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Tag Archive: Ron Lesser


  

Last year Dynamite brought Charlie’s Angels back from the 1980s for some new adventures, joining other classic TV series comic adaptations including Batman ’66, Wonder Woman ’77, The Six Million Dollar Man, and The Bionic Woman Dynamite has combined a few classic TV shows already, including a story with Wonder Woman ’77 and The Bionic Woman taking down some fembots This year the publisher is putting together two more dream team-ups with The Bionic Woman joining Charlie’s Angels on a mission in Charlie’s Angels/The Bionic Woman.  When Bosley hands Kelly Garrett, Kris Munroe, and Julie Rogers their next assignment from Charlie, they encounter one of our favorite classic borg characters, the bionic-powered Jaime Sommers.  Following the events of the television series into the 1980s, we catch up with a privatized Office of Scientific Investigation, and it’s up to these four women to make sure the OSI technology doesn’t get into the wrong hands for military applications.

It’s a great move using the latter trio from Charlie’s Angels for the new series.  Artist Cat Skaggs′ rendering of Tanya Roberts as Julie on her cover variant to Issue #1 is perfect, and she also provides a great portrait of Lindsay Wagner as Jaime for the cover of Issue #2.  Other covers were drawn by Ron Lesser and Jim Mahfood, whose Issue #2 features a gorgeous, stylized, throwback design.

   

Cameron DeOrdio (Josie and the Pussycats) steps in to write this series, and in the first issue she lays the groundwork for a compelling spy thriller.  Artist Soo Lee (Strange Attractors) brings in her unique style to give the series an authentic early 1980s vibe.  Her artwork has elements of manga and anime blended with Matt Kindt, but best of all the book looks as if it could have been drawn in 1982.  Color work is by Addison Duke, with letters by Crank!

Here are some preview images and covers for the first two issues, courtesy of Dynamite:

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Review by C.J. Bunce

Only a few Hollywood movie stars have reached icon status as Clint Eastwood has, from TV actor and film star in Westerns to street-smart leading man and pop culture idol, playing against type and then back again, and onward to award-winning director.  Eastwood has made his mark, and it makes sense that enough movie posters have featured his image and films to justify a book focused exclusively on the subject of the artwork instead of spotlighting any specific artist.  Not so much a survey of artwork as much as a comprehensive guide to movie posters featuring the star, Clint Eastwood: Icon–The Essential Film Art Collection is available this month in a revised and expanded edition for the first time in a decade.

In many ways Clint Eastwood: Icon would make for the ultimate auction catalog were all the items pictured for sale.  But it’s more than that.  Writer and compiler David Frangioni’s approach to collecting and his details about key posters will educate and inform even the passing film fan and collector.  Film expert and professor Thomas Schatz provides commentary on the context of Eastwood and his films within each decade.  Every area of collecting should be so lucky to have such a presentation in this format for its fans to admire.  Frangioni and Schatz include references to the artists when known, which is rare over the course of these hundreds of images.  The collection of work from these artists provides another niche study area for the history movie posters, including an international array of artists like Michelangelo Papuzza, Renato Casaro, Sanford Kossin, Peter Max, Jack Davis, Hans Braun, Lutz Peltzer, Lorenzo and Giuliano Nistri, Ron Lesser, John Alvin, Frank Frazetta, Bob Peak, Birney Lettick, Roger Huyssen, and Gerard Huerta.  Definitely a few names movie poster and pop art fans will recognize.

The posters represented aren’t only those styles seen by audiences entering American movie theaters.  These include many variations that appeared in theaters across the globe, some by artists whose names are lost to time, with decade-appropriate type styles and language to match.  As time marched on, more and more posters featured photographic images of Eastwood from the films, or other marketing photos of the actor inserted with or without additional artwork and text.  Why use a painting of Eastwood to advertise a Dirty Harry film when a photograph is most likely to reel in filmgoers?

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