Statesman-Journal, Salem Oregon
By Robert Wielaard
June 12-18, 1983
BRUSSELS, BELGIUM (AP) – The opening scene of the animated film shows a spndle-legged cowpoke crossing a rickety bridge. It’s “Lucky Luke” – but why he’s called “Lucky,” he claims he doesn’t know.
He steps back
onto solid soil, and behind him, the bridge collapses into a heap of dust.
Cut!
That’s not the
cowboy millions of postwar Europeans grew up with! Where’s the roll-your-own on
his lower lip? The guy’s a fraud!
No Siree! It’s
Lucky Luke, all right, American-television style.
Created 37
years ago in the imagination of Belgian cartoonist Maurice De Bevere, Lucky
Luke is about to make it in the country where he has lived all his life but was
seen by none.
BUT THE
WEST ON children’s TV in the United States is not as wild and wooly as in
the “Lucky Luke comic-strip albums that have sold 50 million copies in the
original French-language versions alone.
Lucky Luke’s
world has been adapted for American TV, say De Bevere, a soft-spoken man with
an easy smile who signs his “Morris.”
Our
devil—may-care, ageless hero no longer smokes, there is less violence, and gone
are the stereotypically sleepy Mexicans, dopey women and Chinese launderers. Of
course, the four Dalton brothers – identical except in height – will be there,
making the West’ hilariously unsafe.
De Bevere’s
works have been translated into 23 languages, including Arabic and Japanese. He
is now working on his 51st “Lucky Luke” album.
THE ANIMATED TV films, a $5.2 million project, are being made by Hollywood’s Hanna-Barbera studios of “Flintstones” fame. The first of the 30 half-hour episodes will be shown later this year, though the station lineup is not complete.
Named “Lucky
Luke” in Europe for the alliteration only, “On U.S. TV, Luke will indeed, be
luck, though he does not know why,” says De Bevere. “The introductory show
starts with the collapsing bridge scene.”
De Bevere
follows in the footsteps of fellow Belgian cartoonist Pierre Culliford, 54. The
latter, better known as “Peyo,” is the creator of the Smurfs, Pitifus or
Schlumpfs, also underwent some surgery by American television censors touchy on
sexism, the plight of minorities and kiddie-hour violence.
Culliford has
expressed surprise at the “extraordinary degree of censorship” on U.S.
television, and De Bevere agrees, but says he can live with the Lucky Luke who
will ride across American TV screens.
“In the
films,” he says, “no one can bang anyone over the head with a hammer. “Kids
will get a hammer and do the same thing.” I was told. But it’s OK to show and
anvil falling on someone’s head, because few American youngsters will have
anvils in their homes.”
Initially, he says, Lucky Luke will have to survive without shooting at anyone, a terrible fate for any cowboy especially for the man “who shoots faster than his shadow” – although Luke hans’t killed anyone since 1949.
“HE’LL HAVE A GUN but won’t point it at anyone,”
says De Bevere.
The films will
be dubbed later for use by television networks outside the United States.
“I created
Lucky Luke in 1946,” says De Bevere, who after World War II worked briefly for
a Brussels studio that also employed Culliford.
Why a cowboy?
“I always felt
the Frontier Days were well suited for humor,” he says.
Lucky Luke
slapstick life parodies characters from De Bevere’s past or are borrowed from
movie Westerns. The hero, for instance, is based loosely on John Wayne in
“Stagecoach.” “One of the best Westerns ever made,” says DeBevere, who recalls
stealing pictures from the film off a theater wall after he was told they were
not for sale.
De Bevere
lived in New York from 1948 to 1954, where working, he says was “difficult for
a European cartoonist.” He drew “Lucky Luke” in New York, mailing the strips
home for publication.
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