Watch Heavy Metal (1981) online, free Full Movie - Putlockers - Putlockers - Watch Free Movies Online in 1080p 720p HD Quality. #Heavy Metal #Watch Heavy Metal #Watch Heavy Metal online, free #Watch Heavy Metal full movie, online #Heavy Metal online, free #Watch Heavy Metal online, free #Heavy Metal Download 720p. Original title Heavy Metal.
| Heavy Metal | |
|---|---|
| Directed by | Gerald Potterton |
| Produced by | Ivan Reitman |
| Screenplay by | |
| Based on | Original art and stories by
|
| Starring | |
| Narrated by | Percy Rodriguez |
| Music by | Elmer Bernstein |
| Edited by |
|
| Distributed by | Columbia Pictures |
| |
| 90 minutes[1] | |
| Country | Canada[2] United States[2] |
| Language | English |
| Budget | $9.3 million |
| Box office | $20.1 million[3][4] |
Heavy Metal is a 1981 Canadian adult animatedsci-fi-fantasy film directed by Gerald Potterton, produced by Ivan Reitman and Leonard Mogel, who also was the publisher of Heavy Metal magazine, which was the basis for the film, and starring the voices of Rodger Bumpass, Jackie Burroughs, John Candy, Joe Flaherty, Don Francks, Martin Lavut, Marilyn Lightstone, Eugene Levy, Alice Playten, Harold Ramis, Percy Rodriguez, Susan Roman, Richard Romanus, August Schellenberg, John Vernon, and Zal Yanovsky. The screenplay was written by Daniel Goldberg and Len Blum.
The film is an anthology of various science fiction and fantasy stories adapted from Heavy Metal magazine and original stories in the same spirit. Like the magazine, the film features a great deal of graphic violence, sexuality, and nudity. Its production was expedited by having several animation houses working simultaneously on different segments.
A sequel titled Heavy Metal 2000 was released in 2000.
Gitar Heavy Metal 1981 Youtube, Free Music Downloader, heartattackkids.com, OZZY OSBOURNE. This holiday season, we’re going all out. Bring on the glitter, the sparkle and the crazy metallic effects. From an all-metallic shadow palette and new shades of Heavy Metal Glitter Eyeliner to. The original version of Taarna is what's seen on the Heavy Metal DVD cover, but the amount of detail on her character was reduced to make production possible. Featured Songs [ edit ].
- 1Plot
- 2Production
- 3Release
- 4Soundtrack
- 5Legacy
Plot[edit]
Soft Landing[edit]
The title sequence story opens with a space shuttle orbiting the Earth. The bay doors open, releasing a Corvette. An astronaut seated in the car then begins descending through Earth's atmosphere, landing in a desert canyon.
- Crew
- Jimmy T. Murakami and John Bruno – directors
- John Coates – producer
- Dan O'Bannon – writer
- Thomas Warkentin – art direction
- Music
- 'Radar Rider' by Riggs
Grimaldi[edit]
In the framing story, the astronaut Grimaldi arrives at home, where he is greeted by his daughter. He says he has something to show her. When he opens his case, a green, crystalline sphere rises out and melts him. It introduces itself to the terrified girl as 'the sum of all evils'. Looking into the orb known as the Loc-Nar, the girl sees how it has influenced societies throughout time and space.
- Cast
- Percy Rodriguez (uncredited) as voice of the Loc-Nar
- Don Francks as Grimaldi
- Caroline Semple as Girl
- Crew
- Harold Whitaker – director
- John Halas – producer
Harry Canyon[edit]
Original story by Daniel Goldberg and Len Blum; inspired by Moebius' The Long Tomorrow stories.
In a dystopian New York City in the year 2031, cynical taxicab driver Harry Canyon narrates his day in film-noir-style, grumbling about his fares and occasional robbery attempts, which he thwarts with a disintegrator installed behind his seat. He stumbles into an incident where he rescues a girl from a gangster named Rudnick, who had murdered the girl's father. She tells him about her father's discovery: the Loc-Nar, an artifact over which people are killing each other. Harry takes the girl back to his apartment where she climbs into his bed and has sex with him. The next day, one of his fares is Rudnick, who threatens Harry if he does not cooperate. The girl decides to sell the Loc-Nar to Rudnick and split the proceeds with Harry. At the exchange, Rudnick takes the Loc-Nar out of its case and is disintegrated. Meanwhile, the girl informs Harry that she's keeping all the money for herself and pulls a gun on him. Harry is forced to use his disintegrator on her. He keeps all the money and writes it up as a 'two-day ride with one hell of a tip'.
- Cast
- Percy Rodriguez (uncredited) as voice of the Loc-Nar
- Harvey Atkin as Alien, Henchman
- John Candy as Desk Sergeant
- Marilyn Lightstone as Whore
- Susan Roman as Girl, Satellite
- Richard Romanus as Harry Canyon
- Al Waxman as Rudnick
- Crew
- Pino Van Lamsweerde – director
- W. H. Stevens Jr. – producer
- Vic Atkinson – producer
- Daniel Goldberg – writer
- Len Blum – writer
- Music
- 'Veteran of the Psychic Wars' by Blue Öyster Cult
- 'True Companion' by Donald Fagen
- 'Heartbeat' by Riggs
- 'Blue Lamp' by Stevie Nicks
- 'Open Arms' by Journey
Den[edit]
A nerdy teenager finds a 'green meteorite' near his house and puts it in his rock collection. During a lightning experiment, the orb hurls the boy into the world of Neverwhere, where he transforms into a naked, bald-headed muscular man called Den, an acronym for his earth name, David Ellis Norman. After getting a nearby flag around him to keep anyone from seeing his 'dork' hanging out, Den witnesses a strange ritual, rescuing a nubile young topless woman who was about to be sacrificed to Uhluhtc. Reaching safety, she introduces herself as Katherine Wells from the British colony of Gibraltar. While she demonstrates her gratitude with sexual favors, they are interrupted by the minions of Ard, an immortal man who wants to obtain the Loc-Nar for himself. He orders Den to get the Loc-Nar from the Queen, who performed the ritual. Den agrees and infiltrates the palace, but is promptly caught by the Queen, who offers leniency if he has sex with her. He complies, thereby distracting the Queen while the raiding party steals the Loc-Nar. Den escapes and races back to rescue Katherine from Ard. Recreating the lightning incident that drew him to Neverwhere, he is able to banish Ard and the Queen. Den's voice-over has him suspecting that they were teleported to his mom's house and she will be surprised. Refusing the opportunity to take the Loc-Nar for himself, Den rides with Katherine into the sunset content to remain in Neverwhere. As for the Loc-Nar, it rises into the sky and lands on a space station where it is picked up by someone.
