Serials, more specifically known as Movie serials, Film serials or Chapter plays, were short subjects originally shown in theaters in conjunction with a feature film. They were related to pulp magazine serialized fiction. Also known as "chapter plays", they were extended motion pictures broken into a number of segments called "chapters" or "episodes". Each chapter would be screened at the same theater for one week. The serial would end with a cliffhanger in which the hero and heroine would find themselves in a perilous situation from which there apparently could be no escape. Viewers would have to return in subsequent weeks to see the cliffhangers resolved and to follow the continuing story.

Serials were especially popular with children, and for many youths in the first half of the 20th century a typical Saturday at the movies included a chapter of at least one serial, along with animated cartoons, newsreels, and two feature films.

Popularity and decline[link]

Many serials were Westerns, since those were the least expensive to film. Besides Westerns, though, there were films covering many genres, including crime fiction, espionage, comic book or comic strip characters, science fiction, and jungle adventures. Although most serials were filmed economically, some were made at significant expense. The Flash Gordon serial and its sequels, for instance, were major productions in their times.

Serials were a popular form of movie entertainment dating back to Edison's What Happened to Mary? of 1912. There do appear to be older serials, however, such as the 1910 Deutsche Vitaskop 5 episode Arsene Lupin Contra Sherlock Holmes, based upon the Maurice LeBlanc novel,^[1] and a possible but unconfirmed Raffles serial in 1911.^[2] Usually filmed with low budgets, serials were action-packed stories that usually involved a hero (or heroes) battling an evil villain and rescuing a damsel in distress. The villain would continually place the hero into inescapable deathtraps, or the heroine would be placed into a deathtrap and the hero would bravely come to her rescue, usually pulling her away from certain death only moments before she met her doom. The hero and heroine would face one trap after another, battling countless thugs and lackeys, before finally defeating the villain.

Many famous clichés of action-adventure movies had their origins in the serials. The popular term cliffhanger was developed as a plot device in film serials (though its origins have been traced by some historians to the Sherlock Holmes stories of Arthur Conan Doyle), and it comes from the many times that the hero or heroine would end up hanging over a cliff, usually as the villain gloated above and waited for them to plummet thousands of feet to their deaths. Other popular clichés included the heroine or hero trapped in a burning building, being trampled by horses, knocked unconscious in a car as it goes over a cliff, and watching as the burning fuse of a nearby bundle of dynamite sparked and sputtered its way towards the deadly explosive. The popular Indiana Jones movies are a well-known, romantic pastiche of the serials' clichéd plot elements and devices.

The silent era was the zenith of the movie serial and serial stars from this period were major stars such as Pearl White, who starred in the quintessential silent serial The Perils of Pauline which still ranks among the best known silent films. Ruth Roland, Marin Sais, Ann Little, and Helen Holmes were also early leading serial queens. Most of these serials put beautiful young women in jeopardy week after week. The serials starring women were the most popular during the silent period but in the sound era few serials had a female character in the major role. Years after their first release, serials gained new life at "Saturday Matinees," theatrical showings on Saturday mornings aimed directly at children. For that reason, serials are sometimes called "Saturday Matinee Serials," even though they were originally shown with feature films.

In the early days of television in the United States, movie serials were often broadcast, one chapter a day. Many have been released in home video formats.

Usual terms[link]

Besides the hero or heroine, some terms are used to define villains and supporting players:

• The saddle pal or sidekick was the helper or assistant of the hero or heroine. That person was often a bumbling comic or a more serious, steady assistant.
• The brains heavy was the man (or, on occasion, woman) who issued the orders to his henchmen. He often wears a suit, and pretends to be an upright, lawful member of the community. He usually had little to do until the last chapter except talk, snarl, or grimace.
• The action heavy is the assistant or second-in-command to the brains heavy who usually wore workmanlike duds, did the physical labor, and often had more brawn than brains. He went from one chapter to the next trying desperately to kill the hero with fists, knives, guns, bombs, or whatever else happened to be handy at the time.
• The oldtimer was the man that (a) owned the ranch, (b) the father of the hero (or heroine) and often had a short film lifespan, as well (3) those that wore a badge of a sheriff, marshall, or ranger.
• The middle-aged and older performers who were judges, lawyers, storeowners, wardens, owners of the local newspaper, attorneys, judges, scientists, executives, or professors.

Eras[link]

Poster for The Perils of Pauline (1914)

Silent era[link]

Famous American serials of the silent era include The Perils of Pauline and The Exploits of Elaine made by Pathé Frères and starring Pearl White. Another popular serial emerged that year, the 119 episode The Hazards of Helen made by Kalem Studios and starring Helen Holmes for the first forty-eight episodes then Helen Gibson for the remainder. Other major studios of the silent era produced them, such as Vitagraph and Essanay Studios, as did Warner Bros., Fox, and Universal. Several independent companies (for example, Mascot Pictures) made Western serials. Four silent Tarzan serials were also made.

