Flash Gordon – Blood and Porridge

July 22, 2023

People who stunted my development

© The Mirisch Company / United Artists

I read recently that the Academy of Motion Picture Arts and Sciences – better and less grandiosely known as the folk who dole out the Oscars every year – are currently considering creating a new Oscar that will honour the work of the movie industry’s stunt performers. A yearly award for the film featuring the best stunt-work looks a real possibility thanks to the efforts of Chad Stahelski, director of the John Wick series (2014-23). He commented last month, “We’ve been meeting with members of the Academy and actually having these conversations… Everybody on both sides wants this to happen. They want stunts at the Oscars. It’s going to happen.”

Also creating a buzz lately about stunt-work – proper, practical stunts carried out by real people, as opposed to artificial action-sequences created with cartoony, shit-looking Computer-Generated Imagery – has been the trailer for the new Mission Impossible movie. This is framed by a stunt involving the world’s most famous scientologist in which he deliberately barrels off a very high cliff. The last person to do this so spectacularly was Roger Moore – or more accurately, stuntman Rick Sylvester – in the pre-credits sequence of The Spy Who Loved Me (1978).

Anyway, now seems an opportune time to dust down and repost this piece about my favourite practitioners of the art of stunt-work, which originally saw the light of day in 2018.

In my boyhood, there were no personal computers, video games or Internet to keep me inside the house. For amusement, I had to go outside and play in a variety of locations that, thinking about it now, were a wee bit dangerous – at roadsides and riversides, in derelict buildings and old sheds, and on any roof or in any treetop I managed to climb up to. I suppose many kids in the 1970s played in places like those, but I had an advantage. I lived on a farm, which was full of machinery sheds, hay-sheds, grain stores, slurry pits, silage pits, workshops and outhouses. It was also right next to a river and a busy road. Perhaps it was this potential for injury and death in my play-area that prompted me, like most pre-pubescent males in the 1970s, to resolve that when I grew up I was going to be a film stuntman.

Accordingly, when I went fishing one day at the age of nine and fell off the riverbank, into the river, the way I recounted the mishap to my school-mates later made it sound like how Paul Newman and Robert Redford had famously jumped off the cliff and into the river in Butch Cassidy and the Sundance Kid (1969). This feat of derring-do had actually been performed by the stuntmen Howard Curtis and Micky Gilbert. To be honest, the bank I fell off was only two feet above the water, and the water itself was only three feet deep, but in situations like these you’re allowed to use your imagination.

In fact, I became much less enamoured with action-movie stars when it occurred to me that, most of the time, they didn’t perform the breath-taking stunts featured in their films. Those were done by unsung stuntmen and stuntwomen, who therefore were the people I should admire. If I’d been on the set of Raiders of the Lost Ark in 1981, with my autograph book, I think I would have ignored Harrison Ford and made a beeline instead for stuntmen Vic Armstrong and the late Terry Richards. And that’s a big reason why I despise the 2002 James Bond film Die Another Day, which made heavy use of CGI during its action scenes. It seemed a betrayal of all the stunt-work that’d distinguished the Bond movies during their previous 40-year history and an insult to all the people who’d contributed to that stunt-work. (By my count, Armstrong and Richards both worked on six official Bond movies, and each had one ‘rogue’ 007 production to their names too – Armstrong with 1983’s Never Say Never Again, Richards with 1967’s Casino Royale.)

Anyway, here’s a list of some of my favourite stunt performers throughout history….

© Walter Wanger Productions / United Artists

Born to a US ranching family in 1895, Yakima Canutt became a world-champion rodeo rider and by 1923 was involved in the fledgling motion-picture industry, inevitably playing cowboys in westerns. However, he’d had his voice ravaged by flu during a two-year stint with the US Navy and he realised he couldn’t continue as an actor when silent films gave way to the talkies, and so he started to specialise in stunt-work. Canutt ended up as stunt double for John Wayne, who claimed to have got many of his famous cowboy mannerisms – the strut, the drawl – from him. As a cowboy, after all, Canutt was the real deal.

