because he was the first to embody three fundamental elements; a secret identity, superhuman powers and a comic book origin. And between these two poles there are characters that are kinda liminal, sort of superheroes and sort of not. Characters like Zorro and The Shadow. Pulp heroes? Superheroes? It’s not entirely clear. I know one guy who claimed that the first true superhero was Baroness Orczy’s 1905 creation the Scarlet Pimpernel. And since that guy was frickin’ Stan Lee. Yup. Good enough for Mouse.
If so, that would make the now-lost 1917 silent film The Scarlet Pimpernel the first superhero movie.
So, (if you’re willing to stretch your definitions), the superhero movie genre is over a century old, and even pre-dates superhero comics. And yet, if you ask the average person what the first superhero movie is, what do you think they’ll say? 1978’s Superman? The 1966 Batman? Why has around half of the genre’s history been essentially memory holed?
Well, part of the problem is that most superhero cinema prior to the 1950s came in the form of serials. Serials were essentially the precursors to TV shows. A cinema would screen a new episode every week. Each episode was typically between 10 and 30 minutes long, low-budget and would end with a cliff-hanger to get you back in next week. In the forties, many famous superheroes were adapted to the form, including Captain Marvel, Captain America, Superman and, of course, Batman.
The second reason why this era of superhero cinema is so obscure is that they were all mostly terrible.
Okay, let me walk that back a little. They are products of their time. Because of the nature of the format, serial plots tends to cycle in place for around ten episodes before abruptly sprinting to the climax. This makes them, as you might imagine, not exactly bingeable.
And yet, I feel like Colombia’s 1943 picture The Batman should have a bigger pop culture presence. It’s the first Batman film, after all. And it was influential, in its way. It created several hugely important parts of Batman’s mythos. And the sixties series was arguably more an adaptation of this serial than the actual comic it claimed to be based on. And yet, if fans even know about it it’s usually “that weird old Batman movie that’s super racist”. And you know what? That’s unfair.
It’s not just racist. It’s also very boring.
And look, I’m just going to say this up front. I’m not doing my usual scene by scene analysis on this one. Why?
BECAUSE THIS BEAST IS THREE AND A HALF GODDAMN HOURS LONG