Roy Thomas' Star-Gazing Comics Fanzine
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82658 00471
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Starman art & Spy Smasher TM & © DC Comics.
HEH! THIS ISSUE WE FEATURE...
MR. MONSTER’S COMIC CRYPT PROUDLY PRESENTS:
Emil Gershwin’s Rhapsody In Four Colors!
$10.95
In the USA
No. 178 November 2022
TM
AND MORE!!!
MICHAEL T. GILBERT PETER NORMANTON & The FCA Salute A Great Golden Age Artist! TM
Vol. 3, No. 178 November 2022 Editor
Roy Thomas
Associate Editor Jim Amash
Design & Layout
Christopher Day
Consulting Editor John Morrow
FCA Editor
P.C. Hamerlinck Mark Lewis (Cover Coordinator)
Comic Crypt Editor
Michael T. Gilbert
Editorial Honor Roll
Jerry G. Bails (founder) Ronn Foss, Biljo White Mike Friedrich, Bill Schelly
Proofreader
William J. Dowlding
Cover Artist
Emil Gershwin
Cover Colorists
Contents
Unknown
With Special Thanks to: Heidi Amash Richard Arndt Bob Bailey Lindsey Baird, Jr. Alberto Becattini Jerry Beck Danny & Carol Bierschwal Christopher Boyko Mitchell Brown Nick Caputo Mark CarlsonGhost John Cimino Shaun Clancy Pierre Comtois Chet Cox Comic Book Plus (website) Brian Cremins Shane Foley Joe Frank Jean Friedrich Nancy Gershwin Janet Gilbert J.T. Go
Frances Goulart Grand Comics Database (website) George Hagenauer Beverly Hahs Robert Higgerson Jim Kealy Bryan McMillan Peter Normanton The Paul Norris Family Barry Pearl Rick L. Phillips Bob Rozakis Jim Salicrup Randy Sargent Dann Thomas Jean Thomas Steve Thompson Jim Vadeboncoeur, Jr. Dr. Michael J. Vassallo & the late Hames Ware
This issue is dedicated to the memory of
Emil Gershwin, Lee Goldsmith, Mel Keefer, Ron Goulart, & Albert DeGuzman
Writer/Editorial: Emil Who?? . . . . . . . . . . . . . . . . . . . . . . . . . . 2 Mr. Monster’s Comic Crypt! Emil Gershwin’s Rhapsody In Four Colors (Parts 1-4) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Michael T. Gilbert & daughter Nancy Gershwin salute a great but almost forgotten comicbook artist.
From The Tomb: The Horror Of Emil Gershwin . . . . . . . . . . 48 Peter Normanton on the vintage terror-tales concocted by this Golden Age talent.
re: [correspondence, comments, & corrections] . . . . . . . . . 55 Tributes To Lee Goldsmith, Ron Goulart, Albert DeGuzman, & Mel Keefer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 FCA [Fawcett Collectors Of America] #237 . . . . . . . . . . . . . 71 P.C. Hamerlinck presents Brian Cremins on Gershwin’s Spy Smasher #4— & Citizen Kane!
On Our Cover: Michael T. Gilbert assembled this issue’s montage cover, composed of classic images by our featured creator, artist Emil Gershwin. Its ultimate sources: the “Starman” splash panel from DC’s Adventure Comics #100 (Oct.-Nov. 1945), the Astral Avenger’s third-from-last solo appearance, from a script by Joe Samachson. Also seen is a Gershwin panel from Fawcett’s Spy Smasher #4 (April 22, 1942)… and a distinctively devilish-looking vampire from ACG’s Adventures into the Unknown #20 (June 1951). Curiously, Michael T. chose to “flop” both the Starman and vampire pics—i.e., utilizing a “mirror image” of them. [Starman art & Spy Smasher TM & © DC Comics; other art © the respective copyright holders.] Above: This “Spy Smasher” splash page, likewise attributed to Emil Gershwin, although with a bit less certainty than the cover drawings, is from Whiz Comics #38 (Dec. 25, 1942). Gershwin’s art on the “Spy Smasher” series strongly resembled that of its previous series artist, Mac Raboy, but Raboy apparently didn’t draw this one. Scripter unknown. [Spy Smasher TM & © DC Comics.] Alter EgoTM issue 178, November 2022 (ISSN 1932-6890) is published bi-monthly by TwoMorrows Publishing, 10407 Bedfordtown Drive, Raleigh, NC 27614, USA. Phone: (919) 449-0344. Periodicals postage paid at Raleigh, NC. POSTMASTER: Send address changes to Alter Ego, c/o TwoMorrows, 10407 Bedfordtown Drive, Raleigh, NC 27614. Roy Thomas, Editor. John Morrow, Publisher. Alter Ego Editorial Offices: 32 Bluebird Trail, St. Matthews, SC 29135, USA. Fax: (803) 826-6501; e-mail: roydann@ntinet.com. Send subscription funds to TwoMorrows, NOT to the editorial offices. Six-issue subscriptions: $68 US, $103 Elsewhere, $29 Digital Only. All characters are © their respective companies. All material ©their creators unless otherwise noted. All editorial matter © Roy Thomas. Alter Ego is a TM of Roy & Dann Thomas. FCA is a TM of P.C. Hamerlinck. Printed in China. FIRST PRINTING.