- Cast
- Percy Rodriguez (uncredited) as voice of the Loc-Nar
- John Candy as Den/David Ellis Norman
- Jackie Burroughs as Katherine Wells
- Martin Lavut as Ard
- Marilyn Lightstone as Queen
- August Schellenberg as Norl
- Crew
- Jack Stokes – director
- Jerry Hibbert – producer
- Richard Corben – writer
Captain Sternn[edit]
On a space station, crooked space captain Lincoln F. Sternn is on trial for numerous serious charges presented by the prosecutor consisting of 12 counts of murder on the first degree, 14 counts of armed theft of Federation property, 22 counts of piracy in high space, 18 counts of fraud, 37 counts of rape, . . . and one moving violation. Pleading 'not guilty' against the advice of his lawyer Charlie, Sternn explains that he expects to be acquitted because he bribed a witness Hanover Fiste. Fiste takes the stand upon being called to by the prosecutor, but his perjury is subverted when the Loc-Nar, now the size of a marble, causes him to blurt out the truth about Sternn's evil deeds before changing him into a hulking muscular form that chases Sternn throughout the station, breaking through bulkheads and wreaking havoc. Eventually, he corners Sternn, who gives him his promised payoff, and he promptly shrinks back to his gangly original form. Sternn opens a trap door under Fiste, ejecting him into space. The Loc-Nar enters Earth's atmosphere with Fiste's flaming severed hand still clinging to it.
- Cast
- Percy Rodriguez (uncredited) as voice of the Loc-Nar
- Rodger Bumpass as Hanover Fiste
- Joe Flaherty as Lawyer (Charlie)
- Douglas Kenney as Regolian
- Eugene Levy as Captain Lincoln F. Sternn
- John Vernon as Prosecutor
- Crew
- Julian Harris – director
- Paul Sebella – director
- Bernie Wrightson – writer
- Music
- 'Reach Out' by Cheap Trick
Neverwhere Land[edit]
Because of time constraints, a segment called 'Neverwhere Land', which would have connected 'Captain Sternn' to 'B-17', was cut.
The story follows the influence of the Loc-Nar upon the evolution of a planet, from the Loc-Nar landing in a body of water, influencing the rise of the industrial age, and a world war. This original story was created by Cornelius Cole III.
The original rough animatics are set to a loop of the beginning of Pink Floyd's 'Time'. The 1996 VHS release included this segment at the end of the tape. On the DVD release, this segment is included as a bonus feature. In both released versions, the sequence is set to the music of 'Passacaglia' (from Magnificat), composed and conducted by Krzysztof Penderecki.
B-17[edit]
A World War IIB-17 bomber nicknamed the Pacific Pearl makes a difficult bombing run with heavy damage and casualties. As the bomber limps home, the co-pilot goes back to check on the crew. Finding nothing but dead bodies, he notices the Loc-Nar trailing the plane. Informing the pilot, he heads back to the cockpit, when the Loc-Nar rams itself into the plane and reanimates the dead crew members as zombies. The co-pilot is killed, while the pilot parachutes away in time. He lands on an island where he finds a graveyard of airplanes from various times, along with the wrecked airplanes' zombified airmen.
- Cast
- Percy Rodriguez (uncredited) as voice of the Loc-Nar
- Don Francks as Co-Pilot (Holden)
- George Touliatos as Pilot (Skip)
- Zal Yanovsky as Navigator
- Crew
- Barrie Nelson – director
- W. H. Stevens Jr. – producer
- Dan O'Bannon – writer
- Music
- 'Heavy Metal (Takin' a Ride)' by Don Felder
So Beautiful and So Dangerous[edit]
Dr. Anrak, a prominent scientist, arrives at the Pentagon for a meeting regarding mysterious mutations that are plaguing the United States. At the meeting, the doctor tries to dismiss the occurrences. When he sees the Loc-Nar in the locket of Gloria, a beautiful buxom stenographer, he behaves erratically and attempts to sexually assault her. A colossal starship drills through the roof and abducts the doctor and, by accident, Gloria. The ship's robot is irritated at Anrak, who is actually a malfunctioning android, but its mood changes when it sees Gloria. With the help of the ship's alien pilot and co-pilot Edsel and Zeke, the robot convinces Gloria to stay on board and have 'robot sex'. Meanwhile, Edsel and Zeke snort a massive amount of plutonian nyborg before flying home, zoning out on the cosmos. Too intoxicated to fly straight, they crash land unharmed in a huge space station.
- Cast
- Percy Rodriguez (uncredited) as voice of the Loc-Nar
- Rodger Bumpass as Dr. Anrak
- John Candy as Robot
- Joe Flaherty as General
- Eugene Levy as Male Reporter / Edsel
- Alice Playten as Gloria
- Harold Ramis as Zeke
- Patty Dworkin as Woman Reporter
- Warren Munson as Senator
- Crew
- John Halas – director
- Angus McKie – writer
- Music
- 'I Must Be Dreamin' by Cheap Trick
- 'Queen Bee' by Grand Funk Railroad
- 'Crazy? (A Suitable Case for Treatment)' by Nazareth
- 'All of You' by Don Felder
- 'Heavy Metal' by Sammy Hagar
- 'Prefabricated' by Trust
Taarna[edit]
Original story by Daniel Goldberg and Len Blum; inspired by Moebius' Arzach stories.
