Alejandro Jodorowsky is a Chilean-French film director and comics creator. He was responsible for a number of very bizarre Surrealist films, such as Holy Mountain, one of which features a battle between the Incas and invading conquistadors as enacted by frogs in period costumes. In the 1970s he tried to make a film version of Frank Herbert’s classic Dune, which would have starred Orson Welles as Baron Vladimir Harkonnen, his son, Brontis, as Paul Atreides, and Mick Jagger as Feyd Rautha. Concept art was by H.R. Giger, Salvador Dali, Chris Foss and legendary French comics artist, Jean ‘Moebius’ Giraud. Dali would also have played the Emperor of the Universe. However, the great Surrealist stipulated that he would only act for half an hour. So Jodorowsky planned to make a robotic Dali to play the Emperor for the rest of the film. The film was, however, abandoned when the producers stopped funding due to mounting costs. Jodorowsky and Moebius weren’t dismayed, and used the material they had already produced for the film as the basis for their comic book, The Incal. Although it was never made, Jodorowsky’s Dune has influenced a number of later SF movies and a film version of The Incal is now underway.
In this video, hosts Ed Piskor and Jim Rugg look through Panic Fables, produced when Jodorowsky was living in Mexico. Jodorowsky had been teaching mime at university, but was now blacklisted. He could no longer teach or make films. He therefore turned his creative talents into comics. Panic Fables describe themselves as teaching initiatory wisdom. This doesn’t surprise me, as I go the impression that Jodorowsky has a very strong interest in esoteric mysticism. However, this doesn’t impress one of the Kayfabers. He’s from Pittsburgh, and so when someone talks about mystic knowledge, it seems to him to be all about separating the rich from their money. The pair are nevertheless impressed by Jodorowsky’s creativity, commenting on his drawing style and unique use of colour in the strips. They also wonder what American influences may have reached Jodorowsky from north of the border, as it was published at the same time the first underground comics were beginning in America, and both Jodorowsky’s work and the undergrounds mark a radical departure from contemporary comics.
Panic Fables are obscure much less well-known than Jodorowsky’s films or his comics with Moebius, The Incal and then The Metabarons. But the video about them give an insight into his considerable creativity during this period, when the Mexican authorities were trying to close him down.
Here’s another piece of fascinating SF news from Quinn’s Ideas on YouTube. Apparently the New Zealand director, Taika Waititi is adapting Alejandro Jodorowsky’s SF comic/ graphic novel, The Incal. Jodorowsky’s a Chilean-French surrealist film maker and comics writer, among whose bizarre cinematics works is The Holy Mountain. I can’t remember if it’s that film or one of his others that contains a battle between Conquistadors and Incas played by frogs in period costumes. Jodorowsky tried to make a version of Dune in the early ’70s. This would have starred his son, Brontis, as Paul Atreides, Orson Welles as Baron Vladimir Harkonnen and Mick Jagger as Feyd Rautha. The concept artists included Salvador Dali, H.R. Giger and Chris Foss. The film was never due to the producers pulling the funding as costs escalated. However, as Quinn explains, Jodorowsky used some of the material and ideas he had developed for the movie and, with French comics maestro Jean ‘Moebius’ Giraud, turned it into The Incal.
There are three books in the series, Before the Incal, The Incal and Final Incal.The Incal was the first published with art by Moebius, who did not draw the other three books although the art is still good. Jodorowsky’s Dune, although never made, nevertheless inspired a series of other movies including Star Wars and Luc Besson’s The FifthElement. The books follow the adventures of John De Fool, whose name is quite intentional and who is a fool figure while simultaneously being the most important person in the universe. The book’s are about his quest to obtain the Incal of the title, the most valuable object in the universe. Quinn wonders if the character of Fry from Futurama may also have been inspired by him. Futurama’s artwork is similar and Fry is also a fool. Quinn states that The Incal is very strange and not for everyone. In addition to it, Jodorowsky also created the Metabarons comics, which contains rather more of his Dune material. Quinn states that he knows Waititi best from his comedy films. One of these was the vampire comedy, What We Do In The Shadows. He therefore wonders how he’ll get on with the more serious material in The Incal, although this also has elements of comedy. Quinn also makes the point that it’s a great time for SF film and television, with Dune in the cinemas, Asimov’s Foundation on Apple TV and the news that Dan Simmons’ Hyperion is also being adapted.
