They say that when you dissect a joke, it just isn’t funny anymore. And in my mind, “funny” comes from “fun.” That is the best adjective I would ascribe to Steven Kostanski’s 2011 film Manborg.
I’ve taken on the guise of a mad, false doctor and scientist as a writer of this Blog. And in the vein, if you will pardon the pun considering that the movie is all about rendering infernal, fascist vampires into pulp, of such — and in remembrance of the late and lamented Doctor Scorpius — I would like to put this cinematic creation on the table, and look at it in the following manner.
Imagine a pulp film utilizing a combination of early Mortal Kombat digitization and Ray Harryhausen claymated monstrosities created by Troma Productions, and you might get something like Manborg. Maybe. You can also make a compelling argument that it also feels like a spiritual bootleg version of the id software Doom game universe. Seriously, I almost wrote this entire article just to have an excuse to make that sentence, but there is more to it than that.
The main protagonists themselves look like they can belong in a Mortal Kombat game: the awkwardly cybernetic Manborg himself, the sassy Aussie-accented Justice, the incongruously voice-dubbed #1 Man, and the short-tempered Mina (and clearly no relation to Mina Harker) are all fighters in an arena where Hell’s minions — having conquered the Earth — force humans to fight one another, and their technologically-augmented demons. You can even, loosely, argue that this film is a Dracula-based creation in that the leader of the forces of Hell is a monstrosity named Count Draculon who kills Manborg’s brother and himself as a human soldier at the beginning of the movie and during Earth’s War against Hell: which it loses. And hey, one of the female protagonists is Mina who is lured by the Count back to the arena to rescue a former friend or … sister of hers (totally not Lucy Westenra) who has been made into a demon-human hybrid, I guess?
Right. I am being very generous.
But I really like this film. The jerking, even janky movements of the camera and the figures against the Chroma key backdrops makes this world truly nightmarish, and unrealistic. It’s like watching someone dreaming various composites of characters and situations, and making it into a narrative. The sound effects sound like something from Power Rangers or the 8-bit era of video games. There are various skips in logic and character development, but the film knows that — and it knows how lampoonish and parodic it truly is.
The characters are all true to what they are. Manborg is a former soldier wanting to avenge his brother’s death, and has no idea how to survive in his altered state until a hologram of his creator — or his soul, or something — finally does so. #1 Man just wants to makeup for his cowardice in saving his own life and training the Count’s minions in martial arts to fight for something more. Justice wants to protect his sister Mina, and battles either illiteracy or dyslexia to do so, and Mina desires to fight, and save Shadow Mega from being a slave of the Count. Even the antagonists are straightforward: the Count wants a challenge in fighting Manborg, Shadow Mega desires to defeat Mina, Doctor Scorpius seeks to recant his past mistakes and aid Manborg, and the Baron — another vampire and general asshole — has a crush on Mina, his prisoner, and awkwardly attempts to flirt with her.
What you see is what you get, and yet those little touches show genuine love of the story and characters. A long time ago, I used to only want to read and watch serious works. I didn’t know what to think of something that was just strange, and campy, and over-the-top, and weird as all hell. But then I went to the Toronto After Dark and watched RoboGeisha for the first time, and even before that was Bubba Ho-Tep. And there is just something about watching these silly elements at play that still manage to manifest genuine feelings and a story that is just … inspiring. It’s like high school or college friends sitting down, and making a narrative they want to see and be as ridiculous as ever, and very clearly demonstrate a knowledge of the craft they parody even if it’s for the first time. It’s just … inspiring to see someone through stuff at that wall, like explosions, Nazi vampires, weird cyborgs, martial artists, arenas of doom, and just … ridiculous moments that makes things fun.
Manborg is fun. It is one of the things that I look at to see what is possible, and it’s something I genuinely enjoyed watching. I bought the comic back at the Toronto Comics Arts Festival years ago, and I always meant to watch this movie. In fact, as fun as the film is, I love the comic as it makes fun of its own nostalgia. Think Ninja Turtles comics that were adapted into cartoons and the films, or hellishly faded and septia-coloured dystopian G.I. Joe, He-Man, and She-Ra stories except Manborg‘s adventures are fleshed out, and actually continue with his group of friends.
Also, Bio-Cop, the “preview” Astron-6 has at the end of the film — whose quality is already made to look faded and grainy like it’s an old VHS tape rental — is utterly hilarious. Again, think The Toxic Avenger, but in chronic agony and body horror and seriously to die … in a buddy cop parody.
I mean, someone calling themselves the Horror Doctor has to have a twisted sense of humour.