1

Visual Elements Essay: Hellboy (2004)

Student Name

Course Title and

Number

University Title

Instructor Name

https://www.coursehero.com/file/115109389/Visual-Elements-
 2
This study source was downloaded by 100000829649928 from CourseHero.com on 12-13-2022 07:27:21 GMT -06:00

https://www.coursehero.com/file/115109389/Visual-Elements-
 3

Hellboy is a 2004 American film directed by Guillermo del Toro, inspired by Mike

Mignola's comic book of the same name. It begins with a storyline featuring Nazis, one of the

most tenacious supervillains. They establish a gateway to the evil side and invoke the "Seven

Gods of Chaos" in a misguided effort later in World War II — or mostly do, before getting

foiled by US troops and President Roosevelt's psychological counselor, Prof. Bruttenholm

(John Hurt). Just a little crimson infant with horned as well as a tail makes it through the

gateway; he spat and shrieked first at prof, who comforts him with the Baby Ruth, caresses

them in his hands, then nurtures him toward being humanity's primary fighter against the

demons of hell.

"Hellboy" is one of the few films inspired forward and seems like a graphic novel. It's

brimming with vitality, and you can feel the enthusiasm and excitement that went into its

creation. Of course, it's made up of endless amazing effects, strange makeup, and a brilliant

tale, but it doesn't carry that burden about with it; unlike many other CGI films, which plod

from a supporting element to the next, this one zips through all the action with enthusiasm. Its

vibrant and fashionable colors are also varied enough to avoid visual weariness or advanced

editing redundancy. It has some of the most unusual, rich, and striking superhero movies of

this era, with rich black depths, predominant soft lighting, and Lovecraftian characters.

Guillermo Navarro, a veteran del Toro associate and production designer brings this universe

to life with vibrant crimson, blues, and gorgeous orange outbursts. It enhances several digital

FX while also adding to the picture's distinctive visual flair (Predator).

This study source was downloaded by 100000829649928 from CourseHero.com on 12-13-2022 07:27:21 GMT -06:00

https://www.coursehero.com/file/115109389/Visual-Elements-
 4

A film, besides a comic series, cannot be continued and developed over time through

sequels. Despite being captivated by Mignola's characters' "comforting immutability," Del

Toro believed that the effect of a display controversy insisted a rather more tri stunning

framework. Also, at the end of the movie, the plot ought to be more tightly wound (Suhonen

34-35). Hellboy (2004) tells a tale of Hellboy's maturation into a man. He acts quite

carelessly in the starting.

Nonetheless, as his dad passes away, he is obliged to accept accountability. Instead of

watching a movie for the sake of seeing it, the audience is expected to become immersed in

the tale and connect with the characters. Hellboy, who appears to age more slowly than

humans, faces the same issues as a typical young audience. He has a thing for his co-worker.

He is envious of his appearance and is even tormented by it. He is depicted as having a taste

for fast food, drink, and television. It not only makes him more accessible to the movie's

intended audience, but it also creates an interesting contrast between his regular wants and his

unusual appearance (Hellboy 34:35-34:55).

Hellboy does become a rock star for the FBI's undercover giant section, which further

comprises a trainee agent and hundreds of years’ psycho amphibian known Abe Sapian,

thanks to his heat-proof red-clay skin, severed devil horns, and gigantic stone arm. Hellboy is

up against a revived Rasputin who is on a mission to bring forth the end of days. Moreover,

the show's charming emotive heart is provided by the smart hero's snarky fears and forbidden

love for temperamental butane lighter Liz Sherman. Like the red goliath, Liz despises the fact

that her natural abilities render her a social outsider, and Hellboy's empathy for these

marginalized people is matched by his conviction in individual autonomy. Del Toro's CGI-

enhanced visuals have huge, shattering materiality, and he stages most of the plot in the dark

underground tunnels and drains, which become his cinematic characteristic (Ewing).

