Superman/Batman: Public Enemies (2009)

Directed by … Sam Liu
Written by … Stan Berkowitz
Adapted from the Graphic Novel by … Jeph Loeb and Ed McGuiness

Executive Produced by … Bruce Timm, Benjamin Melniker, Michael E. Uslan and Sam Register
Produced by … Michael Goguen, Alan Burnett and Bobbie Page
Voice Casting and Direction by … Andrea Romano
Storyboards by … Jay Oliva
Editing by … Margaret Hou
Original Music Composed by … Christopher Drake

Kevin Conroy ... Batman / Bruce Wayne (voice)
Tim Daly ... Superman (voice)
Clancy Brown ... Lex Luthor (voice)
Xander Berkeley ... Captain Atom (voice)
Corey Burton ... Captain Marvel (voice)
Ricardo Chavira ... Major Force (voice)
Allison Mack ... Power Girl (voice)
John C. McGinley ... Metallo (voice)
CCH Pounder ... Amanda Waller (voice)
LeVar Burton ... Black Lightning (voice)
Calvin Tran ... Hiro Okamura / Toyman (voice)
Mark Jonathan Davis ... Newscaster / Additional Voices (voice)
Brian George ... Gorilla Grodd / Additional Voices (voice)
Jennifer Hale ... Starfire / Killer Frost (voice)
Alan Oppenheimer ... Alfred Pennyworth (voice)
Andrea Romano ... Giganta / Computer / Additional Voices (voice)
Bruce W. Timm ... Mongul (voice)

Labeled as outlaws of the United States Government, Batman and Superman fight to save the world and clear their names.

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In comics, partnerships flicker…team ups occur…crossovers come and go…

But one duo, the pinnacle…stands mythic above all others.

For when the Man of Steel and the Dark Knight join forces, you can bet it’s going to be the stuff of legends.

And as far as the DC Universe’s Animated Line (to date) is concerned, it hasn’t gotten quite as legendary as director Sam Liu’s “Superman/Batman: Public Enemies.”

Adapted from the kick ass Jeph Loeb/Ed McGuiness graphic novel, “Public Enemies” is an action packed romp through damn near the gamut of the DCU…weaving a story of politically charged vendetta, brutally bombastic combat and a who’s who laundry list of appearances, both hero and villain, in a struggle against evil that takes a national turn.

With America thrown into economic and civil upheaval, she becomes desperate enough to turn to the most unlikely of leaders with the election of Lex Luthor (Clancy Brown) into the Oval Office.

Using his silver tongue and an outreach program to make super heroes and metahumans become agents of the US Government, Luthor faces his first major crisis as President with the foreboding approach of an enormous Kryptonite meteor…heading directly for Earth.

However it’s a direr situation that the world knows. Fueled by his unquenchable obsession with destroying Superman (Tim Daly), Lex uses his refusal to comply with the current administration as a means of discrediting him in the eyes of the public…and said obsession has taken over, distracting the President from saving the planet.

Now dubbed a social outcast with a billion dollar bounty on his head, the Kryptonian powerhouse must turn to the only ally he’s got left…Batman (Kevin Conroy) to help clear his name, stop the meteor and end Luthor’s reign once…and for all.

Working with such a massively scaled story and a bunch of material to cover, “Superman/Batman: Public Enemies” already has a lot to live up to. It’s unfortunately anorexic 67 minute (67 MINUTE!?) runtime doesn’t do the source material any favors. Thankfully, the project still has Bruce Timm in its corner.

Despite an almost unavoidably predictable story, the film trims off the fat and succeeds as well as it does thanks in most part to its wonderful pacing. It maintains the intrigue of the comic and most of its important story beats (save one which is sorely lacking…I’ll get to it in a moment) while creating an incredible forward momentum that doesn’t ease up…that refuses to let go of the audience.

If only ALL Comic Book films could be more this way.

Aside from the intriguing bit where it’s speculated that John Corben…a.k.a. Metallo…is potentially the lowlife mugger that gunned down Bruce Wayne’s parents, most of what made the book so great is kept intact…much appreciated.

Although that funky kiss between Lex and MetaHuman Affairs official Amanda Waller is just as shockingly ‘yuck’ here as it was in the book.

But much like the book, the cameos…oh man…they just keep on coming!

Power Girl, Silver Banshee, Katana, Starfire, Gorilla Grodd, Mr. Freeze, Captain Marvel, Bane, Giganta, Black Manta, Captain Atom, Hawkman, Mongul, Nightshade…it’s almost endless; reminiscent of what made the latter seasons of “Justice League: Unlimited” such a fanboy dream!

And most fortunately (or unfortunately for some) the comic book’s goofiest plot device is still very much alive. 13 year old Hiro…a Japanese answer to Superman’s old enemy Toyman (only he works with our heroes rather than against them) and his crazy-as-hell skyscraper tall Half Superman/Half Batman robot!

To quote Batman himself upon seeing the behemoth machine…

“Wow.”

Still it’s comics, what do you expect?

The cast is yet another solid assembly for DC. As one of the fortunate who started at the beginning with seeing “On Leather Wings” on FOX Primetime and grew up on “Batman: The Animated Series” and “Superman: The Animated Series,” it was such a pleasure not only to have the now iconic Kevin Conroy back in the cape and cowl…but they went all the way back past “Justice League” voice actor George Newbern to the OG animated Supes…Tim Daly! Hearing these two men together again brought back fond memories of the “World’s Finest” movie…truly, those voices, for me, define both Bats and Big Blue, as they do for an entire generation of us fans. My childhood came to life again with this project.

Not only that…we even got Clancy Brown as Luthor again! So awesome…

The supports are filled with a well constructed collection of character actors…including “Star Trek: The Next Generations” LeVar Burton as Black Lightning, “Smallville”s Alison Mack as Power Girl…Ricardo Chivara as Major Force and even John C. McGinley in a small cameo as Metallo.

Just a tremendous cast, one of their best so far.

The art direction and animation is polished and makes a lovely companion to the graphic novel, fusing the animation stylings of the Timmverse with McGuiness’ exaggerated cartoony artwork in a seamless fashion. The palette is a wonderfully bold mix…light-hued purple nights and royal blue skied days…the backgrounds in Washington, Japan, Metropolis…all exquisite work. It’s more pristine, personally, then other efforts like “Justice League: New Frontier.”