Europe had its own serials: in France Victorin-Hippolyte Jasset launched his series of Nick Carter films in 1908, and the idea of the episodic crime adventure was developed particularly by Louis Feuillade in Fantômas (1913-14), Les Vampires (1915), and Judex (1916); in Germany, Homunculus (1916), directed by Otto Rippert, was a six-part horror serial about an artificial creature.

Sound era[link]

The arrival of sound technology made it costlier to produce serials, so that they were no longer as profitable on a flat rental basis. Further, the Great Depression made it impossible for many of the smaller companies which had turned out serials to upgrade to sound, and they therefore went out of business. Only one serial specialty company, Mascot Pictures was in fact able to make the transition from silent to sound filmmaking: Universal Pictures also kept its serial unit alive through the transition.

In the early 1930s a handful of independent companies tried their hand at making serials, but managed only two or three, including the once-prolific Weiss Brothers. The Weisses bought a little time when Columbia Pictures decided to take a try at serials, and contracted with them (as Adventure Serials Inc.) to make three chapterplays. They were successful enough that Columbia then established its own serial unit and the Weisses essentially disappeared from the serial scene. This was in 1937, and Columbia was probably inspired by the previous year's serial blockbuster success at Universal, Flash Gordon, the first serial ever to play at a major theater on Broadway; and by the success of that same year of the newly created Republic Pictures, which dedicated itself to a program of serials and westerns, eschewing major productions in their favor. The creation of Republic involved the absorption of Mascot Pictures, so that by 1937, serial production was now in the hands of three companies only - Universal, Columbia, and Republic, with Republic quickly becoming the acknowledged leader in quality serial product. Each company turned out four to five serials per year, of 12 to 15 episodes each, a pace which they all kept up until the end of World War II when, in 1946, Universal dropped its serial unit along with its B-picture unit and renamed its production department Universal-International Pictures. Republic and Columbia continued unchallenged, with about four serials per year each, Republic fixing theirs at 12 chapters each while Columbia fixed at fifteen.

By the mid-1950s, however, episode television series and the sale of older serials to TV syndicators by all the current and past major sound serial producers, together with the loss of audience attendance at Saturday matinees in general, made serial-making a losing proposition.

Post-1950s serials[link]

There have been several post-1950s attempts at reviving or recalling cliffhanger serials, by both fans and professional studios, and serials were often spoofed in cartoons of the 1960s.

Amateur/fan efforts:

An early attempt at a low-budget Western serial, filmed in color, was entitled The Silver Avenger. One or two chapters exist of this effort on 16 mm film but it is not known whether the serial was ever completed.

The best-known fan-made chapter play is the four-chapter, silent 16 mm amateur effort made to resemble Republic and Columbia serials of the 1940s Captain Celluloid Vs. The Film Pirates, completed in 1966. The plot involved a masked villain named The Master Duper, one of three members of a Film Commission who attempts to acquire the only known prints of various lost nitrate films, and the heroic Captain Celluloid, who wears a costume reminiscent of that of the Black Commando in Columbia Pictures' serial The Secret Code, is determined to uncover him. Roles in the serial are played by, among others, film historians and serial fans Alan Barbour and William K. Everson.

In the 1970s, serial fan Blackie Seymour allegedly shot a complete 12 chapter serial called The Return of the Copperhead. Mr. Seymour's only child, who operated the camera at the age of 8, attests that as of 2008 the serial was indeed filmed but the raw footage remains in cans, unedited . . . "perhaps someday" to be assembled.

In 2001, King of the Park Rangers, a 12-chapter sound serial was released by Cliffhanger Productions on VHS video tape in sepia. It concerned the adventures of a Park Ranger named Patricia King and an FBI Agent who track down a trio of killers out to find buried treasure in the New Jersey Pine Barrens.

A second 10-chapter serial, The Dangers of Deborah, in which a female reporter and a criminologist fight to uncover the identity of a mysterious villain named The Terror, was released by Cliffhanger Productions in 2008.

In 2006, Lamb4 Productions created its own homage to the film serials of the 1940s with its own serial titled "Wildcat." The story revolves around a super hero named Wildcat and his attempts to save the fictional Rite City from a masked villain known as the Roach. This 8-chapter serial was based heavily on popular super hero serials such as "Batman and Robin," "Captain America," and "The Adventures of Captain Marvel." After its premiere, "Wildcat" was posted on the official Lamb4 Productions YouTube channel for public viewing.^[3]

Studio/commercial efforts, cartoons, and spoofery:

The serial format was used with stories on the original run of The Mickey Mouse Club (1955-58), with each chapter running about six to ten minutes. The longer-running dramatic serials included "Corky and White Shadow", "The Adventures of Spin and Marty", "The Hardy Boys: The Mystery of the Applegate Treasure", "The Boys of the Western Sea", "The Secret of Mystery Lake", "The Hardy Boys: The Mystery of Ghost Farm", and The Adventures of Clint and Mac.

