Buck Rogers

"Buck Rogers" (Episodes 1-12, 1939): This stuff is interesting to me for more than its comic book/kitsch style, weak acting, poor production, low grade special effects, lame story, and bad costumes. In 1938 & 1939, audiences were treated to Serials before the main movie at their local theater. Each section of these ongoing stories was about a half an hour in length, and a new one was shown each week. To see all 12 episodes (the entire story) you had to attend the movies 12 weeks in a row. Did you know the good guys would win? Of course. Did you know that at the end of each week's installment, there would be a "cliffhanger" moment leaving you wanting more next week? Of course. The Great Depression was still on, and television was invented but not yet available except to a few rich people in New York City. Once a week, especially on the weekend date nights and Saturday matinees for the kiddies, the Movie was IT...A SPECIAL experience to be savored for a nickel or dime. You got the NEWS, a CARTOON, a SERIAL installment, and THE MOVIE, plus some "private" time with your date...IN THE DARK, IN AIR CONDITIONING!! What a deal!! When I look beneath the surface of this serial (I go back and forth whether I like the characters in Flash Gordon OR Buck Rogers better, both having the same Space/Future theme, but I definitely prefer the décor and the hidden symbology of Buck) I see, as always, a "future" depicted by what we ARE at the moment, in our own time - considered the most "modern" of styles available to us. The cities, room sets, machines, costuming, transportation, and tools expected to be available to us in the future, are all shown in the Middle Art Deco style of America – Zig Zag, Geometric, Jazz, Skyscraper – applied (slathered) to everything from a pair of shoes to a rocket ship and an entire city. And, since the most modern symbols of the 1930's were our very own skyscrapers - with their skeletons of riveted steel - everything in the future is made of…riveted steel, even if it should float. Wonderful and silly. The city designs are direct ripoffs from various buildings of the 1933 Chicago and 1939 New York World's Fairs. The costumes are a mix of para-military horse riding jodfer outfits, and objects that can serve as both helmets OR trash cans for example...trash cans with lightning bolt wings, anyhow. Radio microphones FLOAT (on a fishing line) for some reason, but their speakers still look like turn of the century wind-up record player speaker horns; doors are toothy, biting jaws that open and close with intimidating chews; every object of any importance has a few vacuum tubes or power line insulators on it, along with the rivets; the powerful rocket ships snap, crackle, pop, fizz, and smoke like a used Desoto pouring sparks out its tail pipe, but somehow they get from planet to planet in minutes. Fight scenes: Buster Crabbe's (Buck's) stand-ins do all the work – and you KNOW they're stand-ins because you can SEE them fighting, and they look NOTHING like Buster/Buck. "Hey look, some OTHER guy's fighting now! Oh wait, he's Buck's stand-in!" Then we have the Zoggs – a dark skinned race of dolts, with large spirals of forehead flesh that hang in their eyes, serving as the gophers and laborer/minions of governments. Bad guys wear tight black uniforms. And here is where we get glimpses into the world of 1938/39, when Hitler, like the "Killer Kane" maniac leader in our story (a name that would have been recognized as the powerful "Citizen Kane" character who represented publisher William Randolph Hearst), who was attempting to take over the world, the solar system, the universe...controlling the minds of everyone. The good guys are working on alliances, some are ready to roll over for Killer Kane, others want to fight, and politics & leadership councils are being put to use as everyone decides who is on which side. In Buck Rogers, the American/English Caucasians/Earthlings are joined by the Chinese/Asians Saturnians and the Russian/Caucasians (of some other planet) to fight the power-mad German/Aryan race. The parallels were simple enough for all of that movie audience to "get". (The Japanese/Asians Aliens were not in the mix directly, but the audience would've known that the alliance with the Americans meant China, who was being attacked by Japan.) On and on the serial goes... battles, spying, espionage, meetings, weapon races, disguises, and science dedicated to winning wars not curing diseases. It was low-grade info-tainment – mild propaganda on a weekly basis – expressions of contemporary concerns and fears, which reached so many millions of Americans every week. Those hidden in the top back rows of the balcony didn't notice.

This serial only proves that Buster Crabbe is definitely the king of the Saturday morning serials. He played two of the most memorable characters in comicdom, Flash Gordon and Buck Rogers. The main difference is the fact that Flash Gordon is more of an adult strip while Buck Rogers was more of a kiddie strip. In comparing the serials, Buck Rogers had as much action as the latter two Flash Gordon epics, however there was not as great a chemistry between Crabbe and Constance Moore as Crabbe had with Jean Rogers. All that aside though, on its own merit, its a great serial.