This is interesting news, though I do wonder just how similar The Incal and the Metabarons are to Frank Herbert’s novel. I suspect that while they were inspired by Dune they’re actually very different. From what I understand of Jodorowsky movie, it would have been significantly different from Herbert’s book. And while I hope that this goes ahead, I also wonder how successful the film will be amongst anglophone audiences. Moebius and The Incal are well-known amongst comics fandom. BBC 4 screened a documentary about the great French comics artist a few years ago and I remember how, way back in the 1990s, his international cache was so strong, Marvel persuaded him to draw the Silver Surfer strip for them. However there is the problem of whether audiences outside France will be familiar enough with the comics to want to see the film. The film Valerian and the City of a Thousand Planets was based on the long-running French SF strip, Valerian. This was a flop, and it has been suggested that one of the reasons it did was that international audiences simply weren’t familiar enough with the French strip to be interested. I’m not sure how true that is, as I think the film should still have been able to draw in audiences on its own merits even if most people didn’t know about the source comic. The Incal, however, might be in a better position in this regard as I think more SF fans across the world have heard about Jodorowsky and Moebius. Jodoroswky is involved with the film in any case, and so it should be very interesting to see how Waititi translates it to the big screen.
Here’s an interesting little video from the Thought Slime channel on YouTube, in which he tears about the peeps he considers to be the worst political cartoonists. He starts with Garrison, a Libertarian, whom he dubs ‘the Labeller’, because he labels his pictures just in case you don’t recognise the people he’s drawn. He’s also a massive fan of Donald Trump, portraying him as a superhuman colossus saving America from the forces of the left. He then goes on to attack a Conservative cartoonist, who started out being a very capable draughtsman, but whose art has now become so stylised you won’t recognise anybody he’s drawn and so have to read the labels and titles. Despite being a liberal himself, Thought Slime criticises a left-wing cartoonist, Rall, for his attack on the late Roger Ebert. Ebert was a film critic, and Rall takes issue with him because Ebert was a fan of Citizen Kane. Citizen Kane, directed by cinematic legend and connoisseur of Danish lager, Orson Welles, is an acknowledged masterpiece. So why does Rall hate it? Because it’s boring! And so Ebert is caricatured for defending a cinematic classic.
However, the very worst political cartoonist of all, according to Thought Slime, is Yaacov Kirschen. Kirschen is a fanatical Jewish Zionist, whose cartoons seem to consist of the same poorly drawn character, who is probably a self-insert, commenting on the news. And his comments tend to be about how anyone who doesn’t support Israel, or dares to criticise it, is a vicious anti-Semite. And this really is everyone. He even accuses Netanyahu’s right-wing nationalist Likud party. How much of a Judaeonazi is Kirschen?
We don’t have cartoonists like Kirschen, at least not in the mainstream press. What we do have is the Israel lobby trying to suppress mainstream criticism of Israel and its unflattering portrayal in cartoons. A few years ago Gerald Scarfe was accused of anti-Semitism by the Israeli ambassador because of a cartoon attacking the wall the Israelis are building to keep out the Palestinians that appeared in the I. Scarfe’s cartoon showed the Israeli’s using the Palestinian’s blood as mortar. Considering the brutality of the Israeli occupation and ethnic cleansing, it’s a fair comment. But the Israeli ambassador immediately decided that it was an anti-Semitic trope playing on the Blood Libel. Er, no. The Blood Libel is the vicious accusation that Jews murder Christians to use their blood in the matzo bread eaten at Passover. It’s a myth that has spawned countless pogroms and anti-Jewish violence down history. But Scarfe’s cartoon doesn’t portray the Blood Libel. The matzoh bread doesn’t appear, nor is there any reference to Passover and the cartoon isn’t about Jews, but the Israeli state. Nevertheless, the I responded by capitulating and apologising.
It did the same over another cartoon attacking Israeli anti-Palestinian violence. This came after IDF troopers had fired on Palestinians breaking through the fence separating Gaza from Israel. Those they killed were largely unarmed civilians, including a doctor. The cartoon showed Netanyahu having a cosy fireside chat with an American head of state, while inside the fire burned the shot medical lady. Again the Israeli embassy went berserk and screamed ‘anti-Semitism’. This time they ludicrously claimed that the fire represented the gas ovens of the Holocaust. It very obviously didn’t, but truth doesn’t matter to the Israeli state and its defenders. And again the I caved and apologised.
I found Thought Slime’s video interesting because of its criticism of Kirschen and his miserable pro-Israel scribblings as the worst political cartoonist. We don’t have anyone like Kirschen in Britain, at least, not that I know of. But I wish someone would stand up to the Zionist bully-boys trying to censor reasonable and legitimate criticism of Israel in cartoonart.