Other Disney programs shown on Walt Disney Presents in segments (such as The Scarecrow of Romney Marsh, The Swamp Fox, The Secret of Boyne Castle, The Mooncussers, and The Prince and the Pauper) and Disney feature films (including Treasure Island; The Three Lives of Thomasina; The Story of Robin Hood and His Merrie Men; Rob Roy, the Highland Rogue; and The Fighting Prince of Donegal) edited into segments for television presentation often had a cliffhanger-serial-like feel.^[why?]

In England, in the 1950s and 60s, low-budget 6-chapter serials such as Dusty Bates and Masters of Venus were released theatrically, but these were not particularly well-regarded or remembered.

Of course, perhaps the greatest number of serialized television programs to feature any single character were those made featuring Doctor Who, the BBC character introduced in 1963. Doctor Who serials would run anywhere from 3 to 12 episodes and were shown in weekly segments as had been the original theatrical cliffhangers. Doctor Who was syndicated in the US as early as 1974 but did not gain a following in America until the mid-1980s when episodes featuring Tom Baker reached its shores.

The 1960s cartoon show Adventures of Rocky and Bullwinkle included two serial-style episodes per program which ended with cliffhangers and spoofed the cliffhanger serial form. Within the Rocky and Bullwinke show, the recurring but nonserialized Dudley Do-Right, parodied specifically the damsel in distress (Nell Fenwick) tied to railroad tracks by arch villain (Snidely Whipslash) and rescued by the noble but clueless eponymous hero. The Hanna–Barbera Perils of Penelope Pitstop was a takeoff on the silent serials The Perils of Pauline and The Iron Claw which featured Paul Lynde as the voice of the villain Sylvester Sneakley alias "The Hooded Claw".

Danger Island, a multi-part story in under-10-minute episodes, was shown on the Saturday morning Banana Splits program in the late 1960s. Episodes were short, full of wild action and usually ended on a cliffhanger. This serial is notable for having been directed by Richard Donner and featuring the first African American action hero in a chapter play. The violence present in most of the episodes, though much of it was deliberately comical and would not be considered shocking today, also raised concerns at a time when violence in children's TV was at issue.

On February 27, 1979, NBC broadcast the first episode of an hour-long weekly television series Cliffhangers!, which had three segments, each with a different serial: a horror story (The Curse of Dracula, starring Michael Nouri), a science fiction/western (The Secret Empire, (inspired by 1935's The Phantom Empire) starring Geoffrey Scott as Marshal Jim Donner and Mark Lenard as Emperor Thorval) and a mystery (Stop Susan Williams!, starring Susan Anton, Ray Walston as Bob Richards, and Albert Paulsen as the villain Anthony Korf). Unfortunately, though final episodes were shot, the series was canceled and the last program aired on May 1, 1979 before all of the serials could conclude; only The Curse of Dracula was resolved.

In 2006, Dark Horse Indie films through Image Entertainment released a 6 chapter serial parody called Monarch of the Moon, detailing the adventures of a hero named the Yellow Jacket, who could control Yellow Jackets with his voice, battled "Japbots", and traveled to the moon. The end credits promised a second serial, Commie Commandos From Mars. Dark Horse attempted to promote the release as a just found never before released serial made in 1946 but suppressed by the US Government. Most fans weren't fooled, however.

Machinima Era[link]

In recent years there has been a small resurgence of a sort in serial production. Many films created using machinima, the art of using pre-existing consumer-level three-dimensional rendering engines to create computer-generated imagery, have been distributed in serial format. According to Hugh Hancock of Machinima.com, three to five minutes is an optimal length for videos downloaded over the Internet. As a result, a serial composed of multiple short videos can be an effective way of telling a longer story in this medium. Red vs. Blue: The Blood Gulch Chronicles, a comedy series by Rooster Teeth Productions with a continuous, single plot spanning 100 episodes, popularized this distribution method.^[4] Many Red vs. Blue episodes end with cliffhangers, and Rooster Teeth Productions has acknowledged that the series is similar to older film serials in this regard.^[5] Another notable machinima production, Edgeworks Entertainment's The Codex, is a self-contained film, but was nonetheless released as a serial in 20 episodes between February and August 2005.