It’s all primary colors and bold heroics here and it benefits the adaptation nicely.

Accompanied with Christopher Drake’s dynamic yet less present score (to mimic the fact that the two most powerful men in the DCU have to go under the radar, I assume), “Superman/Batman: Public Enemies” is a film that I’m personally of two minds about…



On the one hand, if you look deep enough, the film can be see as a message to never lose faith or sight of your goals in the face of evil or adversity…to always trust in yourself and do what you feel is right despite having the rest of the world oppose you.

But on the other, I see it as a perfect example of what makes Superman and Batman simultaneously the great myths that they are.

The Greeks have their Gods…The Catholics have their Saints…The Druids have their Deities.

And we have our Comic Book Superheroes.

Consider this…we’ve all seen images and the like of young children, playing within the rubble of some war-torn providence on the other side of the world.

They know nothing of the freedoms and luxuries you and I take for granted.

They don’t deal with the oddities and absurdities that get shoved down our throats every single day…they don’t care about who’s going to win the next “Dancing with the Stars” or how much money the next “Twilight” movie’s going to make.

“The Hills”

Jon and Kate Gosselin

Bill O’Reilly

Miley Cyrus

“Gossip Girl”

Barack Obama

Despite any sort of good intentions, they could honestly care less.

But…have you noticed…in many of those same images, those same children can be seen in t-shirts…adorned with an iconic ‘S Shield’…or an equally symbolic Black-Winged Bat over a field of yellow.

Truly, more than anything else…Superman and Batman are universal, reaching all corners of the globe.

In a time where people are more concerned with voting for the next American Idol than they are of voting for the next President and Nobel Peace Prizes seem less like awards and more like trinkets won in a raffle…

The purist and truest ‘icons’ and ‘idols’ America has to offer…are a Kryptonian Moses sent down the sea of tranquility to become the ultimate immigrant and savior of all mankind…and a man broken by violence, having the two most important things in his life torn from him who rose from the ashes of tragedy to have vengeance clad in the blackness of winged night.

From the isolation of the Great Depression to the bleakness of World War II…from the constant conflicts between culture and counter-culture to the increasing threats of terrorism, both at home and abroad…The Man of Steel and The Dark Knight have been through it all…and they have never once wavered in their morals, their beliefs of what is right and what is wrong…

They are a contemporary example of goodness, 70+ years in the making to date, that we can all look up to.

Superman and Batman represent to the world that despite all the hardship and chaos, we must always hold onto the hope that out there waits good men ready to act on a moments notice to protect us and shelter us from evil.

Believing that goodness exists in the world is a need we all have…and these two pillars of heroism, despite being a fictional representation, are clearly a respected one.

I’ve never been known for having a real man to look up to, thanks to own falling out and disappointment with my father.

Batman and Superman where the answer to that problem for me.

Icons that not only deserve my respect…but have earned it with courageousness and bravery in the face of unbelievable odds, both in their adventures and even in the real world.

“Public Enemies” is a fitting tribute to the Man of Tomorrow and the Caped Crusader.

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9/10

http://forums.superherohype.com/showthread.php?t=321072&page=33

Warner Bros. Creates DC Entertainment!

Source:Warner Bros.
September 9, 2009



Warner Bros. has officially announced the restructuring of DC Comics into a new company:

Warner Bros. Entertainment Inc. (WBEI) has created DC Entertainment Inc., a new company founded to fully realize the power and value of the DC Comics brand and characters across all media and platforms, to be run by Diane Nelson, it was announced today by Barry Meyer, Chairman & CEO, and Alan Horn, President & COO, Warner Bros.

DC Entertainment, a separate division of WBEI, will be charged with strategically integrating the DC Comics business, brand and characters deeply into Warner Bros. Entertainment and all its content and distribution businesses. DC Entertainment, which will work with each of the Warner Bros. divisions, will also tap into the tremendous expertise the Studio has in building and sustaining franchises and prioritize DC properties as key titles and growth drivers across all of the Studio, including feature films, television, interactive entertainment, direct-to-consumer platforms and consumer products. The DC Comics publishing business will remain the cornerstone of DC Entertainment, releasing approximately 90 comic books through its various imprints and 30 graphic novels a month and continuing to build on its creative leadership in the comic book industry.

In her new role, Nelson will report to Jeff Robinov, President, Warner Bros. Pictures Group, in order to best capitalize on DC Entertainment's theatrical development and production activities and their importance to drive its overall business with each of the divisions of Warner Bros.

Nelson will bring her expertise and more than 20 years' experience in creative brand management, strategic marketing and content development and production to ensuring DC Entertainment's dual mission of marshalling Warner Bros.' resources to maximize the potential of the DC brand while remaining respectful of and collaborative with creators, talent, fans and source material. Additionally, Nelson will continue to oversee the franchise management of the Harry Potter property, which she has done since 2000, and also continue to represent the Studio's interests with the author of the Harry Potter books, J.K. Rowling. Nelson will segue from her post as President, Warner Premiere but maintain oversight responsibilities of that division. (An executive succession plan for Warner Premiere will be announced shortly.)

Paul Levitz, who has served as President & Publisher of DC Comics since 2002, will segue from that role to return to his roots as a writer for DC and become a contributing editor and overall consultant to DCE. This transition will take place as expeditiously as possible without disrupting DC's business operations.

In his new role, Levitz will be called upon for his deep knowledge and more than three-decade history with DC Comics, both as a comic creator and an executive. Besides serving as a writer on a number of DC Comics titles, he will be a contributing editor and consultant to DC Entertainment on projects in various media. Additionally, he will consult as needed on the transition and integration of the DC Comics organization into DC Entertainment and will utilize his unique experience, knowledge and relationships with the comics industry's creative community to help achieve DC Entertainment's goal of maximizing the value of DC properties. Further, Levitz will advise DC Entertainment on creative and rights-holder relationships, in particular regarding the legacy relationships that have been a part of DC Comics for decades.