The Loc-Nar, now the size of a giant meteor, crashes into a volcano on an unnamed world, changing a tribe of human outcasts into mutated barbarians who ravage a peaceful city. The elders desperately try to summon the last of a warrior race, the Taarakians. Taarna, a strong, beautiful, and mute Taarakian warrior maiden, arrives too late to stop the massacre and resolves to avenge the city. Her search leads to the barbarians' stronghold, where she is captured, stripped of her clothing, tormented and left for dead. With the help of her Taarakian mount, she escapes, places her outfit back on, and confronts the barbarian leader. Though wounded, she defeats him. With Taarna readying her final attack on the Loc-Nar, it tells her not to sacrifice herself as she cannot destroy it. She does not relent, and her self-sacrifice destroys the Loc-Nar.
Cast
- Percy Rodriguez (uncredited) as voice of the Loc-Nar
- Thor Bishopric as Boy
- Ned Conlon as Councilman
- Len Doncheff as Barbarian
- Don Francks as Barbarian
- Joseph Golland as Councilman
- Charles Joliffe as Councilman
- Mavor Moore as Elder
- August Schellenberg as Taarak
- Cedric Smith as Bartender
- George Touliatos as Barbarian
- Vlasta Vrána as Barbarian Leader
- Zal Yanovsky as Barbarian
Music
- 'The Mob Rules' by Black Sabbath
- 'Through Being Cool' by Devo
- 'Working in the Coal Mine' by Devo
- 'E5150' by Black Sabbath
Epilogue[edit]
As the final story ends, the Loc-Nar terrorizing the girl is similarly destroyed, blowing the mansion to pieces. Taarna's reborn mount appears outside and the girl happily flies away on it. It is then revealed that Taarna's soul has been reincarnated in the girl. The girl's hair color changes to that of Taarna and she reveals a Taarakian mark on her neck.
Cast
- Percy Rodriguez (uncredited) as voice of the Loc-Nar
Production[edit]
Animation[edit]
Animator Robert Balser directed the animated 'Den' sequence for the film.[5]
The film uses the rotoscoping technique of animation in several shots. This process consists of shooting models and actors, then tracing the shot onto film for animation purposes.[6] The B-17 bomber was shot using a 10-foot replica, which was then animated. Additionally, Taarna the Taarakian was rotoscoped, using Toronto model Carole Desbiens as a model for the animated character. The shot of the exploding house near the end of the movie was originally to be rotoscoped, but as the film's release date had been moved up from October/November to August 7, 1981, a lack of time prevented this. This remains as the only non-animated sequence in the film.[7]
Fantasy illustrator Chris Achilléos designed and painted the iconic promotional poster image, commissioned in 1980, that features the central character Taarna on her birdlike steed. That artwork continues to be used for home video releases. Achelleos also did conceptual design work for the Taarna character.
Release[edit]
Box office[edit]
The film was released on August 7, 1981. The release grossed nearly $20,000,000.[3]
Critical reception[edit]
The film was met with mixed response. Review aggregator Rotten Tomatoes reports that 61% of critics have given the film a positive review based on 28 reviews, with an average rating of 5.6/10 and the critical consensus: 'It's sexist, juvenile, and dated, but Heavy Metal makes up for its flaws with eye-popping animation and a classic, smartly-used soundtrack.'[8]
Janet Maslin of The New York Times wrote that 'for anyone who doesn't think an hour and a half is a long time to spend with a comic book, 'Heavy Metal' is impressive,' and noted that the film 'was scored very well, with music much less ear-splitting than the title would suggest.'[9]Variety declared, 'Initial segments have a boisterous blend of dynamic graphics, intriguing plot premises and sly wit that unfortunately slide gradually downhill ... Still, the net effect is an overridingly positive one and will likely find its way into upbeat word-of-mouth.'[10]Gene Siskel of the Chicago Tribune gave the film three stars, writing that it 'isn't intended for close scrutiny on a literal level. The film clearly is intended as a trip, and on that level it works very nicely.' He did, however, criticize the film as 'blatantly sexist' and for having 'wildly romanticized' violence.[11]Sheila Benson of the Los Angeles Times wrote, 'Somehow a great deal of the charm [of the magazine] leaked out on the way to the movie house, but all of the sadism stayed put. And then some. It's the most expensive adolescent fantasy revenge fulfillment wet dream ever to slither onto a screen.'[12] John Pym of The Monthly Film Bulletin found that it was 'to put it mildly, something of a hodge-podge.'[13] Film historian and critic Leonard Maltin gave the film 3 stars out of 4 in his Movie Guide, calling the feature '...uneven, but great fun on a mindless, adolescent level.'[14]
Home media[edit]
Prior to official release on VHS and Laserdisc in 1996, the film was re-released to 54 theaters on March 8, 1996 taking in $550,000.[4] The subsequent home video release moved over one million units.[7]
The film was released on Blu-ray Disc on February 1, 2011 as a Best Buy exclusive and it was later released everywhere on June 14.[15]
Soundtrack[edit]
| Heavy Metal | |||
|---|---|---|---|
| Soundtrack album by | |||
| Released | July 1981 | ||
| Genre | Heavy metal, hard rock, pop rock | ||
| Label | Full Moon/Asylum/Epic | ||
| Heavy Metal film soundtracks chronology | |||
| |||
The soundtrack was released on LP in 1981, but for legal reasons, was not released on CD until 1995. The album peaked at number 12 on the Billboard 200 chart. The movie's theme song, 'Heavy Metal (Takin' a Ride)' was sung by Don Felder. It was released as a single in the U.S. and reached number 43 on the Billboard Hot 100[16] and number five on the Mainstream Rock chart.[17]
Blue Öyster Cult wrote and recorded a song called 'Vengeance (The Pact)' for the film, but the producers declined to use the song because the lyrics provided a capsulized summary of the 'Taarna' vignette. 'Veteran of the Psychic Wars' was used instead. Both songs can be found on Blue Öyster Cult's album Fire of Unknown Origin. Though used in the film, the songs 'Through Being Cool' by Devo and 'E5150' by Black Sabbath were not included in the released soundtrack album. These songs are on New Traditionalists and Mob Rules, respectively.
