John T. Ryan BEGINNING its life in a humble enough manner, a story titled "Armageddon 2419 A.D. in an edition of AMAZING STORIES Magazine published in 1929, BUCK ROGERS was soon transcribed into the pages of the Nations Newspapers as a Daily and Sunday Color Comic Strip. Radio next beckoned with Hollywood waiting in the wings.WHEN Universal worked out a deal to make a Saturday Matinée staple out of it as a Cliff Hanger Serial (aka "Chapterplay"), they were well acquainted with the new sub-genre of the Science Fiction Movie, the Space Opera. Universal Pictures, long known as the top producer of the Horror Films. With such classics to their credit as FRANKENSTEIN (1931), Dracula (also '31), THE INVISIBLE MAN (1933), THE MUMMY (1932) and the first and still greatest of sequels with BRIDE OF FRANKENSTEIN (1935); as well as so many more titles and sequels extending right up to the 1960's Space Monster Craze.UNIVERSAL was also one of the three main purveyors of Serials. Having begun the practice in their earliest days, even pre 1920's Silent Screen Days; Mr. Carl Leamelle's Studio was joined later by Mascot and some independents like Victory Pictures and Weiss Brothers Artclass Pictures. Eventually Mascot merged with some others to form Republic Pictures; which was the numero uno producer of Serials (along with the "B" Western Series) for years. The third major Serial Company was Columbia.FURTHER qualification for Universal was in evidence of its two previously highly successful outings featuring their adaptation of the Hearst King Features Syndicate's Comic Strip done by artistic giant, Alex Raymond by name.THE Serials' entitled FLASH GORDON (1936) followed by FLASH GORDON'S TRIP TO MARS (1938) both starred former Olympic Swimming Champion, Clarence Linden "Larry"(Buster) Crabbe in the title character's role. Although Buster was a Contract Player with Paramount, he had already been lent out to Universal on three occasions; making three comic strip adaptations as Cliff-Hangers. In addition to the aforementioned two, he also did the honors as Earth-Bound Detective, RED BARRY (1937).*SO, when BUCK ROGERS became their next project, who would be better to fill Buck's 25th Century Boots than the athletic, likable and talented (as a screen Thespian) Mr. Crabbe. It became a fait accompli in short order; taking to the big screen much like the proverbial Duck taking to the equally proverbial small pond or slough of H2O. (That's Water, Schultz!).MOST everyone that screens the Serial today expresses the opinion that the movie is okay, but they prefer the Flash Gordon roles of the previously made productions. All of the viewers of the Serial when it went into its initial release of 1939 must have felt pretty much the same way. The young Mr. Crabbe may also have become strongly identified with the part of the Wealthy Yale Graduate and Polo Player (from Flash Gordon's Comic Strip Origin).AT any rate, there was no 2nd Buck Rogers project at Universal until the BUCK ROGERS Feature Film of 1977 with its subsequent BUCK ROGERS Television Series on NBC TV Network.AS for the BUCK ROGERS Serial, our subject today, it was as familiar a character as one could be; for everyone (and we mean literally EVERYONE was familiar with the character and its legend of 20th Century Man Buck getting put into a deep sleep (suspended animation) for 500 years only to awaken in a future Earth where criminals ruled the country. (You know, Schultz, kinda like Chicago's Daley Machine!) Just about everything is the same, EXCEPT the methods of Buck's being anesthetized.IN the original Prose Story in AMAZING STORIES Magazine, Mr. Rogers was out Spelunking all by his lonesome, when he was put under by some gas present in the cave he was exploring. In the Serial, he and Buddy 'Wade' crashed their dirigible near the North Pole, getting chilled into a deep, five century long nap. In the 1970's version, Buck is an American Astronaut who is in a space suspended animation thing for the time.(Buddy was Buddy Dearing in the Newspaper Strip, ergo was already in the 25th Century where he was born. There was no 'Buddy' character in the 1977 movie or its TV Series spin-off.) AS we said, there was little need for any origin exposition with the Universal Serial. Buck really "landed on his feet" and "hit the ground running"; as he was immediately commissioned an Officer in the underground (literal term).THERE'S no double talk in the BUCK ROGERS Serial whatsoever. Those were much more innocent times-at least for the kids! ROUNDING out the cast were serial veterans Constance Moore (Wilma), Jackie Moran (Buddy), C. Montague Shaw (Dr. Huer), Jack Mulhall (Captain Rankin), Anthony Warde (Killer Kane also referred to as "Leader Kane"), Guy Usher (Aldar), William Gould (Air Marshall Kragg), Phillip Ahn (Prince Tallem as "Philson Ahn), Henry Brandon (Captain Laska), Wheeler Oakman (Lieutenant Patten), Keene Duncan (Lieutenant Lacy), Carleton Young (Scott), Reed Howes (Captain Roberts) and last but not least Wade Boteler (Professor Wade). Also has a whole blank-house full more! NOTE: * Universal would have Mr. Crabbe do a third Serial portraying their most successful spaceman in FLASH GORDON CONQUERS THE UNIVERSE (1940). POODLE SCHNITZ!!