Widely recognized and respected for his support of writers, artists and creators in the comics industry, Levitz is best known creatively for his work with DC Comics, having written most of the classic DC characters, including Batman, Wonder Woman and the Superman newspaper strip. At Comicon International in 2008, Levitz was awarded the Bob Clampett Humanitarian Award as part of the Will Eisner Comic Industry Awards, the only industry executive ever so honored.

"DC Comics and its super hero characters are truly touchstones of popular culture, and the formation of DC Entertainment is a major step in our company's efforts to realize the full potential of this incredible wellspring of creative properties," said Meyer. "Diane knows our studio as a creative executive, a marketer and a senior manager, and this varied background will help her effectively and creatively integrate the DC brand and properties across all our businesses. We're also thrilled that Paul will remain involved with DC and we'll be able to tap his expertise to help us reach our goals for this new business."

"It's no secret that DC has myriad rich and untapped possibilities from its deep library of iconic and lesser-known characters," said Horn. "While we've had great success in films and television, the formation of DC Entertainment will help us to bring more DC properties across additional platforms to fans around the world, while maintaining brand integrity and authenticity. Diane is a terrific choice to lead DC Entertainment, and with Paul in his new role as a valued consultant and contributing editor, both our company and comic fans win."

"Based on the great success we've had working with DC Comics to create some of the most popular and successful super hero films of all time, I've long believed that there was much more we could do across all of Warner Bros.' businesses with this great body of characters and stories," said Robinov. "The prioritization of DC and the creation of DC Entertainment is a great opportunity that reaches far beyond the film group. There are endless creative possibilities to build upon the many significant successes already achieved by my colleagues Kevin Tsujihara and the Home Entertainment Group in the videogame, home video and direct-to-platform arenas and Bruce Rosenblum and the Television Group in live-action, animated and digital series. Collectively, we have the ability to grow a body of properties highlighting the iconic characters and the diversity of the creative output of DC Comics."

"The founding of DC Entertainment fully recognizes our desire to provide both the DC properties and fans the type of content that is only possible through a concerted cross-company, multi-platform effort," said Nelson. "DC Entertainment will help us to formally take the great working relationships between DC Comics and various Warner Bros. businesses to the next level in order to maximize every opportunity to bring DC's unrivalled collection of titles and characters to life."

"After so many roles at DC, it's exciting to look forward to focusing on my writing and being able to remain a part of the company I love as it grows into its next stage," said Levitz. "It's a new golden age for comics and DC's great characters, and I hope my new position will allow me to contribute to that magic time."

DC Comics will celebrate its 75th anniversary in 2010 (NEW FUN COMICS #1, the first DC comic, began publishing in 1935), at which time more explicit details regarding DC Entertainment's corporate and management structure, film and content release slate, creative roster and business objectives will be unveiled at a multi-faceted anniversary celebration and press conference in the first quarter of the year.

Current DC properties in development and/or production at Warner Bros. Entertainment include:

-- "Human Target" is being produced by Warner Bros. Television for a mid-season debut on Fox.

-- "Midnight Mass" is in series development at Warner Bros. Television for consideration for the 2010-11 season.

-- "Jonah Hex," Warner Bros. Pictures' supernatural Western starring Josh Brolin, Megan Fox and John Malkovich, recently wrapped production in Louisiana.

-- "The Losers," Dark Castle/Warner Bros. Pictures' action-adventure drama starring Jeffrey Dean Morgan, Zoe Saldana and Chris Evans, began principal photography mid-July in Puerto Rico.

-- "The Green Lantern," Warner Bros. Pictures' next big superhero tentpole release, recently cast Ryan Reynolds as the titular character. The film has a projected second quarter 2011 release date.

-- "Lobo," based on the DC Comics anti-hero, has Guy Ritchie attached as a director; Joel Silver, Akiva Goldsman and Andrew Rona are producing for Silver Pictures and Warner Bros. Pictures.

-- Warner Premiere's direct-to-platform DVD animated release of "Green Lantern: First Flight" debuted July 28.

-- Warner Bros. Animation currently produces "Batman: The Brave and the Bold," which airs on Cartoon Network.

-- Warner Bros. Interactive Entertainment released "Batman: Arkham Asylum" on August 25, a dark, action packed videogame adventure for Xbox 360 videogame and entertainment system, PlayStation3 computer entertainment system and Games for Windows.

Prior to being named President, DC Entertainment, Nelson most recently served as President, Warner Premiere since its founding in 2006. Warner Premiere is a Studio-based production company which develops and produces high-quality, direct-to-DVD and short-form digital content, including the highly successful line of DC Universe animated DVD titles, and also pioneered the development of the motion comics category. Under Nelson's leadership, Warner Premiere functions as a full-service production entity with its own resources and release schedule, furthering the Studio's mandate of being a destination for both established and up-and-coming talent to create stand-alone properties as well as experiment in new media.

Before that, Nelson served as Executive Vice President, Global Brand Management, Warner Bros. Entertainment, with the primary responsibility of working cross-divisionally and throughout Time Warner to maximize and optimize all the various windows and outlets available to the Studio's signature franchises, brands and event properties on a global basis. In this post, Nelson's primary focus was the management of the Harry Potter brand, which she has overseen since the brand's launch at the Studio in 1999. These efforts have helped drive the success of the brand to become the most successful film franchise of all time, as well as a respected consumer property that has generated billions of dollars for the Studio.

At Global Brand Management, Nelson and her team of more than 15 employees worked in all media and platforms to support a number of other key franchise properties, including "The Matrix Reloaded," "The Matrix Revolutions," "Batman Begins," "The Dark Knight," "Happy Feet," "Polar Express" and "Charlie and the Chocolate Factory," among others.

Prior to overseeing Global Brand Management, Nelson had served as Executive Vice President, Domestic Marketing, Warner Bros. Pictures. Nelson rose quickly through the ranks, having also served as Senior Vice President, Domestic Marketing, Warner Bros. Pictures and prior to that, Senior Vice President, Family Entertainment, Warner Bros. Corporate Worldwide Marketing and Planning. She was also Vice President, Worldwide Corporate Promotions, a post to which she was promoted in March 1998, after joining the Studio in September 1996 as Director of Worldwide Corporate Promotions.