His most famous stunt is one he performed in 1939’s Stagecoach, in which he leaps onto a team of horses pulling the titular stagecoach, falls between them, gets dragged along and then disappears under the stagecoach itself. This inspired the sequence in Raiders of the Lost Ark where Indiana Jones is dragged beneath a German truck. Canutt later became a second-unit director and staged the chariot race in 1959’s Ben Hur. And despite sustaining injuries that required plastic surgery on at least two occasions, he lived to the ripe old age of 90.

Bud Ekins was a champion motorcyclist as well as a stuntman. It was he – not Steve McQueen, as was believed for a long time – who rode the Triumph TR6 Trophy motorbike near the end of 1963’s The Great Escape, when McQueen’s character, pursued by half the German army, attempts to leap the giant fence that separates him from Switzerland. (The famously petrol-headed McQueen did ride the motorbike during the preceding chase and was keen to perform the jump himself, but the filmmakers talked him out of it.) That alone earns Ekins a place in my Stuntmen Hall of Fame, but he went on to do lots of other cool stuff. He worked with McQueen again in Bullitt (1968), driving that film’s iconic Ford Mustang 390 GT, and he was also involved in Diamonds are Forever (1970), Race with the Devil (1975), Sorcerer (1977) and The Blues Brothers (1980).

Every time I’m on board a cable car and spot another cable car approaching from the opposite direction, I wonder if I’ll see Alf Joint perform a suicidal leap from the roof of one car onto the roof of the other – for Joint was the stuntman who doubled for Richard Burton in 1967’s Where Eagles Dare when Burton’s character had to hop cable cars close to the fearsome Schloss Adler, the mountaintop stronghold of the SS. Like many a great British stuntman, Joint’s CV is a roll-call of Bond movies (he made two), Star Wars movies (one) and Superman movies (three). He doubled for Eric Porter, playing Professor Moriarty in the acclaimed 1980s TV series The Adventures of Sherlock Holmes, when the character plunged to his doom at the Reichenbach Falls; and for Lee Remick in The Omen (1976), presumably during the sequence when Remick is pushed out of a hospital window and crashes through the roof of an ambulance passing below.

© Winkast Film Productions / Metro-Goldwyn-Mayer

I also remember Joint performing a memorable stunt during the adverts for Cadbury’s Milk Tray chocolates, which ran on TV from 1968 to 2003 (though I hear they were revived a few years ago). These featured the Milk Tray man, a Bondian character who kept risking life and limb in order to deliver boxes of the chocolates to a beautiful lady, with the tagline being: “And all because… the lady loves Milk Tray.” I can’t recall if it was the same lady receiving all the chocolates in all the adverts – if it was, the poor woman must have developed type 2 diabetes by 2003. Anyway, Joint did the Milk Tray man’s dive off a vertiginous cliff, into a shark-infested sea, in perhaps the most famous of these adverts in 1972.

Also involved in Where Eagles Dare was Eddie Powell, a stuntman who seemed to divide his time between James Bond movies – he made ten official ones, plus Never Say Never Again – and Hammer Films, where he was a stunt double for Christopher Lee in movies like The Mummy (1959), Dracula, Prince of Darkness (1966) and To the Devil a Daughter (1976). For that last film, he also did a ‘full body burn’ stunt during a scene where satanic forces cause Anthony Valentine to spontaneously combust inside a church. In addition, Hammer gave him a few acting credits, predictably eccentric ones, such as the lumbering, bandaged monster in The Mummy’s Shroud (1967) and the half-man, half-beast Goat of Mendes conjured up at a witches’ sabbat in The Devil Rides Out (1968).

© Hammer Films / Seven Arts Productions

Later in his career, Powell performed stunts as the titular, drooling, acid-blooded, multi-mouthed beastie in Alien (1979) and Aliens (1986). For instance, he took part in the first film’s engine-room scene where the alien swoops down on the hapless Harry Dean Stanton.