kevin_s_scrivner I can't help comparing this 1939 serial to "Flash Gordon" (1936) and "Flash Gordon Conquers the Universe" (1940). Although some of the special effects (the ray guns and fleets of spaceships) are superior, "Buck Rogers" is less fun. It's not the fault of Buster Crabbe, who invests Rogers with the same heroic energy he gave to Gordon. And Jackie Moran shines as sidekick Buddy Wade (in the newspaper strip he was Buddy Deering, Wilma's younger brother). But the other actors fall short. So does the story and pacing.Anthony Wade's Killer Kane is a colorless villain, lacking the panache of Charles Middleton's gleefully evil Ming the Merciless. He badly needs a slinky, sinister Ardala Valmar to spice things up. Constance Moore is a competent Wilma Deering but there's no chemistry between her and Crabbe. Moore lacks the passion Jean Rogers exhibited as Dale Arden in the "Flash" series or the breezy camaraderie Erin Gray displayed as Wilma Deering in the 1980s "Buck Rogers" television show. C. Montague Shaw is OK as Doctor Huer but doesn't have nearly as much to do as Frank Shannon's Doctor Zarkov (again, from the "Flash" serials).After an exciting start, the serial falls down in the latter six episodes. It is typical of the genre to have a late episode replay scenes from earlier in the series to pad things out. But "Buck Rogers" does this twice. Serial plots also tend to have a lot of captures, escapes, and re-captures. "Flash Gordon" broke the monotony by having these occur in a variety of ways in a variety of locations. "Buck Rogers" has only two destinations: Earth and Saturn. Both planets apparently share the same rocky desert terrain. Doctor Huer has only one technological gimmick to help Buck. The heroes get stranded by crashed spaceships seemingly every other episode. And Kane's goons never tumble to the fact that it's Rogers driving that rocket cruiser reported missing from their hangar.Given it's charismatic hero and quality special effects, "Buck Rogers" could have equaled or surpassed "Flash Gordon" if it had had stronger writing or more energetic secondary characters. Unfortunately, it has neither.

W K Buck Rogers as rendered in this serial is a far cry from the comic strip. Somehow, the producers & director managed to create what amounts to a pale shadow of the original strip. The sets used in the 1939 Buck Rogers series are painfully and obviously recycled from the prior Flash Gordon series. Not only that, but some of the film sequences seem to be recycled shamelessly (e.g. the sequences of the underground subways).For anyone who wonders about the genesis of the homo-erotic themes of Batman, though, look no further! Buck and Buddy do seem to be the prototypes of the now common comic book stereotypes. I am not certain whether this was intentional or not. Possibly the director merely had in mind an appeal to the pre-adolescent social constructs of a bygone age? Buddy still looks like he's the "boy wonder" of this series, though, while the Buck Rogers films date back to 1934 or so, several years before the Batman debut (1939). There must be a master's thesis waiting to be written here.

