Flash Gordon

This is a strange TV series, yet one which is at times oddly compelling. It was obviously made on the cheap, even for it's time, and is quite primitive from most standpoints, yet, like amateur theater, can be interesting.

The connection to the classic Flash Gordon of the classic newspaper comics and 1930's film series is tenuous...Our Heroes, Flash, Zarkov, and Dale Arden are the focus of the stories and they are in recognizable form, but rather than being contemporary adventurers they are instead duly deputized agents of the Galaxy Investigation Bureau, operating hundreds of years in the future as government agents in space.

In this manner, they fit in with most of the other TV space heroes of 1949-55 period, such as Rocky Jones, Commander Corey, Tom Cobett, Commando Cody and Captain Video, all military or quasi-military officers...which probably fit into the Cold War schema of lionizing military authority.

The principle characters, Flash, Dale and Zarkov are actually very good choices for the roles. Steve Holland is often derided for his portrayal of Flash, but I think this is unfair...he makes a good enough hero and was definitely muscular enough...I think simply that he wasn't Buster Crabbe, and Buster Crabbe was DEFINITIVE. Holland appeared younger than Crabbe, leaner, and with poofier blond hair...if he had been cast in one of the 'teen-age' monster pics circa 1957 or in one of the surfer pics circa 1962, I think he'd have been a success, at least within the schlock film genre.

Irene Champlin's Dale Arden appears a little closer to age 30, less submissive and more capable that of Jean Rogers...her sexiness is somewhat different than the original, but I like her. Joseph Nash as Zarkov is younger, stronger, and has a better beard than the guy in the serials, yet still is convincing in the role.

The scripts range from being horrible to decent with occasional moments of surprising brilliance here and there which make you tend to forget all the tedium. Sometimes the science fictional elements are plausible, but the writers seemed to have zero concept of the distances and time factors that would be involved for space travel, even in the solar system...this fact is underscored in one episode which established that the ships in this fictional universe lacked faster-than-light capability.

Most of the reviews mention that this show was filmed in post WWII Germany, a nation that still had lots of bombed-out and otherwise war-torn locations that were occasionally used to stand-in for dystopian landscapes. Besides showing you bombed-out ruins, the producers also had a liberal usage of stock footage, including buildings being blown up, and refugees fleeing en masse, which perhaps inadvertently serves to add a note of grimness.

Most of the minor parts in the series were played by Germans who spoke English with a heavy German accent. This works pretty well for the villains, since Captain Video, Space Patrol, and other scifi shows of this period favored villains with German or Russian accents, but for the 1st bunch of episodes, Our Heroes supervisor was a very somber-faced guy with a heavy accent...he was eventually replaced with a more acceptable American actor.

The whole German angle to this show is interesting for other reasons. Prior to WWII, there was a full-fledged movement of pioneer rocket scientists in Germany whose goal was manned spaceflight and the exploration of the solar system. These guys inspired and advised Fritz Lang, who created 'Frau im Mond,' which was probably the 1st attempt at a realistic vision of space travel. These pioneers included Werner Von Braun and Wiley Lee, and they were recruited into the Nazi war effort, their crowning achievement being the famous V-2 rocket, the 1st operational ballistic missile. As Nazi Germany collapsed, the German rocket scientists all either surrendered or were captured by the USSR and USA, with Von Braun and Ley eventually making huge contributions not just to the USA space program, but also promoting the very idea itself of manned space travel. So it can be fairly stated that the idea of practical manned space flight is very much a German idea.

The other way German culture plays into this is that Alex Raymond, creator of the original Flash Gordon comics, was strongly influenced, visually and thematically, by Germanic folklore. The planet Mongo is essentially a stand-in for Medieval Europe, and Flash, besides being blond, was clearly endowed with Teutonic physical features.

Universal Studios, which adapted Flash to the silver screen in the 1930's, employed set designers and artists who were heavily influenced by the German expressionist cinema movement and many technicians actually came from Germany itself. The sets and props of this impoverished series show some of this expressionist influence, a kind of strange hybrid of Fritz Lang and Ed Wood.

Based on the comics and the film serials of the 1930's, some intellectuals called Flash Gordon 'the American Seigfried,' a reference to the great hero of German myth. It is interesting to see this vision, translated via the ruins of the greatest period of hubris and tragedy the German nation ever knew.

