The Beasts of Tarzan is a novel written by Edgar Rice Burroughs, the third in his series of books about the title character Tarzan. Originally serialized in All-Story Cavalier magazine in 1914, the novel was first published in book form by A. C. McClurg in 1916.

Plot summary[link]

Not long after Tarzan claims his hereditary title of Lord Greystoke and marries Jane, their infant son, Jack, is kidnapped in London by his old Russian enemies, Nikolas Rokoff and Alexis Paulvitch. Following an anonymous call about the whereabouts of Jack, Tarzan himself falls into Rokoff's trap and is imprisoned aboard a ship carrying Jack. Jane, fearing Tarzan was entering a trap, follows him and also finds herself in Rokoff's clutches aboard the boat. Rokoff sets sail to Africa, eventually exiling Tarzan on an island near the African coast and telling Tarzan that Jack will be left with a cannibal tribe and raised as one of their own.

Using his jungle skill and primal intelligence, Tarzan wins the help of Sheeta, the vicious panther, a tribe of great apes led by the intelligent Akut, and the native warrior Mugambi. With their aid, Tarzan reaches the mainland, kills Rokoff, and tracks down his wife and son. Paulvitch, the other villain, is presumed dead, but manages to escape into the jungle.

Comic adaptations[link]

The book has been adapted into comic form by Gold Key Comics in Tarzan no. 157, dated January 1967, with a script by Gaylord DuBois and art by Russ Manning.

Copyright[link]

The copyright for this story has expired in the United States, and thus now resides in the public domain there. The text is available via Project Gutenberg.

References[link]

• Bleiler, Everett (1948). The Checklist of Fantastic Literature. Chicago: Shasta Publishers. pp. 66. 
• Tuck, Donald H. (1974). The Encyclopedia of Science Fiction and Fantasy. Chicago: Advent. pp. 79. ISBN 0-911682-20-1. 

External links[link]

Wikisource has original text related to this article: The Beasts of Tarzan

• ERBzine.com Illustrated Bibliography: The Beasts of Tarzan
• Text of the novel at Project Gutenberg
• Edgar Rice Burroughs Summary Project page for The Beasts of Tarzan

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (June 2011)

L'Homme au Masque de Fer (The Man in the Iron Mask). Anonymous print (etching and mezzotint, hand-colored) from 1789. According to the caption on the original (not seen here) the Man in the Iron Mask was Louis de Bourbon, comte de Vermandois, an illegitimate son of Louis XIV.

The Man in the Iron Mask (French: L'Homme au Masque de Fer) is a name given to a prisoner arrested as Eustache Dauger in 1669 or 1670, and held in a number of jails, including the Bastille and the Fortress of Pignerol (today Pinerolo). He was held in the custody of the same jailer, Bénigne Dauvergne de Saint-Mars, for a period of 34 years. He died on 19 November 1703 under the name of Marchioly, during the reign of Louis XIV of France, 1643–1715. The possible identity of this man has been thoroughly discussed and has been the subject of many books, because no one ever saw his face, which was hidden by a mask of black velvet cloth.

In the second edition of his Questions sur l'Encyclopédie (French for "Questions on the Encyclopedia"), published in 1771, the writer and philosopher Voltaire claimed that the prisoner wore an iron mask and was the older, illegitimate brother of Louis XIV. In the late 1840s, the writer Alexandre Dumas elaborated on the theme in the final installment of his Three Musketeers saga: here the prisoner is forced to wear an iron mask and is Louis XIV's twin brother.^[1]

What facts are known about this prisoner are based mainly on correspondence between his jailer and his superiors in Paris.

The prisoner[link]

Arrest and imprisonment[link]

The first surviving records of the masked prisoner are from late July 1669, when Louis XIV's minister the Marquis de Louvois sent a letter to Bénigne Dauvergne de Saint-Mars, governor of the prison of Pignerol, then part of France. In his letter, Louvois informed Saint-Mars that a prisoner named Eustache Dauger was due to arrive in the next month or so.

The town of Pinerolo

Louvois instructed Saint-Mars to prepare a cell with multiple doors, one closing upon the other, which were to prevent anyone from the outside listening in. Saint-Mars himself was to see Dauger only once a day in order to provide food and whatever else he needed. Dauger was also to be told that if he spoke of anything other than his immediate needs he would be killed, but, according to Louvois, the prisoner should not require much since he was "only a valet".

