'L'Incal' and 'La Caste des Méta-Barons'.
Alejandro Jodorowsky is a Chilean film director, most notorious for his surreal cult movies 'El Topo' (1970) and 'The Holy Mountain' (1973). The pictures launched the "midnight movie" phenomenon, while simultaneously establishing him as an icon of counterculture cinema. However, Jodorowsky was active in many different artistic disciplines, including poetry, novels, plays, music, painting, sculpting, puppeteering and... comics. As an artist, he only drew one series, the weekly comic 'Fábulas Pánicas' (1967-1973), printed in El Heraldo de Mexico. As a comic writer, he was far more prolific. Jodorowsky collaborated with various European and Latin-American artists on realistically-drawn comics set in the science fiction and western genre. His most praised creation is the SF universe the 'Jodoverse', which forms the location in 'L'Incal' (1980-1988), drawn by Jean Giraud , and various spin-offs, like 'La Caste des Méta-Barons' ('The Saga of the Meta-Barons', 1992-2003), drawn by Juan Giménez, and 'Les Technopères' ('The Technopriests', 1998-2006), drawn by Zoran Janjetov. Recurring themes in Jodorowsky's work are mysticism, symbolism and hallucinogenic experiences. Alejandro Jodorowsky is one of the few famous live-action film directors to have drawn comics in their career, along with Jan Bucquoy, Damiano Damiani, Don Dohler, Federico Fellini, Terry Gilliam, David Lynch, Dick Maas, Robert Rodriguez and Frank Tashlin.
Early life and career
Alejandro Jodorowsky Prullansky was born in 1929 in Iquique, Chile, as the son of Jewish-Ukrainian immigrants. His parents ran a shop in Tocopilla, but in 1939 moved to the town Quinta Normal. Jodorowsky's older sister, Raquel Jodorowsky, became well-known in adulthood as a poet. Despite their Jewish roots, Jodorowsky's father was a staunch Communist and therefore atheist. He hid their ethnicitiy, since many people in Chile were very antisemitic and suspect of Communism. Jodorowsky only learned he was Jewish when he was already 13. He therefore never had a strong Jewish identity, or any outspoken religious identity for that matter. But he was always very interested in spiritual and esoteric literature, ranging from mysticism, Torah, Kabbalah and Zen-Buddhism to tarot cards. In adulthood, Jodorowsky would also meditate with a Zen teacher, Ejo Takata, for five years. Despite being Communist, Jodorowsky's father was very business-oriented and felt artists were "pansies". Much of Jodorowsky's artistic and spiritual interests were therefore born out of rebellion against his upbringing. At age 26, he broke with his family and never met them again.
Interviewed by Elianna Kan for The Paris Review (8 March 2018), Jodorowsky reflected why all his work revolves around spiritual change: "he universe is changing, the universe is expanding. Everything is constantly changing. So when a human being remains unchanged, like a rock, clinging to what he or she is throughout an entire lifetime, it’s a tragedy. A human being has to be fluid, changing, expanding, developing, and at any given moment, has to ask, Why am I suffering? Why does this bother me? Why am I searching for something? Why do I hate such and such thing? Why can’t I forgive and why can’t I liberate myself from this? All of my work is that, it’s the development of a character who slowly but surely expands, self-actualizes, and reaches a higher spiritual level. My characters obtain wisdom. To arrive at such wisdom is to arrive at the joy of living."
After divorcing, Jodorowsky's parents left their children in the care of their grandparents. Jodorowsky went to boarding school, sharing his sister's interest for literature, while simultaneously being intrigued by film, puppetry and pantomime. He ranked Vicentre Huidobro, Gabriela Mistral, Pablo Neruda and Nicanor Parra among his favorite poets. Interviewed by Tom Lennon (Borderline, 2002), Jodorowsky said that he enjoyed Hal Foster's 'Prince Valiant', Lee Falk's 'Mandrake the Magician', Alex Raymond's 'Flash Gordon', E.C. Segar's 'Popeye', Harold Gray's 'Little Orphan Annie' and Dick Calkins' 'Buck Rogers' as a child. He particularly fell in love with the 'Prince Valiant' character Aleta. Later in his career, he also expressed admiration for Steve Ditko, Moebius, Jack Kirby, Jim Steranko and Goseki Kojima's 'Lone Wolf and Cub'. When Lennon asked with whom else he would love to create comics, Jodorowsky answered: "There are four artists that I admire, and with whom I would like to work together, however, since they are sometimes artists and writers, they do not need me for anything. The deceased Harold R. Foster. The super neurotic [Robert] Crumb. The classical Stan Sakai. The profound Will Eisner. Four genii!"
