एक दानव, जो बचपन से ही नाजियों द्वारा जादू-टोने और छुड़ाए जाने के बाद बड़ा हुआ, अंधेरे की ताकतों के खिलाफ एक रक्षक बन गया.एक दानव, जो बचपन से ही नाजियों द्वारा जादू-टोने और छुड़ाए जाने के बाद बड़ा हुआ, अंधेरे की ताकतों के खिलाफ एक रक्षक बन गया.एक दानव, जो बचपन से ही नाजियों द्वारा जादू-टोने और छुड़ाए जाने के बाद बड़ा हुआ, अंधेरे की ताकतों के खिलाफ एक रक्षक बन गया.
- पुरस्कार
- 3 जीत और कुल 23 नामांकन
Biddy Hodson
- Ilsa Haupstein
- (as Bridget Hodson)
कहानी
क्या आपको पता है
- ट्रिवियाDoug Jones' (Abe Sapien's) voice was dubbed by David Hyde Pierce, but Pierce refused a credit because he felt that Abe was entirely Doug's creation, and did not wish to detract from his performance.
- गूफ़On the Bridge scene under the graveyard, Tom Manning is thrown and slides under the door just before it closes. However Hellboy also slides under later in the scene when the door should have already been closed.
- भाव
John Myers: My uncle used to say that we like people for their qualities but we love them for their defects.
- क्रेज़ी क्रेडिटUnder the "Special Thanks To" - Erik Irastorza who was born during our shoot.
- इसके अलावा अन्य वर्जनThe Hellboy 3-disc director's cut DVD is ten minutes longer. (132 minute director's cut versus 122 minute regular version). Restores a few deleted/extended scenes back into the movie.
- साउंडट्रैकHeart Attack and Vine
Written and Performed by Tom Waits
Courtesy of Elektra Entertainment Group
By Arrangement with Warner Strategic Marketing
फीचर्ड रिव्यू
Hellboy is self-conscious, perhaps, but in the best ways possible. Actually, it's more due to writer/director Toro being very aware of what makes up the conventional bits to every sense character-wise to the world of a comic-book, but also what can be entertaining as well, than it is just to having it being a Hellboy movie where the comic-book Hellboy already exists IN this world (guy sees the Hellboy comic, looks up, it's Hellboy!). We get the tough-as-nails, dryly witty, and possibly ticking-time-bomb hero in Hellboy, a deadly serious villain in Rasputin (yes, Rasputin, with a blonde Nazi as his evil side-kick no less), the young apprentice to the hero (Ruper Evans as John Meyers), the hero's love interest (Liz Sherman played by Selma Blair), the father figure (John Hurt's Professor), and the reluctant 'boss' (Jeffrey Tambor), not to mention the plucky side mutant in Abraham (Doug Jones) AND a magnificent creature in that hard-ass slug. They're all there, bright as day (or dark, depending on point of view), and it all works wonderfully due to Toro running with it all head on. It's not done in a way that's meant to pander to the audience, either, but just to have fun with the conventions, to see what makes them all crackle and pop under big-time special effects. It's not quite a guilty pleasure because Toro is also a smart craftsman.
And craftsman just as much as director, he crafts this world where the creatures (which were and still are Toro's forte) are fierce and radically charged, whether they're crucial to the picture like Rasputin's rabid, rapidly hatching slug-monsters that can only be killed one or two ways, or if it's just a minor creature like the zombie Russian corpse that leads a little of the way when Hellboy and his crew are in the main hideout of the villains ("I was better off dead!"). Toro is sensitive to the characters alongside this, and makes them all pretty believable- and I say pretty cause it's all a little simple, yet effective, in the main thrust of Hellboy's emotional core being about Liz and if she may or may not go for John over him- and doesn't dumb it down too much or contrive the relationships for the audience. It's a good balance, because there is A LOT of action in Hellboy, in fact probably at least a 60% allotment to either Hellboy fighting the monsters after him (usually in the subway, or in the Russian castle), or with the possibly un-dead assassin in the mask and leather who marks as one of the fiercest forces in comic book movies.
So, fan-boys rejoice, because Hellboy should, and hopefully will, have everything one looks for in a brawny, high-octane entertainment where humor isn't confused with cheesiness (Perlman is too well focused as a possible anti-hero to get into any of that, as he makes that hugely built red lug a very real being), and the action isn't over-done with a tongue-in-cheek. Not that Toro doesn't flirt with having goofy things in his picture, like a moment where Hellboy has to save a box of kittens from the grasp of the slug-monster. But they're earned moments among a very tightly constructed story where human evils in history and the bizarre in what is in the facts (Hitler into the occult, Rasputin's very long death) into a comfortably understood framework of comic-book clichés that never get too old when done right. Bottom line, can't wait for number 2!
And craftsman just as much as director, he crafts this world where the creatures (which were and still are Toro's forte) are fierce and radically charged, whether they're crucial to the picture like Rasputin's rabid, rapidly hatching slug-monsters that can only be killed one or two ways, or if it's just a minor creature like the zombie Russian corpse that leads a little of the way when Hellboy and his crew are in the main hideout of the villains ("I was better off dead!"). Toro is sensitive to the characters alongside this, and makes them all pretty believable- and I say pretty cause it's all a little simple, yet effective, in the main thrust of Hellboy's emotional core being about Liz and if she may or may not go for John over him- and doesn't dumb it down too much or contrive the relationships for the audience. It's a good balance, because there is A LOT of action in Hellboy, in fact probably at least a 60% allotment to either Hellboy fighting the monsters after him (usually in the subway, or in the Russian castle), or with the possibly un-dead assassin in the mask and leather who marks as one of the fiercest forces in comic book movies.
So, fan-boys rejoice, because Hellboy should, and hopefully will, have everything one looks for in a brawny, high-octane entertainment where humor isn't confused with cheesiness (Perlman is too well focused as a possible anti-hero to get into any of that, as he makes that hugely built red lug a very real being), and the action isn't over-done with a tongue-in-cheek. Not that Toro doesn't flirt with having goofy things in his picture, like a moment where Hellboy has to save a box of kittens from the grasp of the slug-monster. But they're earned moments among a very tightly constructed story where human evils in history and the bizarre in what is in the facts (Hitler into the occult, Rasputin's very long death) into a comfortably understood framework of comic-book clichés that never get too old when done right. Bottom line, can't wait for number 2!
- Quinoa1984
- 8 मार्च 2007
- परमालिंक
टॉप पसंद
रेटिंग देने के लिए साइन-इन करें और वैयक्तिकृत सुझावों के लिए वॉचलिस्ट करें
विवरण
- रिलीज़ की तारीख़
- कंट्री ऑफ़ ओरिजिन
- आधिकारिक साइटें
- भाषाएं
- इस रूप में भी जाना जाता है
- Hellboy 1
- फ़िल्माने की जगहें
- उत्पादन कंपनियां
- IMDbPro पर और कंपनी क्रेडिट देखें
बॉक्स ऑफ़िस
- बजट
- $6,60,00,000(अनुमानित)
- US और कनाडा में सकल
- $5,96,23,958
- US और कनाडा में पहले सप्ताह में कुल कमाई
- $2,31,72,440
- 4 अप्रैल 2004
- दुनिया भर में सकल
- $9,93,78,985
- चलने की अवधि2 घंटे 2 मिनट
- रंग
- ध्वनि मिश्रण
- पक्ष अनुपात
- 1.85 : 1
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