Published: April 24th, 2019
Written by: Lee Allred, Mike Allred
Art by: Rich Tommaso, Mike Allred
Based on: Dick Tracy by Chester Gould
IDW Publishing, 108 Pages
I wanted to add this series to my pull list when it came out last year but I forgot about it around the time of its release. My store didn’t have any on the shelves either and by the time I remembered it, it was already too late. So I got and read the trade paperback instead.
I’ve been a Dick Tracy fan since the 1990 movie. Even though I knew about the character, it was that film that really introduced me to his world. I loved the hell out of that movie and still do, it’s one of the greatest comic book adaptations of all-time. I was captivated by the bright colors, the music but mostly by the unique and gimmicky mobsters.
I had the action figures. I had all the shit they gave out at McDonald’s that was tied to the film in the summer of ’90. I even had Dick Tracy bed sheets and one of the pillowcases became my container for Halloween candy for multiple years. I was a Dick-aholic. Or whatever the hell Dick Tracy fans are officially called.
So I was also excited for this due to the involvement of Mike Allred, whose Madman comics I’m also a fan of.
Ultimately, this was a pretty neat read. I wouldn’t call it great by any means but it hits the right notes mostly.
Well, other than where there are weird things in the story like smartphones. I get that this brought in some modern tech for what I assume is an attempt to be humorous but it honestly took me out of the comic I felt immersed in. I felt as if I was lost in a classic Dick Tracy tale and the writing style and quality worked but once I saw the first smartphone (and there are multiple) it reminded me that I’m reading an IDW comic. Which, as of late, sadly, isn’t a compliment.
Dick Tracy: Dead or Alive started out like a throwback but lost itself and dated itself with its need to be overly whimsical. While that works for Allred’s Madman, it doesn’t work in quite the same way here.
Pairs well with: other old school and modern Dick Tracy comics.
Minty Comedic Arts looks at Dick Tracy and goes through ten things that most fans might not know.
Release Date: June 15th, 1990
Directed by: Warren Beatty
Written by: Jim Cash, Jack Epps Jr.
Based on: Dick Tracy created by Chester Gould
Music by: Danny Elfman
Cast: Warren Beatty, Al Pacino, Madonna, Glenne Headly, Charlie Korsmo, James Keane, Seymour Cassel, Michael J. Pollard, Charles Durning, Dick Van Dyke, Frank Campanella, Kathy Bates, Dustin Hoffman, William Forsythe, Ed O’Ross, James Tolkan, Mandy Patinkin, R. G. Armstrong, Henry Silva, Paul Sorvino, James Caan, Catherine O’Hara, Estelle Parsons, Mary Woronov, Marshall Bell, Robert Costanzo
Touchstone Pictures, Silver Screen Partners IV, Mulholland Productions, Walt Disney, Buena Vista Pictures, 105 Minutes
“You get behind me, we all profit; you challenge me, we all go down! There was one Napoleon, one Washington, one me!” – Big Boy Caprice
I guess, from a critical standpoint, this film didn’t get the sort of respect that it should have. I’m not really sure why or how it didn’t resonate with some critics but Roger Ebert adored it, as do I.
In fact, Dick Tracy is almost a perfect film for what it is and I’m not sure what else anyone would want from this near masterpiece. Warren Beatty directed and starred in this and he gave us something magical and marvelous. It fit the classic comic strip to a t and truly breathed live action life into it. As great as the comic strip was, I feel like this film is an improvement on the story, the characters and the ideas of Chester Gould’s beloved creation.
Unfortunately, this great launching pad for what should have been a franchise, never got to have a sequel due to copyright disputes between Warren Beatty and Tribune Media Services. The courts eventually settled in favor of Beatty but that wasn’t until 2011. He has since talked of a sequel but there hasn’t been much movement and so much time has passed. Also, Disney had hoped that this would achieve 1989 Batman numbers but it didn’t hit that mark, even though it was financially successful.
And at least this film has its fans and, at the time of its release, the public supported the picture. Some of this could be due to the film’s immense star power, boasting a cast of superstars, or because of the awesome marketing campaign this film had – one of the best of all-time, in my opinion. Especially, the tie-in stuff they did with McDonald’s. Plus, there was that great Batman picture the previous year, which finally proved that comic book movies could be something that can be taken seriously.
The film has held up tremendously well and may actually be more visually alluring today. The use of vibrant giallo-like colors and tremendous matte paintings gave the film a real pulp comic feel that felt lived in and lively. Today, the picture truly feels like a work of art and has a visual uniqueness that stands on its own.
The picture was also enhanced by the incredible score by Danny Elfman. This is one of the greatest scores of Elfman’s long career and is very reminiscent of his work on Batman, the previous year, and 1990’s short lived The Flash television show. The score is powerful and blends well with the old timey tunes and the performances by Madonna.