Alejandro Jodorowski’s Dune is one of the great, unmade films. Jodorowski himself is a Chilean-French film director and comics writer. A Surrealist, he made a series of very bizarre films, such as the western El Topo. In the early ’70s he set about making a film version of Frank Herbert’s classic SF novel, Dune, despite never having read it. This would have starred Mick Jagger as Feyd Rautha, Orson Welles as Baron Vladimir Harkonnen and the great, bonkers Surrealist artist Salvador Dali as the Emperor of the Known Universe. Equally impressive were the artists he hired to produce the concept art and designs for the spaceships and other vehicles and settings for the film. These included H.R. Giger, the creator of the infamous Alien, French comics artist Jean ‘Moebius’ Giraud, and Chris Fosse, the force behind a thousand SF paperback covers. The film was never made, as the producers cut its funding at the last moment. However, the work on the movie was never wasted, as Jodorowski and Moebius used it as the basis for their comic The Incal and The Metabarons. It has also been immensely influential on later SF movies, including Ridley Scott’s ’80s classic, Bladerunner.
These two videos have been made and put up on YouTube by Monochrome Paris, a group that wishes to recreate in CGI Jodorowski’s aborted film. They have so far managed to recreate Duke Leto Atreides’ car, which was designed by Fosse, and Baron Harkonnen’s castle, which was the suitably horrific work of Giger.
I think the two videos are great, and it would be really superb if they were able to recreate the entire movie in CGI. Unfortunately the videos are from 2019 and so I don’t think their proposed movie will ever be made. It would still be good if they were able to produce more videos of some of the other designs for the movie, such as the space tugs towing the containers of spice through space, a space pirate ship and the Harkonnen’s own spaceship, which were all designed by Chris Fosse. They’re included along with his other art, included concept designs for Bladerunner, Alien and Superman 2 in the book 21st Century Fosse.
‘Mr H Reviews’ is a YouTube channel specialising in news and opinions on genre films – SF, Fantasy and Horror. In the video below he comments on a piece in the Hollywood Reporter about the production of a new SF movie, which will for the first time star a genuine AI. The movie is simply titled b. Financed by Bondit Capital, which also funded the film Loving Vincent, with the Belgium-based Happy Moon Productions and New York’s Top Ten Media, the film is based on a story by the special effects director Eric Pham with Tarek Zohdy and Sam Khoze. It is about a scientist, who becomes unhappy with a programme to perfect human DNA and helps the AI woman he has created to escape.Â
The robot star, Erica, was created by the Japanese scientists/ engineers Hiroshi Ishigura and Hohei Ogawa for another film. The two, according to the Reporter, taught her to act. That film, which was to be directed by Tony Kaye, who made American History X, fell through. Some scenes for the present movie were already shot in Japan in 2019, and the rest will be shot in Europe next year, 2021.
The decision to make a movie starring a robot looks like an attempt to get round the problems of filming caused by the Coronavirus. However, it also raises a number of other issues. One of these, which evidently puzzle the eponymous Mr H, is how a robot can possibly act. Are they going to use takes and give it direction, as they would a human, or will it instead simply be done perfectly first time, thanks to someone on a keyboard somewhere programming it? He is quite enthusiastic about the project with some reservations. He supports the idea of a real robot playing a robot, but like most of us rejects the idea that robots should replace human actors. He also agrees with the project being written by a special effects supervisor, because such a director would obviously be aware of how such a project should be shot.
But it also ties in with an earlier video he has made about the possible replacement of humans by their Virtual simulacra. According to another rumour going round, Mark Hamill has signed away his image to Lucas Film, so that Luke Skywalker can be digitally recreated using CGI on future Star Wars films. Mr H ponders if this is the future of film now, and that humans are now going to be replaced by their computer generated doubles.
In some ways, this is just the culmination of processes that have been going on in SF films for some time. Animatronics – robot puppets – have been used in Science Fiction films since the 1990s, though admittedly the technology has been incorporated into costumes worn by actors. But not all the time. Several of the creatures in the American/Australian SF series Farscape were such animatronic robots, such as the character Rygel. Some of the robots features in a number of SF movies were entirely mechanical. The ABC Warrior which appears in the 1990s Judge Dredd film with Sylvester Stallone was deliberately entirely mechanical. The producers wished to show that it definitely wasn’t a man in a suit. C-3PO very definitely was played by a man in a metal costume, Anthony Daniels, but I noticed in the first of the prequels, The Phantom Menace, that a real robot version of the character appears in several scenes. Again, this is probably to add realism to the character. I also think that in the original movie, Episode 4: A New Hope, there were two versions of R2D2 used. One was the metal suit operated by Kenny Baker, and I think the other was entirely mechanical, operated by radio. Dr. Who during Peter Davison’s era as the Doctor also briefly had a robot companion. This was Kameleon, a shape-changing android, who made his first appearance in The King’s Demons. He was another radio-operated robot, though voiced by a human actor. However the character was never used, and his next appearance was when he died in the story Planet of Fire.
