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9 (1936 - second part) The adventurous

Adventure: the golden age of Mandrake

In early 1936, Mandrake The Magician's Lee Falk and Phil Davis (production daily strips ) enters its best times. The show ends pitch Tanov , horror story that
- as we have seen - is clearly inspired by the movie Frankenstein of James Whale :

But the best, the couple Falk-Davis gives the subsequent history, clay The camel, which Nerbini, it L 'Adventurous back to eight pages, printed in an attractive two-tone. It is still an unsurpassed mix of elegance of design (a brush) and dramatic pathos, tempered by an irresistible irony:

The "camel clay is Saki, second "arcicattivo" (After Cobra) in the saga of Mandrake : criminal mastermind, turned in the best tradition of the nineteenth century, is invisible to the readers themselves, and then subtly disturbing.

Wrote Carlo Della Corte, more than forty years ago:

The lightness, the grace of Mandrake, optimistic character, plane, smiling, even fatuous, with quell'abbigliamento from vaudeville and that nigga and obedient servant to the ribs, worthy of a prince of the desert bursts with all its freshness in the first of these adventures, the man of mystery. Phil Davis seems still tentative, its design has a stylized elegance and rough, feels that the pen is not satisfied, that Mandrake has a face to be defined.

Yet it is undeniable that the appeal of Phil Davis is almost everything in these early adventures, which remains far from realism, to which by degrees approssimerà later. Mandrake has a departure at all surreal, graphically: the pair Lee Falk (subjective) and Phil Davis takes account of the horror novel in many folds of the story, and even darkly thrilling scenes in the realm of the Cobra, which ventilate those of classic Castle of Otranto. (Carlo Della Corte, The Mysterious Mandrake , Eureka Pocket, 1969).

I can not find the quote - perhaps in an interview with a magazine, who knows - but just as beautiful praise to Mandrake are those Paolo Poli . The great actor and man of culture, talking about the creature Falk, and Davis said more or less, many years ago, which for him represented the quintessence of life civil , meaning aesthetics opposite military. Poli recalled in the interview that when her peers went mad per armi e astronavi, lui amava la classe, l’ironia, l’intelligenza di Mandrake .

Sorge il dubbio che le peraltro benemerite case editrici americane, ancora non abbiano ristampato Mandrake per la figura di Lothar e per altre sortite “politicamente scorrette”. Ma è troppo facile, oggi, accusare di “razzismo” Lee Falk: quello degli anni Trenta è un altro mondo, ormai diversissimo dal nostro anche per il sentire comune.

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particular, for now.





So beccatevi Robert Baratheon and a little 'children of Eddard Stark.

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8 (1936 - first part) Mickey

Back flagship of Nerbini, The Adventurous , and follow it in its triumphant march. The golden days will stop abruptly in the fall of 1938, with the provisions of the censors Ministry of Popular Culture, but for now there are no clouds in sight. Indeed,

Nerbini can even afford to reduce from eight to six pages, from number 61 in 1935, leaving the price unchanged. The reduced foliation will last until No. 84. The Adventurous

to six pages (a single large sheet, folded in three) continues to offer its bigwig American King Features Syndicate stable . The star of first magnitude remains Flash Gordon of Don Moore and Alexander Gillespie Raymond . Nerbini continues to lay out the tables on Sunday in a substantially correct, although with several "stretching" of cartoons, to fit the different layout of the magazine.

Alex Raymond, as we have seen in previous posts, experiment with different techniques of ink from the nib to a brush. His fame expanded dramatically, both at home and abroad. Twenty-six years is already a master universally recognized and influential, with many followers. Here it is, in a photo of these thirties, caught Online

In 1935, Raymond continues to draw virtually no assistants, a full page Sunday (with Flash Gordon and his topper , Jungle Jim) and a daily series, Secret Agent X-9. It is a tour de force that can not long endure, as we shall see.

printing de The Adventurous limps a bit 'in recent months, and does not do full justice to the masterpiece of Raymond. Moreover, the giornalone of legendary Nerbini will remain for a long time, the best edition of the world Gordon : despite all its flaws, it offers almost no gaps, the entire production from start to July 28, 1938, in large format printing with good results.

wait until the nineteen sixties to have the edition of discutibilissima Sword Brothers and the next decade to one in black and white Nostalgia Press (we Garzanti ) and for prints of Italian amateur Club thirties and Comic Art . The only American reprint in full color and with original, quality but not exceptional, will be released (for the Kitchen Sink , in six volumes) even in the nineties.

