In praise of Hellboy – Why this subversive… | Little White Lies

In Praise Of

In praise of Hell­boy – Why this sub­ver­sive super­hero movie still slays

07 Apr 2019

Words by Daniel Seddon

A red-faced man wearing a beige coat holds a large gun, aiming it in a dimly lit, industrial setting.
A red-faced man wearing a beige coat holds a large gun, aiming it in a dimly lit, industrial setting.
Guiller­mo del Toro’s cig­ar-chew­ing mon­ster remains one of cinema’s most com­pelling anti-heroes.

As Nick Cave and the Bad Seeds fore­told in 1994, a tall hand­some man with a red right hand was approach­ing – and 10 years lat­er, Ron Perlman’s Hell­boy swag­gered onto the big screen. Okay, so maybe the hand­some’ part could do with a pol­ish, but oth­er­wise this cig­ar-chew­ing demi-demon is a unique­ly com­pelling protagonist.

Based on Mike Mignola’s expres­sion­is­tic com­ic book series, Guiller­mo del Toro’s 2004 film briefly touch­es on the title character’s ori­gins, as a group of black mag­ic Nazis attempt to sum­mon the Sev­en Gods of Chaos. What acci­den­tal­ly slips through the por­tal – a choco­late lov­ing child­like demon – is then tak­en in by the Bureau of Para­nor­mal Research and Defense to lock horns with the things that go bump in the night”.

The late, great John Hurt por­trays Hellboy’s adop­tive father, Pro­fes­sor Trevor Brut­ten­holm, a world-weary para­nor­mal spe­cial­ist who nav­i­gates the BPRD’s assign­ments. Brut­ten­holm (referred to as Broom through­out the film) stands as the only respect­ed author­i­ty fig­ure in Hellboy’s life, and their dif­fi­cult rela­tion­ship brings out many of the monster-hunter’s juve­nile habits. He may be a gran­ite-fist­ed, beast­ly, sol­dier of the apoc­a­lypse, but Perl­man injects a cock­sure real­ism into Hell­boy that cre­ates some­thing sur­pris­ing­ly close to pathos, too.

Rather uncon­ven­tion­al­ly, com­e­dy is a use­ful ingre­di­ent with­in del Toro’s fan­ta­sy adven­ture, because Hellboy’s dry respons­es to extra­or­di­nary cir­cum­stances offer a pop­corn coun­ter­ac­tion to the visu­al hor­rors on dis­play. Didn’t even buy me a drink,” Hell­boy quips when three mon­ster eggs are removed from his skin. I’m fire­proof, you’re not,” he smirks after allow­ing elec­tric­i­ty to pass through his body while an adver­sary has him on the ground.

Perlman’s per­fect­ed grouch­i­ness is one of the film’s great­est weapons: I hate those com­ic books, they nev­er get the eyes right,” he groans in a meta­tex­tu­al moment in which stacks of the orig­i­nal source mate­r­i­al can be spot­ted in Hellboy’s bed­room. But that’s not to say the film is all laughs.

Case in point: Karl Ruprecht Kroe­nen (Ladislav Beran), a blade-wield­ing freak who skulks around wear­ing a gas mask. Work­ing as Adolf Hitler’s top assas­sin, Kroenen’s addic­tion to self-surgery is a wince-induc­ing facet to the imagery pre­sent­ed on screen, and for a fel­la who lacks eye­lids, lips and blood, Kroe­nen is a force of nature who remains a mem­o­rable oppo­nent 15 years on from the film’s debut.

Dark figure in rain, wearing coat and hat, standing near Nazi symbols.

Del Toro is a stu­dent of hor­ror cin­e­ma – fas­ci­nat­ed by Love­craft­ian beings and mon­strous out­siders – and in Hell­boy his obses­sions and influ­ences are plain to see. Sam­mael aka the Hound of Res­ur­rec­tion” (Bri­an Steele) looks like a four-legged cousin of the Preda­tor, lop­ing its way through the city like a dread­locked night­mare hun­gry for scraps of any­thing – and any­one. Sammael’s sick­ly green blood is per­haps anoth­er nod to one of the cinema’s icon­ic extraterrestrials.

We’re also treat­ed to one of Doug Jones’ more human­ised per­for­mances, although his char­ac­ter, Abe Sapi­en, hap­pens to be pre­dom­i­nant­ly amphib­ian. As del Toro’s trust­ed crea­ture-artist, Jones has been blessed with some extra­or­di­nary roles dur­ing his career, most recent­ly the star mer­man in The Shape of Water.

Abe’s design is a beguil­ing com­bi­na­tion of tex­ture and colour, and the char­ac­ter is equal­ly as fas­ci­nat­ing as the epony­mous anti-hero. His skills in psy­chom­e­try make him a cap­ti­vat­ing and beau­ti­ful­ly mys­te­ri­ous side­kick for Hell­boy, and although David Hyde Pierce’s voice was favoured over Jones’ in the final cut, it’s the latter’s liq­uid move­ment that ele­gant­ly con­veys Abe’s nature.

Idio­syn­crat­ic artis­tic flour­ish­es loom over the film like a macabre shad­ow. Hellboy’s dark, lav­ish grandeur is sharp­ened by del Toro’s keen eye for the block­bust­ing spec­ta­cle, the direc­tor pro­vid­ing a per­fect goth­ic-laced anti­dote to con­tem­po­rary super­hero movies, with added exis­ten­tial­ism to tug at our heartstrings.

A man with a red face and horns wearing a trenchcoat, and a woman in a fur coat, both looking at something in the woman's hand.

The main nar­ra­tive cen­tres around a bat­tle between good and evil, but our pro­tag­o­nist spends much of the film pin­ing for Liz Sher­man (Sel­ma Blair), a pyro­ki­net­ic mem­ber of the BPRD who also becomes the sub­ject of John Myers’ roman­tic inter­est. In the midst of so much death and hor­ror, this gen­tly affect­ing sub­plot fur­ther proves that del Toro is a mas­ter of mul­ti­ple genres.

It could even be said that Quentin Taran­ti­no pays homage to Hell­boy in his win­tery cham­ber piece The Hate­ful Eight. Watch close­ly and you’ll notice that the first scene of del Toro’s film and the open­ing of Tarantino’s are momen­tar­i­ly con­nect­ed. (You can thank us later.)

With Neil Mar­shall ready to unveil his Big Red reboot, del Toro’s cel­e­brat­ed vision pos­es some seri­ous prob­lems for its suc­cess – both artis­ti­cal­ly and com­mer­cial­ly. Can David Har­bour rekin­dle the can­tan­ker­ous mag­ic set before him, and will Marshall’s style suit a com­ic book adaptation?

The director’s expe­ri­ence with­in the fan­ta­sy and hor­ror gen­res, on the likes of The Descent and Dooms­day, should serve the mate­r­i­al per­fect­ly, but 2019 Hellboy’s secret weapon is arguably its much-cov­et­ed R‑rating, which promis­es to raise the blood­thirsty stakes. Let the best demon win.

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