*. Mike Mignola, the creator of Hellboy, didn’t have a story credit for the first Hellboy movie but it was loosely based on some of his comics. He does share a story credit for this film, but overall I get the sense that The Golden Army is a lot more del Toro than it is Mignola.
*. This sense was pretty much confirmed by del Toro’s commentary, where he calls Hellboy II a more personal film than the first one, in which he could indulge his “fetish” for gears and underground places. He also explicitly drew on Pan’s Labyrinth for things like the Troll Market and quotes from the same Tennyson poem as was used in The Devil’s Backbone.
*. This is del Toro’s franchise now. Mignola’s horror cult has been replaced with something lighter, even referencing the classic creatures of Ray Harryhausen and the cartoon style of Tex Avery. Which is good or bad depending on your tastes. Del Toro apparently thought of the film as a “fairy tale for adults” but for kids too. Or maybe primarily for kids. If there is a difference anymore. Kidult is a label that defines a lot of our culture.
*. The Golden Army is also more of a CGI extravaganza, though Hellboy himself maintains his rugged durability and I was stunned to hear that Mr. Wink was actually a real guy in a monster suit. As I’ve said before, many times now, what CGI is really good at is destroying cities and showing armies in battle. So the technology does determine the plot at least somewhat.
*. As with the first film the plot is pretty much formula. Hellboy is “out” in public now and soon becomes the Misunderstood Hero. The villain has bad designs, but is somewhat sympathetic. There’s lots of self-sacrifice because love is what really counts.
*. They couldn’t get Marco Beltram back and replaced him with Danny Elfman, who wanted to stay true to the original score. Why didn’t they just keep the original score? Didn’t they have the rights?
*. Of course you could tell they were setting everything up for a sequel, which I believe was meant to be the final part of a trilogy. This didn’t happen because it was going to cost too much and the Hellboy movies, while they made money, weren’t the guaranteed box office of Marvel Studios output. Apparently the Hellboy movies made back most of their money on the back end and DVD and video income had basically disappeared by this time. Something to keep in mind when considering the homogenization of so much of this kind of filmmaking. Only a sure thing, meaning a totally predictable thing, is going to be attempted at this price point.
*. So, at least as of this writing, Hellboy III, or del Toro’s franchise, remains a what-may-have been. Instead of a sequel, ten years later they went for a full reboot. One couldn’t be hopeful.