Production[link]

Peak form[link]

The classic sound serial, particularly in its Republic format, has a first episode of about 30 minutes (approximately three reels in length) and begins with reports of a masked, secret, or unsuspected villain menacing an unspecific part of America. This episode traditionally has the most detailed credits at the beginning, often with pictures of the actors with their names and that of the character they play. Often there follows a montage of scenes lifted from the cliffhangers of previous serials to depict the ways in which the master criminal was a serial killer with a motive. In the first episode, various suspects or "candidates" who may, in secret, be this villain are presented, and the viewer often hears the voice but does not see the face of this mastermind commanding his "lead villain," similar to a sergeant, whom the viewer will see in just about every episode.

In the succeeding weeks (usually 11 to 14) thereafter, an episode nearly 20 minutes (approximately two reels) in length was presented, in which the "lead villain" and lesser thugs commit crimes in various places, fight the hero, and trap someone to make the ending a cliffhanger. Many of the episodes have clues, dialogue, and events leading the viewer to think that any of the candidates were the mastermind. As serials were made by writing the whole script first and then slicing it into portions filmed at various sites, often the same location would be used several times in the serial, often given different signage, or none at all, just being referred to differently. There would often be a female love interest of the male hero, or a female hero herself, but as the audience was mainly children, there was no hugging and kissing.

In 1938 Republic introduced the "economy episode" (or "recap chapter") in which the characters summarize or reminisce about their adventures, so as to introduce showing those scenes again (in the manner of a clip show in modern television). This type of episode usually had a cheap, mechanical cliffhanger, like a time bomb rather than being unconscious in a runaway vehicle.

The beginning of each chapter would bring the story up to date by repeating the last few minutes of the previous chapter, and then revealing how the main character escaped. Often the reprised scene would add an element not seen in the previous close, but unless it contradicted something shown previously, audiences accepted the explanation. On rare occasions the filmmakers would depend on the audience not remembering details of the previous week's chapter, using alternate outcomes that did not exactly match the previous episode's cliffhanger.

The last episode was sometimes a bit longer than most, for its tasks were to unmask the head villain (who usually was someone completely unsuspected), wrap up the loose ends, and end with a triumphal proclamation, followed by a joke — and sometimes a kiss (provided that the story supplied a heroine to receive it).

Production practices[link]

The major studios had their own retinues of actors and writers, their own prop departments, existing sets, stock footage, and music libraries. The early independent studios had none of these, except for being able to rent the sets of independent producers of western features.

The firms saved money by reusing the same cliffhangers, stunt and special effect sequences over the years. Mines or tunnels flooded often, even in Flash Gordon, and the same model cars and trains went off the same cliffs and bridges. Republic had a Packard limousine and a Ford Woodie station wagon used in serial after serial so they could match the shots with the stock footage from the model or previous stunt driving. Three different serials had them chasing the Art Deco sound truck, required for location shooting, for various reasons. Male fistfighters all wore hats so that the change from actor to stunt double would not be caught so easily. A rubber liner on the hatband of the stuntman's fedora would make a seal on the stuntman's head, so the hat would stay on during fight scenes.

Exposition of what led up to the previous episode's cliffhanger was usually displayed on placards with a photograph of one of the characters on it. In 1938, Universal brought the first "scrolling text" exposition to the serial, which George Lucas first used in Star Wars Episode IV: A New Hope in 1977 and then in all of the following Star Wars films. As this would have required subcontracting the optical effects, Republic saved money by not using it.

Stylistic differences between the studios[link]

Universal had been making serials since the 1910s, and continued to service its loyal neighborhood-theater customers with four serials annually. The studio made news in 1929 by hiring Tim McCoy to star in its first all-talking serial, The Indians Are Coming! Epic footage from this western serial turned up again and again in later serials and features. In 1936 Universal scored a coup by licensing the popular comic-strip character Flash Gordon for the screen; the serial was a smash hit, and was even booked into first-run theaters that usually didn't bother with chapter plays. Universal followed it up with more pop-culture icons: The Green Hornet and Ace Drummond from radio, and Smilin' Jack and Buck Rogers from newspapers. Universal was more story-conscious than the other studios, and cast its serials with "name" actors recognizable from feature films: Lon Chaney, Jr., Béla Lugosi, Dick Foran, The Dead End Kids, Kent Taylor, Robert Armstrong, Irene Hervey, and Johnny Mack Brown, among many others. In the 1940s Universal's serials employed urban and wartime themes, incorporating newsreel footage of actual disasters. The 1942 serial Gang Busters is perhaps the best of Universal's wartime serials; Universal often cannibalized it for future cliffhangers. The studio's reliance on stock footage for the big action scenes was certainly economical, but it often hurt the overall quality of the films. When the studio reorganized as Universal-International, it shut down most of the production units, including the serial crew. Universal's last serial was The Mysterious Mr. M (1946).