The legal difficulties surrounding the use of some songs in the movie delayed its release to home video. The production company's use of some songs were limited solely to the theatrical release and soundtrack and did not include home video releases. It was not until 1996 that there was an official home video release on VHS when Kevin Eastman, who had bought the publishing rights of Heavy Metal magazine in 1992 and previously contributed to the magazine, reached a settlement with the music copyright holders.[18]
| No. | Title | Artist | Length |
|---|---|---|---|
| 1. | 'Heavy Metal' (Original Version) | Sammy Hagar | 3:50 |
| 2. | 'Heartbeat' | Riggs | 4:20 |
| 3. | 'Working in the Coal Mine' | Devo | 2:48 |
| 4. | 'Veteran of the Psychic Wars' | Blue Öyster Cult | 4:48 |
| 5. | 'Reach Out' | Cheap Trick | 3:35 |
| 6. | 'Heavy Metal (Takin' a Ride)' | Don Felder | 5:00 |
| 7. | 'True Companion' | Donald Fagen | 5:02 |
| 8. | 'Crazy (A Suitable Case for Treatment)' | Nazareth | 3:24 |
| 9. | 'Radar Rider' | Riggs | 2:40 |
| 10. | 'Open Arms' | Journey | 3:20 |
| 11. | 'Queen Bee' | Grand Funk Railroad | 3:11 |
| 12. | 'I Must Be Dreamin' | Cheap Trick | 5:37 |
| 13. | 'The Mob Rules' (alternate version) | Black Sabbath | 3:16 |
| 14. | 'All of You' | Don Felder | 4:18 |
| 15. | 'Prefabricated' | Trust | 2:59 |
| 16. | 'Blue Lamp' | Stevie Nicks | 3:48 |
Score[edit]
Unusual for the time, an LP recording of Elmer Bernstein's score was released alongside the soundtrack in 1981, and it featured the composer's first use of the ondes Martenot, an instrument which became a trademark of Bernstein's later career. On March 13, 2008, Film Score Monthly released an official, expanded CD release of Bernstein's score, which he conducted.[19] The score was performed by the Royal Philharmonic Orchestra with the London Voices and Jeanne Loriod on the ondes Martenot.
Original track listing:
- 'Den and the Green Ball' (03:17)
- 'Den Makes It' (02:49)
- 'Den and the Queen' (02:56)
- 'Den's Heroics' (02:52)
- 'Bomber and the Green Ball' (04:41)
- 'Space Love' (01:32)
- 'Harry and the Girl' (03:45)
- 'Tarna Summoned' (sic) (02:50)
- 'Flight' (02:20)
- 'Tarna Prepares' (sic) (03:35)
- 'Barbarians' (03:37)
- 'Tarna Forever' (sic) (03:37)
Re-release track listing:
- 'Beginning' 1:16
- 'Intro to Green Ball' 1:18
- 'Discovery/Transformation (Den and the Green Ball)' 3:15
- 'Den Makes Out (Den Makes It)' 2:42
- 'Castrate Him/Searching for the Loc-Nar' 2:04
- 'Queen for a Day (Den and the Queen)' 2:54
- 'Pursuit (Den’s Heroics)' 2:51
- 'Fiste' 1:27
- 'Getting Bombed' 3:06
- 'Green Ball' 2:15
- 'Dem Bones' 2:44
- 'No Alarm' 0:58
- 'Robot Love (Space Love)' 1:32
- 'Harry' 1:35
- 'The Next Morning' 1:56
- 'End of Baby' 2:43
- 'Council (Taarna Summoned)' 2:49
- 'The Flight to Temple (Flight)' 2:16
- 'The Sword (Taarna Prepares)' 3:32
- 'Flight to Holiday Town' 2:20
- 'Fighting' 2:43
- 'My Whips!/Taarna Escapes Pit' 4:57
- 'Finish (Taarna Forever)' 3:34
Bonus tracks
- 'Den Makes Out' (film version) 2:49
- 'Bomber and the Green Ball' (album edit) 4:35
- 'Harry and the Girl' (album edit) 3:41
- 'Barbarians' (album edit) 3:34
Legacy[edit]
Sequel[edit]
The first sequel, titled Heavy Metal 2000, was released in 2000. A second sequel has been in various stages of development since.[citation needed]
Remake[edit]
In March 2008, Variety reported that Paramount Pictures was set to make another animated film with David Fincher 'spearheading the project'. Kevin Eastman, who is the current owner and publisher of Heavy Metal, will direct a segment, as will Tim Miller, 'whose Blur Studio will handle the animation for what is being conceived as an R-rated, adult-themed feature'.[20]
Entertainment website IGN announced, on July 14, 2008, 'David Fincher's edgy new project has suffered a serious setback after it was dropped by Paramount, according to Entertainment Weekly.'[21] However, Entertainment Weekly quoted Tim Miller as saying 'David really believes in the project. It's just a matter of time.'[22]
In September 2008, Eastman was quoted as saying 'Fincher is directing one, Guillermo del Toro wants to direct one, Zack Snyder wants to direct one, Gore Verbinski wants to direct one'. It was reported that the film had been moved to Sony division Columbia Pictures (which had released the original) and had a budget of $50 million.[23]
In June 2009, Eastman said 'I've got breaking news that Fincher and James Cameron are going to be co-executive producers on the film, Cameron will direct one.[24]Mark Osborne and Jack Black from Tenacious D were going to do a comedy segment for the film.'[25]
However, production is stalled indefinitely, as no film distributor or production company has shown interest in distributing or producing the remake since Paramount Pictures decided to forgo being the film's distributor,[26] who purportedly thought such a film was 'too risqué for mainstream audiences'.[22]
In July 2011, filmmaker Robert Rodriguez announced at the Comic-Con that he had purchased the film rights to Heavy Metal and planned to develop a new animated film at the new Quick Draw Studios.[27] However, on March 11, 2014, with the formation of his very own television network, El Rey, Rodriguez considered switching gears and bringing it to TV.[28]
On March 15, 2019, the reboot was released on Netflix as a reimagining titled Love, Death & Robots.[29]
References[edit]
- ^'HEAVY METAL (AA)'. Columbia Pictures. British Board of Film Classification. August 19, 1981. Retrieved May 18, 2014.