Nelson came to the Studio from Walt Disney Records, where she served as Director of National Promotions. She is a graduate of Syracuse University's Newhouse School of Communications.

DC Comics storms the film world. 'Flash,' 'Green Lantern' among adaptations in works.

By Borys Kit
July 19, 2009, 08:30 PM ET



In the comics universe, where characters are endlessly reborn and reoutfitted, a motto from the 1980s -- "DC Comics is on the move" -- could just as well apply to the current, hyperactive state of the publisher as it relates to Hollywood.

A year after "The Dark Knight" became a worldwide phenomenon, there are more DC Comics adaptations in the works than at any other point since the company was acquired by Warner Bros. in 1969.

Among the projects on front burners:

-- "The Losers," an action-adventure drama starring Jeffrey Dean Morgan, Zoe Saldana and Chris Evans, begins principal photography this week in Puerto Rico.

-- "Jonah Hex," a supernatural Western starring Josh Brolin, Megan Fox and John Malkovich, recently wrapped production in Louisiana.

-- "The Green Lantern," Warners' next big superhero tentpole, is set to star Ryan Reynolds after a long search.

-- Fox has picked up the TV series "Human Target," starring Mark Valley, for the fall.

-- And, in a rare example of a film project that has ventured off the Warners reservation, DC has set up "Red," a spy thriller to star Bruce Willis, at Summit.

"One of the things that has differentiated us for most of the last 20 years is the depth of our library and the depth of the creative material that we've put out and the opportunities that creates for other media," DC Comics president Paul Levitz said.

Still, when "Dark Knight" invaded theaters last summer, critics of DC and Warners complained there didn't appear to be a grand strategy in place to exploit DC properties.

In contrast, DC arch-rival Marvel moved quickly in the wake of its successful "Iron Man" to stake out a series of release dates for a slew of movies, branding them as part of one big Marvel universe leading to "The Avengers," which arrives in 2012.

But DC and Warners have taken a different approach, arguing that DC has a wider breadth of books than other comics companies. They insist their situation isn't comparable to Marvel, which already has licensed out to other studios a number of its biggest titles: Spider-Man is housed at Sony, and X-Men and Fantastic Four are at Fox.

With fewer marquee superheroes, Marvel works like an animation studio: It only develops select projects and makes most of what it develops, while DC is managing a much larger portfolio.

Still, in the wake of "Dark Knight," DC and Warners have made strategic moves in the superhero realm, including centralizing the way DC's titles and characters are developed. In the past, Warners optioned a property, paying DC a fee comparable to what a property could command on the open market. But while the projects ostensibly were being developed under one roof, many were spread out over a host of producers, each with different visions for how to approach each adaptation.

To bring competing approaches into sync, Levitz and DC's Los Angeles-based film exec Gregory Noveck have overseen a reorganization of the development slate. While Warners execs still drive the creative side, DC now has more input, making it an actual participant in the shaping of material.

"The creative process is by and large a true partnership," Noveck said. "They'll ask us a ton of questions, and we'll give a ton of answers. We will talk back and forth. We'll discuss writers and talent, but ultimately it's their decision."

This past fall, Warners quietly hired three of DC's biggest writers -- Geoff Johns, Grant Morrison and Marv Wolfman -- to act as consultants and writers for its superhero line of movies. The move involved taking back the reins on projects being handled by such producers as Charles Roven ("The Flash") and Akiva Goldsman ("Teen Titans").

Some agents and scribes grumbled about being forced to work with the consultants, never mind that Johns started his career as a assistant to "Superman" director Richard Donner or that Wolfman has worked in animation since the 1980s.

The moves have begun to pay off. Johns worked up a new treatment for a "Flash" script, being written by Dan Mazeau; Johns will act in a producer capacity on the project, which has not attached a director.

The projects Morrison and Wolfman are working on are in the early stages at Warners, whose execs declined to comment.

The process involves one writer taking point, though the trio do collaborate on projects, reading one another's materials while hashing out a story that will be at once accessible to nonfans yet still adhere to each character's long history. The writers also work in tandem with producers, writers and the Warners execs overseeing the projects, showing them treatments and providing notes on scripts.

Meanwhile, other superhero projects are moving forward at Warners.

The studio is taking pitches on sci-fi hero Adam Strange and the underwater-breathing hero "Aquaman," to be produced by Leonardo DiCaprio and his Appian Way shingle.

Also in the pipeline: "Bizarro Superman" being written by "Galaxy Quest" scribes David Howard and Robert Gordon; a sequel to "Constantine," with Goldsman and Erwin Stoff producing; two concurrent Green Arrow projects, an origin story and a prison-set one titled "Super Max"; and "Shazam," which was set up at New Line but has moved to Warners, with Pete Segal attached to direct.

Unsung in the lineup is Warners' line of straight-to-DVD animated movies released via Warner Premiere. "Green Lantern: First Flight," the latest entry, will premiere at this week's Comic-Con and has a July 28 street date.

These movies, produced on budgets in the $3.5 million range, apparently overperformed their targets. "First Flight" is the fifth straight-to-DVD title, with "Superman/Batman: Public Enemies" in production for a Sept. 29 release.

In the home entertainmentarena, DC has overshadowed Marvel, with 2007's "Superman-Doomsday" generating $9.4 million in revenue and last year's "Batman: Gotham Knight," taking advantage of the tidal wave of support for the Christopher Nolan movie, generating $8 million, according to tracking site The-Numbers.com. "Wonder Woman," released in March, already has chalked up $4.4 million. Marvel's top seller, "Ultimate Avengers 2," has pulled in $7.7 million.

Not that all the stars in the DC firmament are aligned yet.

Warners and DC still haven't figured out how to translate "Wonder Woman" to the big screen. In part, that failure reflects the difficulties DC has had turning out a popular Wonder Women comic. Morrison, during a recent Q&A with Clive Barker at Los Angeles' Meltdown Comics, admitted he didn't have a complete handle on the character when he was writing the comic "Final Crisis."

Also, ever since Bryan Singer's 2006's "Superman Returns," a new Superman has been in limbo.