Republic was the successor to Mascot Pictures, a serial specialist. Writers and directors were already geared to staging exciting films, and Republic improved on Mascot, adding music to underscore the action, and staging more elaborate stunts. Republic was one of Hollywood's smaller studios, but its serials have been hailed as some of the best, especially those directed by John English and William Witney. In addition to solid screenwriting that many critics thought was quite accomplished, the firm also introduced choreographed fistfights, which often included the stuntmen (usually the ones portraying the villains, never the heroes) throwing things in desperation at one another in every fight to heighten the action. Republic serials are noted for outstanding special effects, such as large-scale explosions and demolitions, and the more fantastic visuals like Captain Marvel and Rocketman flying. Most of the trick scenes were engineered by Howard and Theodore Lydecker. Republic was able to get the rights to the newspaper comic character Dick Tracy, the radio character The Lone Ranger, and the comic book characters Captain America, Captain Marvel, and Spy Smasher. Republic's serial scripts were written by a team of up to seven writers. By 1950 Republic had amassed an impressive backlog of action highlights, which were cleverly re-edited into later serials to save money. Most of the studio's serials of the 1950s were written by only one man, Ronald Davidson -- Davidson had produced many serials. Republic's last serial was King of the Carnival (1955), a reworking of 1939's Daredevils of the Red Circle using some of its footage.

Columbia made several serials using its own staff and facilities (1938-39, and 1943-45), but usually subcontracted its serial production to outside producers: the Weiss Brothers (1937-38), Larry Darmour (1939-42), and Sam Katzman (1945-56). Columbia built many serials around name-brand heroes. From newspaper comics, they got Terry and the Pirates, Mandrake the Magician, The Phantom. and Brenda Starr, Reporter; from the comic books, Blackhawk, Congo Bill, a time traveler named Brick Bradford, and Batman and Superman (although this last owed more to its radio incarnation, which the credits acknowledged); from radio, Jack Armstrong and Hop Harrigan; from the pulp novels the Spider and The Shadow (despite also being a very popular radio series); from the British novelist, Edgar Wallace, the first archer-superhero, The Green Archer; and even from television: Captain Video. Columbia's early serials were very well received by audiences—exhibitors voted The Spider's Web (1938) the number-one serial of the year. Former silent-serial director James W. Horne co-directed The Spider's Web, and his work secured him a permanent position in Columbia's serial unit. Horne had been a comedy specialist in the 1930s, often working with Laurel and Hardy, and most of his Columbia serials are played tongue-in-cheek, with exaggerated villainy and improbable heroics (the hero will take on six men in a fistfight and win). After Horne's death in 1942, the studio's serial output was somewhat more sober, but still aimed primarily at the juvenile audience. Batman (1943) was quite popular, and Superman (1948) was phenomenally successful. Spencer Gordon Bennet, another silent-serial veteran, directed most of the later Columbia serials. His western-themed efforts were suitably accomplished, but Columbia cut corners in every respect until the quality of the serials suffered. Columbia also substituted animation for more expensive special effects. By the 1950s Columbia serials were low-budget affairs, consisting mostly of action scenes and cliffhanger endings from older productions, and even employing the same actors for new scenes tying the old footage together. Columbia outlasted the other serial producers, its last cliffhanger being Blazing the Overland Trail, (1956), a threadbare melange of western footage from three older serials.

Availability[link]

Film serials released to the home video market from original masters include the majority of Republic titles (with a few exceptions, such as "Ghost of Zorro") which were released by Republic Pictures Home Video on VHS and sometimes laserdisc (sometimes under their re-release titles) mostly from transfers made from the original negatives, "The Shadow," and "Blackhawk," both released by Sony only on VHS, and DVD versions of "Flash Gordon," "Flash Gordon's Trip to Mars" and "Flash Gordon Conquers the Universe" (Hearst), "Adventures of Captain Marvel" (Artisan), "Batman" and "Batman and Robin" (Sony), "Superman" and "Atom Man vs. Superman" (Warner), and "The Green Hornet" (VCI). Notable restorations of partially lost or forgotten serials such as "The Adventures of Tarzan," "Beatrice Fairfax," "The Lone Ranger Rides Again," and "King of the Mounties" have been developed and made available to fans by The Serial Squadron. A gray market for DVDs also exists consisting of DVD companies releasing titles from privately owned 16mm prints or even copies of previously released VHS or laserdisc editions, and various websites and internet auctions. These DVDs vary between good and poor quality, depending on their source.