At age 18, Jodorowsky and a friend established their own pantomime group, Teatro Mímico. He studied philosophy and psychology at the University of Chile, where, in 1950, he also established an experimental puppet theatrer, TEUCH. After two years, Jodorowsky eventually dropped out of university. In 1953, Jodorowsky went to the cultural capital of the world, Paris, where he studied as an apprentice of famous mime Étienne Decroux. He also joined Decroux' even more famous pupil, Marcel Marceau, and toured with his mime collective. Jodorowsky took the opportunity to pick up his university studies again, following philosophy at the Sorbonne. Jodorowsky made his first film, 'Les Têtes Interverties' (also known as 'La Cravate', 1957), based on Thomas Mann's novel 'Die vertauschten Köpfe' (1940). The short was made entirely in pantomime and featured Jodorowsky and Belgian-French comedian Raymond Devos in starring roles. Contrary to his later work, it was a more conventional picture. Nevertheless, it received praise from famous poet, playwright, painter and film director Jean Cocteau. To give the movie more publicity, Cocteau wrote a prologue for it.
In 1959, Jodorowsky first went to Mexico, where he worked as a mime teacher. Between late 1965 and 1974, he spent most of his time in this country, to the point that many people still incorrectly assume Jodorowsky had Mexican nationality, instead of Chilean. In 1980, he would naturalize himself as a French citizen. In February 1962, Jodorowsky became co-founder of the innovative "Mouvement Panique" ("Panic Mouvement"), along with Fernando Arrabal, Olivier O. Olivier, Jacques Sternberg, Christian Zeimert, Abel Ogier and Roland Topor. The collective rejected the commercialisation of surrealism by staging many strange but provocative plays. In 1973, Jodorowsky would dissolve the Panic Movement.
Early film career
While in Mexico, Jodorowsky also established a career as film director. His first picture 'Fando y Lis' (1967), based on a play by Fernando Arrabal, made his reputation. It sparked riots during the premier, because viewers felt several scenes were shocking. Jodorowsky had to escape the theater by sneaking into a limousine. However, protesters recognized him and threw rocks at the car. As usual, the scandal attracted more attention to this avant-garde film than possibly would've been the case otherwise. Riots kept erupting during screenings and between 1968 and 1972 the movie was banned in Mexico. In the United Kingdom it was released under a different title: 'Tar Babies'. In the eyes of the Mexican government, Jodorowsky was a subversive foreigner who needed to be kept under close watch. A file was kept in the Department of Intelligence. In February 1971, he was also imprisoned for a short while.
'Fabulas Panicas', 23 June 1968, drawn by Alexandro Jodorowsky.
Anibal 5
While living in Mexico City in the mid-1960s, Jodorowsky made his earliest steps in the world of comics. This career choice was marked by necessity. Due to censorship, he found it increasingly difficult to make a living as a playwright and film director. Through writer Luis Spota, who worked for publishing company Editorial Novaro, Jodorowsky was able to earn his bread as a comic writer. He scripted the science fiction comic 'Anibal 5' (1966), drawn by Manuel Moro, serialized in El Heraldo de México. The humorous plot centers on a cyborg, Anibal 5, whose physical looks were modelled after actor Jorge Rivero. Working for the European Defense Agency, Anibal has to fulfill many strange commissions, but is only interested if it satisifies his neverending strong libido. Partially inspired by Jean-Claude Forest's similar erotic SF comic 'Barbarella', 'Anibal 5' is closer to parodies in the style of Mad Magazine. One comic book was released by publishing company Novaro. Three decades later, Jodorowsky would relaunch 'Aníbal 5' (1990-1992) with a different comic artist, George Bess. Six albums were released by publishing company Temporae.