- ^ ab'Heavy Metal'. American Film Institute. Retrieved December 21, 2015.
- ^ ab'Heavy Metal'. The-Numbers.com. Retrieved October 16, 2009.
- ^ ab'Heavy Metal Reissue'. BoxOfficeMojo.com. Retrieved October 16, 2009.
- ^Wolfe, Jennifer (January 6, 2016). ''Yellow Submarine' Animation Director Robert Balser Passes at 88'. Animation World Network. Retrieved February 1, 2016.
- ^Maçek III, J.C. (August 2, 2012). ''American Pop'... Matters: Ron Thompson, the Illustrated Man Unsung'. PopMatters.
- ^ abImagining Heavy Metal, 1999
- ^'Heavy Metal Movie Reviews, Pictures'. Rotten Tomatoes. Flixster. Retrieved January 24, 2011.
- ^Janet Maslin (August 7, 1981). 'Heavy Metal (1981) 'HEAVY METAL,' ADULT CARTOON'. The New York Times. Retrieved May 1, 2009.
- ^'Film Reviews: Heavy Metal'. Variety: 18. August 5, 1981.
- ^Siskel, Gene (August 10, 1981). 'Heavy Metal' a fine but disturbing cartoon'. Chicago Tribune. Section 2, p. 8.
- ^Benson, Sheila (August 7, 1981). 'Heavy Metal' ... And the Zap Goes On.' Los Angeles Times. Part VI, p. 9.
- ^Pym, John (December 1981). 'Heavy Metal'. The Monthly Film Bulletin. 48 (575): 246.
- ^Maltin, Leonard (1998). Leonard Maltin's 1999 Movie & Video Guide. Signet. p. 582. ISBN0-451-19582-5.
- ^David McCutcheon (January 20, 2011). 'Heavy Metal Rocks Best Buy'. IGN.
- ^Joel Whitburn's Top Pop Singles 1955-1990 - ISBN0-89820-089-X
- ^Billboard Mainstream Rock songs, September 19, 1981
- ^Konow, David. '35 Years Ago: Sammy Hagar, Black Sabbath and More Appear on 'Heavy Metal' Soundtrack'. Ultimate Classic Rock. Retrieved May 8, 2019.
- ^Heavy Metal: The Score from ScreenArchives.com
- ^Michael Fleming (March 13, 2008). 'Par, Fincher put pedal to 'Metal' Eastman, Miller to direct animated segments'. Variety. Retrieved September 21, 2008.
- ^Orlando Parfitt (July 14, 2008). 'Fincher's Heavy Metal on Hold Paramount drops sci-fi/fantasy project'. IGN. Retrieved September 21, 2008.
- ^ abNicole Sperling (July 9, 2008). 'David Fincher's 'Heavy Metal' remake a no-go at Paramount'. Entertainment Weekly. Archived from the original on October 30, 2008. Retrieved September 21, 2008.
- ^Alex Billington (September 4, 2008). 'Zack Snyder, Gore Verbinski, Guillermo del Toro Directing Heavy Metal Segments?'. firstshowing.net. Retrieved September 21, 2008.
- ^Fleming, Mike. 'Fincher Brings Mettle To Passion Project'. Deadline.
- ^ComingSoon.net (June 6, 2009). 'James Cameron Forging a Piece of Heavy Metal'. comingsoon.net. Retrieved June 6, 2009.
- ^MTV News (August 25, 2010). 'David Fincher Can't Get Funding for 'Heavy Metal''. worstpreviews.com. Retrieved May 7, 2011.
- ^ComingSoon.net (July 21, 2011). 'SDCC: Robert Rodriguez Takes Heavy Metal'. comingsoon.net. Retrieved November 26, 2011.
- ^ScreenRant.com (March 11, 2014). 'Robert Rodriguez May Bring 'Heavy Metal' to TV; Prepared to Make 'Sin City 3''. screenrant.com. Retrieved July 19, 2014.
- ^Schwartz, Terri (March 16, 2019). 'HOW DAVID FINCHER AND TIM MILLER'S HEAVY METAL REBOOT BECAME NETFLIX'S LOVE, DEATH & ROBOTS'. IGN. Retrieved March 17, 2019.
External links[edit]
- Heavy Metal on IMDb
- Heavy Metal at the TCM Movie Database
- Heavy Metal at The Big Cartoon DataBase
- Heavy Metal at Box Office Mojo
- Heavy Metal at Rotten Tomatoes
- Heavy Metal score soundtrack questions, answers and more @ the SoundtrackINFO project
This film was actually started in 1978, and finally released in 1981 and I was there to see it. It is based on the adult fantasy sci-fi America version magazine 'Heavy Metal'. The original origin of the magazine is French, very adult, very graphic, very sci-fi, lotsa nudity BUT excellent and compelling storytelling.
The key phrase is 'Adult, Fantasy, Illustrated'.
Just because its a 'cartoon', does not mean its for kids.
Looking at the Animation now in 2002, its dated. In the mid-80's Japanese Anime has set and kept raising the bar on this kind of adult anime genre. This early mainstream American attempt was good, for it had a good model, the magazine, Heavy Metal.
If Heavy Metal had waited to be produced until now, with all the advancements on technology, animation, graphics, art we have at our disposal, I only wish that the popular artists and storytellers of the magazine Heavy Metal were involved. It would be a different film indeed, and it would get an NC-17 rating. The only pieces that were trademarks of the Heavy Metal magazine were 'Soft Landing'/'Grimaldi' 'Den' and 'Taarna'.
More specifically, 'Taarna' WAS exactly what the American Heavy Metal Magazine was all about and uncredited was Jean Giraud who has done a hell of a lot of work in the magazines history....both American and French versions is the cause for that. You may know his work by his other more famous name, 'Moebius'.