"Our hope is to develop a Superman property and to try again," Warner Bros. Entertainment president Alan Horn said in April. "What hurt us is that the reviews and so on for the Superman movie did not get the kind of critical acclaim that Batman got, and we have other issues with Superman that concern us."

On the Batman front, a sequel to "Dark Knight" also is quite a way off. Nolan is open to doing a third installment, but his next movie is "Inception," an original script he penned and is shooting for Warners.

All that has put a damper on any movie about the Justice League, whose roster includes the above-mentioned heroes as well as myriad others including Aquaman and the Martian Manhunter. DC would like to present some of the main heroes in their own movies before they are brought together for one big outing, so "League" currently is inactive.

On top of that, there could be another change in how Warners approaches the DC characters, with studio chiefs debating whether to put the operation under one super-exec.

To bring the next generation of superheroes to the screen, DC and Warners might yet have to unleash their own super powers.

http://www.hollywoodreporter.com/hr/...e4b64a53d2e876

Who Is Jonah Hex?

Author: Robert Reineke
July 19, 2009



As I write this, we’re a little over a year away from the big screen debut of DC Comics’ western hero Jonah Hex in the film JONAH HEX.

Although the character has been around for 35 years, his profile is certainly not on the level of Batman, Superman, and Wonder Woman. Or even Flash and Green Lantern.

So, a short look at the character and the history of western heroes at DC Comics leading up to his creation.

“TWO-FISTED JUSTICE”

Western heroes or western themed heroes had been around comics since near the beginning. DC sported the modern day western hero Vigilante in 1941. World War II kept most of the attention in the meantime, with the heroes of DC mostly dealing with modern menaces, Nazis, Japanese, and gangsters in addition to the more colorful adversaries. But, once World War II ended, readers wanted to move on to other things besides recent horrors and the historical west rose sharply in popularity.



For many the end of the Golden Age is marked by the unannounced change in ALL-STAR COMICS , featuring the JSA, to ALL-STAR WESTERN in 1951. There wasn’t necessarily a style change. Instead of clean cut, square jawed superheroes, we now had clean cut, square jawed western heroes like The Trigger Twins, Nighthawk, frontiersman Tomahawk who would hold a solo book until 1970, Strong Bow, Pow Wow Smith, Johnny Thunder, and more, illustrated by the likes of Alex Toth, Carmine Infantino, and Gil Kane. All basically of the same tone that you would find in your average John Wayne film of the 1940s. And even the other superheroes of the time would find themselves in a quasi-western from time to time, ala “Batman – Indian Chief” from the period.

This however proved to be a fairly short lived era, giving over to tales of the space race and the Silver Age in very short order. And while it would be a disservice to dispute the craftsmanship of the stories, it’s hard to detect any real lasting impact from this era, unlike DC’s contemporary science fiction titles. Part of that may be that even from the start, they were slightly anachronistic. In the movies, audiences were getting a more complicated view of the west on a regular basis with THE SEARCHERS and Anthony Mann’s westerns. That was further cemented in the 1960s with the rise of the spaghetti western. Clearly, if DC was going to revisit the genre, something new was in order.

“WILL HE SAVE THE WEST OR RUIN IT?”

The period of the late 1960s to the early 1970s was an interesting one for DC. Their clean cut, square jawed heroes had gone from right in tune with the times to out of date in less than a decade. And they were finally in danger of being passed by Marvel which was clearly the company on the rise and most in tune with the times.

Carmine Infantino was promoted to the top of the company. And many non-traditional features were created during this period. The mystical Deadman was created by Arnold Drake and Carmine Infantino and quickly passed over to newcomer Neal Adams. Horror anthologies came back and out of them arose Swamp Thing. Kirby and Ditko came over to DC and The Creeper, Hawk and Dove, The New Gods, The Demon, Kamandi, and O.M.A.C. appeared. Batman became darker. Wonder Woman was depowered and became more Emma Peel than superhero. Green Lantern and Green Arrow debated the issues of the times. Enemy Ace fought a war with great skill, but openly wondered about the dehumanizing effects of war and why innocents must suffer for it. And a new style of western hero was created, in step with the times.



But it wasn’t Jonah Hex, yet. Debuting in 1968, Barthomew Alouysius Lash, Bat Lash, was a far departure from the stoic archetype that had previously defined the western genre in comics. Bat Lash, under the guidance of Sergio Aragones, Denny O’Neil, and Nick Cardy, was much more interested in womanizing, fast talking, enjoying the finer things in life, and, ostensibly, hated violence. Harkening to the flower children of the period, he even sported a flower in his hat. Although, certainly similar to television’s MAVERICK, Bat Lash had his own charms and perhaps accidentally dished out his own sense of justice. Bat Lash was a critical success and a success in Europe, but he only appeared in 9 issues total before being cancelled due to low sales. It’s hard to say why Bat Lash didn’t catch on. Perhaps it was due to the contradiction that although he hated violence he was quite good at it, not quite nailing the flower child ethos of the time. Perhaps it was the lack of a strong story hook, trouble found Bat Lash he didn’t particularly go out of his way seeking trouble, that didn’t ring true. Perhaps the obvious intelligence of Bat Lash left some of the troubles he got into hard to swallow. Perhaps it just was the fickleness of readership.

Still, even though Bat Lash might not have been a sales success, but he had a small cult following and was a critical success. That was apparently enough to attempt more western features and All Star Western was revived in 1970 featuring Pow Wow Smith, El Diablo, historical figures, and the feature Outlaw which started out as a falsely accused hero and soon morphed into a Billy the Kid feature. Outlaw didn’t have much success, although it certainly was an indication that DC would be prepared to showcase a hero that didn’t necessarily wear a white hat. And, with issue #10 of All-Star Western in February-March 1972, a man wearing a gray hat entered the town of Paradise Springs.

“HE HAD NO FRIENDS, THIS JONAH HEX, BUT HE DID HAVE TWO COMPANIONS. ONE WAS DEATH ITSELF… THE OTHER… THE ACRID SMELL OF GUNSMOKE.”