Fábulas Pánicas
Jodorowsky also drew one comic series of his own, 'Fábulas Pánicas' ("Panic Fables", 1967-1973). The stories were basically plots either inspired by the plays he wrote for the Panic Movement, or scripts he couldn't stage. The first episode was printed on Sunday 4 June 1967 in the cultural supplement of the Mexican magazine El Heraldo de México. Originally Jodorowsky planned just one story, serialized for three months. Due to success, 'Fábulas Pánicas' continued its weekly run for six-and-a-half years. Each episode is an one-page story, drawn in Jodorowsky's rudimentary style, sometimes adding photo collage elements. Not all were drawn and colorized by himself alone, though. Sometimes he passed the pencil to his sons Brontis and Axel. Other episodes were drawn by Pablo Leder, an actor and assistant-director in many of Jodorowsky's plays and films. It explains why the signatures tended to vary. Some episodes are credited to 'Alexandro', 'Alejandro' or just 'Jodorowsky'.
Jodorowsky created 'Fábulas Pánicas' when he was very depressed about life and pessimistic about the future. The comic was a way to raise his own spirits and pass this positive outlook on to readers. Some episodes are surreal and mystic, covering themes from Zen Buddhism, existential philosophy and "sacred" symbolism from Tarot and astrology. True to the psychedelic era in which it was created, it leads to a trippy atmosphere. Other episodes are thought-provoking, visualizing aphorisms and reflecting on the way of the world. Jodorowsky sometimes even toys with the medium itself, adding to a metafictional experience. Given the fact that Mexico was a dictatorship in the late 1960s, early 1970s, and El Heraldo a very right-wing conservative paper, it's all the more remarkable that the otherwise blacklisted playwright and film director was allowed to express such free-spirited views for such a long period of time. The series can be interpreted as Jodorowsky's own spiritual journey.
Around 342 pages appeared in El Heraldo over the years, though 58 of these were reprints. Jodorowsky also appears as himself at times. First as an apprentice asking guidance from a guru. Later he becomes the guru himself. On 30 December 1973, the final episode of 'Fábulas Pánicas' appeared in print. In 1977, all episodes were collected in book format by Novaro. A reprint came about in 2003. While 'Fábulas Pánicas' has its own D.I.Y. charm, Jodorowsky never drew his own comics again afterwards. In interviews, he explained that professional comic artists were far more equipped to translate his stories into beautifully-rendered illustrations. Interviewed by Jay Babcock for L.A. Weekly (1 January 2004), Jodorowsky stated: "I do comics because I think it’s an art form as big as movies or painting or poetry. The graphic novel is a fantastic thing for me. For four or five years every Sunday I drew a comics page, a complete story. But it was very basic. When I saw Moebius making the drawings, I stopped. And I never make any more. Moebius, Boucq, Bess, Juan Gimenez, Beltran — they’re geniuses. How can they draw like that? It is a miracle. When you see a painting by Travis Charest? He’s incredible... some kind of a monster!"
El Topo
Jodorowsky made his name with his second film, 'El Topo' (1970). Described as an "acid western", it follows a very loose plot. A cowboy dressed in black (played by Jodorowsky himself) roams through the Mexican desert, taking his nude son (played by Jodorowsky's son Brontis) with him. He encounters many bizarre people, ranging from a sadistic colonel to real-life amputees. Many surreal and shocking events follow. Jodorowsky deliberately gave his actors LSD before shootings. Although filmed on a low budget, everything is magnificently shot in splendid color, with an atmospheric soundtrack. Jodorowsky added all of his pet peeves, from Zen Buddhism to Mexican shamanism. He deliberately cast unknown people, out of dislike for Hollywood stars whose famous faces always distract from their performance and constantly play the same part. He also refrained from typical Hollywood plots, which predictably revolve around heroes who don't want to fight, are forced into a conflict and then act revenge in the final act and "win". 'El Topo' is difficult to describe in words, but in Jodorowsky's opinion, this is part of its strength: it can be interpreted in many different ways.