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writer/editorial
H
Emil Who??
ave we got a special issue for you! In fact, it’s so special, it might take you a while to recognize that fact.
For, this issue, unlike most editions of Alter Ego, is devoted to the life and work of a single person… the Golden Age comicbook artist Emil Gershwin. Sure, we’ve dedicated something approaching 100% of an issue to one particular creator before; but it’s always been someone who’s a household name… at least, a household name within the four walls belonging to comicbook aficionados. Stan Lee, for example, once or twice… or Jack Kirby (whose stature in fan circles is so momentous he even has his own TwoMorrows mag)… or Steve Ditko (co-creator of Spider-Man and Dr. Strange). And we’ve done more or less the same on occasion with the likes of titans Alex Toth, Joe Maneely, Will Eisner, maybe a couple of others. More: I can state truthfully that, if enough material surfaced at just the right time, there are several more who might receive the full-issue treatment: Gil Kane… Carmine Infantino… Joe Simon… Neal Adams (who actually will be spotlighted just a few issues from now)… Harvey Kurtzman… it’s not a long list, but there is a list. But… Emil Gershwin? Though he was a skilled artist with a two-decade career in comics, Gershwin is hardly a “household name” even in the sense the above gents are. In the super-hero-oriented 1940s, he had extended runs on only two such: DC’s “Starman” and Fawcett’s “Spy Smasher”… plus a fair number of mystery yarns, mostly for the American Comics Group that pioneered horror comics beginning in 1948. Even so, once “Comic Crypt”-keeper Michael T. Gilbert made us aware of all the Gershwin material he proposed to present over several issues, it seemed an even better idea to showcase
the illustrator in one issue, rather than spreading it out. That way, readers will get an even better picture of Gershwin’s life and art. (The fact that we also had on hand an earlier piece on EG by Jim Vadeboncouer, Jr., and Hames Ware which Michael T. could incorporate, plus access to a Shaun Clancy interview with his daughter Nancy, plus comics featuring his famous kith and kin, American song’s George & Ira Gershwin, was just icing on the cake.) How could we resist? So we didn’t. Along the way, we mentioned this theme issue to From the Tomb proprietor Peter Normanton and FCA editor P.C. Hamerlinck, and they carried the ball from there, coming up with their own particular takes on Gershwin’s contribution to comics. So—never mind whether or not you ever heard of Emil Gershwin before. The above-named folks all love and respect his work, as do I—and no less a giant than graphic-art grandmaster Alex Toth was one of his biggest boosters, which speaks volumes. Hop on for the ride. You’ll be glad you did.
Bestest,
P.S.: Just wanted to add that I’ve never been prouder of completing a project in my life than, recently, working with the UK’s PS Artbooks to finally collect the entire canon of artist/writer Dick Briefer’s 1940s-50s Frankenstein between quality book covers, now that Vol. 1 & 2 have finally been published. Check ’em out online! (And see ad on p. 54.) Briefer was one of the greats!
COMING IN DECEMBER #179 Celebrating The 61st Anniversary Of
FANTASTIC FOUR #1
(’Cause We Blew Right Past Its 60th!)
—& STAN LEE’s 100th Birthday!
