The film is an anthology of various science-fiction and fantasy stories tied together by a single theme of an evil force that is "the sum of all evils". It was 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.
The title sequence was based on the comic of the same name by Dan O'Bannon and Thomas Warkentin.[6]
The title sequence story opens with a Space Shuttle orbiting the Earth. The bay doors open, releasing a 1960 Corvette. An astronaut seated in the car then begins descending through Earth's atmosphere, landing in a desert canyon.
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.
In a dystopian and crime-ridden New York City in 2031, cynical taxicab driver Harry Canyon narrates his day in film noir style, grumbling about his fares and frequent robbery attempts he thwarts with a disintegrator installed in the back of his seat. He stumbles into an incident where he rescues a red-haired young woman from Rudnick, a gangster who murdered her father. She explains that her father discovered the Loc-Nar, and they have been pursued relentlessly by people attempting to obtain it. Harry takes her to his apartment, where they have sex. She decides to sell the Loc-Nar to Rudnick and split the money with Harry. Rudnick is disintegrated by the Loc-Nar at the exchange, and she attempts to double-cross Harry to keep the money for herself. When she pulls out a gun, Harry uses the disintegrator on her. He keeps the money, and summarizes the incident as a "two-day ride with one hell of a tip".
A nerdy teenager finds a "green meteorite" near his house and adds it to his rock collection. During a lightning experiment, the orb hurls the young man into the world of Neverwhere, where he transforms into a naked, muscular man called Den, an acronym for his earth name, David Ellis Norman. There, Den witnesses a strange ritual, rescuing a beautiful young woman who is about to be sacrificed to Uhluhtc. Reaching safety, she introduces herself as Katherine Wells from the British colony of Gibraltar. The two start having sex, but are interrupted by the minions of Ard, an immortal man who wants to obtain the Loc-Nar for himself. After being taken to see Ard, Den demands to see Katherine. His request is ignored and Ard orders his men to castrate Den. Den fights off the soldiers and shoots Ard, who is immortal and heals immediately. The girl turns out to be sleeping, encased in glass under a spell where only Ard can awaken her. Ard offers Den a deal: if he gets the Loc-Nar from the Queen and brings it to him, the girl will be released. Den agrees and infiltrates the palace along with Ard's best soldier, Norl. They are promptly caught by the Queen's guards, but she offers leniency if Den 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 suspects that they were teleported to Earth. 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 else.
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 in 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 named 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 highly incriminating statements about Sternn (though whether or not any of them are true is unknown) before changing him into a hulking muscular brute 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 scrawny 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.
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 and with animation studio being produced by Duck Soup Produckions.
"B-17"
A World War IIB-17 bomber nicknamed the Pacific Pearl makes a difficult bombing run and suffers heavy damage with all of the crew except the pilot and co-pilot killed by gunfire. 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, who surround him, sealing the horrified pilot's fate.
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 begins to behave erratically and motorboats 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 Edsel and co-pilot Zeke, the robot convinces Gloria to stay on board and have "robot sex" (albeit off-screen). Meanwhile, Edsel and Zeke snort a huge amount of a powdered drug called Plutonian Nyborg before flying home, zoning out on the cosmos. Too intoxicated to fly straight, they crash-land unharmed in a huge space station.
The Loc-Nar, now the size of a giant meteor, crashes into a volcano on another world and draws a large mass of curious people. As they begin to climb the volcano, it erupts and green slime covers the crowd, mutating them into an evil barbarian army. The mutants subsequently attack a nearby city of peaceful scholars. Desperate, the city leaders mentally summon the Taarakians, a once powerful yet now declining warrior race with whom the city had a pact, but the city falls before the call can be answered.
Taarna, a beautiful yet mute warrior and the last of the Taarakians, receives the summons. After ritually preparing herself, she and her avian mount fly to the beleaguered city, only to find the citizens dead. Determined to avenge them, she begins following the trail of their murderers and encounters a small band of the mutant barbarians. After killing them and with more information at hand, she travels towards the mutant camp, but she and her mount are captured.