To give the film more media attention, Jodorowsky deliberately made outrageous claims in interviews and press conferences, most of which were either blatant lies, or tall tales with a small element of truth in them. Unsurprisingly, 'El Topo' was a huge flop with mainstream viewers, who felt the picture was incomprehensible and offensive. However, some savvy theatre owners noticed that certain young adults liked the film. Its subversive, erotic, violent and blasphemous tone fit perfectly within the counterculture movement. Even in the field of independent cinema, it was as anti-Hollywood as one could get. The mystic and occult themes appealed to youngsters in search for the inner self. Above all, the trippy imagery made it a perfect stoner movie. Some people kept returning for new viewings. Eventually, theatre owners decided to market 'El Topo' in a different, unprecedented way. They marketed it as a "trip movie", emphasizing its "forbiddenness". Each screening was programmed around midnight, giving the film a more mysterious appeal. Numerous curious teenagers, twens and other young adults gathered together in attendance, united in their unconventional taste, some even dressing up for it. It helped 'El Topo' build up a cult reputation and become the first official "midnight movie". Movies specifically programmed in theaters at late hours had existed before, especially in the horror genre. Films like 'Night of the Living Dead' (1968) and '2001: A Space Odyssey' (1968) were already marketed to tingle the curiosity of viewers interested in something otherwordly. But 'El Topo' turned midnight movies into a phenomenon. Soon film theaters started programming unusual movies at 12 a.m., like John Waters' 'Pink Flamingos' (1972), Doug Henzell's 'The Harder They Come' (1973), Jim Sharman's 'The Rocky Horror Picture Show' (1975), David Lynch's 'Eraserhead' (1978), but also older pictures like Tod Browning's 'Freaks!' (1932). Several films that didn't do well on their initial release, now found an audience. Devoted fans kept coming back for repeat viewings.
'El Topo' attracted celebrity fans like pop musicians John Lennon & Yoko Ono, George Harrison, Bob Dylan, Roger Waters (Pink Floyd) and actors Dennis Hopper and Peter Fonda. The plot of Genesis' concept album 'The Lamb Lies Down On Broadway' (1974) was loosely inspired by 'El Topo'. In later decades, musicians Peter Gabriel, Marilyn Manson, Cedric Bixler-Zavala & Omar Rodríguez-Lópza (The Mars Volta), Kanye West and Erykah Badu also expressed admiration. Jodorowsky also recalled that Spain Rodriguez corresponded with him and drew his own homage to 'El Topo'. Lennon declared 'El Topo' his "favorite movie of all time". He let Allen Klein, manager of the Beatles label 'Apple', buy the rights and made an attempt to screen the picture in bigger theaters. Predictably, it only lasted a week, before the film returned to midnight movie theaters again.
'El Topo' has always remained a cult classic, cemented by its inclusion in Danny Peary's standard book in the field, 'Cult Movies' (1981). Part of the film's enduring reputation was that it wasn't commercially available on home video for decades. In the mid-1970s, Klein insisted that Jodorowsky would adapt Pauline Réage's erotic novel 'Histoire d'O.' into a feature film, which he refused (a movie version did come about in 1975, albeit directed by Just Jaeckin). Out of revenge, Klein kept 'El Topo' out of circulation for decades. Anyone who wanted to see it had to find a movie theater that screened it. A laser disc was released in Japan in the 1980s, but with several scenes censored. Eventually, in the mid-2000s, Klein's son organized a meeting between his father and Jodorowsky. At first, Jodorowsky feared a violent confrontation, but when both men saw each other after all those years they were surprised and charmed that both were now old, white-haired men. Interviewed by Steve Rose for The Guardian (14 November 2009), Jodorowsky revealed: "My father was a monster. And all the hate I had for my father I put into Allen Klein. Allen Klein hated his father also. For him I was his father and for me he was my father." Having buried the hatchet, 'El Topo' finally received its official, uncensored DVD release in 2007.
Jodorowsky always wanted to create a sequel to 'El Topo' and at one point considered shock rock musician Marilyn Manson for the starring role. Jodorowsky and Manson are good friends and the director even officiated the singer's wedding to Dita von Teese in 2005 (the couple divorced three weeks later). Unfortunately the project remained in development hell. In 2016, Jodorowsky adapted the script into a comic book, 'Les Fils d'El Tope' ('Sons Of El Topo', 2016), illustrated by Mexican artist José Ladronn. Split in two volumes, it focuses on the wife and the two sons of the protagonist from the film.