futures-1 "Buck Rogers" (Episodes 1-12, 1939): This stuff is interesting to me for more than its comic book/kitsch style, weak acting, poor production, low grade special effects, lame story, and bad costumes. In 1938 & 1939, audiences were treated to Serials before the main movie at their local theater. Each section of these ongoing stories was about a half an hour in length, and a new one was shown each week. To see all 12 episodes (the entire story) you had to attend the movies 12 weeks in a row. Did you know the good guys would win? Of course. Did you know that at the end of each week's installment, there would be a "cliffhanger" moment leaving you wanting more next week? Of course. The Great Depression was still on, and television was invented but not yet available except to a few rich people in New York City. Once a week, especially on the weekend date nights and Saturday matinees for the kiddies, the Movie was IT...A SPECIAL experience to be savored for a nickel or dime. You got the NEWS, a CARTOON, a SERIAL installment, and THE MOVIE, plus some "private" time with your date...IN THE DARK, IN AIR CONDITIONING!! What a deal!! When I look beneath the surface of this serial (I go back and forth whether I like the characters in Flash Gordon OR Buck Rogers better, both having the same Space/Future theme, but I definitely prefer the décor and the hidden symbology of Buck) I see, as always, a "future" depicted by what we ARE at the moment, in our own time - considered the most "modern" of styles available to us. The cities, room sets, machines, costuming, transportation, and tools expected to be available to us in the future, are all shown in the Middle Art Deco style of America – Zig Zag, Geometric, Jazz, Skyscraper – applied (slathered) to everything from a pair of shoes to a rocket ship and an entire city. And, since the most modern symbols of the 1930's were our very own skyscrapers - with their skeletons of riveted steel - everything in the future is made of…riveted steel, even if it should float. Wonderful and silly. The city designs are direct ripoffs from various buildings of the 1933 Chicago and 1939 New York World's Fairs. The costumes are a mix of para-military horse riding jodfer outfits, and objects that can serve as both helmets OR trash cans for example...trash cans with lightning bolt wings, anyhow. Radio microphones FLOAT (on a fishing line) for some reason, but their speakers still look like turn of the century wind-up record player speaker horns; doors are toothy, biting jaws that open and close with intimidating chews; every object of any importance has a few vacuum tubes or power line insulators on it, along with the rivets; the powerful rocket ships snap, crackle, pop, fizz, and smoke like a used Desoto pouring sparks out its tail pipe, but somehow they get from planet to planet in minutes. Fight scenes: Buster Crabbe's (Buck's) stand-ins do all the work – and you KNOW they're stand-ins because you can SEE them fighting, and they look NOTHING like Buster/Buck. "Hey look, some OTHER guy's fighting now! Oh wait, he's Buck's stand-in!" Then we have the Zoggs – a dark skinned race of dolts, with large spirals of forehead flesh that hang in their eyes, serving as the gophers and laborer/minions of governments. Bad guys wear tight black uniforms. And here is where we get glimpses into the world of 1938/39, when Hitler, like the "Killer Kane" maniac leader in our story (a name that would have been recognized as the powerful "Citizen Kane" character who represented publisher William Randolph Hearst), who was attempting to take over the world, the solar system, the universe...controlling the minds of everyone. The good guys are working on alliances, some are ready to roll over for Killer Kane, others want to fight, and politics & leadership councils are being put to use as everyone decides who is on which side. In Buck Rogers, the American/English Caucasians/Earthlings are joined by the Chinese/Asians Saturnians and the Russian/Caucasians (of some other planet) to fight the power-mad German/Aryan race. The parallels were simple enough for all of that movie audience to "get". (The Japanese/Asians Aliens were not in the mix directly, but the audience would've known that the alliance with the Americans meant China, who was being attacked by Japan.) On and on the serial goes... battles, spying, espionage, meetings, weapon races, disguises, and science dedicated to winning wars not curing diseases. It was low-grade info-tainment – mild propaganda on a weekly basis – expressions of contemporary concerns and fears, which reached so many millions of Americans every week. Those hidden in the top back rows of the balcony didn't notice.