Taarna is tortured and thrown into an open pit, unconscious. Her mount escapes and rescues her. She tries going for the Loc-Nar, but the mutants pursue and shoot her mount down. The mutant leader faces Taarna in a duel to the death, wounding her, but Taarna manages to kill him. With the last of their strength, Taarna and her companion make a death flight to the volcano. As they approach, the Loc-Nar warns her off, claiming that sacrificing herself would be futile. Ignoring the Loc-Nar, Taarna unleashes the power imbued in her sword and dives into the volcano, destroying the Loc-Nar.
As the final story ends, the Loc-Nar that was terrorizing the girl destabilizes and begins breaking up. The girl flees it and her home. The Loc-Nar then explodes, destroying the mansion in the process. 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, transforming her into a new Taarakian.
The initial script had Arzach as the framing device for the film, but the script was thrown out after Jean Giraud refused to allow the usage of his characters. Len Blum and Daniel Goldberg created Taarna and a green orb instead.[9]Chris Achilléos did the character design for Taarna.[10]
Michael Mills was hired to create the opening and closing segments, but script rewrites had the sequences redrawn multiple times. Reitman, displeased with the high expenses, withheld payment. Mills sued and the case was settled out of court. Reitman hired Jimmy T. Murakami to create a new opening.[9]
Animator Robert Balser directed the animation of the "Den" sequence for the film.[13] 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.[14] There is also a short shot of the Pentagon in "So Beautiful & So Dangerous" that contains CGI.[15]
Release
The film was released on August 7, 1981. It was a financial success, grossing over $20 million on a $9 million budget (equivalent to a gross of $67 million in 2023).[3]
Reception
The film was met with mixed response. Review aggregator Rotten Tomatoes reports that 66% of critics have given the film a positive review based on 35 reviews, with an average rating of 5.8/10 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."[16]
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."[17]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."[18]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 criticized the film as "blatantly sexist" and for having "wildly romanticized" violence.[19]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."[20] John Pym of The Monthly Film Bulletin found that it was "to put it mildly, something of a hodge-podge."[21] 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."[22]
On the whole, in terms of individual segments, critics were typically most favorable towards the "Den" story.[23] Maslin of the Times gave the segment a positive review, writing, "The other highly memorable story is about a bookworm from earth who winds up on another planet, where his spindly body is transformed into that of an extraterrestrial Hercules." She also complimented John Candy's vocal performance as Den.[17]
Christopher John reviewed Heavy Metal in Ares Magazine #11 and commented that "Sadly, what could have been a true boost for animation in this country[lower-alpha 1] is a weak, opportunistic failure, put together with very little care and no love at all."[24]
Home media
Heavy Metal aired frequently on HBO/Cinemax throughout the 1980s and 90s.[25]
Prior to official release on VHS and LaserDisc in 1996, the film was re-released to 54 theatres on March 8, 1996,[25] remixed in Sony's 8-track SDDS audio system, taking in US$550,000 (equivalent to $1,068,491in 2023).[4] The subsequent home video release, the first animated film issued on the VHS format to be THX-certified, moved over one million units.[26]
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, 2011.[27]
A remastered 4K version was released on Ultra HD Blu-ray on April 19, 2022, bundled with a Blu-ray Disc release of the sequel, Heavy Metal 2000 (2000).[28]
The soundtrack was released on LP in 1981, but for legal reasons, was not released on CD until 1995.[25] The album peaked at number 12 on the Billboard 200 chart. The film'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[30] and number five on the Mainstream Rock chart on September 19, 1981.[31]
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. Although 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 film delayed its release to home media. The production company's use of some songs was limited solely to the theatrical release and soundtrack and did not include home media releases. It was not until 1996 that there was an official home media 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.[25][32]
The original LP contained four tracks per side and was programmed in stackable order (A, D, B, C).
Rhino Records reissued the two-LP collection in 2017, programmed in standard order (A, B, C, D), as part of their "Rocktober" collection.[33]
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.[37] 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
Sequel
The sequel, titled Heavy Metal 2000, was released in 2000. Upon its release, Heavy Metal 2000 received negative reviews from critics and has fallen into obscurity.