The continuing saga of Gordon, among princesses- dark ladies and warring kingdoms, monsters and spaceships Rococo beautiful and impossible, in a cheerful chaos narrative. But at the end of 1936 begins to plot his way a more structured and consistent manner. The protagonist is gradually becoming the catalyst for a revolt of the kingdoms of the planet Mongo against the brutal dictator Ming the merciless : the reference to schemes totalitari europei (fra cui c’è proprio l’Italia mussoliniana!) è tutt’altro che velato.

A metà circa del 1936, L’Avventuroso inizia a pubblicare l’episodio “sottomarino” di Gordon, Il mare del mistero . È un momento particolarmente felice della saga, sia dal punto di vista narrativo che grafico. Un esempio della versione originale, preso dall’edizione Kitchen Sink prima rammentata, rende evidenti sia i pregi che i limiti tipografici della stampa nerbiniana:

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Winter is coming.


When not drawing I read, was one of the purposes of this year.

And I have been cheated by Raffaella. Damn George Martin.

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of faults: the tournament hypothesis - An additional 1

I receive email from Claudio Gioda this fundamental contribution:

This afternoon I gave a look at the tables on Guastaveglia "People of Rome " Bonura of 1931 that sent me a few days ago and I was just to write, to ask if you had noticed the small print in the final two tables, those of May 1931, when asked Cat Nippo, with deductive consequences that could make from them.

But I saw that preceded me with a post centratissimo on your blog! Congratulations!
just wanted to point out that the cat is well characterized by Nippo fault, which must have had in mind the U.S. boards to draw it that way.

But we know that the character was just published in Italy in 1936 and also in other parts of the world, according to data INDUCKS, appears to have been published in 1931 than on American newspapers. So, where could they have made the tables Guasta back in May 1931, plus a few weeks after the U.S. publication in newspapers?

The first hypothesis
"romantic" is that it came from Disney itself, which was approached for permission to publish, as indicated by the footnotes . The Americans may have provided the source material. All the rest ' Illustration of the People, the year before, providing numerous strips in a very short distance from the USA.
A second hypothesis to be considered less attractive for us, but one that arrived to the office copies of U.S. newspapers with strip in print and Fault that had seen the cat on them Nippo, drawing inspiration.
would be interesting to go to fund research documentation, but I realize that it must be difficult, since it is an initiative lasted only a few months on the Sacramento Bee.
The story reminds me a little 'history of the early Mickey Mouse newspaper after a dispute with Disney when Nerbini did write under the apocryphal mice that everything was approved by Disney . If you've noticed the tables above 14 May NOT have the footnote "exclusivity for Italy."

If the first hypothesis is true (do not judge it unlikely, indeed!), And that the presence of Nippo was due to an inspiring model expressly provided by Disney (the Daily strips), I would find it difficult to say that we are probably facing the first Disney Italian expressly authorized and endorsed by the parent.

course I doubt there is a: but if the people of Rome received the strip, why not publish them directly, as did Gigli in Turin in 1930?

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Topi "apocryphal"

Copying right here a very interesting contribution to Sergio . Thanks!

Digging, digging is something!

Here are two cartoons drawn by the beautiful Cartoccino of Small, a newspaper for children, the patron Ettore editions of The Woodlands Cartoccino Monza, launched in 1929.
The first picture shows a little story of Laura Okelo Romiti and the author is Carlo Cossio .

number 29 appears on 11 January 1931. As you can see, aside from the glasses, and suddenly the craft, the image of the Rat is almost identical to the original era.
The second largest, is Rino Albertarelli at the time also director of the test, make the number 133 8 January 1933.
In this picture the five "Mickey Mouse" remain disneiana their identity.

Sergio

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Intermezzo - The proto-Topo apocryphal Guastaveglia

The "philologist Disney Massimo Bonura , blog administrator Disney's Vintage (which we have always, shown here, among the places to visit), made an extraordinary Trouvaille .
I copy and paste from afNews :