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• Secrets & speculations about the first few issues of “The World’s Greatest Comic Magazine”—by WILL MURRAY (“Was the F.F. actually CANCELED in 1961??”)… MICHAEL FELDMAN & KEN QUATTRO (“Are there HIDDEN SOURCES for F.F. #1?”)… BOB CROMWELL (“What the heck was the Sub-Mariner doing in a Bowery flophouse in FF #4?”)… NICK CAPTUTO on FF #3… & MORE! • At last! BEN HERMAN with long-overdue coverage of GEORGE KLEIN, inker/embellisher of FANTASTIC FOUR #1! • STAN LEE on his way to being 100! His 21st-century effervescent e-mails traded with protégé & Spider-Man comic strip ghostwriter ROY THOMAS—also, The Man’s greatest stories, selected by JOHN CIMINO… and other titanic tidbits from Smiilin’ Stan! • Plus—FCA presents the memoirs of 1940s comicbook writer (& future NY Times drama critic) STANLEY KAUFFMANN… MICHAEL T. GILBERT on Sick magazine… & MORE!!
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(Above:) Gershwin’s “The All Night Diner!” from Adventures Into The Unknown #77 (Oct. 1956). [© the respective copyright holders.]
Emil Gershwin.
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Mr. Monster’s Comic Crypt!
Two By Gershwin (Above:) A double-page splash drawn by Emil Gershwin for Fawcett Publications’ Spy Smasher #4 (April 22, 1942). Scripter unknown. [Spy Smasher TM & © DC Comics.] (Right:) A few months before this “Starman” splash from Adventure Comics #91 (April-May 1944), the artist had switched from Fawcett to its rival, National/DC. Though he penciled this story, it’s uncertain if he inked it as well. Script by Don Cameron. [TM & © DC Comics.]
EMIL GERSHWIN’S Rhapsody In Four Colors (Part 1)
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by Michael T. Gilbert
first discovered Emil Gershwin in an old issue of Adventures into the Unknown, which seems fitting, as the cartoonist was virtually unknown even to his fans. Gershwin rarely signed his work, so even diehard aficionados were hard-pressed to name the man whose crisp, clean style they admired. Alex Toth was one of these. That cartooning legend shared his admiration for Emil with the latter’s daughter, TV and film producer Nancy Gershwin. She writes: “After he [Emil] passed away in 1999, we were contacted by a number of people who wanted to know more about his life and work. One of those people was legendary comicbook artist and animation designer
Emil Gershwin’s Rhapsody In Four Colors
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Alex Toth. A few years before he himself passed away [in 2006], we spoke at length, and he followed up our conversation with a long letter about my dad, whom he called comics’ ‘Mystery Man’—both because he was prolific in the crime and mystery genres and because he often preferred to ghost or draw under pseudonym.“ Toth’s expressive letter was written in his unique stream-ofconsciousness style:
Toth Talks Gershwin! “Gershwin was Gershwin! He knew how to draw! Very well! Faces, figures! Didn’t need tricky stylized-embroideries to do convincing jobs of it—He was subtle, quiet, sure, and correct in articulating them convincingly—attractively, honestly—his way! His crime comics for the ‘Hillman’/ ‘Prize’ comics folks raised the bar of quality up quite a few notches—then, again, I lost sight of him! “Emil Gershwin drew starkly-simple and strong, dramatically-well/cross-lit/ faces/figure, and—by gum!—set pieces, props, background!!! Full-bodied and—very lively, animated, articulated, gesturallyexpressive, bouncy, upbeat, playfullyinventive artwork—for love stories! Mystery! Suspense! Horror! Too—so prolific was he there—obviously! Again showing his deft
“Sadface Charlie” (Above:) Drawn by Emil Gershwin, for All Funny Comics #4 (Fall 1944). Scripter unknown. [TM & © DC Comics.]
Emil Gershwin strikes a pose! [Photo © 2022 Nancy Gershwin.]
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“Starman” splash panel by Emil Gershwin, from Adventure Comics #94 (Oct. 1944). The title was a takeoff on the name of a popular song, “Stars Fell on Alabama.” Script by Joe Samachson. Thanks to Michael T. Gilbert. [TM & © DC Comics.]
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(Above:) George Gershwin stars in True Comics #46 (Winter 1945). (Right:) George and Ira. [© the respective copyright holders.]
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C
Mr. Monster’s Comic Crypt!
