Masters of the Universe (1987) is a silver screen fantasy based on the Mattel toy-line and Filmation
cartoon TV series, He-Man and the Masters of the Universe (1983 – 1985).
Although
the film is decidedly a low-budget one, and it takes some liberties with the
“mythos” of the TV series established at the time, the Gary Goddard movie also
boasts the underrated benefit of directness.
Uniformly,
the movie lacks pretension or distraction, eschews the requisite “angst” and obligatory
three hour running time of most modern fantasy films, and generally opts for straight-forward
action over camp.
While
it’s true that Masters of the Universe doesn’t boast much in terms of
narrative or thematic depth, it also moves fast enough-- and with enough clarity -- that you don’t really mind.
Masters
of the Universe
depicts its “fish-out-of-water” story, set on Earth, with a kind of blunt-faced
“move along” verve, and that is a welcome approach. For example, you might start to ask questions
about why a man in a loin cloth and cape, wielding a sword, is teamed up with
high-tech soldiers in futuristic armor. But
by the time you enunciate the interrogative, the movie has moved on to its next
set-piece.
Similarly,
Masters
of the Universe’s production design, make-up (by William Stout) and
costumes are actually all pretty strong, and -- per the director’s intent -- seem to directly imply a Jack
Kirby-esque cosmos. If you are a fan of Kirby (as I am…), some of the visual
and thematic touches here seem to recall his impressive illustrations.
Perhaps
Masters
of the Universe’s greatest deficit is Dolph Lundgren’s central performance
as He-Man. Lundgren
looks great, obviously, but resolutely fails to imbue He-Man with any color,
shading or personality.
This
big “blank” spot at the center of the action takes away from the film’s low
budget virtues and charm.
Now,
Arnold Schwarzenegger isn’t the world’s greatest actor either, but nonetheless
he was able to imbue his Conan with a sense of humor, cunning, and personal
charisma. It’s not that you need a great actor for this kind of fantasy role
it’s that we need to know who He-Man is,
and why he fights. You need someone who projects a kind of inner
intelligence or inner life, and Lundgren just doesn’t transmit it in this case.
Masters
of the Universe
comes from Cannon Films, the house which pretty much put the final nail in the
coffin of the Superman movie franchise with Superman IV: The Quest for Peace
(1986). Masters of the Universe
is a much better, coherent film than that sad, sad effort.
This
movie fails to emerge, perhaps, as a widely acknowledged cult classic simply
because the story is limited somewhat by the budget, and also by the perimeters
of its “fish out of water” scenario. The
fish out of water film was all the rage in the mid-1980s but today seems
abundantly less interesting than the (expensive) possibilities of an
Eternia-based epic.
I
prefer not to use the term “guilty pleasure” because if you like something, and
it gives you joy, there’s no reason to feel embarrassed by it.
Masters
of the Universe
lacks the rollicking confidence and opulence of Flash Gordon (1980), and
the sheer genius and imagination of writer David Odell’s other fantasy, The
Dark Crystal (1982), but there’s nonetheless a cheeky, ask-no-questions
jauntiness or zeal about the movie.
If
you allow yourself to “key” in on that note, to reference the film’s musical McGuffin,
then Masters
of the Universe is sort of a good old fashioned, straight-up fun
B-movie.
On
distant Eternia, the villainous Skeletor (Frank Langella) nearly succeeds in
overthrowing the peaceful denizens of the planet, and he seizes Castle
Grayskull. Skeletor also captures the kindly Sorceress (Christina Pickles),
hoping to absorb her mystical powers and combine them with his own at the
coming moonrise, when the “eye” of Grayskull opens.
Meanwhile,
the hero of Eternia, He-Man (Dolph Lundgren) along with his friends,
Man-at-Arms (Jon Cypher) and Teela (Chelsea Field) encounter a troll-like
being, the locksmith and inventor Gwildor (Billy Barty).
Gwildor
admits that Skeletor achieved his advantage in battle with a cosmic key that
Gwildor made, which can open doorways to any location in the universe. The good
news is that Gwildor possesses a second key, and he can use it to transport
He-Man and his colleagues inside Grayskull.
Unfortunately,
the heroes are not able to save the Sorceress, and retreat into another spatial
portal, one which takes them to…Earth.
Once
there on that primitive world, they lose the cosmic key…the only way back to
Eternia.
Soon,
however, He-Man befriends young Julie (Courteney Cox) and her boyfriend Kevin
(Robert Duncan McNeill). These American teenagers
have found the cosmic key and are willing to help He-Man get back home.
But
Skeletor and his minion Evil-Lyn (Meg Foster) have already sent monstrous
mercenaries like Beast Man through the portal to re-acquire the key…
I
must confess that my memories of Masters of the Universe’s visuals
were flat out wrong.
I
remember seeing the film on VHS -- and perhaps on broadcast TV -- in the late
1980s. My memories are that the film appeared dark, muddy, brown and grainy. The
print I saw twenty-something years ago looked…lame.