Even though this live-action, Sci-Fi, TV show from the early 1950s was, pretty much, a bargain-basement special, it still contained enough goofy entertainment value in its half-hour episodes to earn itself a 4-star rating from me.

Set in the year 3203, Flash Gordon and his space-age pals, Dr. Zarkov & Dale Arden, boldly travel across the vast galaxy, battling cosmic villains, here, there, and everywhere.

Always in full command of his gleaming starship, The Sky Flash, you can always count on dashing, young Gordon and his diligent crew to keep the cosmos safe for one, and all.

Filmed in b&w, this German production ran for only one season, 1954-1955.

Depending on your point of view. I have a dim memory of seeing this rerun on Sunday morning TV when I was a kid (even then it seemed ancient). I picked this up for a buck at a local thrift store. For the most part is seemed very tedious, and the attempts to pass of post war Berlin as other planets reminded me of ALPHAVILLE without the wit or imagination (after all, Godard knew we wouldn't really buy Paris AS Alpahville but assumed we'd go along with the joke --- here they actually seem to be serious). Still some of the imagery is sporadically striking. For a moment I thought the hellish underground scenes might be taken from some German silent film. They had a little of the atmosphere of Lang's SEIGRIED, only done on the cheap. Really this is a curiosity item more than anything. I can't recommend it, but I wouldn't try to dissuade anyone from seeing it either.

Oh --- but Irene Champlin as Dale Arden ---? Dale's MOM, maybe....

The Flash Gordon 1950's TV series is interesting, mostly due to it's being one of the first science fiction series to be shot on film. The fact that it was made in the still recovering post WWII Germany, and the later episodes in France gives it different look and feel than comparable American lensed shows, such as Rocky Jones, Spacer Ranger.

Some of the German episodes are rather dark and grim, with an almost expressionistic look. The budgets are quite low, and while there are a number of model shots of the space craft (such as Gordon & Co.'s Skyflash) many of the effects in the German episodes are largely photo and cel animation. The French episodes feature the Skyflash II, a very shiny rocket model, which seemed to complicate matters for the slightly more ambitious FX in the later episodes.

Male model Steve Holland played Flash, which is intriguing, as Holland was the artist model used by James Bama for the Doc Savage novel reprints that were highly successful in the 60's and early 70's. Holland turned up on the cover of many action hero paperbacks. For someone with no real acting experience, he's not too bad -- but he's certainly no match for Buster Crabbe's portrayal.

Joe Nash is generally quite good as Zarkov. Irene Champlin seemed to have some trouble (as did many of the actors) in getting her lines out and try to make an actual performance gel in the rushed looking -- possibly single take -- scenes.

Producer Ed Gruskin was known for his work in radio (including a Doc Savage series) and writer Bruce Elliot wrote for the pulps, notably a number of Shadow novels under the house name of Maxwell Grant.

Some of the music by Roger Roger (yep, that's his name) in the French produced episodes will be very familiar to viewers of low budget horror and Sci-fi films of the 50s,60s, and 70's. The tracks became part of a music library, and are still licensed for use today.

Digiview Productions has just released three of the series' 39 episodes on DVD, including "Deadline at Noon," "Flash Gordon And The Planet of Death" and "Flash Gordon And The Brain Machine." These are the only episodes I have seen, so keep in mind, all comments are based on this limited exposure. By today's standards, 1954's "Flash Gordon" might not make it to a fan-film awards show. The writing is atrocious, the acting could best be described as forced melodrama and the production values are comical ("Deadline at Noon" includes a lengthy discussion between Flash, Dale and the good Doctor commenting on the wonders of stock footage, for example.) Also, the 'science' behind the fantasy is so dated, it's hilarious (1,200 years in the future, the state-of-the-art still includes Geiger counters.) For all that, Flash Gordon has its good points, one of which has to be Flash's space ship, the Sky Flash, which looks pretty darn good for the early days of television. I'm sure that when "Flash Gordon" was watched through the eyes of a child in the mid 1950s, it had everything a "Star Trek" or a "Battlestar Galactica" had for future generations of young TV fans: plenty of action, adventure, ray guns, space ships and far-flung planets waiting to be explored. In short, if you're a Flash Gordon fan and an all-around sci-fi movie geek like I am, this is some of the best entertainment you can find at the bottom of the DVD bargain bin.