Emil Gershwin’s Rhapsody in Four Colors (Part 2)
omics pioneer Emil Gershwin had a very impressive cartooning career. But his world-famous cousins, George and Ira Gershwin, had a bit of comicbook fame themselves. Oh, sure, we know them as one of the most famous musical songwriting teams of all time. Early on, composer George had worked with lyricist Buddy DeSylva on a series of revues, George White’s Scandals, while older brother Ira (a lyricist) enjoyed success with composer Vincent Youmans on Two Little Girls in Blue. But from 1924, when the two collaborated on the Broadway hit Lady Be Good, the brothers wrote almost exclusively together, composing over two dozen scores for Broadway shows and Hollywood musicals. Their classic hits included Pulitzer Prize winner Of Thee I Sing and Porgy and Bess, among others. George attained great success in the concert arena as
“Strike Up The Band!” (Above:) Standard/Nedor/Pine’s Real Life Comics #47 (Feb. 1949) featured a lovely four-page George Gershwin biography. Writer & artist uncertain. [© the respective copyright holders.]
a piano virtuoso, conductor, and composer of such celebrated works as Rhapsody in Blue, An American in Paris, and Concerto in F.
Kith & Cousin (Above:) Nancy Gershwin writes that this is “a rather formal autographed photo my father had requested because his friends didn’t believe George was his cousin.” Emil was ten at the time. The inscription reads: “For my cousin, Emil — Every good wish, George Gershwin May 17, 1932.” [© 2022 Nancy Gershwin.]
Their partnership lasted until George’s sudden death from a brain tumor in July 11th, 1937, at age 38. After a three-year hiatus, Ira continued on with a very successful career, collaborating with composers Jerome Kern (Cover Girl); Kurt Weill (Where Do We Go from Here? and Lady in the Dark); and Harold Arlen (Life Begins at 8:40 and the 1954 Judy Garland film A Star Is Born). Ira died at age 86 on August 17, 1983. But who cares about any of that old stuff? We wanna know about their comicbook careers!
Emil Gershwin’s Rhapsody In Four Colors
A Life Lived In Five Pages (Left & right:) The Gershwin boys debut the operatic Porgy and Bess— and George begins to feel the effects of a soon-to-be fatal brain tumor, in True Comics #46 (Winter 1945). And all in less than half a dozen pages! Artist & writer unknown. [© the respective copyright holders.]
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All three titles specialized in various celebrity true-life stories. They’re the kind of comics young Michael T. hated as a kid. However, I assume there were those who loved them—or at least their parents hoped so!
The Comic Connection? In addition to their musical triumphs, the Gershwin boys enjoyed a few brushes with comicbook fame. George had at least three four-color biographies: one in Nedor’s Real Life Comics, another in Parents Magazine’s True Comics, and a third in the Spanish magazine Vidas Ilustres. We’ve provided samples of each.
The Reign In Spain The Spanish magazine Vidas Ilustres #135 (April 1966) devoted a special 36-page issue to the life of George Gershwin. This edition was also translated into English. Written by Alfredo Gursa and drawn by Eduardo Martinez. [© Ediciones Recreativas, S. A.]
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by Peter Normanton
ancy Gershwin, as detailed earlier in this issue, remembers her father Emil with great affection. While she can readily recall a man who was private in his ways, to her he was first and foremost a warm and loving father. So how did such an affable chap become lured into the nightmare comics of the early 1950s? Emil’s name isn’t automatically associated with this dark epoch, yet like so many others he played his part in the terror so wilfully spawned during this period. As referenced elsewhere, he
was one of the trailblazers of the Golden Age, the precision in his line on Fawcett’s “Spy Smasher” arousing the interest of many of his aspirant colleagues as well as the teenage Al Williamson, ahead of making his mark on “Starman” in the pages of Adventure Comics at DC/National. Soon after being picked up by the American Comics Group, initially drafted into their romance titles, he was offered work embellishing their tomes of terror. Long after these tales were first published in the pages of Adventures into the Unknown and Forbidden Worlds, I came upon Emil’s artwork in the contents of the black-&-white post-Code reprints released
The Horror Of Emil Gershwin
by Alan Class over here in the UK. As with so many stories from this period, they were unsigned, meaning it would be many years before I discovered the name of the man responsible for rendering these whimsical sojourns into comicbook fantasy. Having spent a little over two years at the drawing board in the then fledgling world of comicbooks, Emil turned his hand to the macabre in a surprising turn for the lead story to Spy Smasher #5, dated 24 June 1942. Regular readers of this title would have been aghast at the nefarious scenes depicted in the opening pages to “Death over Washington,” maybe thinking there had been some terrible mistake, since this was horror of the foulest kind, not the super-heroing fare to which they had become accustomed. This sadistic portrayal of the netherworld was one of the most shocking of this or any other period in comicbook publishing, his rendition evocative of Dante’s Nine Circles of Hell. During Shaun Clancy’s conversation with Emil’s daughter Nancy in August of 2013, she alluded to her father’s natural ability as an artist, his meticulous attention to detail in these pages bearing testimony to her words. While an element of his styling was reminiscent of the work of both Canadian-born newspaper strip artist Hal Foster and Flash Gordon co-creator Alex Raymond, for whom he had such admiration, his visualisation of this fiery netherworld was manifest in its unrelenting arrayal of depravity. As this monstrous glimpse of hell gradually unfolded, Spy Smasher fell to the machinations of the merciless figure of Death, aided and abetted by Satan himself, who proved unusually adept behind the wheel of an automobile. After being secured as their prisoner, Spy Smasher was escorted into the depths of the Earth to face the damning torment of the inferno. There was an insane gusto evidenced in Emil’s brush strokes, their fervour unashamedly forging this hellish landscape, all the while their dexterous invention weaving an unholy tapestry of torturous debauchery so far unknown in the pages of a comicbook.