Later film career
Throughout his career, Jodorowsky created other polarizing films, such as the mystical and mind-boggling 'The Holy Mountain' (1973), which was partially funded by Allen Klein, John Lennon and Yoko Ono. The loose plot of 'The Holy Mountain' follow a thief and his seven spiritual advisors who want to climb a holy mountain in search of spiritual enlightment. The thief is guided by an alchemist, played by Jodorowsky himself. Originally, George Harrison wanted to play The Thief, but objected to a scene where an alchemist would clean his anus next to a real-life hippopotamus. Interviewed by Camilo Savalas for Vice (17 March 2015), Jodorowsky recalled trying to convince the former Beatle to do it, "to show the youth that you don't have such a strong ego", but Harrison simply pulled out of the project. With a slightly higher budget and more satirical themes, 'The Holy Mountain' became Jodorowsky's second best-known film and a cult classic too.
The 1980s brought forth 'Poo Lorn L'Elephant' ('translated into English as 'Tusk', 1980) and the cult horror film 'Santa Sangre' (1989). In 1990, Jodorowsky directed 'The Rainbow Thief' (1990), which could afford stars like Peter O'Toole, Omar Sharif and Christopher Lee, but disappointed long-time fans by being more conventional. It took two decades before Jodorowsky had enough money to create new films. 'La Danza de la Realidad' ('The Dance of Reality', 2013) and 'Poesía Sin Fin' ('Endless Poetry', 2016) marked a return to his old form. 'La Danza de la Realidad' reflects on his troubled relationship with his late father, while 'Poesía Sin Fin' looks back at the years he was a young rebellious artist in Chile. The latter film was made with funding through Kickstarter. Jodorowsky always felt that artistic integrity was better dan profits. In his opinion, he'd rather make an experimental film and lose money than compromise and have a box office hit.
Literary career
In the 1980s, Jodorowsky wrote five novels, which were originally only available in French, published by Les Humanoïdes Associés and Flammarion. In the 1990s, they received translations in English, German, Italian, Portuguese and Spanish. His novel 'Le Paradis des Perroquets' received the Grand Prix de l'Humour Noir (1984).
Book covers for 'Anibal 5' and 'Les Yeux du Chat'.
Comics career: collaboration with Moebius
In 1976, Jodorowsky first met legendary French comic artist Jean Giraud, A.K.A. Moebius. At the time, Jodorowsky tried to adapt Frank Herbert's epic sci-fi novel 'Dune' into a movie. H.R. Giger, Chris Foss and Moebius designed sets and characters, Dan O'Bannon provided special effects and David Carradine, Mick Jagger, Gloria Swanson, Salvador Dalí, Amanda Lear and Orson Welles would play major roles. The soundtrack would be composed by Pink Floyd and Magma. This ultimate geek's wet dream was however never realized. Most of the budget was spent on pre-production. In 1984, the picture was eventually directed by David Lynch, but with different contributors. Over the years, Jodorowsky's version of 'Dune' acquired a mythical status, tingling many people's imagination of what this film could've been had it been released. In 2013, a documentary, 'Jodorowsky's Dune', was made, bringing many previously unseen storyboards and photographs to the forefront. Jodorowsky was also interviewed for this docu, openly speaking his mind about the past events and the film industry in general.
Les Yeux du Chat ('The Eyes of the Cat')
In March 1978, Jodorowsky and Moebius continued their collaboration with the comic series 'Les Yeux du Chat' (1978), published in the story collection 'Mistral' by Les Humanoïdes Associés. The story centers on a young blind boy who commands an eagle, Méduz, to find "cat's eyes" for him. The comic is unusual in the sense that most of the plot is told without dialogue, using only two basic colors: black and yellow. All action is presented through a tall, narrow rectangular panel. By framing all action through this minimalistic means, the reader is limited in what he can see, just like the blind boy. The experimental comic has a poetic feel, which stays with the reader long after they've put the book away.