If you ask me, the film could have gone one of two ways: just like the magazine story by story without the silly connector of the green orb, or with just the one story of 'Taarna'. Back in 1978-1981, I would assume the Studio Executives could not venture into that manner without getting squeamish about box office so what we have is a tip-toe cross blend between the two. On one level it works, on another it does not. Its a viewers decision.
I like this 1981 version of the movie Heavy Metal, although a few stories didn't live up to the level of the magazine content..or were not presented as such. 'Neverwhereland' should have NEVER been cut, I would have taken it over 'Captain Stern' any day. 'Neverwhereland' seemed to be along the lines of the magazines' content, too bad it wasn't included. 'Harry Canyon' I could have taken or left, made no difference.
Additionally, I JUST loved 'Den' and 'B-17'. I loved the soundtrack, for Metal is America. But just like the magazine, it was adult, it was fantasy, violent at points and contained nudity. It was early 'R' Adult Animation American Style. (I know...Fritz the Cat was an 'X' rated Animation that instead of using humans, used felines. Besides, Fritz was Ralph Bakshi's ticket outa Disney Animation and Robert Crumb is the 70's counter culture!)
This film, 'Heavy Metal' was also marketed as the male dream: Metal Music, Sci-Fi, Fantasy, Nudity.
But wait...why was I...a woman interested?!?!?
It was 'Taarna'. This was the first animated woman in an American made mainstream animated adult feature film that the world needed, that the world depended upon, that was tough, that was independent, not a size four but voluptous, and was still very sexy. Nowadays, it may not mean much, but in 1981 when I was a teen and saw this, it meant a lot. Snow White, she wasn't and was she the Wicked Witch of the West either and that is how women were portrayed up till the release of Heavy Metal.
When I read a few stories in the adult magazines Heavy Metal from the late 70's to the early 90's, both American and French versions, the women in the majority of the stories, although drawn by European men and set in uncertain futures, wear...and in many cases...don't wear at all... and involved in explicit sexual situations..the women WERE the heroes!!
All in all, keep in mind Heavy Metal was made for an adult audience, just like the magazine. It's not just for the teenaged guys, its not just for the stoned and metal heads, its not just for the trekies or x-filers. It's a good effort for its time but if you're expectting work like in late 80s/90's Japanese Anime like 'Katsuhiro Ôtomo's Akira', etc., or 2001's 'Taro Rin's Metropolis' remember its 1981, and American, and NOT quite like its name sake Magazines, but its still good.
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I got the chance to sit down and watch the movie with my mother when I was 13, and I instantly fell in love with it. I love the way the green orb links the stories together, the humor, the music, and yes - even the animation.
True, the animation is nothing compared to the stuff that's out there these days, but this film is a classic. If you don't understand the film's stories, then you clearly weren't paying attention.
Heavy Metal magazine is fantastic, and this movie is nothing short of the magazine's beautiful creativity.
Also? Comparing Heavy Metal to its sequel, Heavy Metal 2000, is simply wrong. Heavy Metal 2000 pales in comparison to the original. Sure, the soundtrack is amazing, but in my opinion, that's about it.
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I think one reason that this movie was looked forward to for so long is that it was unavailable for so long. I remember around 1984 when a release was planned, and a dispute with the multiple musicians caused it to be pulled. But thankfully this was finally resolved, so we can own it again.
I bought a pirate copy when i was in Japan in 1988 (On Beta no less), and almost played it to death. And having been a fan of the comic when I could find it, I think it told the stories very well. I admit that the 'green sphere' link was silly and did not work, and that the original 'carousel' concept would have been much better (watch the DVD release for details on this). The simple fact that I have bought 3 copies of this time and still own all 3 of them says something about the movie.
Harry Canyon, Den, and Taarna are the be the most remembered pieces of this movie. Each in itself could even be fleshed out to hour long length, and still be enjoyable. So Beautiful, So Dangerous is enjoyable, and Harold Ramis and John Candy steal the show with their voices ('Hey man, you got any of that plutonium niborg left?'). And I admit, the film version of the story was MUCH more enjoyable then the original one from the comic.
PS: Watch for the cameo of a destroyed USS Enterprise. I love pointing that out to people that miss it.
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It doesn't matter if none of this makes complete sense or if it's even that good in terms of plot construction. This is Heavy Metal!
The concept of this 1981 animated experiment is two-fold: show good and evil in a constant state of flux, and bring to life the richness and erotic energy of the popular animated magazine. Add to that some science fiction, a slight reverence for history (in the beautiful ghoul scene in the WWII B-17) and a juvenile insight into drugs and sex, and you have the definition of my '80s youth culture.
I was one of those kids who'd sneak an issue of Heavy Metal, found on the magazine stands in the local drug store next to the grocery store where my father did his weekly shopping, inside another magazine and stare at the drawings, looking for some violence and humor ... and naked women with bi g breasts. I did the same thing whenever I got my hands on a National Lampoon and, if I was lucky, Hustler.
It's pre-pubescence at its hormonal best! And seeing it again as an adult brings all that excitement back to me. Every story, every piece of music ... God, every shot for that matter -- they all bring me back to being 10 years old and wrestling with my older cousin as she tried to block my eyes when the chick Harry Canyon picks up off the street strips and slides into bed with him to the tune of Journey's 'Open Arms.'
This movie wasn't meant to be cinematic greatness. It was meant to be a boy's fantasy and his coming of age. Sometimes we take these things too seriously. A good movie is a good movie, and a good memory is a good memory. Let's leave it at that ... and let me get a whiff of that stuff the spaceship pilots have lined along the floor...
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The movie is much like the magazine: a mixed bag of sci-fi, fantasy, horror, comedy, and erotica. Some of it is good, some not. My personal favorites are Harry Canyon, Den, Captain Sternn, B-17, and Tarna. Harry Canyon is a sci-fi tale of thugs, femme fatales, and cynics ala Dashell Hammett and Raymond Chandler, transported to the future. It has been cited as an inspiration for The Fifth Element, by some; but it bears some resemblance to the works of French artist, Moebius, who created designs for The Fifth Element. Moebius also factors into Tarna, as the entire look of this sequence is almost xeroxed from Moebius' Arzach stories.