By
contrast, the DVD version I watched this weekend to prep this review looked
very vivid. The film’s costumes, make-up and sets are all glittering, colorful,
and bright. This fact alone makes Masters of the Universe look a lot less
“low-budget” than I erroneously remembered it.
While
it’s true that we only see one chamber in all of massive Castle Grayskull, it
is nonetheless quite a spectacular and vast one.
Similarly, Skeletor, his minions and shock-troopers
all appear pretty menacing, too, and the optical effects involving lasers,
mini-wormholes, blazing swords and the like are likewise satisfactory. The aforementioned Superman IV barely
coheres in terms of special effects presentation, production values and
editing. By comparison, Masters
of the Universe looks like a masterpiece.
It’s
apparent, of course, that limitations were imposed by the film’s budget;
limitations which, I suspect result in this mostly earthbound story, which
merely book-ends on Eternia.
The
story of He-Man on planet Earth is what is often termed a fish-out-of-water
story, and examples from the mid-1980s include Back to the Future (1985), Star
Trek IV: The Voyage Home (1986), and Crocodile Dundee (1986].
Like
Masters
of the Universe, all these films feature protagonists encountering “alien”
cultures, or confusing social mores. The
heroes are strangers in a strange land, essentially, combating their ignorance of
local customs as well as attempting to complete a mission.
Unlike
those other three films, however, Masters of the Universe doesn’t
tread deeply at all into cross-culture conflict, and characters from different
worlds hardly seem to ask questions of one another at all.
Instead,
it’s all just a set up for action and more action. The film would have been
cleverer if had featured some direct and humorous comparisons between Eternia
and Earth, alas. The fish-out-of-water scenario just isn’t used to its maximum
efficiency, and this fact reinforces the notion that the setting was, largely,
a matter not of creative choice, but of economy.
If
humor and social commentary are slighted, some of the visuals remain powerful.
The
moment when Skeletor glides down a small-town U.S.A. Main Street on his clam-shell
battle skiff is actually pretty accomplished and resonant.
Menacing shock-troopers surround him during
this night-time incursion, and there’s the legitimate feel of an invasion from
another reality. There’s very little that
plays as fake or phony about this moment.
Straight-faced
and in many scenes lacking self-awareness, Masters of the Universe occasionally
showcases a kind of innocent charm. For example, Frank Langella is terrific as
Skeletor and he delivers with panache some subtly amusing lines.
When
waiting for He-Man to appear, for instance, Langella throws away the line “I expect him at any moment,” an
under-the-radar reminder that in the (highly-repetitive…) cartoons, Skeletor
and He-Man clash repeatedly, and eternally without a clear-cut victor.
But
they always end up facing each other…again.
And always just as Skeletor’s plans are finally about to come to fruition.
I
also enjoyed Skeletor’s description of Earth as “a primitive and tasteless planet.”
This
from a guy with an expressive skull for a face and garbed in a black robe…
In
terms of the aforementioned cartoon, Masters of the Universe omits some
of the details of the Filmation series. There is no Battle Cat here, alas, and
that represents a significant absence.
On
the other hand, there’s also no Orko in the film.
The
most memorable image from the Filmation cartoon may be Prince Adam raising his
sword and declaring (with reverb): “By
the Power of Grayskull…I have the POWER!”
The
movie provides audiences a variation on that trademark moment, and it works
well within the movie’s context, without being annoying, cheesy or campy.
Significantly,
He-Man never transforms here into his alter-ego of the TV series, “Prince Adam.”
From
a certain perspective, thee absences of Battle Cat or Prince Adam can be easily
rationalized away. In Masters
of the Universe, we are treated to a very time-specific tale in which
He-Man and his closest friends are on the run, retreating from a surprise
attack.
So it’s very possible that there was no time
for him to turn into Prince Adam or wrangle Cringer/Battle Cat.
But
oppositely, He-Man is such a thin character on paper and on the stage here,
that any deepening of him – even in a trite Clark Kent/Superman mode -- would have
at least added something to his
personality.
The
problem with Lundgren’s He Man is that the movie gives us no understanding of
his history, personal history, or personality.
Is
He-Man a battle-hardened hero?
A
knight driven by duty and honor?
An
aristocrat or noble playing at war but becoming a real warrior?
A
cocky superhero?
Lundgren
could have selected any approach, from above and tried to bring some depth or definition to the character. Admittedly,
the script doesn’t help him much. But nor does his bland, vacant performance
help the film overall.
I
suppose a key reason to dislike Masters of the Universe is its 1980s
approach to fantasy. Here, we get teenagers with mullets, an adventure on
Earth, and a relatively un-nuanced battle between good and evil.
There
are no epic army clashes, and no radical otherworldly vistas (like we see in Thor:
The Dark World [2013]) for instance. Instead, Masters of the Universe
gives us a few scuffles, and a view or two of old, familiar Vasquez Rocks.