Strictly speaking, I shouldn’t mention William Hobbs here as he wasn’t exactly a stuntman. He was a fight choreographer, more precisely a sword-fight choreographer, and his work enlivened many a swashbuckler over the years. He directed the swordplay in The Three Musketeers (1973) and Four Musketeers (1974) and presumably had the difficult task of restraining Oliver Reed, who from all accounts threw himself into the movies’ fight scenes with the enthusiasm of a blade-wielding Whirling Dervish. He also worked on Roman Polanski’s Macbeth (1971), Ridley Scott’s The Duellists (1977) and Terry Gilliam’s Brazil (1985), for which he devised the samurai fights. I generally can’t stand the 1980 Dino De Laurentiis production of Flash Gordon, but the sequence where Sam Jones fights Timothy Dalton on a platform while spikes erupt at random points and at random moments through its floor, again overseen by Hobbs, is one of the film’s few good parts. Near the end of his life he was still working, on TV, arranging fights for Game of Thrones (2011-19).

Actually, you can see Hobbs in action in this instalment of the long-running TV show This is Your Life (1955-2007), rehearsing a gruelling-looking swordfight with Christopher Lee just before Eamonn Andrews surprises Lee and shepherds him off to a TV studio for a star-studded retrospective of his career. (I usually found This is Your Life tacky and maudlin, but I thought this one was fascinating because, besides Lee and Hobbs, it corrals such movie legends as Peter Cushing, Vincent Price and the afore-mentioned Oliver Reed together under one roof.)

© Troublemaker Studios / Dimension Films

And now for a lady, the New Zealand stuntwoman Zoe Bell, who doubled for Lucy Lawless in the Xena: Warrior Princess TV show and for Uma Thurman in Quentin Tarantino’s Kill Bill movies. Kill Bill: Volume 2 (2004) involved a stunt where a shotgun blast hurled Bell backwards – this did so much damage to her ribs and wrist that she spent months recovering from it. But there were clearly no hard feelings between Bell and Tarantino because for his next movie, 2007’s Death Proof, he cast her as herself. She plays a movie stuntwoman – called Zoe Bell – who turns the tables on Kurt Russell’s car-driving serial killer. Tarantino shares my disdain for CGI and insisted that all the vehicular action seen in Death Proof was the real deal, including a ‘ship’s mast’ stunt where Bell straddles the hood of a speeding Dodge Challenger R/T with only a couple of straps to hang onto. Since then, she’s done more gigs for Tarantino, as a stuntwoman in Inglourious Basterds (2009), as an actress in Django Unchained (2012) and The Hateful Eight (2016), and as both in Once Upon a Time in Hollywood (2019).

Finally, no roundup of my favourite stuntmen would be complete without mention of Vic Armstrong, who’s in the Guinness Book of Records as the world’s busiest stunt double. His brother Andy, his wife Wendy, and a half-dozen members of the younger generation of his family all work in the stunt / special-effects business too, which must make the Armstrongs the Corleones of the stunt-world.

As well as seven official and unofficial Bonds, his filmography includes three Indiana Joneses and three Supermen, plus a Rambo, Terminator, Omen, Conan and Mission Impossible. He served not only as Harrison Ford’s stunt double while he played Indiana Jones, but also in Blade Runner (1982), Return of the Jedi (1983), The Mosquito Coast (1986), Frantic (1988) and Patriot Games (1992). Indeed, back in his youth, his resemblance to the star was so striking that Ford once quipped to him, “If you learn to talk, I’m in deep trouble.”

© Titan Books

January 25, 2023January 29, 2023

Favourite Scots words, M-O

From wikipedia.org / Scottish National Portrait Gallery

Burns Night falls this evening, with – by my calculations – 264 years having now passed since the birth of Scotland’s greatest poet, Robert Burns. For many decades, January 25^th witnessed one of the greatest ironies in Scottish culture. All over the country, schoolchildren would be made to memorise, then get up and recite Burns’ poems in front of their classmates and teachers. Those poems, of course, were written in the Scots language and thus were loaded with Scots vocabulary and grammar. However, any other day of the year, if a schoolkid had dared to speak Scots in the classroom, they’d have received a teacherly reprimand: “No, don’t speak like that. Speak proper English…”

Actually, a famous scene in William McIlvanney’s 1975 novel Docherty, where the hero’s son gets battered by a teacher at school for daring to utter the Scots word sheuch (meaning ‘gutter’ or ‘ditch’), seems sadly credible. At one time, speaking the language of Burns on a day that wasn’t Burns’ birthday was probably enough to get you belted in certain Scottish schools.

Anyway, here’s another slew of Scots words that I like – this time, starting with the letters ‘M’, ‘N’ and ‘O’.

