Chuyển đến nội dung chính

Audrey Hepburn, Jack Kirby and a Cast of Thousands

Comic books often looked to movies for ideas, stories and current trends. Westerns, crime, romance, monsters and science fiction all filtered into comics. Simon and Kirby's Newsboy Legion were inspired by the Dead End Kids; Lee and Kirby's Hulk was a mixture of the Wolfman, Dr. Jekyll and Mr. Hyde and the Frankenstein Monster; a horde of giant insect and bug movies were echoed in Marvel and DC's late 1950's-early 1960's output.

Many artists were also moviegoers; they absorbed the storytelling, cinematography and intensity of their experiences and translated them to a different medium, where - in olden days (yes, kids, there was a time computerized special effects didn't exist), their pencils journeyed beyond anything movies could conceive.

Character actors represented a diverse offering of personalities of all types: they often brought a distinct flavor to the movies. Artists took notice, and many a comic book were scattered with these familiar faces.      
And, of course, there were the movie stars, whose larger than life presence was another influence. There have been countless times I've looked at a comic and noticed a familiar likeness, either star or character actor, by artists such as Gene Colan, John Romita, Gray Morrow, Don Heck, Steve Ditko, Gil Kane and so many others.

Jack Kirby was a confessed movie enthusiast, and those faces saw their way in his stories throughout his career. From Edward G. Robinson to Charles Bronson, Kirby had a cast list to choose from.  
    
Audrey Hepburn was a extremely popular actress in the 1950's and 1960's, well-known for movies such as Roman Holiday (1953), which she won an Oscar for best actress, Sabrina (1954) and Funny Face (1957).  In 1961 she was in another hit, Breakfast at Tiffany's. I particularly enjoyed her performance in Wait Until Dark (1967). Hepburn exuded an air of sophistication, fragility and beauty, and her image sold scores of movie related magazines.

  




                          Stan Lee was also a movie fan, and often asked for familiar types, such as a Sidney Greenstreet villain, or an Errol Flynn hero. Lee and/or Jack Kirby took notice of the charismatic Hepburn


Eyebrows, face, gloves - look familiar? Kirby pencils; Vince Colletta inks, Sam Rosen letters, Stan Goldberg colors? No script credit, but likely a Lee plot and Lee or Lieber script. 
"By Love Betrayed" Love Romances # 102, Nov 1962

  
What's interesting is Kirby's image from the splash page is reused on the cover. Lee must have thought the Hepburn like figure was more attention getting than the three figures that occupy the rest of the cover (one of which is the same character). The three figures and background was probably reduced, cropped or otherwise altered, making the cover layout look odd. The new content was likely inked by Al Hartley. Sam Rosen letters, Stan Goldberg colors.


"To Me, He Was Like A God!", Kirby pencils, Colletta inks, John Duffy letters, Stan Goldberg colors? Again no scripting credits, although it reads like Lee (or Lee plot/ Lieber script) Love Romances # 104, March 1962. 

Two issues later Lee reused the Kirby-Hepburn face a THIRD time. Compare the woman in panel one to the figures above. The hair and clothing is altered, and the eyes are moved to the left, but its the same drawing. As has been discussed in depth in earlier posts, Lee often tinkered with covers and splash pages, and alterations were usually completed by whoever was available at the time. Apparently, Lee thought Kirby's original drawing was not attractive enough.

I believe there are other Audrey Hepburn lookalikes (and other famous actresses) scattered throughout the romance line. Don Heck drew her type as well. And I'm sure other famous figures "appeared" at DC, Charlton, Dell and other companies. Today, the movie-comics influence has come full circle, and film looks to comics to appropriate ideas, visuals and characters. Kirby, not surprisingly, is one of the biggest influences.          

For more on Audrey Hepburn and her films, check here:

     http://www.imdb.com/name/nm0000030/

Nhận xét

Bài đăng phổ biến từ blog này

Deathblow and Wolverine #2

Strange Team-Ups Deathblow and Wolverine #2 A Wolverine story "untitled” Writer – Aron Wiesenfeld Breakdowns – Aron Wiesenfeld Finishes – Richard Bennett Letterer – Mike Heisler Colorist – Monica Bennett Computer Colors – Bad @ss Design – Emilio Medina Editor – Mike Heisler February 1997 This is a rather strange one, and not just because the Letterer is the Editor, either. It’s strange because it is supposed to be a team up between that feisty ball of marketing and claws, Wolverine…ole mister “best he is at what he does, and what he does makes Marvel a bunch of money”…and the Wildstorm/Image character Deathblow, a guy I know absolutely zero about. And after reading this entire book (twice), I still know absolutely ZERO about. Because Deathblow doesn’t show up in this issue. Oh, I mean yeah there are some panels where he is drawn in frame, but he doesn’t DO anything to advance the plot or make any difference in its outcome. He has the personality of a generic action hero and he mu...

The Twilight Zone #88

Halloween 2018 Post-A-Day: Day 31, HALLOWEEN! Horror-ible and Tie-ins The Twilight Zone #88 We look at a timeless classic TV Show tie-in Rod Serling was a special kind of genius. He loved pulp adventure stories as a kid. When he grew to adulthood, he craved stories that resonated with the headlines of the day. Philosophical stories with themes about racism, society, war, government and moral choices were his passion. As a prominent writer for television, he found network censorship his bane. His dramas were constantly hamstrung by sponsors and networks. He found that “To say a single thing germane to the current political scene was absolutely prohibited.” So Serling looked outside the standard drama. He crafted his own teleplay called “The Time Element” in 1958 and sold it to the network as a possible pilot for a weekly anthology series. It was his first science fiction story. The Time Element did extremely well in its television debut on the Westinghouse Desilu Playhouse. Well enough...

The Mystery of Kevin Banks

In the early 1970s Marvel attempted to capture a segment of the audience they had not focused on for many years. Comics geared towards young children were selling well for other companies, specifically Archie Publications, Western/Gold Key, Harvey and Charlton, and since sales figures at the time indicated that the superhero line was weakening, as further evidenced by the cancellation of X-Men , Silver Surfer , Doctor Strange and Nick Fury, Agent of SHIELD,  publisher Martin Goodman began to diversify, hoping to attract new buyers. An inexpensive way of achieving this goal was to dip into his vast Timely-Atlas inventory, which included war, western, jungle, horror and romance material.  Only one new title was created, Harvey , "inspired" by Archie's successful group of comics. Initially written by Stan Lee and illustrated by Stan Goldberg, who was a veteran colorist for Timely/Atlas/Marvel and had drawn various teen-romance titles, including the popular Millie the Model....