But
unlike the recent Thor film -- which gets
bogged down in the technical details of its story and fails to generate any
legitimate human emotion, even when Asgard’s matriarch dies -- Masters
of the Universe is refreshingly linear, and generously unspoiled by delusions
of grandeur. Even with all its deficits,
Masters
of the Universe, at least, didn’t bore me to death.
On
a personal note, I also really dig the Jack Kirby-esque visuals in this 1987
film.
Take a look at the golden helmet Skeletor wears during the film’s final
battle, for one example of this aesthetic. It seems piped in directly from the icon’s
Fourth World saga.
Again,
I don’t want to keep making comparisons to Thor: The Dark World, but there
really is something to be said for a real life, substantial costume, over CGI armor and the like. There’s obviously
a strong Kirby ethos in Dark World, but something about the weight of Skeletor’s helmet here -- the gold
and the horns -- that captures a Kirby influence more profoundly or at least
more vividly, in my opinion.
Finally,
if you believe that movies are like Skeletor’s stated philosophy in the in film
-- “I must possess all, or I possess
nothing” -- Masters of the Universe might be viewed as a misguided,
unfaithful, and low-budget adaptation of a once-popular property.
Like
Courtney Cox’s character in the film, you might wish “you could change things…”
But this He-Man -- while undeniably flawed and small-potatoes by today’s world-exploding, apocalyptic CGI movie standard -- still possesses “the power” to entertain.
The film would have been way cooler had it taken place entirely in Eternia, but that was a trick Cannon films used to keep costs down. Still, I really enjoy the film they got away with, for a 22 million dollar film (which was a modest budget at the time) the film looks way better than it has any right too, considering Cannon Films was going bankrupt at the time and this, along with Superman IV The Quest for Peace where the films to put the final nails on the coffin.
ReplyDeleteI enjoy the scenes in Eternia the most, castle greyskull and all that..awesome stuff, Skeletor, all kinds of cool, Frank Langella delivers an awesome performance that adds weight to the role of Skeletor.
The film simply jumps into the action of things without resorting to origin stories, which seems strange nowadays, where every first film in a franchise has to obligatorily jump into a whole origin story. This film completely ignores that and goes right to the good stuff, which I'll be honest I like. I personally like it when some films ignore the origin tale and go right to the good stuff.
You mention that "The film would have been cleverer if had featured some direct and humorous comparisons between Eternia and Earth, alas. The fish-out-of-water scenario just isn’t used to its maximum efficiency" In regards to this, I do remember that once the Eternians get to earth, the first thing they do is steal a bucket of fried chicken and start eating...and then Teela asks "I wonder why they put the meat on these little white sticks" and then Man at Arms tells her "those are bones, that used to be an animal" and she's like "Ugh! What a barbaric world!"
Excellent review, also of notice is Jean 'Moebius' Giraud's involvement in the films conceptual phase, he was a great fantasist and contributed a lot to the look of the film.
Fish out of water? Like (shudder) the second Beastmaster film?
ReplyDeleteI remember seeing this flick with my friend when it came out, and we enjoyed it well enough. Sure it was missing some of the key cartoon elements, but at the same time, it seemed to have a different scope to it that was appealing. I found Langella's Skeletor way more intimidating than his cartoon counterpart. And Evil-lyn... wow Meg Foster really was perfect casting there.
ReplyDeleteLike Francisco, I think the moments on Eternia were the best scenes. And I really like the alien bounty hunters that Skeletor sends after the group (but why did they fry the lizard man so early - he was cool!).
Also, gotta give Bill Conti props for such a hugely heroic and entertaining film score. This is the man best known for his "Rocky" music, but here he just goes super epic and big (with a touch of cheese) for the film. It doesn't have the noble sound of his score to "The Right Stuff", but it was a great fit for He-man.
This was a regular on our cheesy movie Sunday viewing at the video store I worked at in the 90s. It was never a great film, but it was a fun one. And some of it very quotable. To this day, I still use the "Hey! No one takes pot shots at Lubic!" line that James Tolkan growls in the finale - especially when playing FPS video games. :)
I have slightly noticed that Chelsea's costume got
ReplyDeletea little revealing as the film went on and many fans
did not notice at the time until a screen cap of her
appeared online and the earthly elements did not really
fit into the story they could have sent the key to mars
or Venus with an early inspiration to the video game destiny where both planets are massively populated
with otherworldly alien races that could have studied
the keys technology instead of the direction it went
even they could have made the character Lubic an alien
overlord instead of an police detective but that didn't happen and obvious setup for an obvious sequel wasn't
quite obvious Due to Cannon Films started to sink
but it turned out ok as it did and the score was excellent and must have listen to .
FRANKIE SHEPARD SMALES
SMALES TV UK-HOST
I own this film today. I was about 12 I think when it came out. I loved it then and love it now. Its pure 80s just like Cyborg. Another great film with that edge I liked. Films today are too serious, these films at least have characters you either know or feel for. He Man was one minute a plastic toy then he became a hero on screen. What more could a kid want? Besides ice cream that was enough for me! Just think will the likes of Avatar be considered cheesy in about 30 years? Most probably.
ReplyDelete