Public domain[link]

Several serials are now in the public domain. These can often be downloaded legally over the internet or purchased as cheap DVDs. The list of public domain serials include:

• Ace Drummond
• Burn 'Em Up Barnes
• Dick Tracy
• Flash Gordon Conquers the Universe
• The Great Alaskan Mystery
• Les Vampires
• The Lost City
• The New Adventures of Tarzan
• The Phantom Empire
• Radar Men from the Moon
• Tarzan the Tiger
• Undersea Kingdom
• Zorro's Black Whip
• Zorro's Fighting Legion

Selected film serials[link]

Selected serials of the Silent Era[link]

• What Happened to Mary? (1912)
• The Adventures of Kathlyn (1913)
• Fantômas (1913) - (Cinema of France)
• The Perils of Pauline (1914)
• The Hazards of Helen (1917)
• The Exploits of Elaine (1914)
• Les Vampires (1915) - (Cinema of France)
• The Ventures of Marguerite (1915)
• Les Mystères de New York (1916)
• Le Masque aux Dents Blanches (1917)
• Judex (1917)
• Casey of the Coast Guard (1926)
• Queen of the Northwoods (1929) (Last serial from Pathé)
• Tarzan the Tiger (1929) (partial sound)

Serials of the Golden Age of Serials[link]

The Golden Age of Serials is considered to be from 1936 to 1945.^[6]

Other notable serials[link]

• The King of the Kongo (1929) - First serial with sound (a Mascot production)
• The Mysterious Mr. M (1946) - Last serial from Universal
• King of the Carnival (1955) - Last serial from Republic
• Blazing the Overland Trail (1956) - Last ever serial (a Columbia production)

See also[link]

Serials portal

• Pulp magazines, a contemporary, and similar, form of serialized fiction.
• The Star Wars and Indiana Jones film series; creator George Lucas says that both series were based on and influenced by serial films.

References[link]

Further reading[link]

• Robert K. Klepper, Silent Films, 1877-1996, A Critical Guide to 646 Movies, McFarland & Company, ISBN 0-7864-2164-9
• Lahue, Kalton C. Bound and Gagged: The Story of the Silent Serials. New York: Castle Books 1968.
• Lahue, Kalton C. Continued Next Week : A History of the Moving Picture Serial. Norman. University of Oklahoma Press. 1969

External links[link]

• Classic Cliffhanger Serial
• The Serial Experience
• Serial Squadron
• Silent Era, Index of Silent Era Serials
• In The Balcony
• Archive Classic Movies
• Mickey Mouse Club serials
• TV Cream

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (June 2010)

Manoj K. Jayan
Occupation	Film actor
Years active	1988 - present
Spouse	Urvashi (2000-2008) Asha (2011-present)[1]
Children	Tejalakshmi

Manoj K. Jayan (bornമനോജ്‌ കെ. ജയന്‍ on 26 July 1966) is an Indian actor who mainly acts in Malayalam, Tamil, and Telugu films. Manoj has won the Kerala State Film Award twice: Best Supporting Actor for his performance in Hariharan's Sargam (1992) and Second Best Actor for Hariharan's Pazhassi Raja (2009).

Family and early life[link]

Manoj K. Jayan was born in Kottayam District, Kerala in an Ezhava family to the Carnatic musician Jayan and V. K. Sarojini, a teacher. Biju K. Jayan is his only brother.^{[citation needed]} Despite being the son of a renowned Carnatic musician, as a child Manoj was not keen to learn Carnatic music. From his childhood days onward he had a passion for movies. As an introvert, he didn't participate in competitions during his school/college days. Manoj used to imitate movie actors for his friends and their appreciation encouraged him to try his luck in acting.

While he was studying in Nattakam (near Kottayam) Government College, Manoj enjoyed watching movies more than attending classes. One day he revealed his interest in acting to his parents and they sent him to Southern Film Institute, Trivandrum. Hostel life, theory classes and video practical in the institute helped Manoj to overcome his inhibitions and shyness. The training and direction he received from the institute transformed Manoj into a more professional and polished actor.

Immediately after leaving his institute, Manoj got a call from his professor Adam Ayub for a role in a serial to be telecasted in Doordarshan. The TV serial "Kumilakal" featured him in two roles: one an abnormal person and second one a smart fellow. This role in itself was a challenging one and the serial went on to become a super hit in the history of Dooradarshan. The character Rajasekaran portrayed by Manoj in Kumilakal became an unforgettable character for Malayalees and a stepping stone for his entry into cinema.^[2]

His first film was made by Ali Akbar, a person from his film institute. His first movie, Mamalakalkappurathu, was never released. Perunthachan, a script by M. T. Vasudevan Nair, was a milestone in his career; this role gave him numerous openings, such as Kuttan Thampuran in Sargam (one of the outstanding characters of Malayalam cinema) and his role in Thalapathi along with Mammooty and Rajinikanth.