And then going further back, there’s Alejandro Jodorowsky’s mad plan to create a robotic Salvador Dali for his aborted 1970s version of Dune. Dali was hired as one of the concept artists, along with H.R. Giger and the legendary Chris Foss. Jodorowsky also wanted him to play the Galactic Emperor. Dali agreed, in return for a payment of $1 million. But he stipulated that he was only going to act for half an hour. So in order to make sure they got enough footage of the great Surrealist and egomaniac, Jodorowsky was going to build a robot double. The film would also have starred Orson Welles as Baron Vladimir Harkonnen and Mick Jagger as Feyd Rautha, as well as Jodorowsky’s own son, Brontes, as Paul Atreides. The film was never made, as the producers pulled the plug at the last minute wondering what was happening to it. I think part of the problem may have been that it was going well over budget. Jodorowsky has said that all the effort that went into it wasn’t wasted, however, as he and the artist Jean ‘Moebius’ Giraud used the ideas developed for the film for their comic series, The Incal. I think that Jodorowsky’s version of Dune would have been awesome, but would have been far different to the book on which it was based.
I also like the idea of robots performing as robots in an SF movie. A few years ago an alternative theatre company specialising in exploring issues of technology and robotics staged a performance in Prague of the classic Karel Capek play, Rossum’s Universal Robots, using toy robots. I can see the Italian Futurists, rabid Italian avant-garde artists who praised youth, speed, violence and the new machine world around the time of the First World War, being wildly enthusiastic about this. Especially as, in the words of their leader and founder, Tommasso Marinetti, they looked ‘for the union of man and machine’. But I really don’t want to see robots nor CGI recreations replace human actors.
Many films have been put on hold because of the Coronavirus, and it looks like the movie industry is trying to explore all its options for getting back into production. However, the other roles for this movie haven’t been filled and so I do wonder if it will actually be made.
It could be one worth watching, as much for the issues it raises as its story and acting.
Chris Foss is one of the great masters of British SF art. Apart from painting numerous book covers, he also worked as the concept artist for Alien, Superman, and the version of Dune that was being made by the Franco-Chilean surrealist, Alejandro Jodorowsky. Sadly, his work for Alien and Dune was never seen. Ridley Scott rejected his depictions of the ‘Nostromo’ for alien, as he thought it was far too interesting and would distract the audience from the main action. And despite extensive preparation, Jodorowsky’s Dune was never made. The studio pulled the plug at the last minute. It wasn’t a wasted effort, however, as the work Jodorowsky and the French comic artist, Moebius, had put into Dune was used by them as the basis for the comic book series, the Metabarons.
A documentary came out a few years ago about the making of Jodorowsky’s Dune. Jodorowsky states that he wanted it to blow the audience’s mind. It was to have the effect of taking LSD, but without actually using the drug. Certainly the concept art looks truly awesome. Apart from Foss and Moebius, Jodorowsky also employed as concept artist H.R. Giger, the creator of the ‘Alien’. Giger produced various designs for Vladimir Harkonnen’s cast, and for a train, very much in his distinctively nightmarish style. Among the actors lined up for the film were Orson Welles as Vladimir Harkonnen and Mick Jagger as Feyd Rautha. Jodorowsky’s son, Brontes, was to play Paul Atreides. And the Emperor of the Galaxy would be played by the great surrealist egotist himself, Salvador Dali. But only for half an hour. So Jodorowsky and his team intended to fill in the rest of the time, that have been occupied by Dali, by using a robotic version of him. It’s a pity that the film was not made, as with those artists and performers, it truly would have been a genuinely mind-blowing experience.
In this clip, Foss talks about how wonderful it was working with Moebius and Giger, but says that he enjoyed it because what he was doing did not interfere with them, and their work did not interfere with his own. Looking on YouTube a few years ago, I found that Foss had put up a series of short videos about himself and his work, so if you’re interested, try looking to see if they’re still there.
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