Makar (n) – a poet or bard. In 2004, the Scottish Parliament established the post of ‘Scots Makar’, i.e., a national bard or poet laureate. Since then, the post has been occupied by Edwin Morgan, Liz Lochhead, Jackie Kay and, currently, Kathleen Jamie.

Malky (n/v) – a Glaswegian term meaning ‘a murder’ or ‘to murder’. Research tells me that malky was originally a nickname for a razor used as a weapon, and to malky someone was to slash them with such a razor. That said, the catchphrase of popular culture’s most famous depiction of Glaswegian crime and crime-fighting, “There’s been a murrr-der!” in the TV cop show Taggart (1983-2010), wouldn’t had the same impact if it’d been, “There’s been a malky!”

© STV Studios

Manse (n) – a manse is the house provided for a Church of Scotland minister, so basically it’s similar to a ‘rectory’ or ‘parsonage’. Someone who grew up in a manse, because their father (or mother) was a Church of Scotland minister, is known as a son or daughter of the manse. The Scottish Labour Party has, for some reason, given us several children of the manse, including former Prime Minister Gordon Brown, former Scottish Labour Party leader Wendy Alexander, and Wendy’s wee brother Douglas, a former cabinet minister. Political children of the manse inevitably cite their backgrounds as evidence of their strong ‘moral compasses’, though I have to say in my time I’ve met a few inhabitants of the manse (children and parents) whose moral compasses have gone a bit wonky, usually after a few glasses of whisky.

Mawkit (adj) – extremely dirty.

Merle (n) – a blackbird. I understand that merle is also the French word for ‘blackbird’, so presumably it’s another example of the linguistic legacy of the Auld Alliance that once existed between Scotland and France.

Messages (n) – shopping of the everyday variety, i.e., buying a few groceries rather than buying in bulk at Tesco or Sainsbury. Hence the common expression: “I’m daein’ ma messages!”

Midden (n) – a dunghill. A word often employed by Scottish parents while they complain about the condition of their teenage kids’ bedrooms. Also, at one point, the celebrated British sci-fi comic 2000 AD featured a character who was a Scottish bounty hunter with a gruesomely mutated visage. His name was Middenface MacNulty.

© Rebellion Developments

Mince (n) – nonsense. Hence such exclamations as “Och, ye’re talkin’ mince!” or “Yer heid’s fu ay mince!” or “See thon new Avatar movie? It’s mince!”

Ming (v) – to smell badly, with the present participle mingin’ used as adjective to mean ‘stinking’. As a result, when I was a kid and watched the old Flash Gordon serials (1936-40) on TV, I could help wondering if the villainous Ming the Merciless was so named because of his fearsome body odour. For a while, ming passed into popular usage all over Britain with a tweak in meaning, so that the word ‘minger’ became a common slang-term for describing someone who was ‘severely deficient in the looks department’. But I don’t hear it used much nowadays.

Mowdie (n) – a mole.

Muckle (adj) – very big. This adjective was immortalised in the much-loved children’s poem Crocodile by J.K. Annand, which begins: “When doukin’ in the River Nile / I met a muckle crocodile. / He flicked his tail, he blinked his ee, / Syne bared his ugsome teeth at me.”

Incidentally, here’s some pictures of a muckle crocodile I once met, at the side of the stairs going up to Shwedagon Pagoda in Yangon, Myanmar.

Neb (n) – a nose, beak or projecting point. Once upon a time, ladies of a certain age had to put up with uncomplimentary remarks about nebs whenever they played their Barry Manilow records on the household stereo.

Ned (n) – a young hooligan. Depending on which story you believe, the word ned was derived from the term ‘never-do-well’ or was an acronym for ‘Non-Educated Delinquent’. For a time in the early 2000s, it was ubiquitous in Scottish conversation, used as a label for any undesirable-looking youth with a penchant for wearing shell-suits, bling and Burberry-patterned caps and for swigging from bottles of Buckfast Tonic Wine. Its popularity was no doubt increased by the ‘neds’ sketches in the famous Scottish TV comedy show of the era, Chewin’ the Fat (1999-2005). Indeed, ned became the north-of-the-border equivalent of the word ‘chav’, used in England to describe ‘an anti-social lower-class youth dressed in sportswear’. Just as with ‘chav’, there were fears that ned was being used to demonise all young, working-class people. If I remember correctly, the Scottish Socialist Party MSP Rosie Kane tried to have the word banned from the Scottish parliament in 2003.