Television serials[link]

Awards[link]

Playback singer[link]

• Saivar Thirumeni (2001) Alli Kallinu Vellam Kootti

Filmography[link]

External links[link]

Wikimedia Commons has media related to: Manoj K. Jayan

• Manoj K. Jayan at the Internet Movie Database

References[link]

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (February 2010)

Aryan Khan
Born	Jalalabad, Nangarhar Province, Afghanistan
Occupation	Actor Singer Model
Years active	2002–present
Website
http://www.aryankhanfilm.com

Aryan Khan (Pashto: ارين خان) is an Afghan martial artist, model, dancer, singer and actor. He was born on March 7, 1980, in Jalalabad in Nangarhar Province, Afghanistan, to parents of Pashtun origin. While in high school, Khan moved with his parents to Peshawar, Pakistan, during the war in Afghanistan.

After graduating from high school he studied taekwondo, traveling in Afghanistan, Pakistan and South Korea. At that time he also became interested in performing in front of the camera, and began acting on PTV in Peshawar. He received the Best Performance award for a live performance on Beauty and Entertainment Grand Musical Show on Mashriq TV.

He has been the host of Souk Ghwari Chi Millonar Shi?, Afghanistan's version of Who Wants to be a Millionaire?, on Shamshad TV since the show began in November 2008. And now later in 2010, the show is aired Ariana TV. ^[1] Khan also performs a musical number at the beginning of each show, singing about the qualifications necessary to become a millionaire.

References[link]

1. ^ Ben Farmer (December 6, 2009). "'Who Wants to Be a Millionaire?' hits Afghanistan". The Daily Telegraph (Kabul). http://www.telegraph.co.uk/news/worldnews/asia/afghanistan/3628147/Who-Wants-to-Be-a-Millionaire-hits-Afghanistan.html. Retrieved October 29, 2009. 

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Andrei Romanovich Chikatilo (Ukrainian: Андрі́й Рома́нович Чикати́ло; 16 October 1936 – 14 February 1994) was a Soviet serial killer, nicknamed The Butcher of Rostov, The Red Ripper and The Rostov Ripper who committed the murder of a minimum of 52 women and children between between 1978 and 1990 in the Russian SFSR. Chikatilo confessed to a total of 56 murders and was tried for 53 of these killings in April, 1992. He was convicted and sentenced to death for 52 of these murders in October 1992 and subsequently executed in February 1994.

Chikatilo was known by such titles as The Rostov Ripper and The Butcher of Rostov because the majority of his murders were committed in the Rostov Oblast of the Russian SFSR.

Early life[link]

Childhood[link]

Andrei Chikatilo was born in the village of Yablochnoye (Yabluchne) in modern Sumy Oblast of the Ukrainian SSR. He was born soon after the famine in Ukraine caused by Joseph Stalin's forced collectivisation of agriculture.^[3] Ukrainian farmers were forced to hand in their entire crop for statewide distribution. Mass starvation ran rampant throughout Ukraine and reports of cannibalism soared. Chikatilo's mother, Anna, told him that his older brother Stepan had been kidnapped and cannibalized by starving neighbors, although it has never been independently established whether this actually happened.^[4]

Chikatilo's parents were both farm labourers who lived in a one-room hut.^[5] As a child, Chikatilo slept on a single bed with his parents. He was a chronic bed wetter^[6] and was berated and beaten by his mother for each offense. When the Soviet Union entered World War II, his father, Roman, was drafted into the Red Army and subsequently taken prisoner after being wounded in combat.^[7] During the war, Chikatilo witnessed some of the effects of Blitzkrieg, which both frightened and excited him. On one occasion, Chikatilo and his mother were forced to watch their hut burn to the ground.^[8] In 1943, while Chikatilo's father was away at the front, his mother gave birth to a baby girl, Tatyana. In 1949, Chikatilo's father, who had been liberated by the Americans, returned home. Instead of being rewarded for his war service, he was branded a traitor for surrendering to the Germans.^[9]

Shy and studious as a child, Chikatilo developed a passion for reading: by his teens he was an avid reader of Communist literature and was appointed chairman of the pupils' Communist committee at his school. Throughout his childhood and adolescence, he was consistently a target for bullying by his peers.^[10][11]

During adolescence, he discovered that he suffered from chronic impotence, worsening his social awkwardness and self-hatred.^[9] Chikatilo was shy in the company of females:^[12] his only sexual experience as a teenager was when he, aged 17, jumped on an 11-year-old friend of his younger sister and wrestled her to the ground, ejaculating as the girl struggled in his grasp.^[13]

In 1953, Chikatilo finished school and applied for a scholarship at the Moscow State University; although he passed the entrance examination, his grades were not good enough for acceptance.^[14] Between 1957 and 1960, Chikatilo performed his compulsory military service.^[15]

Marriage and teaching career[link]

In 1963, Chikatilo married a woman to whom he was introduced by his younger sister. The couple had a son and daughter. Chikatilo later claimed that his marital sex life was minimal and that, after his wife understood that he was unable to maintain an erection, he and his wife agreed that in order that she could conceive, he would ejaculate externally and push his semen inside her vagina with his fingers.^[16] In 1965, their daughter Lyudmila was born, followed by son Yuri in 1969.^[17] In 1971, Chikatilo completed a correspondence course in Russian literature and obtained his degree in the subject from Rostov University.^[18]

Chikatilo began his career as a teacher of Russian language and literature^[19] in Novoshakhtinsk. His career as a teacher ended in March 1981 ^[20] after several complaints of child molestation against pupils of both sexes. Chikatilo eventually took a job as a supply clerk for a factory.