Being a poppy 1930s style gangster story, Beatty tapped the Bonnie and Clyde well and cast Estelle Parsons and Michael J. Pollard in small roles. The film was only missing Faye Dunaway and Gene Hackman in reuniting the gang from that classic 1967 film.
Beatty was a fantastic lead and perfect Dick Tracy. Additionally, the rest of the cast was magnificent. Al Pacino got to be a hammy mob boss and foil to Tracy. Pacino’s Big Boy Caprice is also one of my favorite Pacino characters ever put to celluloid. Both Madonna and Glenne Headly are stellar as the leading ladies and this is just one of many roles where I became a huge fan of Headly.
The cast is rounded out by so many other great actors in smaller roles. Dick Van Dyke plays a crooked mayoral candidate, Dustin Hoffman plays the gangster Mumbles and R. G. Armstrong is the sinister mob boss Pruneface. You’ve also got cameos by James Caan, Catherine O’Hara, Kathy Bates and Paul Sorvino. William Forsythe and Ed O’Ross play Big Boy’s top henchmen Flattop and Itchy. You also have the always great Seymour Cassel as one of Tracy’s cop buddies. Plus, Charlie Korsmo was cool as The Kid.
Dick Tracy is action packed and stylish but it doesn’t put that style over its substance. The narrative works, the plot moves swiftly and there is never a dull moment. Plus, who the hell doesn’t love Tommy gun shootouts in the street?
It is also worth mentioning that the character of The Blank is one of the coolest film characters to come out of this era, even if used sparingly and in the dark. Had this gone on to be a film series, it would’ve been cool seeing someone else take up that mantle or The Blank living on in some way. The character also added an interesting twist to a film that, on its surface, looks like just a straight up cops and gangsters, good versus evil, cookie cutter type scenario. The Blank added a third, unpredictable element and a noir vibe.
Dick Tracy is one of the greatest summer blockbusters ever made and it deserves more recognition today than it receives. It took some creative risks that paid off and it brought together a literal who’s who of great bad ass actors.
My initial viewing of this motion picture on the big screen is one of my fondest childhood memories. It stands alongside Batman, 1990’s Teenage Mutant Ninja Turtles, the original animated Transformers movie and Star Trek IV: The Voyage Home as one of my favorite theatrical experiences of my early life.
Release Date: February 20th, 1937 (first chapter)
Directed by: Alan James, Ray Taylor
Written by: Morgan B. Cox, George Morgan, Barry Shipman, Winston Miller
Based on: Dick Tracy created by Chester Gould
Cast: Ralph Byrd, Kay Hughes, Smiley Burnette, Lee Van Atta, John Picorri, Robert E. Marcato, Carleton Young, Fred Hamilton, Francis X. Bushman
Republic Pictures, 290 Minutes total (15 episodes), 73 Minutes (Theatrical feature)
The Dick Tracy franchise is pretty old school but it had sort of a resurgence in the early 1990s with the Disney film starring Warren Beatty, Madonna, Al Pacino and a slew of other top names in Hollywood, at that time. It was really my introduction to the character and his mythos. Since then, I have watched a lot of the older stuff. This serial is the first live action incarnation of the Dick Tracy comic strip.
The serial stars Ralph Byrd as Dick Tracy and it would be the role he was most known for. He played Tracy a few more times after this but it was this serial that put him and Dick Tracy on the cinematic map.
In this story, Detective Tracy is pitted against a masked crime boss who is both called The Spider and The Lame One. He leads a gang of villains called The Spider Ring. While committing various crimes throughout the serial he uses a vast array of strange devices, as was common in serials. Most notably, he uses a flying wing equipped with a sound weapon to destroy the Bay Bridge in San Francisco. He steals the secret experimental “Speed Plane” and even captures Dick Tracy’s brother and turns him evil, forcing brother to fight brother.
Overall, Dick Tracy is a pretty captivating and entertaining serial. It isn’t the best or the most original thing out there but it is one of the better serials put out by Republic Pictures. This, like other Tracy serials, isn’t necessarily great in the action department but it delivers as a detective thriller and its ability to generate suspense is its best trait. It created a good template for Republic and they would use this formula in later serials.
The battle between the Tracy brothers gives this an emotional and human element lacking in most other serials. It lived up to the spirit of the popular comic strip and provided a sense of drama unlike any serial before it.
From a filmmaking standpoint, it was pretty straight forward. There aren’t a lot of bells and whistles or artistic flourishes to make this visually unique. However, it was still well shot and well produced. It feels less hokey than similar serials and seems to display more talent overall, whether in front of or behind the camera.