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If this abhorrent spectacle had been laid before America’s youth a decade later, it would have most certainly inflamed the vehemence of those at the core of the emerging anti-comics crusade. Thankfully, all was not quite as it seemed. With Spy Smasher’s fate seemingly sealed, this deathly domain was unearthed as a diabolical fabrication devised by the scions of Nazi Germany, intent on spreading their evil doctrine in the very heart of America’s capital. There were no doubt a few welcome sighs of relief at the denouement, the outcome stirring a spirited clarion call ensuring the unrelenting fight for global freedom could proudly continue on its valiant march. Fawcett had done their best to disguise this perturbing episode behind a cover true to the Nazi-bashing heroics of the day, but the malfeasance in these pages made it a horror story to rival any of those that would soon follow during the early 1950s. For an artist making a name amongst these lofty super-heroes, Emil appeared curiously at home with this demonic imagery. For those of you with a passion for their horror comics, these pages should be savoured, for Emil’s artistry would never again be consumed by such graphic ferocity, even a decade on when this gruesome tide had usurped the newsstands of North America. Whether any of the horror-comics publishers of this dark era were privy to these pages remains unknown, as do details
Spy Smasher The Spy Swatter (Left to right, from facing page:) The two opening pages from Emil Gershwin’s terrifying vision of the underworld, as presented in the pages of Spy Smasher #5 (24 June 1942). His depiction of the skeletal hand on the splash page of “The Ghost Squadron”in Spy Smasher #6 (26 Aug. 1942) was every bit as scary. The line work on show in these three pages is quite astonishing, so much so that it brought him to the attention of many of his peers. His surreal introduction to SS #7’s “The Terror in Exile” (28 Oct. 1942) alluded to a vampire weapon, but not one of that undead ilk was in evidence anywhere in this tale. [Spy Smasher TM & © DC Comics.]
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CHARLTON COMPANION by JON B. COOKE
An ALL-NEW definitive history of Connecticut’s notorious all-in-one comic book company! Often disparaged as a second-rate funny-book outfit, Charlton produced a vast array of titles that span from the 1940s Golden Age to the Bronze Age of the ’70s in many genres, from Hot Rods to Haunted Love. The imprint experienced explosive bursts of creativity, most memorably the “Action Hero Line” edited by DICK GIORDANO in the 1960s, which featured the renowned talents of STEVE DITKO and a stellar team of creators, as well as the unforgettable ’70s “Bullseye” era that spawned E-Man and Doomsday +1, all helmed by veteran masters and talented newcomers—and serving as a training ground for an entire generation of comics creators thriving in an environment of complete creative freedom. From its beginnings with a handshake deal consummated in county jail, to the company’s accomplishments beyond comics, woven into this prose narrative are interviews with dozens of talented participants, including GIORDANO, DENNIS O’NEIL, ALEX TOTH, SANHO KIM, TOM SUTTON, PAT BOYETTE, NICK CUTI, JOHN BYRNE, MIKE ZECK, JOE STATON, SAM GLANZMAN, NEAL ADAMS, JOE GILL, and even some Derby residents who recall working in the sprawling company plant. Though it gave up the ghost over three decades ago, Charlton’s influence continues today with its Action Heroes serving as inspiration for ALAN MOORE’s cross-media graphic novel hit, WATCHMEN. By JON B. COOKE with MICHAEL AMBROSE & FRANK MOTLER. SHIPS NOVEMBER 2022! (272-page COLOR SOFTCOVER) $43.95 • (Digital Edition) $15.99 • ISBN: 978-1-60549-111-0
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TEAM-UP COMPANION by MICHAEL EURY
