Chances are, if you like any comic at all, the last few years will have seen one of your favourites be made into some sort of film, with adaptations ranging from both the biggest to even the most obscure comics and graphic novels. Some, such as 2000AD’s most famous story, Judge Dredd, have been filmed more than once.
But which other stories from the Galaxy’s Greatest Comic are ripe for a big screen outing?
Sam Slade: Robohunter
The pitch: Like Blade Runner. Except funny.
Like Blade Runner, John “Judge Dredd” Wagner’s Robohunter took its inspiration from Philip K. Dick’s novella Do Androids Dream of Electric Sheep? It was always much more fun than Ridley Scott’s film though (which it predates). Sam’s colleagues included Kidd, an obnoxious man trapped in a baby’s body and the idiotic android, Hoagy. His first mission saw him trying (and failing) to bring order to the colony Verdus where a full-blown robot revolution had occurred.
The pitch: Blue movie.
Thanks to Avatar, The Watchmen and The Smurfs, cinema’s latest “blue” period may have peaked a few years ago. But the blue genetically engineered warrior Rogue, trapped in an eternal war on the desolate Nu Earth is the only 2000AD character other than Dredd to have ever got his own annual and could work well on screen.
The pitch: The Hunger Games for grown-ups.
Not to be confused with Children’s ITV’s Button Moon (note: nobody has ever done this), this was a rare non-sci-fi outing for the comic. The premise – hired killers are paid by rich clients or “Voices” to hunt each other and fight to the death for sport – is so cinematic that it’s surprising it hasn’t been filmed already. In fact, Dreamworks bought the rights some years ago. But, as yet, there is no film.
The Ballad of Halo Jones
The pitch: The girl from tomorrow.
Before he became the beardy comics legend behind The Watchman and The League of Extraordinary Gentlemen, Alan Moore wrote a lot for 2000AD, notably this unusual female-centric strip which saw its heroine progress from life in the claustrophobic 40th century metropolis The Hoop, to a job on a luxury space cruise liner to ultimately fighting a future war on the time-distorting planet Moab.
Nemesis the Warlock
The pitch: Alien insurrection.
Nemesis is the alien leader of Credo, a resistance movement fighting the neo-fascist forces of the malevolent, futuristic masked megalomaniac Torquemada. With catchphrases like “Be pure, be vigilant, behave!” the villainous Torq is the real star of the strip. It’s a nice twist having humanity as the villain, although in general, Pat Mills’ story is probably a bit too weird to make into a film.
The pitch: The Celtic Conan.
Pat Mills’ Slaine, the musclebound warrior of the Land of the Young, Tir Nan Og, may be steeped in Celtic mythology, but it did start around the same time as the first Conan films. Despite unique twists (the whole thing is related by Slaine’s morally questionable dwarf sidekick Ukko and Slaine himself is also prone to warp spasms – don’t ask), a Slaine film might struggle to escape from such unfair comparisons.
The pitch: Surfs up!
A spin-off from Judge Dredd, Chopper – real name: Marlon Shakespeare -first appeared as a teenage graffiti artist not unlike a Mega City One version of Banksy, in the early Eighties before transforming into a world champion in the illegal sport of sky surfing. This could actually be brilliant, although risks comparison with the Silver Surfer (already brought to screen in the terrible Fantastic Four sequel). And as any Eric Bana fan will tell you: there is already a film called Chopper.
The ABC Warriors
The pitch: They, Robot.
Robotic fighting unit and sometime allies of Nemesis the Warlock (see above), the two most famous Atomic Bacterial Chemical Warriors – the wittily named Ro-Jaws and Hammerstein – first appeared in Ro-Busters, a sort of robot version of Thunderbirds, which appeared in 2000AD’s sister paper Star Lord, before merging into 2000AD in 1978. Oddly, Hammerstein has already been in a film, cropping up randomly in the first Judge Dredd movie.
The pitch: Alpha male.
In the future, a nuclear conflagration has left a sizeable minority of mutants, all forced – for some reason – to work as Search and Destroy agents (or “Strontium Dogs” basically bounty hunters) by the unsympathetic “norm” majority. The coolest of these is Johnny Alpha, accompanied by his Viking sidekick Wulf Sternhammer (“A skull to crack with the happy stick und Vulf is fine!”). Alpha’s mutation gives him white eyes but it also enables him to read minds and do all manner of cool stuff, so who’s complaining?
The pitch: She’s always in your mind.
Another Dredd spin-off but let’s face it, the psychic female Judge was the best thing about the recent Dredd film. She could also be pitched against Mega City One’s ultimate super-villain, Judge Death. Altogether now: the crime is life, the sentence is death!