Captain Sternn is the anti-hero/criminal from Bernie Wrightson, co-creator of Swamp Thing and illustrator of a beautiful edition of Frankenstein. This is a fun sequence, full of comedy and chaos, much like the Sternn stories. Sternn has more than a slight resemblance to a certain Kryptonian.
B-17 captures the flavor of the old EC horror comics, like Tales from the Crypt and the Vault of Horror. The sequence features design work from Mike Ploog, a horror comics master and artist of Marvel's Man-Thing. It has a nice creepy, decayed atmosphere and lets the visuals tell the story.
Den is adapted from Richard Corben's tales. The melon-breasted women that Corben is known for are on fine display here. We also get the humor that also permeates Corben's work. John Candy was quite good here, giving Den the perfect adolescent voice.
Tarna is the most lush sequence, with sweeping vistas and the use of rotoscoping for the character. It is also quite violent. Again, it owes a great deal to Moebius' Arzach.
So Beautiful, So Dangerous is pretty forgettable, with juvenile humor and boring animation. Soft Landing is fairly pointless, except to serve as a title sequence. The whole linking device is unnecessary, as the segments bear little relation to one another and are stronger as separate entities. The soundtrack is great, with most pieces capturing the flavor of the animation.
Ultimately, the uneven stories and lower budget animation holds this movie back. The movie is best viewed as an anthology, rather than a complete story, and with a forgiving eye to the budget. With that said, it's still entertaining and an important work of adult animation.
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An evil glowing orb called the Loknar (the supremely sinister and velvet smooth voice of Percy Rodriguez) spreads its malign influence throughout the decades and galaxies. First tale, 'Harry Canyon' - Cynical cabbie Harry (marvelously voiced to weary perfection by veteran character actor Richard Romanus of 'Mean Streets') gets involved with a sexy young lass in a bleak and rundown futuristic New York. Second yarn, 'Den' - A nerdy teenager (affably voiced by the late, great John Candy) winds up on another planet where he's transformed into a bald and brawny behemoth. Third romp, 'Captain Sternn' - Sleazy scoundrel Captain Sternn stands on trail for his many heinous indiscretions. John Vernon scores strongly as the angry voice of the prosecuting attorney. Fourth opus, 'B-17' - A very creepy and gruesome World War II zombie outing. Fifth vignette, 'So Beautiful and So Dangerous' - A couple of wacky aliens and their goofy robot buddy abduct a sassy hot Jewish chick. Harold Ramis and Eugene Levy are hilarious as the Cheech and Chong-style stoner pilots of a giant smiley face spaceship. Candy once again is a delight as the voice of the charming and amorous robot. Sixth outing, 'Taarna' - A lethal and lovely mute warrior woman mixes it up with a vicious horde of nasty marauders.
Boy, does this picture rate highly as the ideal guy flick: we've got a fantastic roaring rock soundtrack (Cheap Trick, Black Sabbath, Devo, Grand Funk Railroad, Nazareth, Blue Oyster Cult, Journey, Stevie Nicks and much more), plenty of sidesplitting sophomoric humor, stunningly voluptuous and often naked women, a handy helping of gore, a nice smattering of soft-core sex, a blithely breezy'n'carefree tone, and no pretense whatsoever to get in the way of the infectiously trashy fun. The strikingly stylized and varied animation is suitably vivid and garish throughout. Elmer Bernstein's lush majestic orchestral score likewise hits the spot. A real cool treat that's wholly deserving of its cult status.
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Louder And Nastier Than EverThis movie is based on a Comic Book of the same name.
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Tales include a New York City cabbie of the future, with a disintegrating beam loaded in his car for anyone who tries an attempt to harm or rob him, who gets mixed up with a mysterious dame holding the orb and gangsters desiring to possess it, a young boy transformed into a muscular warrior who must defend a blond dame against a seemingly unkillable king and evil witch both vying for the orb, a navy crew being turned into creepy skeleton monsters by the orb during WWII while the fighter captain must abort for a spot on Earth where other ships have wrecked not knowing what lies in wait for him, a crew of aliens responsible for human mutations thanks to the orb in their possession with a robotic captain who kidnaps a Jewish hottie hoping to marry her, and a battle between orb infected human monsters and a female warrior from an ancient race.
Some really great animation, especially in the final tale.
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As has been mentioned in several comments, the quality of the stories vary from dull to captivating. The taxi driver tale and the story about the young geek who becomes a muscular hulk are weird and fun to watch; others, like the final story about an avenging beauty clad in a skimpy system of straps, are tedious and revel too much in their unique brand of kinkiness. However, the story about the fighter plane which becomes infested with the living dead is an underappreciated gem.
The writing is average and the animation is pedestrian when compared with some of today's animated classics ('The Iron Giant,' 'Tarzan'), but 'Heavy Metal' is an amusing enough exercise in rock and roll cartooning. (The selection of music is hit-and-miss as well, and the exclusion of Ted Nugent is inexcusable.) If you rent this not expecting much, you might be pleasantly surprised.
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I slapped on headphones and put the DVD in the Macbook and set sail for a better time's stony realms...I read comments saying 'If only this movie were made now, it would be so much better, blah blah blah,' and that's the biggest crock of horsesh*t I've ever heard. If it were made now, it would be slicker than slick, void of soul, with the wretched music of our age providing the soundtrack. Heavy Metal circa 1981 has the texture and imperfect beauty that sustaining, lasting art must possess; think Miles Davis' Bi*ches Brew or Sketches of Spain, or the Rolling Stones' Exile on Main Street - that's where Heavy Metal lives. It's not perfect, parts of it are quite flawed, but as a whole, even the flaws are beautiful gems to behold, and I tell you, for every voice barking on about Heavy Metal's flaws being too much to take, I say this: you take your Saw and remakes of Texas Chainsaw and The Omen and whatever else your fetid college brains latch onto as broken things that need fixing, and we'll take Heavy Metal and the original versions of the horror movies mentioned and be artistically far richer. But you're not after richness in art, are you? You're after eye-candy and digitally rendered starscapes, aren't you? Yes, you are. And you're beggars with moldy bread because of it.
