Flash Gordon

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....

Tala Birell's role is indicated in the credits (not "uncredited" as heretofore indicated). The episode was filmed in Berlin and was the only episode in which Tala appeared. She looked all of her 45 years and would die several years later from cancer. Tala's commanding presence as a vicious queen determined to rule the universe expands the range of camp performances, unfortunately her last role in a 30 years career on stage and in film.

I was given a DVD of four of these episodes by my husband for Christmas when he couldn't find at the store the movie I had specifically requested. It probably cost a dollar and was in the cheapest possible packaging. I was screaming I was so excited. I have often thought of this series that I watched when I was young. I only remembered the name of Flash, but as soon as I read that he modeled for "Doc Savage," I recognized the resemblance.

The music sounds like Prokofiev's "Rite of Spring" at times and I agree that the German sets verge on the expressionistic. I'm sure I spend more on a week's worth of groceries than they did for the sets AND costumes. In fact, the costumes on "Akim the Terrible" look like they are handmade from a high school production. The German actor in this show who plays Kurt I think is very good and looks familiar; however, no credits are given for any actor except the three leads. One more thing, where did the commissioner get his eyebrows? These shows are great. I played them twice because I only had the four. Have to see if I can get any more. I'm sure it won't break whatever budget I have.

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.

I recently inherited a massive television set with a blown color tube and have been availing myself of the opportunity to watch exclusively B&W productions on it, which inevitably led me to watch the classic "Flash Gordon" serials again. Which in turn led me to watch these marvelous old "Flash Gordon" TV shows as well. Sure, they don't come anywheres near the epic art deco masterpieces of the Buster Crabbe era, but by golly there's something going on here that's pretty darn interesting.

The show was apparently a co-production between US, West German and French studios filmed on & around the rubble heaps of a still partially demolished West Berlin in 1953. The series aired in syndication on the old DuMont Television Network, a fascinating chapter of American pop consumerism eating itself. The series doesn't have Ming or Mongo or the Tree Men, but what it does have is an abundance of US issue Cold War era military industrial complex effect going on, crossed with German neo-expressionism and even some good old Sartre inspired French existentialism.

It's easy to laugh at the low budget sets, costumes, space helmets, ray guns and cheap model rocketry spaceship effects, but it's always easy to poke fun at past forms that now seem quaint or silly. Dig up some old pictures of yourself & the crew from the early 1980s and you'll see what I mean. Either you guys deliberately dressed like jerks, or you were enmeshed in the times and unable to see how ridiculous you looked because you & I both didn't know any better. Same thing goes for old science fiction props, production design, costuming, and applied science.

The only genuine criticism I can find for the series is the awful theme music, but once you get beyond that what you're left with is a deceptively creepy little television show that, as others point out, make the Captain Video type American made SF efforts of the era seem completely vapid by comparison. There is a sophistication to the execution of the show that belies it's cheapness, and the action scenes set amongst the rubble strewn streets of an actual bombed out city have a kind of eerie pathos to them that is at odds with the space opera scripts. I hesitate to say it creates a profound juxtaposition of pop culture semantics set against the actual ravages of dystopian angst, but that's exactly what it amounts to.

7/10: Several episodes have turned up on bargain bin public domain DVD sets out at the dollar stores. Buy a couple, they are worth it.