29 January 2012
League of Extraordinary Gentlemen-Century 1910: Mack the Ripper, or Lulu Never Gets A Break
When League of Extraordinary Gentlemen: 1910
came out, I happened to have just started working on my comics adaptation of Frank Wedekind's "Lulu," which had already been brewing in my mind for ten years, and poring over every version of it I can find. I even found the rare 1980 Borowczyk version that had Udo Kier in it, as he always seems to be in everything.
As Alan Moore has over the years instilled in me a serious awareness of weird coincidences, I was pleasantly surprised and a little weirded out to see that, in the midst of his restaging of The Threepenny Opera(which he and O'Neill do as though born to it, but Moore has always had a serious Weill influence), he brought in--nearly precisely--the ending of the play "Pandora's Box," and made what is in the play, literally, Jack the Ripper, Macheath in the midst of Moore's new version of that song we all know well. And this Lulu is of course based on Louise Brooks. Anyway, I liked the sequence so here it is(though the new twist to "Pirate Jenny" is pretty awesome, but that would be too many pages):
Basic setup: It's London, and Macheath has returned, and Lulu is walking the streets, having gone through(fatally) a number of husbands, and ended up from wealth and status to this. (Not really through any fault of her own exactly. Men just destroy themselves around her)
And here we have an altercation with the first lesbian in Western fiction, Countess Geschwitz, obsessed with Lulu and rejected by her, and getting a bit tired with only having an old painting of her to cuddle. But Mackie's not having that.
And we say farewell to Lulu. Though there is this back cover, and there are any number of paintings just like this from the turn of the century. Depictions like this of women were very popular with middle-class salongoers.
(all three images (c)2009 Alan Moore & Kevin O'Neill)
I would add that an even stranger additional coincidence was the recent release of the "Tales of the Black Freighter"(which I liked) which has the "Pirate Jenny" song, quite central to LOEG, playing over the credits. But the imagery in that song is something that goes deep in Moore.
By the way, for fans of "the Ruling Class"--which I am--the 14th Earl of Gurney also plays a central part in this. Also Iain Sinclair's Billy Pilgrimish Norton from "Slow Chocolate Autopsy," who can travel in time but not in space and is trapped in London, flashing between eras, and Moore does a great pastiche of Sinclair. It also has Crowley, sort of, as usual with Moore these days. And in retrospect Orlando turns out, in our first good look at him/her since the bits in BD, to be a real douchebag, and the only thing I really dislike about the series, except his origin story in Black Dossier, which should have been the last of him. He's stayed awful, really--he's just an annoying namedropping twat who they've literally spent a century with.
___________________
When League of Extraordinary Gentlemen: 1910
came out, I happened to have just started working on my comics adaptation of Frank Wedekind's "Lulu," which had already been brewing in my mind for ten years, and poring over every version of it I can find. I even found the rare 1980 Borowczyk version that had Udo Kier in it, as he always seems to be in everything.As Alan Moore has over the years instilled in me a serious awareness of weird coincidences, I was pleasantly surprised and a little weirded out to see that, in the midst of his restaging of The Threepenny Opera(which he and O'Neill do as though born to it, but Moore has always had a serious Weill influence), he brought in--nearly precisely--the ending of the play "Pandora's Box," and made what is in the play, literally, Jack the Ripper, Macheath in the midst of Moore's new version of that song we all know well. And this Lulu is of course based on Louise Brooks. Anyway, I liked the sequence so here it is(though the new twist to "Pirate Jenny" is pretty awesome, but that would be too many pages):
Basic setup: It's London, and Macheath has returned, and Lulu is walking the streets, having gone through(fatally) a number of husbands, and ended up from wealth and status to this. (Not really through any fault of her own exactly. Men just destroy themselves around her)
And here we have an altercation with the first lesbian in Western fiction, Countess Geschwitz, obsessed with Lulu and rejected by her, and getting a bit tired with only having an old painting of her to cuddle. But Mackie's not having that.
And we say farewell to Lulu. Though there is this back cover, and there are any number of paintings just like this from the turn of the century. Depictions like this of women were very popular with middle-class salongoers.
(all three images (c)2009 Alan Moore & Kevin O'Neill)
I would add that an even stranger additional coincidence was the recent release of the "Tales of the Black Freighter"(which I liked) which has the "Pirate Jenny" song, quite central to LOEG, playing over the credits. But the imagery in that song is something that goes deep in Moore.
By the way, for fans of "the Ruling Class"--which I am--the 14th Earl of Gurney also plays a central part in this. Also Iain Sinclair's Billy Pilgrimish Norton from "Slow Chocolate Autopsy," who can travel in time but not in space and is trapped in London, flashing between eras, and Moore does a great pastiche of Sinclair. It also has Crowley, sort of, as usual with Moore these days. And in retrospect Orlando turns out, in our first good look at him/her since the bits in BD, to be a real douchebag, and the only thing I really dislike about the series, except his origin story in Black Dossier, which should have been the last of him. He's stayed awful, really--he's just an annoying namedropping twat who they've literally spent a century with.
___________________
Labels: alan moore, comics, film, frank wedekind, Germany, horror, literature, lulu, my comics, my influences, theatre, UK
¶ 1/29/2012 04:15:00 AM