We knew for many years, or since he gave notice Italo Pileri a legendary supplement ANAF . But all this time, we could only see two pages of the legendary first Italian version of Mickey Mouse comics ! But now the researcher Disney and philologist Massimo Bonura succeeded, sifting through dusty collections, to find what appears to be the only complete set of tables written and drawn by William Guastaveglia in 1931 on "The People of Rome" . These six tables, the surprising - relative - modernity and not betray the spirit of the very first Mickey Mouse of Floyd Gottfredson, who struggled with the Cat Nip. Recall that the original comic book series of Mickey Mouse began in January 1930, and culminated in Italy in March of that year, on "The Image of the People" but then leave the beautiful country until 1933. Tables Fault traced by Bonura, then, are the first with a Mickey Mouse "apocryphal", which is not authorized (to as far as we know), two years before those nerbiniane. More news soon - and pictures - on the "News GAF": but even now, it's really an amazing gift from a distant past! What

accomplice Massimo throwing a stone (but certainly not hide your hand) is offering a 'hypothesis certainly very risky, but very, very fascinating. They should see it from the table of sticker May 21, 1931:

You read that right, in the bottom of the cartoon? "Exclusivity for Italy" ... And if you are not of " apocryphal, it was, but the Disney board with a lot of regular residence Walt Disney?

Capers would be a discovery even more important, because several years of back-dating the official birth of a school of "Disney Italian .

And bravo Massimo Bonura! Throughout history, soon, on the "News GAF " of GAF-Florence and on "Comic" 's ANAFI .

See you next post with The Adventurous 1936 and Happy New Year (late).

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cinema. TRON: LEGACY


What to say This Tron: Legacy.

Tron was the first film to talk about virtual reality, and the first to make extensive use of computer graphics, using intelligence with the limits of time.
A new thing, then, that this film could not be and is not, in fact. I will avoid the
parallels between the two because the second film would be crushed, but not the story in this film does not matter.

's interest Kosinsky, architect of computer graphics with the ball, runs out in completely new and improved aesthetics the world of Tron.
82 now seems that the only development of video games or virtual reality has been the quality rendering.
The film is visually stunning and the mix of images and music is total, such an experience can only be found in Sergio Leone or in the original Star Wars trilogy (before the redesign-rape).

The plot is banal, predictable and lacking in any point of interest, the rate is controlled only by the audiovisual sector, and takes all conceivable elements of the original movie could do putting them together as any child asylum (do a fifteen-by, given the inordinate amount of gnocchi in the film sheathed in costume fetish). The dialogues are then

something embarrassing to forget, fortunately does not talk much, go treated as coughing or as the type before you enter that room because he had already started to film in a row to take the popcorn noise.
I hope the DVD version, or better, Blu-Ray, comes out with a version of "dumb".

Aesthetically, therefore, nothing to say, apart from a disappointing tendency to black. I would have preferred that at least transcendental Jeff Bridges had continued to dress in white until the end of the film.

From here onwards there is a risk spoilers, be warned.

Jeff Bridges is delightful in the role of Kevin Bridges, frighteningly similar to Paul Newman in The man with seven halters. Less in its digitized version of which would find acceptable as long as used to make the character of Clu, a little 'less in flashback which is also used to interpret the young Kevin.
The protagonist, Garrett Hedlund (who many will remember not the mysterious Murtagh in Eragon) is believable both as the son of Kevin and as the star of a little film of action.
The cast sees the presence of a Bruce Boxleitner completely divorced from the story and relegated to a cameo insistent, too bad. Sin even more so the fact that Tron relegated to a secondary character and sad, forced and unnecessary deus ex machina.
What can we say? All aesthetically pleasing, even the useless clone White Duke enjoyed a starring Michael Sheen.

And then a lot of dumplings, as I said, really.
And aside from the beautiful Olivia Wilde , it avoids unnecessary searches on the net here is the woman who made you say "because you see me for a moment," Ya Ya DeCosta .
The paucity of ideas I was saddened the world of Tron in 28 years ended in a universe in itself, annihilating self-limitation and thus also the end of the first film and making it unnecessary to all the work of the protagonist. But that does not matter, because what is before us is none other than the video (meant in a good way, though) most ambitious Daftpunk after Interstella 5555.

What else? Ah yes, my favorite character in the first film here is relegated to a mere ornament?

Go see it in a great room and enjoy it. You can avoid
3D which I think is completely useless, if not trivial to divide the real life (and flat two-dimensional) array in the world (yes three dimensional). So it does not work.

Remember, the dialogues are just background noise.

Good film. Long live the Daftpunk.

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coloring.


year starts coloring and rearranging.
maybe soon decide what will be the intent of the year, and think of what to do with this blog.

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And even the new year ...


... E 'come.
missing two years at the end of the world, I myself take it easy watching a great show.
Then I sit by the river and look forward to the passage of some corpse.