L'Incal
In December 1980, Jorodowsky and Moebius's collective masterpiece 'L'Incal' started serialisation in Métal Hurlant. Set on the dystopian planet Terra 21, the plot follows private investigator John Difool, who flies around on a huge seagull named Deepo. One day, Difool receives a mysterious crystal named the "Light Incal'. The object holds phenomenal powers, forcing Difool to keep it out of the clutches of various people and organisations who want it for themselves. Among them the Bergs, bird-like creatures from another galaxy. Other rivals are the corrupt government of Difool's home city, a rebellious group named Amok and a cult-like group of priests named The Technopriests, who see elaborate technology as beneficial to society. Animah and her sister Tanatah, keepers of the Light Incal, befriend DiFool and try to keep the object in safe hands. On their tails is the Metabaron, a bounty hunter from noble origins. Six volumes were released by Les Humanoïdes Associés under the title 'Une Aventure de John Difool'.
'L' Incal' is a strange comic, taking the reader along on unexpected twists and turns in character's personalities, physical and mental essence. The stories are also a partial satire of our own modern-day world. Jodorowsky's inspiration came from a dream in which he floated in space between two pyramids, imagery Moebius would evoke in the comic too. Another strong influence were Mickey Spillane's detective novels, especially 'Kiss Me Deadly'. The authors made John Difool an anti-hero. Difool is fond of cigars, whiskey and robotic prostitutes and actually not so keen on given the responsibility over the Light Incal. Jodorowsky's interest in tarot gave the protagonist his name, naming him after 'The Fool'. Jodorowsky credited Moebius with helping him write stream-of-consciousness tales without relying on drugs. He also praised him for evoking the dystopian world of 'L'Incal' in beautiful artwork, bringing all of Jodorowsky's interests together on an epic scale, dubbed the 'Jodoverse'. Moebius disciplined himself to finishing one page a day, skipping over preliminary sketches to instantly start putting his drawings into ink.
A prequel series, also scripted by Jodorowosky, but drawn by Zoran Janjetov was later released under the title 'Avant L'Incal' ('Before the Incal', 1988-1995). A sequel, 'Après L'Incal' ('After the Incal'), was started by Jodorowsky and Moebius in 2000, and completed with two more installments drawn by José Ladrönn in 2011 and 2014. Ladrönn also provided the artwork for the final cycle, 'Final Incal' (2008-2014).
Book covers for 'John Difool' and 'Castaka'.
The Saga of the Meta-Barons
Building on the foundations of 'L'Incal', Jodorowsky launched several spin-off series. In 'La Caste de Meta-Barons' ("The Saga of the Meta-Barons", 1992-2003), the Metabarons received their own story arc, giving it the allures of a family saga. The artwork was provided by Argentinian artist Juan Giménez, published in eight books by Les Humanoïdes Associés. Two more cycles followed to complete the trilogy: two books of 'Castaka' were drawn by Das Pastoras in 2007 and 2013, while Travis Charest and Zoran Janjetov provided the art for 'Weapons of the Metabaron' in 2008.
Les Technopères (The Technopriests')
The Technopriests from 'L'Incal' also received a spin-off series: 'Les Techno-Pères' (1998-2006), scripted by Jodorowsky, drawn by Zoran Janjetov and colorized by Fred Beltrán. The leader of the priests, Albino, is accompanied by a small mouse, Tinigriffi, during a large exodus of the Techno-Priests, searching for truth and meaning in a technologically advanced, but cold, inhuman environment. Eight albums were published by Les Humanoïdes Associés.
Book covers for 'Les Technopères' and 'Alef-Thau'.
Alef-Thau
In 1982, Jodorowsky teamed up with artist Arno to create the fantasy series 'Alef-Thau' (1982-1998). Alef-Thau is a limbless human who learns that he can obtain arms and legs if he manages to find and defeat the tyrant Ner-Ramnus. Alef-Thau is aided by the immortal enchantress Diamante, who is abducted by the devious ruler Astral. Astral tells her to forget about Alef-Thau and conquer the world of Mu-Dhara... 'Les Aventures d'Alef-Thau' were serialized in Métal Hurlant, while Les Humanoïdes Associés released eight albums. Only the final installment, 'Le Triomphe du Rêveur' (1998) was drawn by a different artist, Al Covial. Between 2008 and 2009, a spin-off series was launched, 'Le Monde d'Alef-Thau', drawn by Marco Nizzoli.