This study source was downloaded by 100000829649928 from CourseHero.com on 12-13-2022 07:27:21 GMT -06:00

https://www.coursehero.com/file/115109389/Visual-Elements-
 5

It's a drama that adheres to del Toro's objective of supplying spectators with "eye

protein." Perhaps not just a typical "eye candy," that is cheap and vacuous, but a visual treat

that strives to be both substantial and profound in a manner that stays much well after final

credits. Every scene is densely filled with features, but nothing is strewn across the screen at

random. Del Toro has a knack for arranging his scenery and characters in meaningful ways,

resulting in some breath-taking vistas. Take a look at Hellboy leaning over a casket in a chilly

Russian cemetery, conversing with a few of the dead residents. The massive snowfall so

gently that they appear to be stuck in mid-air causes such a scene of a towering figure in a fur

coat. A crimson horn crouched above an exposed casket with an amulet swinging from a

devotional chain (Angie).

As a cinematographer, Navarro claims that a lot of effort has made Hellboy "simply

another character" who fits into the tale world. It all starts with casting. Ron Perlman has a

Hellboy-like appearance, movement, and speech, which helps to make the persona seems

realistic. The likeness is startling after applying regular makeup, a bubble strength costume

and full-face gadget, a cranium cap, and a wig on Perlman. In addition to makeup treatments

that aid in the subject's better integration into the scene. Both extraordinary and convincing

effects are required (Hellboy 20:50-22:00, 48:11-50:23, 45:45-45:58).

Even though it is an outstanding film with exaggerated aspects, it is still a heartfelt

drama with a grasp of history. There's passion, action, a poignant foster family, and a

coming- of-age story in this film. It also features steampunk elements, Nazis collaborating

with Rasputin, and tentacles' physical horror. It offers lots of entertainment for every viewer.

It is a pulpy comedy jewel that's entertaining to watch over and over again. Hellboy, except

for past adaptations, heats up instead of vanishing and is a collaborative process. Everybody

who watched this would understand del Toro was having a blast developing it, which

translates to a wild experience for the viewer (Barry).

This study source was downloaded by 100000829649928 from CourseHero.com on 12-13-2022 07:27:21 GMT -06:00

https://www.coursehero.com/file/115109389/Visual-Elements-
 6

And within Ron Perlman, Hollywood has discovered an individual who isn't just

portraying a superhuman; despite having to put up with hours of makeup daily, he grinds the

cigarette, flicks his tail, and confronts his devils with a zest that borders on delight. One could

see an actor attempting to make a highly incredible storytelling ability. The Angel of Death

was sculpted in numerous stages and was continually changing. Approximately 90percent of

the total 32 characters generated for the film was built physically. Just the beings that were

either too enormous, such as the Elemental figure, or too tiny, like the tooth fairies, were

produced employing CGI. We must preserve the physical impacts for organisms at all costs.

The clothes are meticulously put together. As often as feasible, that is color-coded and

texture-coded. One would attempt to treat the same kind of attention as they would on the

manuscript (Predator).

This study source was downloaded by 100000829649928 from CourseHero.com on 12-13-2022 07:27:21 GMT -06:00

https://www.coursehero.com/file/115109389/Visual-Elements-
 7

References

Angie. “Vivisect the Director: Guillermo Del Toro and Hellboy (2004).” Criminal Element, 7

May 2014, www.criminalelement.com/vivisect-the-director-guillermo-del-toro-and-

hellboy-2004-angie-barry-comics-dark-horse-ron-perlman-monsters.

Ewing, James B. “Hellboy (2004) – Creative Criticism.” Creative Criticism, 6 Sept. 2012,

creativecriticism.net/? p=11289.

Gordon, Lawrence, et al. Hellboy. Mann Village Theater, 2004.

Hellboy: The Seeds of Creation (2004): Guillermo del Toro 20:50-22:00; Matt Rose & Jake

Garber 48:11-50:23; Ron Perlman 45:45-45:58

Predator, Posted by The Celtic. “'Hellboy' (2004): From the Dark Side... to Our

Side.” Express Elevator to Hell, 24 Aug. 2021,

expresselevatortohell.com/2017/07/30/hellboy-2004-review/.

Suhonen, Mirkka. "Eye protein: the cinema of attractions in Guillermo del Toro's Hellboy

films." (2014). (Pp 34-35).

This study source was downloaded by 100000829649928 from CourseHero.com on 12-13-2022 07:27:21 GMT -06:00

https://www.coursehero.com/file/115109389/Visual-Elements-