Action Packed Flashback – Captain America (1990)

Before he becomes known as the first avenger in Captain America: The First Avenger for Paramount/Marvel and director Joe Johnston this summer, the character had fought the Red Skull for truth, justice, and the America Way, once before in 1990′s Captain America from Cannon Films and vet director Albert Pyun.

Largely forgotten by today’s comic book fans, especially since the film never made it to theaters as promised in that summer, it’s time to dig this film out of the Arctic snow and re-examine this long-lost superhero film, as Action Packed Flashback continues with Captain America (1990) as Killer Film is chatting once more with director Albert Pyun (Cyborg – here).

Menahem Golan had lost out developing a Spider-Man film due to Cannon Films losing the rights to the Marvel character, but prior to this, screenwriter Stephen Tolkin already had worked on a Captain America story that intrigued director Albert Pyun since he was a long-time fan of the Jack Kirby character. Pyun was originally penciled in as director of that ill-fated Spider-Man project after another Cannon Films vet director in Joseph Zito dropped out.  But if he wanted to make this movie, he had to do it fast since the the rights were about to expire for Golan, something Marvel wished would have happened sooner than later.

“We knew we had to hurry, because there was a date when Menahem’s option would expire,” explains director Albert Pyun. “And Marvel was very uncooperative with us as a result. The principal problem coming out of that pressure was Menahem was never able to lock in the film’s funding.” Money would be a daily issue for the shoot that lasted about three months. “[There were] no changes as it was a Marvel pre-approved script,” Pyun recalls once he got the final script. “The changes I made were done on the fly due to the lack of funding.” Marvel fans recall a similar situation with Roger Corman and his unseen Fantastic Four film.

With the script finalized, and at least some money to start production, the film needed its Steve Rogers/Captain America. Rumored stars were Val Kilmer, Dolph Lundgren, and even Arnold Schwarzenegger. “I don’t remember going after Val or Dolph or even Arnold. Those sound like Menahem’s ideas, but not mine.” Finally, the parties agreed to cast actor Matt Salinger as Captain America, who at that time was mostly known for his role as Danny in Revenge of the Nerds. “I wanted Howie Long for the after experiment of Steve Rogers into Captain America, and Matt for the before role. But Marvel nixed the idea of two actors playing the part,” recalls Albert Pyun. Salinger’s square jawline, blonde hair, and blue eyes, made him a perfect fit for the super soldier, something of a real-life Jack Kirby character. Despite the character’s heroic nature in the comics, the script called for Steve Rogers to earn the title of hero, through self-doubt and emerging confidence, as he develops into the role as American Hero. It’s a quirky, interesting take, certainly a moodier version of the character fans haven’t seen before (as you can in the rare photos below).

With Salinger cast, other roles filled out with Ronny Cox (from Robocop), Ned Beatty (from the Superman series), and Darren McGavin (A Christmas Story, The Night Stalker) in key roles. But it was the casting of Scott Paulin, a veteran TV and film character actor as the Red Skull, that steals the show every time he is on screen. While the film has the spirit of the comic, there were some liberties with the origin of the Red Skull, like making him Italian and a victim of a Fascist super soldier program, mirroring our hero’s origin. For added fun, the script tied the Red Skull to key American assassinations, as if we need to hate the Fascist bastard anymore, he ordered the deaths of JFK, RFK, and Martin Luther King, Jr. as well.

Despite the lack of proper funding, the Red Skull’s look was aided by Greg Cannom’s wonderful make-up, in which he worked wonders on the dimes and pennies he had. While not a direct translation of the character from page to screen, Cannom’s make-up was equally as eerie with its surgically stitching and deep red tones. “I had worked with Greg on The Sword and the Sorcerer and really enjoyed his work,” remembers Pyun,” as well as our collaboration. He’s fussy about his work, but flexible to the needs of the production. He wanted me to cast an actor with small features but when I went with Scott, who has a pronounced nose, he threw a short-lived fit. I think they’re both talented artists and they created a magical character.” Cannom has gone on to numerous Academy Award nominations, while winning the Oscar for Bram Stoker’s Dracula, Mrs. Doubtfire, and The Curious Case of Benjamin Button.

Despite not having the needed budget and sometimes no money at all, the production was completed to coincide with the 50th anniversary of Captain America, and widely promoted in teaser posters advertising the iconic shield and a date (pictured above). But when 21st Century Films’ finances took another big dive, the film only showed theatrically in some international markets, before coming to America – two years later – on direct-to-video.

Most might remember seeing the film on paid channels like Cinemax or HBO, but furthering its obscurity was that the film never came to DVD when the format took over VHS. “I have no idea as I was long removed and would never have been a part of that decision process anyway,” explains Pyun.

Luckily, fans don’t have to watch those low-res, washed-out clips on Youtube anymore, as both MGM will be releasing the film for the first time on DVD via their Manufacturing On Demand program on July 19th, and Albert Pyun via his official site will release an Extended Cut of the film on Blu-ray, giving fans a great chance to see a rare look at his work print version of the film.

Below are a few never-before-seen stills of this work print Director’s Cut from Albert Pyun’s Facebook:

“This is a screen grab of Steve Rogers standing on the beach with a heavy cloud of smog hanging over him. Keep in mind this is a telecine from a 35 mm one-lite work print, meaning its just a raw image with minimal color and exposure corrections plus its got dirt and scratches. It looks pretty good in the final master I made from the telecine,” says Pyun.

“This new scene is where Steve Rogers works at Gold’s Gym – he’s gotta pay rent, right?” jokes Pyun in the above photo. “Here’s Steve Rogers with his old Colonel. The old age make up and the Red Skull make up was by Academy Award winner – Greg Cannom who’s worked on many of my films,” states Pyun.

Until the next flashback…