This was the first TV serial I saw in my childhood, and I still remembers it as a jewel. Buck Rogers (Linden or Larry `Buster' Crabbe) and Buddy (Jackie Moran) had an air crash in 1940, hopefully they survived and were discovered under heavy snow and ice layers 80 years later. Both were conducted to a hidden city, a headquarters of revolutionaries fighting against the injustice of Killer Kane (Anthony Wade), who ruled a very modern city. The adventures had plenty of fiction, with a lot of action, air-spaceship fighting, modern parachutes, visits to far Saturn planet and others. The only disappointment of the serial was that there was no a single kiss between Buck and his eternal female colleague Wilma (Constance Moore). The soundtrack (of Hajos &Waxman), although it was used in other serials of Flash Gordon and Tim Tyler's luck, its introductory part is really nice and difficult to find out in any shop at present. It is pity not to see DVD and/or VHS video available with subtitles in Spanish.

I can't help comparing this 1939 serial to "Flash Gordon" (1936) and "Flash Gordon Conquers the Universe" (1940). Although some of the special effects (the ray guns and fleets of spaceships) are superior, "Buck Rogers" is less fun. It's not the fault of Buster Crabbe, who invests Rogers with the same heroic energy he gave to Gordon. And Jackie Moran shines as sidekick Buddy Wade (in the newspaper strip he was Buddy Deering, Wilma's younger brother). But the other actors fall short. So does the story and pacing.

Anthony Wade's Killer Kane is a colorless villain, lacking the panache of Charles Middleton's gleefully evil Ming the Merciless. He badly needs a slinky, sinister Ardala Valmar to spice things up. Constance Moore is a competent Wilma Deering but there's no chemistry between her and Crabbe. Moore lacks the passion Jean Rogers exhibited as Dale Arden in the "Flash" series or the breezy camaraderie Erin Gray displayed as Wilma Deering in the 1980s "Buck Rogers" television show. C. Montague Shaw is OK as Doctor Huer but doesn't have nearly as much to do as Frank Shannon's Doctor Zarkov (again, from the "Flash" serials).

After an exciting start, the serial falls down in the latter six episodes. It is typical of the genre to have a late episode replay scenes from earlier in the series to pad things out. But "Buck Rogers" does this twice. Serial plots also tend to have a lot of captures, escapes, and re-captures. "Flash Gordon" broke the monotony by having these occur in a variety of ways in a variety of locations. "Buck Rogers" has only two destinations: Earth and Saturn. Both planets apparently share the same rocky desert terrain. Doctor Huer has only one technological gimmick to help Buck. The heroes get stranded by crashed spaceships seemingly every other episode. And Kane's goons never tumble to the fact that it's Rogers driving that rocket cruiser reported missing from their hangar.

Given it's charismatic hero and quality special effects, "Buck Rogers" could have equaled or surpassed "Flash Gordon" if it had had stronger writing or more energetic secondary characters. Unfortunately, it has neither.

This a good, not great, serial from Universal. It does pale in comparison to the Flash Gordon serials which were also produced at the same studio..

The performances of the principal actors are a mixed bag. On the plus side, Buster Crabbe, while not a great actor, is suitably likable and stalwart as Buck. Constance Moore's Wilma Deering is a composed rebel officer and, despite appearing throughout the film in a baggy one piece jump suit and what looks like a bathing cap, is quite attractive. Jackie Moran's Buddy is enthusiastic and energetic without being annoying, as many actors in his age group were in the late 30's. On the minus side Philson Ahn's performance as Prince Tallen can best be described as wooden. Anthony Warde's Killer Kane spends the serial doing little more than speaking in a bear growl voice and threatening to send people to the "robut room"---i.e the robot room.. It's easy to see why Warde was relegated to smaller roles playing the henchman of the main villain in serials and B movies (usually in a convincing manner) after he appeared in this flick.

The film was clearly made on a smaller budget that the Flash Gordon serials. Most of the action takes place on six sets (the rebels base, two rooms in Kane's fortress and two sets on Saturn). The rocket ships look like steam irons and emit an irritating buzzing drone while in motion. Most of the cliff hangers consist of a horrendous crash from which the good guys emerge unscathed.

Despite its shortcomings I found this serial enjoyable. It never seemed to drag; the acting of Crabbe, Moran and Moore was appealing. There really are far worse serials out there. Buck Rogers is not a classic, but it is worth watching.