But before the controversy, I remember hearing the word ned as long ago as the early 1980s. Folk from Glasgow I knew would use it to describe anyone who was small, mouthy and annoying. In that way, it wasn’t much different from the abusive Scots term nyaff, which urbandictionary.com defines as “a very irritating person. When they come into the room, you want to leave.”

© Southern Television

Neep (n) – a turnip. That’s why in the 1970s kids’ TV show Wurzel Gummidge (1979-81), Billy Connolly played a turnip-headed Scottish scarecrow called ‘Bogle MacNeep’. Turnips and potatoes together on a plate are, of course, known as neeps an’ tatties. Meanwhile, my American partner assures me that whenever I talk about neeps an’ tatties, it sounds to her like I’m describing something extremely lewd and filthy. Goodness! (Or better still, jings!)

Neuk (n) – a corner, including one – i.e., a bend – in the coastline. The most famous geographical example is East Neuk in Fife.

From maps.google.com

Nip (n) – a short, sharp measure of alcoholic spirits, often whisky, though I’ve heard people talk about ‘nips ay gin.’ I’d always assumed that, when describing a measure of whisky and the spiky, tingling effect it had when you downed it, nip was synonymous with jag. But looking online, I’ve seen claims that it comes from the word ‘nibble’, as if a nip is just a nibble at the cake that is the full whisky bottle. Also, I’ve seen it attributed to the archaic word ‘nipperkin’, which was ‘a unit of measurement of volume, equal to one-half of a quarter-gill, one-eighth of a gill, or one thirty-second of an English pint’.

Nippie sweetie (n) – an irritable, sharp-tongued person. This is usually applied to the female of the species. Disgruntled Scottish Conservatives, Liberal Democrats and Labourites frequently fling the term nippie sweetie at Scotland’s First Minister and leader of the Scottish National Party, Nicola Sturgeon.

Numpty (n) – a stupid person. To me, though, a numpty is more than that – it’s a preposterous, pompous person who is also stupid. In In the Loop (2009), the movie spin-off from the satirical TV show The Thick of It (2005-12), the preposterous, pompous politician played by Tom Hollander becomes a laughing stock when the wall of his constituency office endangers public safety by toppling over. Jamie MacDonald, the ferocious Motherwell-born spin doctor played by Paul Higgins, taunts him about ‘Wallgate’ by calling him ‘Humpty Numpty’. (To quote MacDonald in full: “If it isn’t Humpty Numpty, sitting on top of a collapsing wall like some clueless egg c*nt.”)

Offski (adj) – ‘away’, ‘leaving’, ‘going’, as in the common Glaswegian phrase, “I’m offski!”

Orraman (n) – in agricultural communities, an orraman was an odd-jobbing farmhand who’d muck out sheds, dig holes, put up fences, mend drystane dykes, lug bales of hay around, drive tractors and basically do whatever needed doing at the time. Now, with farming heavily mechanised, and with one farmer on a tractor (towing the appropriate machine) capable of doing what it took half-a-dozen people to do a few decades ago, the days of the orraman are probably past.

Oxster (n) – an armpit. Dundonian poet Matthew Fitt deployed this word when he wrote the Scots-language translation of the 2013 Asterix-the-Gaul book, Asterix and the Picts. In the original French text, Asterix’s hulking sidekick Obelisk made a joke about ‘oysters’. Fitt converted it into a joke about oxsters / armpits to make it more Scottish-friendly. As you do.

August 14, 2020August 17, 2020

Flash… Ah, feck off

Not for the first time, I find myself wondering if I’m the only person who’s still sane in a world that’s gone mad. And this time what makes me feel that everyone else has lost their marbles is the amount of praise and adulation being heaped on Mike Hodges’ sci-fi / comic-book movie Flash Gordon at the moment – this being both the 40^th anniversary of its original release in 1980 and the occasion of its re-release on modern-day streaming platforms.