Heavy Metal is a classic, and I'll be first to admit that it's got problems, but believe it or not, problems sometimes add to a classic's being considered a classic in the first place. Exhibit A: Heavy Metal. Watch, listen and learn, youngsters.
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Filled with cartoon violence and nudity, this movie is for hardly any tastes. Those young adolescent youths looking for a fun dirty time, this is your film.
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Many people view the movie as choppy because there are 5 different scenes without any characters that continue from one to the next. This is where one of the movies greatest strengths lies. Its able to deliver a sense of closure in each story and you know more about the characters than you would from many lesser full length films.
Unfortunatly, for those of you who didn't get it the first time, it probably won't grow on you. If you're a die hard japanimation fan and are looking for that kind of experience go watch Ninja Scroll, but if you want something completly different see Heavy Metal.
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Heavy Metal 1981 Full Movie Free Download
The Loc Nar demands you view this film!Heavy Metal 1981 Full Movie Download Online
When the world awoke form it's boring funk, disco, brown-yellow-orange-colored slumber after Star Wars shook it awake and revived sci-fi, heavy metal appeared during the aftershocks and created albeit for a small public a visual feast.
Heavy metal is usually described as a void fest for stoners and granted with the proper intoxication the movie's charm is increased greatly. What makes heavy metal so appealing is what many people call it's principal flaws, the pubescent jokes, violence, plethora of nudity, the crude animation and often its bright explosive colors. But these are not flaws, in fact to anyone with a fun-loving nature and imagination these are virtues.
The script is wonderful, with lot's of crude jokes, that make excellent one-liners during parties. 'Death, death to all who oppose us' has to be a classic introduction-line for a villain (who is menacingly one dimensional. And has anybody wondered where his helmet comes from?)At moment the script even becomes epic, like during the sequence where the council of elders summon Taarna.
Although the animation maybe dated and even downright ugly, it gives the movie it's charm, the same as Ralph Bakshi's animation gives it, it's cult-charm and those with imagination see what the animators tried to accomplish. The backgrounds are simply stunning. From epic landscapes with cycloptic animal skeleton's cradling entire cities to impressive space-vessels and space-stations(Mark the brick-motief of the space-station during the Sternn sequence,hahaha) The color schemes of these backgrounds are daring and vibrant.
And there are boobs, lot's of voluptuous big-breasted women! I think this needs no further clarification.
The music is excellent. The soundtrack features a lot of decent hard rock tracks(I'm not writing heavy metal, because of inane debates by metal-purists (mostly with ugly goatees) that these are not metal-songs. Thank god, No!)And there's the majestic score by the late Elmer Bernstein. That simply blows you away with it's beauty (Listen to the Den sequence when the queen flies on the dragonflies, how the trumpets and the lower brass are sequestered by two themes, one rising, on descending.)
So in a dull world where tedious monochromatic fantasy trilogies pass for a good time, Heavy Metal is the lost jewel, that fortunately is discovered every generation. So gather your friends, get some beers and pizza-bagels and watch this movie, you'll love it.
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1) Harry Canyon: the story of a crass, cynical New York cab driver in the post Apocalyptic future. One day he gets caught up in a conspiracy that involves the Loc-Nah.
2) Den: A nerdy teenager nerd boy picks up the Loc-Nah after it crash lands in his backyard. When he tries to experiment on it, he gets flung into an alternate dimension planet called Neverwhere Land, where he is transformed in a giant bald beef-cake with superhuman strength, pursued by beautiful, busty women (one of them a Native of Earth who was also transformed from a frail, unhealthy girl into a beautiful, more 'womanly' individual). He too is caught up in a plot involving the Loc-Nah, which is also in this world, and is the pinpoint in a big huge sacrifice.
3) Captain Stern: A ruggedly handsome but irredeemably evil scoundrel is on trial for his various misdeeds, but he bribes a weakling named Hanover Fist to speak on his behalf at the trial, but Hanover gets a hold of the Loc-Nah, and it may or may not influence his Hulk like rampage at the trial. But will the righteously brutish version of Hanover win out over the evil Captain Lincoln F. Stern? 4) Zombies on a plane: a sequence involving zombies tearing up an old WW II fighter plane and its ill-fated passengers.
5) Stoner Aliens & the randy robot: A beautiful, buxom red head secretary is abducted by two stoner aliens and their over-sexed robot, who then take us on a space odyssey like no other.
6) The last story concerns the last Tarakian Taarna, a beautiful yet silent warrior woman with white hair who rides a flying pterodactyl is given the task of thwarting a race of green skilled mutants, who owe their very existence to the Loc-Nah after the thing crashed into a volcano. Though the beautiful Taarna is captured, stripped naked, tortured (possibly raped) and left for dead, she ultimately prevails in thwarting the mutants and destroying the Loc-Nah. The last story comes back to the present where the Loc-Nah is destroyed once again, revealing that the girl is in fact the next Tarakian.
Uneven but atmospheric, very hit and miss, as tends to be the case with a lot of these adult animated epics. The Den sequence is probably the most entertaining, thanks in no small part to the voice performance of the late John Candy as the nerd & his brawny alter ego. Also worth a look for the Elmer Bernstein score as well as the look at old school animation.
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Those who trashed it are too used to the Pixar style. They forget that at one time people had to actually draw this stuff. This animation style was last used in Pinochio. That's about 40 years.
I saw this as a midnight hit in New Jersey back in '82. Finally got the DVD in Japan this year. Bargain price too. Brilliant stuff. Reminds me of the early issues. Also seems like issues of CREEPY or EERIE at times.
I have the most fun trying to identify the SCTV stars' (John Candy, Joe Flaherty, Eugene Levy, Harold Ramis) voices.
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