First series of murders[link]

Murder of Yelena Zakotnova[link]

In September 1978, Chikatilo moved to Shakhty, a small coal mining town near Rostov-on-Don, where he committed his first documented murder. On 22 December, Chikatilo lured a 9-year-old girl named Yelena Zakotnova to an old house which he had secretly purchased; he attempted to rape her, but failed to achieve an erection. When the girl struggled, he choked her and stabbed her three times in the abdomen, ejaculating in the process of knifing the child. In an interview after his arrest, Chikatilo later recalled that after stabbing Yelena, the girl had "said something very hoarsely", whereupon he strangled her into unconsciousness before throwing her body into a nearby river.^[21] Her body was found two days later.

Numerous pieces of evidence linked Chikatilo to the murder of Yelena Zakotnova: Spots of blood had been found in the snow near the house Chikatilo had purchased; neighbours had noted that Chikatilo had been present in the house on the evening of 22 December; Zakotnova's school rucksack had been found upon the opposite bank of the river at the end of the street (indicating the girl had been thrown into the river at this location) and a witness had given police a detailed description of a man closely resembling Chikatilo whom she had seen talking with Zakotnova at the bus stop where the girl had last been seen alive.^[22] Despite these facts, a 25-year-old named Aleksandr Kravchenko, who as a teenager, had served a prison sentence for the rape and murder of a teenage girl, was arrested for the crime and subsequently confessed to the killing.^[23] He was tried for the murder in 1979. At his trial, Kravchenko retracted his confession and maintained his innocence, stating his confession had been obtained under extreme duress. Despite his retraction, he was convicted of the murder and sentenced to 15 years' imprisonment (the maximum possible length of imprisonment at that time). Under pressure from the victim's relatives, Kravchenko was retried and eventually executed for the murder of Yelena Zakotnova in July, 1983. Following Zakotnova's murder, Chikatilo was able to achieve sexual arousal and orgasm only through stabbing and slashing women and children to death, and he later claimed that the urge to relive the experience had overwhelmed him.^[24]

Second murder and subsequent killings[link]

Chikatilo committed his next murder in September 1981, when he tried to have sex with a 17-year-old boarding school student named Larisa Tkachenko in a forest near the Don River. When Chikatilo failed to achieve an erection, he became furious and battered and strangled her to death.^[25] As he had no knife, he mutilated her body with his teeth and a stick.^[26] On 12 June 1982, Chikatilo encountered a 13-year-old girl named Lyubov Biryuk walking home from a shopping trip in the village of Donskoi.^[27] Once the path both were taking together was shielded from the view of potential witnesses by bushes, Chikatilo pounced upon Biryuk, dragged her into nearby undergrowth, tore off her dress and killed her by stabbing and slashing her to death.^[28]

Following Biryuk's murder, Chikatilo no longer attempted to resist his homicidal urges: between July and September of 1982, he killed a further five victims between the ages of nine and nineteen. He established a pattern of approaching children, runaways and young vagrants at bus or railway stations, enticing them to a nearby forest or other secluded area and killing them, usually by stabbing, slashing and eviscerating the victim with a knife; although some victims, in addition to receiving a multitude of knife wounds, were also strangled or battered to death.^[29] Many of the victims' bodies bore evidence of mutilation to the eye sockets. Pathologists concluded the injuries were caused by a knife, leading investigators to the conclusion the killer had gouged out the eyes of his victims.^[30] Chikatilo's adult female victims were often prostitutes or homeless women who could be lured to secluded areas with promises of alcohol or money. Chikatilo would typically attempt intercourse with these victims, but he would usually be unable to achieve or maintain an erection which would send him into a murderous fury, particularly if the woman mocked his impotence. He would achieve orgasm only when he stabbed the victim to death. His child victims were of both sexes; Chikatilo would lure these victims to secluded areas using a variety of ruses, usually formed in the initial conversation with the victim,^[31] such as promising them assistance or company, the offer to show the victim a shortcut,^[32] a chance to view rare stamps, films or coins or with an offer of food or candy. He would usually overpower these victims once they were alone, tie their hands behind their backs with a length of rope, and then proceed to kill them.^[33]