In the Guardian recently Peter Bradshaw awarded it four out five stars, hailed it for its supposed expressionism (its ‘operatic theme’, its ‘bizarre 2D studio sets’ and its ‘eyeball-frazzling colour scheme’) and made a somewhat dubious claim that it’d inspired ‘every 21^st-century Marvel movie’. Meanwhile, the Standard’s Charlotte O’Sullivan also gave it four out of five stars and described it as a ‘marvellously terrible romp’ – well, in my opinion, you could argue that she was half right there. And the venerable sci-fi / fantasy media magazine Starburst recently published a list of the best 80 sci-fi / fantasy movies of the 1980s, in which Flash Gordon was placed ahead of David Lynch’s Blue Velvet (1986), George A. Romero’s Day of the Dead (1986), Alex Cox’s Repo Man (1984) and Terry Gilliam’s Time Bandits (1980) and Brazil (1985).

The sound you hear is the sound of my teeth grinding.

I’ll be blunt. I thought Flash Gordon was rubbish when it came out in 1980 and 40 years later, despite what often happens when you have both the benefit of hindsight and the rose-tinted spectacles of nostalgia, I still think it’s rubbish. The beef I have with the film is that it makes a joke of its two sources of inspiration, the Flash Gordon comic strip created by Alex Raymond in 1934 and the three movie serials based on the strip and starring Larry ‘Buster’ Crabbe that were made in 1936, 1938 and 1940. Tasked with putting Flash Gordon onto the big screen in 1980, the filmmakers took the easy route of playing the character for laughs.

This is regrettable because during the same period other filmmakers took their inspiration from similar old comic strips and movie serials but made an effort to adapt them into films that, while poking some knowing fun at their subject matter, did so in an affectionate and proportionate way and were still mightily entertaining at the end of the day. I’m thinking here of the first two Superman films (1978 and 80) with Christopher Reeve and Steven Spielberg’s Raiders of the Lost Ark (1980). In fact, those films remind me of something Mark Gatiss once said about Billy Wilder’s mildly tongue-in-cheek 1970 movie The Private Life of Sherlock Holmes: that it gently takes ‘the mickey out of Sherlock Holmes in the way you can only do with something that you really adore.’

There wasn’t much evidence that Flash Gordon’s producer, the old-school Italian movie mogul Dino De Laurentiis, adored or, indeed, knew anything about the original comic strip and movie serials. However, Flash‘s fate was sealed when old Dino – who, thanks to a CV that included Death Wish (1974), King Kong (1976), Orca: Killer Whale (1977), Amityville II and 3-D (1982 and 83), Dune (1984) and Maximum Overdrive (1985), was known in some quarters as ‘Dino Di Horrendous’ – signed scriptwriter Lorenzo Semple Jr onto the project. Semple Jr was responsible for the 1966-68 TV version of Batman, which had sent up the Caped Crusader in an extremely camp fashion. Incidentally, I’m not using ‘camp’ here in the 1909 Oxford English Dictionary definition of it, as meaning ‘ostentatious, exaggerated, affected, theatrical, effeminate or homosexual’. No, I’m using ‘camp’ in its simpler meaning of ‘so bad it’s good’.

This camp approach meant that the Batman TV show was ridiculous, but with the intention that kids wouldn’t recognise the ridiculousness and would merely enjoy the derring-do, while adults would recognise it and would have a good time laughing at it. Hence, ‘so bad it’s good’.

(Ironically, most films that are regarded as classic entries in the ‘so bad they’re good’ category, from Ed Wood’s oeuvre in the 1950’s to Tommy Wiseau’s epic 2003 clunker The Room, were actually intended to be proper, serious movies. They were never meant to be bad, but ended up so because of their makers’ entertaining incompetence.)

I assume it’s largely because of Lorenzo Semple Jr that Flash Gordon turned out the way it did. Mind you, Dino already had form in the camp stakes for in 1968 he’d produced sci-fi / fantasy movie Barbarella, directed by Roger Vadim and based on the comic strip by Jean-Claude Forest. With its baroque sets, garish costumes and lurid skyscapes, it’s obviously a visual influence on the later Flash Gordon, but it also blazes a trail by being intentionally and supposedly-hilariously silly. I have to say I find Barbarella excruciating. It’s painfully unfunny in nearly all its parts and also grotesquely sexist, with Vadim’s camera leering over the naked and near-naked flesh of its star (and Vadim’s then wife) Jane Fonda. Plus it’s imbued with an irritating swinging-sixties smugness that makes me want to punch a hole in the wall.