THE TEAM-UP COMPANION examines team-up comic books of the Silver and Bronze Ages of Comics—DC’s THE BRAVE AND THE BOLD and DC COMICS PRESENTS, Marvel’s MARVEL TEAM-UP and MARVEL TWOIN-ONE, plus other team-up titles, treasuries, and treats—in a lushly illustrated selection of informative essays, special features, and trivia-loaded issue-by-issue indexes. Go behind the scenes of your favorite team-up comic books with specially curated and all-new creator recollections from NEAL ADAMS, JIM APARO, MIKE W. BARR, ELIOT R. BROWN, NICK CARDY, CHRIS CLAREMONT, GERRY CONWAY, STEVE ENGLEHART, STEVE GERBER, STEVEN GRANT, BOB HANEY, TONY ISABELLA, PAUL KUPPERBERG, PAUL LEVITZ, RALPH MACCHIO, DENNIS O’NEIL, MARTIN PASKO, JOE RUBINSTEIN, ROY THOMAS, LEN WEIN, MARV WOLFMAN, and other all-star writers and artists who produced the team-up tales that so captivated readers during the 1960s, ’70s, and early ’80s. By BACK ISSUE and RETROFAN editor MICHAEL EURY. (256-page COLOR SOFTCOVER) $39.95 • (Digital Edition) $15.99 ISBN: 978-1-60549-112-7 • NOW SHIPPING!
THE LIFE & ART OF
DAVE COCKRUM
by GLEN CADIGAN
From the letters pages of Silver Age comics to his 2021 induction into the Will Eisner Hall of Fame, the career of DAVE COCKRUM started at the bottom and then rose to the top of the comic book industry. Beginning with his childhood obsession with comics and continuing through his years in the Navy, THE LIFE AND ART OF DAVE COCKRUM follows the rising star from fandom (where he was one of the “Big Three” fanzine artists) to pro-dom, where he helped revive two struggling comic book franchises: the LEGION OF SUPER-HEROES and the X-MEN. A prolific costume designer and character creator, his redesigns of the Legion and his introduction of X-Men characters Storm, Nightcrawler, Colossus, and Thunderbird (plus his design of Wolverine’s alter ego, Logan) laid the foundation for both titles to become best-sellers. His later work on his own property, THE FUTURIANS, as well as childhood favorite BLACKHAWK and T.H.U.N.D.E.R. AGENTS, plus his five years on SOULSEARCHERS AND COMPANY, cemented his position as an industry giant. Featuring artwork from fanzines, unused character designs, and other rare material, this is THE comprehensive biography of the legendary comic book artist, whose influence is still felt on the industry today! Written by GLEN CADIGAN (THE LEGION COMPANION, THE TITANS COMPANION Volumes 1 and 2, BEST OF THE LEGION OUTPOST) with an introduction by ALEX ROSS. (160-page COLOR SOFTCOVER) $27.95 • (LIMITED EDITION HARDCOVER) $36.95 • (Digital Edition) $14.99 ISBN: 978-1-60549-113-4 • NOW SHIPPING!
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Emil Gershwin’s Spy Smasher—& Orson Welles! Or—How To Draw Comics The Gershwin Way!
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by Brian Cremins
n an interview with Michael William Kaluta for his 1989 book The Great Comic Book Artists, Volume 2, Ron Goulart asked that artist/author—already legendary for his atmospheric and innovative work on titles like The Shadow—about his influences. After mentioning inspirations ranging from Aubrey Beardsley and Edgar Rice Burroughs to Al Williamson and Philip K. Dick, Kaluta replied, “You cannot be a comicbook artist without seeing Citizen Kane.” In another nod to actor and director Orson Welles, Kaluta urged Goulart’s readers to pay close attention to the work of British filmmaker Carol Reed: “You can’t become a comicbook artist without seeing The Third Man,” the 1949 thriller featuring Welles and his fellow Mercury Theater performer Joseph Cotton. “You’ve just got to see it… [It’s] something that’s going to change your perspective” [Goulart 64].
The Man In The Iron Director’s Chair A 1960s reissue poster of director/actor/co-writer Orson Welles’ influential film Citizen Kane (1941)—juxtaposed with artist Emil Gershwin’s splash page for “The Man in the Iron Mask” from Spy Smasher #4 (April 1942); script by Otto Binder. [Spy Smasher TM & © DC Comics; movie poster © the respective copyright holders.]