MPAA Rating: PG/Genre: Space Opera Superhero/Stars: Sam J. Jones, Melody Anderson, Max von Sydow, Topol, Ornella Muti, Timothy Dalton, Brian Blessed, Peter Wyngarde, Mariangela Melato, Richard O’Brien, John Osborne, Philip Stone, John Hallam, Suzanne Danielle, John Morton, William Hootkins, Robbie Coltrane, Peter Duncan, John Hollis, Leon Greene, Tony Scannell, Bogdan Kominowski, George Harris, Deep Roy, Bob Goody, Kenny Baker, Malcolm Dixon/Runtime: 112 minutes
It might surprise you to learn this dear reader, but not every great film is one that also achieves bonafide box office success. As for why this is the case, there are at least a trio of reasons. The first is that, as much as the studios are going to hate me for admitting this, not every wide release is marketed equally. For an example of this particular phenomenon in action then definitely look into the story behind the release of Batman: Mask of the Phantasm aka one of the best Batman movies ever released in theaters. The second reason is that sometimes a movie can find itself striking just the right chord with a specific group of movie goers, but in terms of overall appeal might fall completely on its face in trying to do so. As a result, the film will make some money to be sure, but nowhere near as much as it might have otherwise. Lastly, the third significant reason that comes to mind for why a really good movie might fail to make money at the box office is because of a little teeny tiny thing called competition at the box office by a movie that is incredibly similar to it. Indeed it is for that reason that in 1982 John Carpenter’s The Thing didn’t work whereas a little movie from Spielberg called E.T. did. A mistake that, fortunately, time has managed to rectify. Of course, I could also try to claim in this section that it might just be possible that some really good movies don’t make as much money is because movie goers inconceivably listened to what the critics said about it, but let’s be honest: how often does that actually happen? All sarcastic jokes and as distinct as the first three aforementioned reasons are however, I must admit that what doesn’t happen as often isn’t a really good movie failing because of one of those reasons. Rather, it’s a really good movie failing to register or make the financial impact that it should have because of all three of those reasons. Perhaps this is why I am choosing today to look at a slice of cinema that managed to do just that in the form of 1980’s Flash Gordon. Yes this slice of cinema’s marketing wasn’t the best, yes the film didn’t do as well at the domestic box office as it could have, and yes this film did wind up coming in the aftermath of a teeny tiny sci-fi film earlier in the year known as The Empire Strikes Back (perhaps you’ve heard of it). Nevertheless, the fact remains that I really do dig the heck out of this movie dear reader. To be sure, it’s not perfect, but with the aid of skilled work behind the camera and delightfully campy work in front of it by a game cast of performers, Flash Gordon “80” is one delightfully silly sci-fi superhero saga that you are sure to have a blast watching time and time again.
The plot is as follows: An adaptation of the comic strip of the same name by Alex Raymond, Flash Gordon “80” first takes us into the far reaches of outer space where we are quick to learn that a dastardly scheme is afoot. That being that a vile emperor by the name of Ming the Merciless has contracted an awful case of boredicus outahisminda or boredom if you like and, in an attempt to cure himself of this horrific ailment, has decided to begin hurtling a series of natural disasters on a far-off planet to see how far he can go before it is destroyed as a result. The only problem, in case you hadn’t yet figured it out dear reader, is that the far-off planet Ming is engaged in these actions against happens to be our very own Earth. From there, we see that on Earth a star athlete for the New York Jets (now I know it’s the 80s) by the name of (get this) Flash Gordon is getting ready, along with a beautiful travel agent named Dale Arden, to board a small plane and make their way home after a bit of a vacation. Tragically for our hero and his newfound lady love, it seems their flight is about to hit a rather unexpected and quite lengthy layover. This is because it isn’t long into their flight that the plane’s cockpit is struck by a meteor sent by Ming and both of the pilots find themselves no longer among the living. Yet despite our hero managing to take over the controls and land the plane safely, he doesn’t quite land it in the Big Apple. Rather, he lands it directly into a greenhouse that is owned by a rather eccentric scientist who used to be employed by NASA named Dr. Hans Zarkov. A man who, rightly even if no one else is willing to believe him, suspects that the disasters occurring all over the planet are part of an elaborate plot by aliens (whoda thunk it?). To that end, we see that Zarkov has secretly designed and built a spaceship to look into the attacks further and, much to their extreme reluctance, coerces our hero and his lady love onboard to go with him. Of course, it should come as no surprise to learn that our now-trio of Earthly heroes soon find themselves on the planet of Mongo aka Ming’s homebase where they are quickly apprehended by Ming’s troops and subsequently brought before the man himself. However, when Ming orders for Zarkov to be brainwashed, Dale to become part of his *ahem* “entourage” if you get my meaning, and for our hero to *gasp* be executed we see that the stage has been set for an adventure unlike any other. One that, should our hero wish to emerge triumphant, will see him have to convince two of the squabbling kingdoms on Mongo to put aside their differences and aid him in not only saving Dale, but the Earth and Mongo as well from Ming and his diabolical machinations. As for if he is successful or not I think I’ll let you see for yourself…..