I don’t think Flash Gordon is as bad as Barbarella, but when I saw it as a teenager, and any time I saw bits of it on TV afterwards, I always found it a grim experience. It’s depressing how scenes that were meant to have the viewer chuckling at the glorious silliness of everything just left me cringing. The worst moment is when Flash (Sam Jones) takes on a squad of red-armoured goons employed by the villainous Emperor Ming (Max Von Sydow) in a brawl in Ming’s throne-room that morphs into an American football match. Flash and Professor Zarkov (Topol) pass a ball-sized metal orb between them, Flash charges into the goons and scatters them like ninepins, and Dale Arden (Melody Anderson) does a cheerleading routine (“Go, Flash, go!”) on the side. Oh, and any time a goon gets too close to the delegation of Hawkmen led by Prince Vultan (Brian Blessed), Vultan goes, “Ho-ho-ho!” and bonks the goon on the head with his metal staff. Funny, eh? Well…

I’m not blaming the director Mike Hodges, who was responsible for the gritty British crime classic Get Carter (1970). I assume that with Flash Gordon, for reasons of his own sanity, Hodges just pointed his cameras in the right direction and didn’t think too much about what was ending up in the can. However, I wonder what might have happened if the visionary director Nicolas Roeg, who’d originally been signed to make Flash Gordon and had spent a year working on its pre-production, had actually been given a chance to direct it. The results might have been astonishing… But on the other hand, considering how another big sci-fi collaboration between Dino De Laurentiis and a visionary director, David Lynch, created the turgid shambles that was Dune (1984), I suppose the Dino-produced, Roeg-directed Flash Gordon could have been shite too.

I’ll stop the Dino-bashing for a moment to point out that he did subsequently produce Lynch’s excellent Blue Velvet. Credit where it’s due and all that.

To be fair, Flash Gordon does have a few good scenes, for example, when Prince Barin (Timothy Dalton) forces Flash to stick his arm into a hollow tree-stump that’s infested with poisonous alien creepy-crawlies, or when Vultan forces Flash and Barin to fight each other on a platform that has lethal spikes popping out of it at random places and at random moments. The latter scene was choreographed by the late, legendary fight arranger William Hobbs. it’s telling, though, that these good bits are ones that are played straight rather than for laughs.

And although I can’t say the central performances of Sam Jones, Melody Anderson and Topol made much impression on me, I’ll happily praise the efforts of the supporting cast – Von Sydow, Dalton, Omella Muti as Princess Aura, the splendidly silky Peter Wyngarde as Ming’s sidekick Klytus. Also, a number of familiar faces make welcome appearances in smaller roles, such as playwright and occasional actor John Osborne (who played the key villain in Get Carter), sinewy character actor John Hallam (who wasn’t in Get Carter but was in a lot of other British crime movies at the time, like 1971’s Villain, 1973’s The Offence and 1975’s Hennessey), and Richard O’Brien, who co-created The Rocky Horror Picture Show (1976).

Of course, one performance in Flash Gordon that’s memorable, if not exactly noted for its subtlety, is that of Brian Blessed as the Hawkmen’s leader Prince Vultan. As portrayed by Blessed, Vultan is half-Viking, half-turkey, and 100% pure ham. I wonder if Blessed regrets attacking the role with such exuberance. He must get fed up nowadays, 40 years after the event, when people still approach him and ask him to recite, or more accurately bellow, his most famous line in the film: “GORDON’S ALIVE!” Indeed, if you’re to believe Blessed, no less a personage than Queen Elizabeth II once asked him to shout the line for her royal pleasure.

While I marvel at the unfathomable love people feel for this dire film, I suppose I shouldn’t be surprised by another thing that Blessed has claimed about the Queen. Apparently, she’s told him that Flash Gordon is her favourite movie and she makes a point of watching it with her grandchildren every Christmas. In other words, in Britain at least, the Flash Gordon rot extends right to the top.