Every year since 1928, the American Academy has awarded a Best Picture Oscar to the movie deemed to have been judged “Best Picture”. Sometimes they have got it right (Casablanca, The Godfather, Slumdog Millionaire). Sometimes they have got it wrong. Hugely dramatically wrong. Here are some of the worst foul ups and some possible explanations for them…
1941: How Green Was My Valley beats Citizen Kane.
Don’t get me wrong. I’m not saying John Ford’s How Green Was My Valley is bad. It’s just that Citizen Kane is supposed to be the greatest film ever made. The young Orson Welles’ performance in the lead role as Kane himself is peerless as is his direction. Witness Kane’s convincing transformation from a charismatic young idealist into an embittered old man. The innovative use of light and shadows. The scene in which Kane’s marriage declines from untroubled romance into weary silence in the space of a few shots. Citizen Kane transformed cinema forever. Why didn’t it win?
The simple answer is that by basing Kane on the real life newspaper tycoon William Randolph Hearst (who was still very much alive in 1941), Welles assured the film’s critical and commercial failure. The journalist’s quest to uncover the secret of “Rosebud” (the name of Kane’s childhood sledge and the character’s last word) in the film alluded to Hearst’s own private nickname for his mistress’s (ahem) private part.
Hearst was hugely powerful and buried the film amidst hostile reviews just as Rupert Murdoch would do if a similar film were made about a thinly disguised malevolent Australian TV and press baron today. The genius Welles who had read the complete works of Shakespeare before he was ten, ended his days as fat as a house and lending his distinctive voice to Transformers: The Movie. As well as probably the best beer commercial voiceovers in the world.
But critically he had the last laugh. It’s difficult to think of William Randolph Hearst these days without inviting thoughts of Citizen Kane.
And to be fair, for all its technical excellence, Citizen Kane is hardly a natural crowd-pleaser. It might not have won anyway.
1976: Rocky beats Taxi Driver (and a few other things).
1976 should have been a classic year. Sydney Lumet’s Network was a powerful critique on the media portraying a news programme’s cynical exploitation of one of its presenters when he suddenly has a breakdown and announces he’s going to kill himself on air. All The President’s Men saw Robert Redford and Dustin Hoffman as real life Washington Post journalists Woodward and Bernstein as they uncovered the Watergate scandal. Taxi Driver saw Robert De Niro deliver one of the finest performances ever committed to film as a Vietnam vet driven mad by insomnia and loneliness comes close to assassinating a presidential candidate.
But 1976 was the United States’ bicentennial year. the Academy are a conservative bunch and were keener to reward a film endorsing the American dream than one about Watergate (in an election year) or one about Vietnam vets. This why Rocky beat all of these films, despite being clearly the worst of the lot.
1979: Kramer Vs Kramer beats Apocalypse Now.
Actually for all Apocalypse Now’s classic status, I’m less sure this was such a bad call. Kramer is actually an excellent and extremely powerful film while Apocalypse Now does rather go on a bit and – let’s face it – doesn’t end properly. Besides, the much more conservative Vietnam film The Deer Hunter had already won the previous year.
1989: Driving Miss Daisy beats Born on the Fourth of July (1990 Dances With Wolves beats Goodfellas).
Driving Miss Daisy was a ludicrously safe choice which barely even begins to discuss the issues raised by the civil rights struggle of the 1960s. Even worse, the Oscars opted for Kevin Costner’s picturesque western snooze fest the following year, thus snubbing Goodfellas, probably the best film of the entire 1990s.
1994 Forrest Gump beats Pulp Fiction.
The Oscars got everything wrong this year snubbing the most iconic and watchable film of the decade in favour of a film which a) portrays the entire anti-Vietnam movement as a bunch of sneering wife beaters b) suggests women should marry young and be good housewives or they’ll descend into drugs, promiscuity and prostitution c) spends a good half hour showing Forrest running across the US in a bid to win the Best Cinematography Oscar…which it didn’t win anyway! And d) is scared to mention the AIDS virus by name. In 1994. A full year after Tom Hanks had appeared himself in the Oscar winning Philadelphia which is all about AIDS.
Even worse: the one Oscar Pulp Fiction did win (Best Original Screenplay) should actually have probably gone to Four Weddings and a Funeral.
Samuel L Jackson’s response on losing the Best Supporting Actor Oscar (visibly mouthing “Shit”) says it all.
2006: Crash beats Brokeback Mountain.
Were the Academy attempting to show their liberal credentials by awarding a film about racism? Or were they just being homophobic? Or were they just idiots? Who knows? Either way Paul Harris’s Crash must rank amongst the weakest Best Film winners ever. It’s barely any better than the David Cronenberg car crash fetish film of the same name.
The name is fitting though: the choice was a disaster.