Legacy and cultural impact
Several years after the film's release, Heavy Metal managed to achieve a strong cult following mainly through midnight screenings, TV showings, and home video releases.[25]
The film was parodied in a season 12 episode of the adult animated comedy series South Park entitled "Major Boobage" (2008; S12E03), which also featured songs from the film's soundtrack.[41]
Both Heavy Metal and the British animated film Watership Down (1978) served as strong influences on the animation and anthology styles of the music video "At the Door" by The Strokes.[44]
Remake
In March 2008, Variety reported that Paramount Pictures was set to make another animated film with David Fincher "spearheading the project". Kevin Eastman, who was at the time the owner and publisher of Heavy Metal, was to direct a segment, as would Tim Miller, "whose Blur Studio will handle the animation for what is being conceived as an R-rated, adult-themed feature".[45]
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."[46]Entertainment Weekly quoted Tim Miller as saying "David really believes in the project. It's just a matter of time."[47]
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.[48]
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.[49]Mark Osborne and Jack Black from Tenacious D were going to do a comedy segment for the film."[50]
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,[51] who purportedly thought such a film was "too risqué for mainstream audiences".[47]
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.[52] On March 11, 2014, with the formation of his own television network, El Rey, Rodriguez considered switching gears and bringing it to TV.[53]
Heavy Metal was an American science fiction and fantasy comics magazine, published between 1977 and 2023. The magazine was known primarily for its blend of dark fantasy/science fiction, erotica, and steampunk comics.
Cinderella is a 1950 American animated musical fantasy film produced by Walt Disney Productions and released by RKO Radio Pictures. Based on Charles Perrault's 1697 fairy tale, it features supervision by Ben Sharpsteen. The film was directed by Wilfred Jackson, Hamilton Luske, and Clyde Geronimi. The film features the voices of Ilene Woods, Eleanor Audley, Verna Felton, Rhoda Williams, James MacDonald, and Luis van Rooten.
Den is the name of two identical sword and planet fictional characters created by Richard Corben. The first appeared in the 1968 animated short film Neverwhere. The second has been appearing comics since 1973, and in short stories that have been collected for the most part in trade paperbacks.
Looney Tunes: Back in Action is a 2003 American live-action/animated comedy film produced by Warner Bros. Feature Animation and distributed by Warner Bros. Pictures. It is the second fully original theatrical feature film in the Looney Tunes franchise, and was directed by Joe Dante from a screenplay by Larry Doyle. Brendan Fraser, Jenna Elfman, and Steve Martin star in the film; Timothy Dalton, Heather Locklear, and Bill Goldberg appear in supporting roles, while Joe Alaskey leads the voice cast. Its plot, which parodies action and spy film conventions, follows Bugs Bunny and Daffy Duck (Alaskey) as they become intertwined in a plot by the ACME Chairman (Martin) to transform the world's population into subservient monkeys using the Blue Monkey diamond. They accompany aspiring stuntman DJ Drake (Fraser) and Warner Bros. executive Kate Houghton (Elfman) on their journey to thwart the Chairman's plot, which doubles as a mission to rescue the former's abducted father, Damian (Dalton).
The History of Canadian animation involves a considerable element of the realities of a country neighbouring the United States and both competitiveness and co-operation across the border.
Journey Back To Oz is a 1972 American animated adventure musical fantasy film produced by Filmation. It is loosely based on L. Frank Baum's second Oz novel The Marvelous Land of Oz (1904), although Baum received no screen credit.
The Great Space Coaster is a children's television show that was broadcast in first-run syndication from 1981 to 1986.
Fire of Unknown Origin is the eighth studio album by the American rock band Blue Öyster Cult, released on June 22, 1981. It was produced by Martin Birch.
Yoshiaki Kawajiri is a Japanese writer, director, storyboard artist and animator. A co-founder of the anime studio Madhouse, he is best known as the director of Wicked City, Ninja Scroll, and Vampire Hunter D: Bloodlust.
David Feiss is an American animator, storyboard artist, screenwriter, and director. Feiss began his career working for Hanna-Barbera in the late 1970s. He received his first credit for the 1981 adult animated film Heavy Metal. He gained notoriety throughout the late 1980s and 1990s as an animator for Jetsons: The Movie, Once Upon a Forest, The Town Santa Forgot and The Ren & Stimpy Show, among others.