La Saga d'Alendor
Remaining in the fantasy genre, Jodorowsky wrote 'Le Dieu Jaloux' (1984) and 'L'Ange Carnivore' (1986) for Silvio Cadelo, two books that were later reprinted under the title 'La Saga d'Alendor'.
Collaboration with Georges Bess
Jodorowsky has worked on several projects with the artist Georges Bess, starting with 'Les Jumeaux Magiques' in Le Journal de Mickey in 1986, and then followed by the fantasy series 'The White Lama' ('Le Lama Blanc', 1988-1993), the graphic novel 'Juan Solo' (1995-1999), and a restart of 'Anibal 5' (1990-1992). Jodorowsky and Bess have returned to Tibet for an esoteric follow-up to their best-known collaboration, called 'La Légende du Lama Blanc' from 2014.
Covers for the series 'Le Lama Blanc' and 'Bouncer'.
From 1991 on, Jodorowsky started several stories serialized in magazine À Suivre, such as 'Face de Lune' (with François Boucq) 'La Passion de Diosamante' (with Jean-Claude Gal) and 'Le Coeur Couronné (with Moebius).
Other notable creations are the hard-boiled western series 'Bouncer', made with François Boucq at Glénat since 2001, and the historical fiction series 'Borgia' in cooperation with Milo Manara from 2004 to 2010.
Jodorowsky made a graphic novel about a mime player during World War II, 'Pietrolino' (2007-2008), drawn by Olivier Boiscommun.
Book covers for 'Pietrolino' and 'Borgia'.
Further collaborations include 'La Vérité est au Fond des Rêves' with Jean-Jacques Chaubin, the detective comic 'Gilles Hamesh' with Michel Durand (1995), 'Aliot' with Victor de la Fuente (1996), the historical 'Le Pape Terrible' with Théo Caneschi (2009-2013), the heroic fantasy 'Sang Royal' with Dongzi Liu (since 2010) and more sci-fi series like 'Megalex' with Fred Beltrán (1999-2008), 'Showman Killer' with Nicolas Fructus (2010-2012) and 'Ogregod' with Zoran Janjetov (2010-2012).
Recognition
In 1990, Alejandro Jodorowsky was named an Officer in the French Ordre des Arts et des Lettes. In that same year, an asteroid was named after him. On 27 April 2006, he was honored with the Pablo Neruda Order of Artistic Achievement.
At the Comic Festival of Angoulême, his 'Juan Solo' received the award for 'Best Humorous Script' (1996). His 'El Corazón Coronado' was bestowed with the Haxtur Award (2001) at the International Comic Festival of Asturia, along with another Haxtur Award for his entire career. The 'Bouncer' story 'La Pitié des Bourreaux' received the Prix Éléphant d'Or (2006) for 'Album of the Year', while the story 'La Vengeance du Manchot' in the same series received a Prix Albert Uderzo (2006).
Legacy and influence
Even in old age, Jodorowsky remains passionate about life and being creative. He refuses to let his advanced age stop him. Interviewed by Camilo Savalas for Vice (17 March 2015), when he was 86, he stated: "As you live you find yourself caught in life, which is why you dream, invent, all these things, but little by little your teeth start falling out, your hair, hemorrhoids appear, your skin itches, and you start to say, “Well, on this side I have old age, and on this side I have death” [ places each hand on either side of head]. I have these two ladies [indicating his hands]. You have one foot in the abyss, so the art you’re doing becomes much more personal, deeper. Let’s talk about things how they are this time without disguising them."
As a film director, Jodorowsky influenced Darren Aronofsky, Guillermo Del Toro, Samuel Fuller, David Lynch, Nicolas Windig Refn, Kiril Serebrennikov and Taika Waititi. Canadian comic artist Dave Cooper credits Jodorowsky's films with inspiring him to move away from realistic narratives into more surreal stories, directly influencing his graphic novel 'Suckle'. In 'Viaje a Tulum' (1986), scripted by Federico Fellini and drawn by Milo Manara, Jodorowsky appears as a character.
Book covers for 'Showman Killer' and 'Le Pape Terrible'.