“Welcome to Paradise” by John Albano and Tony DeZuñiga was Jonah Hex’s introduction to comic books, and even today it reads like an archetypical Jonah Hex tale. Really, as a tale it’s a great example of storytelling. Let’s take a closer look at it.

The story opens with Jonah Hex, the scarred side of his face hidden in shadow until it’s dramatic reveal halfway through the story, dragging a couple of dead outlaws into the town of Paradise. Clearly, Jonah Hex wasn’t some sort of square jawed, “bring them in alive”, upholder of law and order, but more a practical dealer of frontier justice. That’s further cemented when Jonah Hex immediately sets out to get paid for his services, $100 a head. He quickly learns that three more of the outlaw raiders he was hired to bring down are in the saloon across the street and immediately takes the offensive, something he comments that they should have done when they had the drop on him.

Unlike your standard white hat cowboy, Jonah Hex doesn’t boldly walk in the bring them in, but instead sneaks around to the back of the saloon, climbs in a second story window, threatens a dance hall girl to keep quiet, and then ambushes the outlaws from the second floor. Two of the outlaws go down quickly with the third escaping when Jonah gets tangled up with a boy. Neither apologize for the incident. And Jonah figures that the third outlaw will lead him back to the gang leader anyways. So, after punching out the stable owner, who’s mistreating Jonah’s horse, Jonah sets out to track down the rest of the gang.

We’re then treated to Jonah Hex becoming an almost supernatural force as he tracks down the gang in the night, revealing his scarred face for maximum impact, and ultimately chasing the gang leader to a farm. The gang leader manages to take the woman farm owner hostage, although Jonah doesn’t think much of it, when the boy he tangled with earlier shows up and talks Jonah into saving his mother. Jonah, reluctantly, tosses aside his gun belt, but when the gang leader turns to ride away, he gets a thrown knife in his back that Jonah was concealing. Again, Jonah Hex violates tradition by not even taking down the head bad guy face to face.

Right there, you’d have a badass anti-hero. But, Albano throws in yet another curve to further define Jonah Hex. After saving the widow and her son, Jonah gets invited back by the son for his mother’s apple dumplings, supposedly the best around. And, Jonah considers settling down. He pays off the pretty widow’s back taxes with his bounty and enquires about purchasing a place where he could settle down.

And the town elders have none of it, quickly informing Jonah Hex that there’s not a place for sale in the whole territory. They’ve no place for a man of, and marked by, violence like Jonah Hex. Turns out that he’s not invited for apple dumplings either, as the widow takes a pot shot at him with a rifle on the way out to her farmhouse and informs him that he’s not welcome and a bad influence on her son. A last encounter with the son, who really does like Jonah but clearly there’s no place for Jonah in this town, and Jonah informs him that he hates him “like poison!”. “Welcome to Paradise” indeed. With the very first story, John Albano informs us that there’s not going to be a fairy tale happy ending for Jonah Hex.

Jonah Hex was apparently an immediate hit. And ALL-STAR WESTERN apparently recognized it as it became WEIRD WESTERN with issue #12. Jonah Hex would headline the magazine for all but one issue through issue #38, at which point he graduated to his own self titled book.

John Albano’s Jonah Hex was more a mythic figure than a man. He specialized in dealing out justice, often ironic justice that fit into the WEIRD WESTERN title theme. He was lonely, had an unexplained past full of violence, had some sympathy to women, children, and animals and was otherwise ruthless and unsentimental. And many of the villains he faced tended to be very depraved, when Albano wasn’t treading in moral grays.

John Albano created the character, but only ended up writing 10 stories, interrupted by one Arnold Drake story, before leaving the character. There’s no definitive explanation for why Albano left, but most explanations center around money and ownership. There’s a particular rumor that Clint Eastwood was interested in purchasing the rights for adaptation and DC didn’t want to fork over compensation to Albano. Perhaps true, perhaps not, although it’s worth noting that 1975’s THE OUTLAW JOSEY WALES features an ex-Confederate soldier haunted by his past. In any event, Michael Fleisher was hired to take over Jonah Hex and he would stay with Jonah Hex throughout the 1970s and through the late 1980s.

Fleisher’s run was different than Albano’s in that Fleisher embraced the serial storytelling conventions of the time and slowly fleshed out Hex as a character. We learned about Jonah Hex’s past and Quentin Turnbull was introduced to serve as the first recurring villain for Jonah to overcome. A recurring villain with a strong link to Jonah’s past, Turnbull blames Hex for the death of Turnbull’s son Jeb. To add to the story complexity, Jonah blames himself for the death of Jeb. Jonah Hex became less an archetype of old school justice being carried out and more of a flawed human being. Fleisher still carried over the main themes and they were consistent with Albano’s stories, but there’s clearly a difference in approach. Fleisher most set his mark on Jonah Hex by having Jonah marry immigrant Mei Ling and fathering a son, Jason, before Jonah’s past catches up with him and it’s clear that he can’t settle down and have a normal family life as Mei Ling leaves him. Violence has, literally, marked Jonah Hex and there’s no escaping it. A theme Clint Eastwood’s UNFORGIVEN would get to a decade and a half later. Fleisher also added the Mexican bandit El Papagayo to the mix who would be a continuing adversary. Most of these things worked as Jonah Hex graduated to his own title which had a successful 92 issue run. Fleisher even gives an end to Jonah Hex in a late 1970s special, shot at the turn of the century and, gruesomely, stuffed for display as a relic of his era.



Jonah Hex was clearly the most successful western character of that period, with his western adventures appearing on a regular schedule from 1972 until 1985. He seemed to be the springboard for a small western universe with Bat Lash and El Diablo along with new creations Scalphunter and Cinnamon. Sales must have been pretty solid for awhile. So, why was he a hit and others not?

In many ways, Jonah Hex combines some of the elements that make Wolverine and Batman successful. You just have to look at Hex to see that he’s had a traumatic past. And his stories involve escaping from one tight situation after another and eventually delivering a rather unique brand of justice. Tenacity is also a hallmark of Jonah Hex, as he also has Wolverine’s “you can hurt me, but you can’t kill me” characteristic. Jonah Hex, more than most, is a terrific example of the outsider. A person that wants to fit in, but circumstance, prejudice, and his own characters flaws prevent it. And, at long last, Jonah Hex was a character that finally had come up to date with the modern conception of the west. Not one of pure white hats, but a more complicated and tougher place. Jonah Hex would be right at home in THE SEARCHERS or THE GOOD, THE BAD, AND THE UGLY. He wasn’t so much a revisionist western hero, but someone who could combine the old fashioned virtues of fast gunplay and quick thinking with deeper character moments.

