Black Gate

Lady Snowblood (Japan, 1973)

Japanese chanbara (samurai swordplay) adventure shows and movies had a long history of being adapted from popular manga series. As the Sixties turned into the Seventies, chanbara manga got increasingly bizarre and extreme, and the screen adaptations followed. These historical fantasies drew on the avant-garde film movements of the last Sixties, but also pulled imagery and characters from traditional sources, melding dream-logic with ghostly revenants. Bracing stuff, and if it’s sometimes hard to follow their abrupt 90-degree turns, the stories always sort themselves out in the end.

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The Spanish Main (Warner Bros, 1945)

“Every normal man must be tempted, at times, to spit upon his hands, hoist the black flag, and begin slitting throats.” –H. L. Mencken, 1919. And when more than during the winter holiday season, the Festival of the Taillights? Bring me my whetstone and cutlass! This week we celebrate old school Hollywood pirate epics, stories of charming rogues and swaggering scallywags. Come on, me lads, heave to and turn aside from It’s a Wonderful Life and A Christmas Carol, for it be time t’ wallow in a different nostalgia, one with more pointy edges to it. An’ ye can lay to that.

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Hawk the Slayer (1980)

The Eighties Barbarian Boom didn’t start with Conan the Barbarian (1982), though its long pre-release hype train certainly primed the pump. In truth, the market was ripe for such films, and by mid-1981, a number of other sword-and-sorcery movies were in production or pre-production. The genre had been bubbling its way up in other mass media throughout the Seventies, Dungeons & Dragons co-designer Gary Gygax had come to Hollywood talking it up, and the largely heroic fantasy Choose Your Own Adventure paperbacks were selling millions of copies.

It was time. The barbarians were here, and they would rule the next decade. But they had a bit of a rocky start.

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Excalibur (Warner Bros, 1981)

1981 was a watershed year in fantasy films. The success of Star Wars had made it possible to fund and produce large-scale SF and fantasy movies, but it also heralded a change in the way such movies were made, placing high-quality (and thus expensive) special effects front and center. Prior to Star Wars, special effects in fantasy films were almost invariably low-budget and cheesy, reflecting movie producers’ almost invariable belief that such films appealed only to a niche and rather undiscerning market.

The conspicuous exception to this rule was the films of master animator Ray Harryhausen, but even in his movies, beyond the creature animation, the production values, script, and human performances were often afterthoughts. However, the creatures were magnificent, and that was considered enough.

Not anymore. Harryhausen’s painstaking stop-motion animation had been superseded by new approaches that integrated stop-motion with puppetry, classical animation, and most importantly computer graphics. And indeed, 1981’s Clash of the Titans was Harryhausen’s final film. If Clash wasn’t completely outdone by Dragonslayer, the effects in that film, largely produced by George Lucas’ Industrial Light and Magic, nonetheless pointed the way toward a new era in fantasy.

However, it wasn’t all about the special effects. John Boorman’s Excalibur showed that a film of heroic fantasy could also be cinematic art, aspiring to the best the medium was capable of. After Excalibur, plenty of critics would continue to sneer at fantasy films, but the proof was in: they were wrong.

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TV Guide featuring Shogun (September 6-12, 1980)

Before 1980, few people in America and Europe knew much about Japan’s samurai era — if anything, they associated its warrior ethos with the hostile mindset that had led the country into its big mistake in World War II. The unarmed combat skills of judo and karate had been popularized during the Sixties, but little was known about the martial arts of the samurai that had preceded them until Shogun, James Clavell’s blockbuster novel and subsequent hit TV miniseries, hit the American and European mainstream.

Suddenly samurai were top-of-mind for mass market consumers, from low-culture exploitation videos (as they were regarded then) like Shogun Assassin to high-culture art-house darlings like Kagemusha, the triumphant return of director Akira Kurosawa to the genre of his breakthrough film Seven Samurai. After 1980, “samurai” was nearly as recognizable a historical concept as “cowboy.”

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