Few greater changes can occur on a movie’s production than the leading man being replaced at the last minute.
But what if history had played out differently? Yes, it’s hard to imagine anyone other than Harrison Ford playing Indiana Jones now, but it almost happened.
HARRISON FORD Vs TOM SELLECK
The role: Adventurer/archaeologist Indiana Jones in Steven Spielberg’s Raiders of the Lost Ark (1981)
The first choice: Tom Selleck, star of TV’s Magnum PI.
The replacement: Harrison Ford. Despite small parts in Francis Ford Coppola’s The Conversation and Apocalypse Now, Ford was not actually a big star in 1981. Even his role as Han Solo in Star Wars had not in itself assured him widespread and enduring fame, any more than it did for his co-stars Mark Hamill or Carrie Fisher.
The switch: After struggling to receive serious attention from the industry into his mid-thirties, Selleck landed the role of Magnum in 1980. Although a big success, contractually Selleck found himself unable to take the role of Indiana Jones which went to Ford instead. Annoyingly, a strike on the set of Magnum meant that Selleck could probably have performed both roles anyway.
The result: The film was a box office smash and an all time classic, winning an Oscar nomination for Best Film and spawning three sequels.
What happened to the new star?: Relatively late in life, Harrison Ford became one of the biggest movie stars of all time and for close to twenty years had a reputation for never being in a flop (although, in truth, the critically acclaimed Blade Runner and Mosquito Coast both failed commercially). In addition to the Star Wars and Indiana Jones franchises he appeared in the highly regarded “grown-up” films Witness, Frantic, Working Girl, Regarding Henry and Presumed Innocent. Despite never winning an Oscar, he is one of the biggest Hollywood stars of all time.
And the first choice?: Selleck stayed in Magnum – a big success in its day – until it was cancelled in 1988 (the character was killed off). He appeared in one or two transparent attempts to emulate Indiana Jones such as High Road to China and Lassiter during the Eighties as well as Quigley Down Under. He played the King in Christopher Columbus The Discovery (for which he received a Razzle) but aside from Magnum is probably best known for his role alongside Ted Danson and Steve Guttenberg in the comedy Three Men And A Baby and as Monica’s older lover Richard in Friends.
Conclusion: I’ve no desire to compound Tom Selleck’s misery on this subject but from what we’ve seen during his career, it’s hard to imagine he would have a) been as good as Indiana Jones as Harrison Ford was anyway or b) had the same career Ford subsequently enjoyed. Would Selleck have taken up a half-arsed role in Cowboys and Aliens? Would Selleck have married Calista Flockhart? Would Selleck’s second wife have written ET? We must assume not.
Crumbs of comfort: Tom Selleck is still a household name. And he has arguably demonstrated more of a flair for comedy than Ford has. And before we get too sympathetic: Selleck is a vocal supporter of the National Rifle Association.
The winner?: HARRISON FORD
MARTIN SHEEN Vs HARVEY KEITEL
The role: Captain Benjamin Willard in Francis Ford Coppola’s Vietnam epic Apocalypse Now (1979).
The first choice: Harvey Keitel, then best known for his roles in the early Martin Scorsese films, Mean Streets and Taxi Driver.
The replacement: Martin Sheen, previously the troubled James Dean-alike Fifties hoodlum in Terence Malick’s Badlands.
The switch: Keitel was fired and replaced by Sheen early in the troubled production. Coppola felt Keitel struggled to play Willard as a “passive onlooker”.
The result: Keitel must initially felt like he’d had a narrow escape. Apocalypse Now was soon christened “Apocalypse When?” by critics as the production overran, the crew in the Philippines were hit by a bout of food poisoning, director Ford Coppola grew increasingly power-mad and co-star Marlon Brando arrived much fatter than expected and delayed production still further while he took time out to read the Joseph Conrad novella, Heart of Darkness upon which the film is loosely based. Although only in his late thirties, Sheen, then struggling with alcohol, also suffered a heart attack while filming. Despite these issues, the film was a critical and commercial success and is rivalled only by Platoon (starring Martin’s son Charlie Sheen) as the best ‘Nam film ever made.
What happened to the new star?: Despite quitting the booze and keeping busy, Sheen didn’t choose particularly great film roles during the next two decades. Indeed, the period saw him slightly eclipsed by his sons Emilio Estevez and Charlie Sheen. However, his role as President Josiah Bartlet in Aaron Sorkin’s long-running TV drama The West Wing put him back on the map. Now in old age he appeared recently in the new Spider Man film and generally plays small “elderly father” roles.