“ONCE UPON A TIME...IN THE WEST?!?”

If one were to pinpoint a low point in the modern popularity of the western, the mid-1980s is as likely a time as any. Jonah Hex’s sales were headed down and the time came to either cancel the series or try something different. And, Michael Fleisher decided that he’d rather try something different.

So, taking a page out of MAD MAX, Jonah Hex was whisked to a post-apocalyptic future, given a leather outfit, a pair of laser pistols, and let loose to take care of a new generation of varmints. Lasting a brief 18 issues under the writing of Fleisher, and the art of Mark Texeira and Keith Giffen, it’s a chapter best left forgotten. And after an impressive 15 year run, Jonah Hex took an absence from comics starting in 1987.

“TWO GUN MOJO”



Jonah Hex didn’t sit on the shelf long, before being given another chance. In the early 1990s, DC Comics launched the Vertigo label which was open to more adult interpretation of characters. And Clint Eastwood had a significant hit with the revisionist western UNFORGIVEN. The circumstances were right for a re-launch.

In August 1993, Vertigo released JONAH HEX: TWO GUN MOJO written by Joe “Bubba Ho-Tep” Lansdale and drawn by Tim Truman. This incarnation took the title of Weird Western tales literally, pitting Jonah Hex against a strange circus of freaks and zombies, basically branching out from the ranks of straight western into a horror western hybrid. Although, Jonah Hex’s solutions to problems didn’t change all that much, a bullet to the brain works against the living and the undead. Atmospheric, dark, violent, and funny, TWO GUN MOJO turned out to be a modest hit prompting a sequel.

In 1995, JONAH HEX: RIDERS OF THE WORM AND SUCH was released. This time Jonah Hex found himself up against a Cthulhu type menace and half worm/half human gunfighters in the form of the “Autumn Brothers”. Again the same strengths of the first series were in abundance. Unfortunately, there was a completely unexpected turn of events.

The “Autumn Brothers” were clearly an homage to rock and roll’s Winter Brothers. And they didn’t take the homage with any sort of good natured sense of humor, but turned around and sued DC Comics for use of their public image. The lawsuit took several years to run it’s course with several setbacks to DC along the way, but in the end a significant precedent was established. Comic books weren’t just a way of selling action figures and other merchandise, but a legitimate art form entitled to all the protections of parody, satire, etc. afforded to all other art forms. It’s obvious, but the Jonah Hex case was the first to make it part of law.

However, while DC Comics may have ultimately won, it clearly took the momentum away from the Lansdale / Truman team. JONAH HEX: SHADOWS WEST was published in 1999, dealing with Jonah Hex involved with spirit people and then Jonah disappeared from regular comics again for another seven years.

It’s also worth noting that courtesy of Joe Lansdale, Jonah Hex had his biggest exposure outside of comic books in this period. Jonah Hex basically took over one episode of BATMAN: THE ANIMATED SERIES, “Showdown”, where he took down the son of Ra’s al Ghul in the old west.

“A FACEFUL OF VIOLENCE”



In 2006, Jonah Hex was relaunched. Perhaps due to the mild boom in westerns with OPEN RANGE and 3:10 TO YUMA coming out in the same time frame, perhaps as a reaction to all the superhero books that were flooding the stands. Writers Justin Gray and Jimmy Palmiotti took their turn in a critically acclaimed, if sales challenged, run. Gray and Palmiotti avoided the serial chronological storytelling of Fleisher to tell stories that could take place anywhere during the life of Jonah Hex and were usually resolved in one issue. Often told from many different perspectives and portraying Jonah Hex in different lights, although usually facing off against depraved s.o.b.s who deserve the rough justice that Jonah Hex is going to deliver. Probably with a dose of irony.

By eschewing continuing serials, the current run has embraced a variety of artists that really have few other outlets for drawing western themed comics. Luke Ross drew most of the first year, using a slick realistic style that had Jonah Hex visually modeled on Clint Eastwood. Phil Noto mostly followed Luke Ross. And, with the “Origins” story arc, European artist Jordi Bernet became the semi-regular artist on the book and has graced us with a distinct style, slightly remiscent of Joe Kubert, but 100% fantastic and eschewing splash pages in favor of old fashioned storytelling. Guest artists still appear and it’s worth seeking out the issues illustrated by Darwyn Cooke and J.H. Williams III.

Although the book isn’t really interesting in serial storytelling, it has added to the world of Jonah Hex. Bat Lash and El Diablo have been regular guest stars. And Gray and Palmiotti have added the heavily scarred and traumatized Tallulah Black to the cast, as an homage to the grindhouse film THEY CALL HER ONE-EYE. Quentin Tarantino also mined similar territory in using Daryl Hannah in KILL BILL in a similar homage. Currently, the book is in the middle of a six part storyline and building towards its 50th issue, with a graphic novel in the works to tie into the movie.

SUGGESTED READING

If any of the above piques your interest, the following collections are available from DC Comics and still in print: Jonah Hex: Guns of Vengeance, Showcase Presents: Jonah Hex Vol. 1, Showcase Presents: Bat Lash, Jonah Hex: Origins, Jonah Hex: Only the Good Die Young Vol. 4, Jonah Hex: Luck Runs Out and Jonah Hex: Face Full of Violence.

TDK: Happy 1st Anniversary!

Author: Sean Gerber
July 18, 2009



Hard to believe that an entire year has already passed since THE DARK KNIGHT was released and subsequently took over the pop culture landscape. I guess time really does fly, or in this case, it glides on a memory cloth cape. I’m well aware that one year isn’t really that long of a time period, especially compared to BATMAN’s 20th anniversary last month, but it really doesn’t feel quite like a year has gone by despite the fact that we’re in the middle of another Batman-less summer movie season.