Now right off, it should be said that the work done behind the camera on this cult classic is nothing short of dazzling. This starts with the efforts put in by director Mike Hodges and honestly his work at the helm here truly is inspired. Indeed perhaps the key thing that makes Hodges a wonderful choice here is that he was a director who was much better suited for gritty crime sagas like 1971’s Get Carter than goofy sci-fi such as this and, due to the infamous force of super producer Dino De Laurentis looking over his shoulder, he chooses to play this whole thing as straight as those aforementioned crime dramas despite seemingly everyone else involved playing up the camp factor considerably. As a result of this sharp juxtaposition, we see that yes the film is ludicrous to the hilt, but the work done by Hodges is still undeniably impressive at actually grounding the film a degree (however small). Along with that, we see that this slice of cinema also has a delightfully over the top in a good way script from Lorenzo Semple Jr. Yes there are quite a few lines here that will make you groan and/or roll your eyes, but overall the script here manages to both add to the camp factor present here exceptionally well whilst also definitely reminding you of the written work that Semple did for another iconic comics character when he was portrayed by Adam West. Far and away though, I think the one element that should blow away even the most nit-picky of viewers out there would have to be the absolutely jaw droppingly beautiful work done by the visual effects and costume departments respectively. Indeed from the incredible landscapes we are transported to around the planet of Mongo (including Sky City and Arboria), the riveting moments of combat be it on the ground or in the air, and even the costumes worn by the various characters among other examples, there is no denying that this film is able to do more than just be a true treat for the eyes to say nothing of a fairly spot-on realization of the world present in the source material. Rather, it also manages to give this movie the feeling that it has brought us into a universe that is visually riveting at practically every turn. With all of those elements in mind however, I still feel that the most iconic component to the work done by the various departments behind the camera on this particular cinematic outing would have to be none other than the work done on this film’s musical accompaniment by the legendary band Queen. Indeed not only does Queen’s work here fit the overall comic book vibe and look that the film is definitely aiming for, but they also manage to give us a rousing theme song that whenever it plays during the movie’s runtime don’t be surprised if you find yourself wanting to rock out and sing along to it. Suffice it to say that yes the work done behind the camera on this particular cinematic outing might be a bit guilty of being at best over the top and at worst campy and cheesy to the hilt, but trust me when I say that it’s all part of this film’s charm and they all have done their part in helping to make this slice of cinema as memorable as it has become all these years.