And the first choice? Keitel slipped into near obscurity in the Eighties before enjoying a comeback towards the end of that decade playing Judas in Scorsese’s controversial Last Temptation of Christ and securing an Oscar nod for a role in Warren Beatty gangster film, Bugsy. The Nineties were very good for Keitel with hard hitting acclaimed roles in Thelma and Louise, Jane Campion’s The Piano, Quentin Tarantino’s Reservoir Dogs, Pulp Fiction, Rodriguez’s From Dusk Till Dawn and Ferrara’s Bad Lieutenant and lighter roles (although again as a gangster/criminal type) in the likes of Sister Act. His profile has fallen in the 21st century though.
Conclusion: Hmmmm. Sheen has starred in two classic films Badlands and Apocalypse Now and one great series The West Wing. Harvey Keitel has starred in two classic films, Mean Streets and Reservoir Dog and had notable support roles in three others Taxi Driver, Thelma and Louise and Pulp Fiction. Sheen is perhaps the slightly more famous of the two men, thanks partly to his sons. But oddly, as huge a deal as Apocalypse Now must have seemed at the time, in the long run, neither actor has been obviously more successful than the other. Both have kept busy, done some great stuff and both have done hell of a lot of stuff you’ll never see.
The winner?: A DRAW
MICHAEL J. FOX Vs ERIC STOLTZ
The role: Marty McFly in science-fiction rom com Back To The Future (1985).
The first choice: Eric Stoltz, then best known for his role alongside Cher in Mask (no, not the Jim Carrey one).
The replacement: Michael J. Fox then the star of US sitcom Family Ties. The ‘J’ incidentally, doesn’t stand for anything. Michael Fox’s middle name is Andrew but he reasoned Michael A Fox might sound silly or even a bit conceited.
The switch: Brutal. Filming had commenced when Eric Stoltz was fired for playing the role too much like it was a drama rather than as a comedy. Fox – unlike Tom Selleck on Magnum – was lucky to be able to work around his Family Ties schedule although endured a punishing timetable with many scenes being filmed early in the morning. Stoltz – who was physically similar to Fox although eight inches taller – remains in some shots used in the finished film.
The result: The film was a box office smash and is still much loved. There were two sequels, both big hits despite being slightly less good.
What happened to the new star?: Fox became a huge star overnight as the film coincided with the release of Teen Wolf, a film disliked by Fox personally but which nonetheless did well. Fox appeared in the BTTF sequels and the weighty Casualties of War but his star waned in the early Nineties, probably in part due to Fox struggling to come to terms with the private news of the diagnosis of his Parkinson’s disease in 1991. He enjoyed an impressive comeback in 1996 with his role as a youthful looking political adviser (based on Bill Clinton’s own George Stephanopoulos) which led in turn to a triumphant return to sitcom in Spin City. He announced his illness in 1998 and has become a vocal spokesman for the disease since, as well as voicing Stuart Little. He’s also enjoyed recurring 21st century TV roles in Boston Legal, The Good Wife and Curb Your Enthusiasm.
And the first choice?: Poor Eric Stoltz must wish he could time travel and change history himself sometimes. But he did get to stab Uma Thurman through the heart in Pulp Fiction and directs Glee sometimes.
Conclusion: Although not cursed by the ill-health of Michael J. Fox, fame wise, sadly Stoltz isn’t even really a household name.
The winner? MICHAEL J FOX
JOHN TRAVOLTA Vs RICHARD GERE
The role: Several: the leads in Days of Heaven, An Officer and A Gentleman and American Gigolo
The first choice: John Travolta, already a huge star after Saturday Night Fever and Grease.
The replacement: Richard Gere, who ironically had starred in the original London stage production of Grease in 1973.
The switch: Travolta foolishly turned down all these roles. Gere took them all instead.
The result: All the films did well. Days of Heaven was more of a critical than commercial hit.
What happened to the new star?: Richard Gere became a star. He is still probably as much admired for these early roles as anything he has done since although enjoyed another massive hit with Pretty Woman in 1990. His career has had a few ups and downs over the years and may have been harmed slightly by his pro-Tibetan stance but he has never vanished from view. He returned to musicals for the Oscar winning Chicago in 2003, a role also turned down by John Travolta.
And the first choice?: Travolta’s career endured a dramatic fifteen year slump relieved only by the success of Amy Heckerling’s Look Who’s Talking in 1990. By 1994, however, with the Seventies becoming fashionable, turns in Pulp Fiction and Get Shorty suddenly made him very cool again and he returned to stardom. Occasionally, he’s made bad career choices since (the Scientology inspired Phenomenon and Battlefield Earth) and he’s not exactly “cool” anymore. However, he remains a star.
Conclusion: Gere to some extent owes his career to John Travolta’s early poor career choices. Yet as with Keitel and Sheen, the decades have evened the score somewhat.