A large part of the reason why this anniversary came so fast is because TDK has really never left. It’s been in front of us (fans and the mainstream) for the majority of the past year via its phenomenal box office run, the Oscar buzz, the appearances on numerous lists of nominees from various critics and awards bodies, the January re-release in IMAX, the controversy over the Oscar snubs, all of Heath Ledger’s accolades including his Oscar victory, and even the hype for TDK’s debut on HBO. The mainstream fever over the film has only just started to fade over the past couple months.

For those of us who religiously followed the development of TDK from start to finish, the year after a Batman film can seem much shorter than the year leading up to a Batman film, as the eager anticipation for the film’s release that slowed time down to a perceived crawl disappears (to later be replaced by anticipation for the next Batman film -- that’s where you come in, Mr. Nolan…BANG!). In addition, the viral marketing, trailers, set reports, interviews, etc. provided all of us with vivid memories of the buildup to and release of the film. Of course it doesn’t feel like a year has passed when we can remember the first time we saw that image of Heath Ledger as The Joker (which was actually over two years ago) or our experience at whatever midnight screening we attended like it all happened yesterday.

My own personal TDK anniversary was actually this past Wednesday, July 15 since I was lucky enough to literally buy my way into one of the early viral screenings. During a brief nostalgia trip, I found myself still possessing very clear memories of being the first in line at the Universal City screening, about 10 hours ahead of show time. I can still feel the intense anticipation that had been building not only since BATMAN BEGINS, but since I last saw The Joker in a live-action film in B89.

I decided that there was no better way to commemorate this little anniversary than to watch the film yet again. It was my 30th viewing of the film and I know that because I’m a big enough nerd to have actually kept an accurate count. One year later and on the 30th viewing, THE DARK KNIGHT still takes me on the same emotional and visceral journey that it did the first time except it seems to actually be getting better with each screening. I don’t have an IMAX screen in my house, but I don’t need one. No matter how many times I’ve seen the film, I still feel that same “woosh” of emotion come over me when Commissioner Gordon delivers his speech and the words “THE DARK KNIGHT” appear on the end credits. I shake my head at how great that feeling is and how remarkable it is that it hasn’t gone away.

THE DARK KNIGHT, through its buildup, release, phenomenal run at the box office and on the awards circuit, and (obviously) the film itself, has been one of the true landmark experiences in my own Batman fandom. Actually, I’d have to say it’s been the peak of my long-time relationship with the Batman character and his world of story. As if being a great film that transcended its genre weren’t enough, TDK has been a unique, exciting, emotional experience on the screen and off of it in so many ways through so many avenues. For that, I am forever grateful to anyone and everyone who helped make this film a reality.

Happy first anniversary to THE DARK KNIGHT and to all those who made it what it has been and will continue to be.

Time glides.

GREEN LANTERN: FIRST FLIGHT - Tricia Helfer

July 15, 2009



Battlestar Galactica’s visually stunning centerpiece shifts to another space-based destination as the voice of Boodikka in GREEN LANTERN: FIRST FLIGHT, the next DC Universe animated original PG-13 movie coming to DVD on July 28, 2009.



Helfer expands her voiceover career with her first feature-length film role as Boodikka, the most prominent female member of the Green Lantern Corps. Helfer joins Christopher Meloni, Victor Garber and Michael Madsen as the core quartet of voices in the film, supported by fine performances from Juliet Landau, John Larroquette, Kurtwood Smith and a host of others.

* On voicing Boodikka: "Boodikka’s a fighter, a protector. She is very honorable in that she does what she thinks is right, even if some things go against the grain. She’s certainly not an evil character per se, but she does things that she thinks are good for society. She’s not really sexy in terms of her personality, so she’s not trying to reel Hal in – that relationship is more like comrades. So I wanted to play Boodikka both strong and sweet."

* On how much did she knew about Green Lantern/the GL mythos: "I did a little research, but not too much.

I grew up without a television on a farm in the middle of nowhere, so I really didn’t see hardly any movies or TV series, and no cartoons. So I kind of have to go into things with a really blank slate, an open mind, and I think sometimes that’s good actually for voices because you don’t go in with anything really preconceived. I never feel like I have to fit a certain (type) because I’ve seen this character played that way before. I can read the script and go in feeling with my own gut instinct. And then (she laughs) you have a nice room full of people that tell you if you’re messing up or to try it different way."

Check out these three new images:

Ryan Reynolds Lands Green Lantern!

Source:The Hollywood Reporter, Variety
July 10, 2009



Warner Bros. Pictures has hired X-Men Origins: Wolverine and The Proposal star Ryan Reynolds to play the title role in the anticipated Green Lantern, scheduled for a June 17, 2011 release.

Based on the DC Comics hero, the action-adventure will be directed by Martin Campbell (Casino Royale, GoldenEye) and produced by Donald De Line and Greg Berlanti. Berlanti wrote the script with Marc Guggenheim and Michael Green.

The Hollywood trades say that Reynolds and his camp entered negotiations for the part Friday, after the studio held two rounds of screen tests, along with actors Bradley Cooper and Jared Leto. Justin Timberlake also did a screen test. The studio had holding options on the actors, but, except for Reynolds, those expired Monday. Reynolds' option would have expired end of day Friday.

Production is expected to begin in January.



The "Green Lantern" was created in 1940 by writer Bill Finger and artist Martin Nodell. Introduced in 1959, Hal Jordan is a second-generation test pilot, an ordinary man who was given the power ring and battery (lantern) by a dying alien named Abin Sur. When Abin Sur's spaceship crashed on Earth, the alien used his ring to seek out an individual to take his place as Green Lantern: someone who was "utterly honest and born without fear."

Reynolds recently starred in Fox's "Wolverine," in which he played Wade Wilson/Deadpool. The character is now being developed for a spin-off to which Reynolds is attached. He also played Hannibal King in Blade: Trinity.

The actor will next star in Buried, a dark indie drama that will begin filming shortly in Barcelona with Spanish director Rodrigo Cortes. Reynolds will play a civilian contractor who is kidnapped in Iraq and awakes in a coffin, struggling against time to coordinate a rescue even though he doesn't know where he's buried in the desert.