Alongside the wonderfully goofy yet fairly well-done all the same work done behind the camera, this slice of cinema also manages to contain a collection of performances from a game cast of talent in front of the camera that match the delightfully campy work done by their behind the camera counterparts exceptionally well. Without a doubt in my mind, this starts with the work done by Sam J. Jones in the titular role and he is really freaking good here. To be sure, this is not a performance that is awards-worthy by any stretch, but even so the fact remains that Jones is able to nail the athleticism, courage, and devotion to both his allies and his home planet that made the hero such an icon on the printed page. Alongside Jones however, I think the standout performance in this slice of cinema without a doubt has to be from none other than the late screen legend Max von Sydow. Indeed in the role of Flash’s arch-nemesis Ming the Merciless, we see that Sydow does a wonderful job of both playing into the camp very much present throughout the entirety of the film while also making the character a delightfully dastardly blend of ruthless, tyrannical, and proving to be genuinely menacing at points. Suffice it to say that yes the design of the character is definitely something that nowadays is sure to raise an eyebrow and not in a good way, but there is no doubt that the performance given by Sydow will always be a highlight of the film regardless. Besides the work done by both Jones and Sydow, this film also blesses us as an audience with an array of support talent from a group of undeniably talented performers. Without question, this starts with the performance given by theater icon Topol in the part of Dr. Hans Zarkov. Yes it might be a bit weird to see the guy from Fiddler on the Roof here, but Topol does a magnificent job of playing this mad scientist with a heart of gold and a noble goal even if his methods for achieving the latter are most assuredly a bit on the unscrupulous side. We are also treated to a terrific turn from Timothy Dalton as Han Solo ehhh I mean Prince Barin. Indeed as Barin, Dalton manages to bring to the table such a wonderful mix of Errol Flynn-like swagger and debonair charm with just the right amounts of charisma, honor, and physicality that you can’t help but wonder if maybe in an alternate universe he’s who’s been portraying the aforementioned space smuggler rather than Harrison Ford. Without a doubt in my mind however, the performance that I always enjoy whenever I see this movie is the one given by the eternally delightful Brian Blessed as Prince Vultan. I mean not only does Blessed, who was reputedly a huge fan of the Flash Gordon comic strip, bring a delightful larger than life exuberance in practically every way to the part, but he also conveys such a genuine over the top enthusiasm that he is an absolute joy whenever he’s on screen. Suffice it to say that when you also take into account wonderful work from Melody Anderson who is perfectly cast as Flash’s lady love Dale Arden, a delightfully despicable Peter Wyngarde as General Klytus, Richard O’Brien and even minor roles for such screen icons as Robbie Coltrane (Hagrid!), George Harris (Kinglsey Shacklebolt or Capt. Katanga from Raiders of the Lost Ark), Deep Roy, and Kenny “R2-D2” Baker among others it’s clear that this slice of cinema might have some issues, but the work by this cast definitely does not qualify as one of them.
All in all and at the end of the day is Flash Gordon a perfect slice of cinema? Honestly that definitely is a question that is very much open to perspective, but in my case I would sadly have to say no even though truth be told it would be amazing if this film was. With that being said however, is this the worst slice of cinema I have ever or most likely will ever find myself sitting down and watching? Oh heck no! Not by a long shot. Indeed yes this slice of cinema is campy, yes it’s over the top, and yes it’s absolutely bonkers to perhaps the umpteenth degree and then some. Yet whereas a lot of people might look at those distinct elements and see them as at best weaknesses that drag the overall film down past the proverbial point of no return and at worst the makings of a bonafide cinematic junk heap I instead view them as positives that definitely help to bring this movie as vividly to life as it turns out to be. Suffice it to say that when you also factor in solid work from behind the camera and gloriously campy performances from a game cast that manage to synch up beautifully with the dazzling work done behind the camera, there is no denying that the 1980 take on Flash Gordon certainly won’t be everyone’s distinct cinematic blend to say nothing of a film that you would ever hear announced as a nominee for any of the major awards (despite the visual effects alone definitely being worthy of at the very least a nod). Even with that in mind however, there is still at least a couple of things that it definitely has managed to be both when it first came out and still all these years. That being not just a comic book adaptation done, albeit in a rather bizarre way, righteously, but also a slice of cinema that is a dazzling, exciting, and just plain fun time to be had and truth be told that’s the only award that a slice of cinema such as this needs in order to be recognized as something that is just as special as the savior of the universe at the heart of it. Make of that what thou will dear reader. On a scale of 1-5 I give Flash Gordon “80” a solid 4 out of 5.