Heavy Metal 2000 is a 2000 Canadian adult animated science fantasy film produced by Jacques Pettigrew and Michel Lemire, and directed by Michael Coldewey and Lemire. Starring the voices of Michael Ironside, Julie Strain, and Billy Idol, the film is the follow-up to the 1981 animated cult film Heavy Metal, which is based on the fantasy magazine of the same name. The story is based on the graphic novel, The Melting Pot, written by Kevin Eastman, Simon Bisley and Eric Talbot. The film was made by CinéGroupe, a studio based in Montreal, Quebec. It received negative reviews on Rotten Tomatoes.
Percy Rodriguez was a Canadian actor who appeared in many television shows and films from the 1950s to the 1980s. He was of Afro-Portuguese heritage and was born in the Saint-Henri neighbourhood of Montreal. Born with the surname "Rodrigues," he adopted the spelling "Rodriguez" after it was misspelled in a Broadway program early in his career. Rodriguez was also known for his extensive voiceover work as the narrator of film trailers, television spots and documentaries.
Atkinson Film-Arts was an animation studio based in Ottawa, Ontario, Canada. The company is best known for producing the first two Care Bears television specials – The Care Bears in the Land Without Feelings and The Care Bears Battle the Freeze Machine – and the four syndicated specials that inspired The Raccoons. Atkinson also produced the Christmas specials The Little Brown Burro, Tukiki and His Search for a Merry Christmas and The Trolls and the Christmas Express and the 1986–87 series The Adventures of Teddy Ruxpin.
Jonathan David Schnepp was an American animator, producer, director, writer, editor, voice actor, and media host.
Captain Lincoln F. Sternn is a comic book character created by Bernie Wrightson.
Gary Mooney was an American animator who worked for Walt Disney Studios, Hubley Studios and fellow animator Jay Ward during his career, which spanned several decades from the 1950s to the 2000s (decade). Some of the most famous projects in which Mooney participated in included Disney's Sleeping Beauty, Lady and the Tramp and Ward's George of the Jungle. He also worked on several live action films. Mooney also completed many animated sequences, title sequences and graphics for use in live action films, television shows and commercials.
William Charles Littlejohn was an American animator and union organizer. Littlejohn worked on animated shorts and features in the 1930s through to the 1990s. His notable works include the Tom and Jerry shorts, the Peanuts television specials, the Oscar-winning short The Hole (1962), and the Oscar-nominated A Doonesbury Special (1977). He was inducted into the Cartoon Hall of Fame and received the Winsor McCay Award and garnered lifetime achievement awards from the Annie Awards and the UCLA Film and Television Archive. Director Michael Sporn has called Littlejohn "an animation 'God'."
Darrell Tyrone "Big D" McNeil was an American animator, writer, editor, publisher, producer, and actor. He started at the age of eight performing as a background actor and bit player in various movies and television series. He entered the animation industry at the age of 18 with Hanna-Barbera Productions. He was most recently developing and producing a number of animated and live action projects through his own company, Gold Medal Productions.
Smallfoot is a 2018 American animated musical teen comedy film co-produced by Warner Animation Group and Zaftig Films, and distributed by Warner Bros. Pictures. Based on the unpublished children's book Yeti Tracks by Sergio Pablos, the film was co-written and directed by Karey Kirkpatrick, and stars the voices of Channing Tatum, James Corden, Zendaya, Common, LeBron James, Gina Rodriguez, Danny DeVito, Yara Shahidi, Ely Henry and Jimmy Tatro. The plot follows a tribe of Himalayan Yeti who come across a human being, with each species thinking the other was just a myth.
Love, Death & Robots is an adult animated anthology television series created by Tim Miller and streaming on Netflix. Although the series is produced by Blur Studio, individual episodes are produced by different animation studios from a range of countries and explore diverse genres, particularly comedy, horror, science fiction, and fantasy. Each episode is connected to one or more of the three titular concepts. Miller serves as the showrunner and producer alongside Joshua Donen, David Fincher, and Jennifer Miller; most episodes are written by Philip Gelatt, and are adaptations of short stories.
↑ Bukatman, Scott (December 1992). "RIDLEY SCOTT'S BLADE RUNNER". FILM. ArtForum. Vol.31, no.4. The film's visual design, primarily by Lawrence Paull and Syd Mead, was partly derived from the art style of Heavy Metal magazine, as drawn by artists like Moebius (Jean Giraud), Philippe Druillet, and Angus McKie.
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