Historians have noted that the name Eustache Dauger was written in a different handwriting than the rest of the text, suggesting that while a clerk wrote the letter under Louvois's dictation, a third party, very likely the minister himself, added the name afterwards.

The man himself was arrested by Captain Alexandre de Vauroy, garrison commander of Dunkirk, and taken to Pignerol where he arrived in late August. Evidence has been produced to suggest that the arrest was actually made in Calais and that not even the local governor was informed of the event – Vauroy's absence being explained away by his hunting for Spanish soldiers who had strayed into France via the Spanish Netherlands.^[2]

The first rumours of the prisoner's identity (as a Marshal of France) began to circulate at this point. According to many versions of this legend, the prisoner wore the mask at all times. It is more probable that he was masked only during transport, such as when he was taken from prison to prison, and when there were outside visitors to the jail.

The masked man serves as a valet[link]

Illustration c.1872

L'Homme au masque de fer, by Jean-Joseph Regnault-Warin.

The prison at Pignerol, like the others at which Dauger was later held, was used for men who were considered an embarrassment to the state and usually held only a handful of prisoners at a time.

Saint-Mars's other prisoners at Pignerol included Count Ercole Antonio Mattioli (or Matthioli), an Italian diplomat who had been kidnapped and jailed for double-crossing the French over the purchase of the important fortress town of Casale on the Italian border. There was also Nicolas Fouquet, Marquis of Belle-Île, a former superintendent of finances, who had been jailed by Louis XIV on the charge of embezzlement; and the Marquis de Lauzun, who had become engaged to the Duchess of Montpensier, a cousin of the King, without the King's consent. Fouquet's cell was above that of Lauzun.

In his letters to Louvois, Saint-Mars describes Dauger as a quiet man, giving no trouble, "disposed to the will of God and to the king", compared to his other prisoners who were either always complaining, constantly trying to escape, or simply mad.^[2]

Dauger was not always isolated from the other prisoners. Wealthy and important ones usually had manservants; Fouquet for instance was served by a man called La Rivière. These servants, however, would become as much prisoners as their masters and it was thus difficult to find people willing to volunteer for such an occupation. Since La Rivière was often ill, Saint-Mars applied for permission for Dauger to act as servant for Fouquet. In 1675 Louvois gave permission for such an arrangement on condition that he was to serve Fouquet only while La Rivière was unavailable and that he was not to meet anyone else; for instance, if Fouquet and Lauzun were to meet, Dauger was not to be present.

The fact that the man in the mask served as a valet is an important one. Fouquet was never expected to be released, thus meeting Dauger was no great matter, but Lauzun was expected to be set free eventually and it would have been important not to have him spread rumours of Dauger's existence. Historians have also argued that 17th-century protocol made it unthinkable that a man of royal blood would serve as a manservant – thus very much discrediting those suggestions that Dauger was in any way related to the king.^[1]

After Fouquet's death in 1680, Saint-Mars discovered a secret hole between Fouquet and Lauzun's cells. He was sure that they had communicated through this hole without detection by him or his guards and thus that Lauzun must have been made aware of Dauger's existence. Louvois instructed Saint-Mars to move Lauzun to Fouquet's cell and to tell him that Dauger and La Rivière had been released. In fact they were held in another cell in another part of the prison, their presence there being highly secret.

Other prisons[link]

Fortress of Exilles

Île Sainte-Marguerite

Lauzun was freed in 1681. Later that same year Saint-Mars was appointed governor of the prison fortress of Exiles (now Exilles in Italy). He went there, taking Dauger and La Riviere with him. La Riviere's death was reported in January 1687 and in May Saint-Mars and Dauger moved to Sainte-Marguerite, one of the Lérins Islands, half a mile offshore from Cannes.

It was during the journey to Sainte-Marguerite that rumours spread that the prisoner was wearing an iron mask. Again, he was placed in a cell with multiple doors.

On 18 September 1698, Saint-Mars took up his new post as governor of the Bastille prison in Paris, bringing the masked prisoner with him. He was placed in a solitary cell in the pre-furnished third chamber of the Bertaudière tower. The prison's second-in-command, de Rosarges, was to feed him. Lieutenant du Junca, another officer of the Bastille, noted that the prisoner wore "a mask of black velvet".

The prisoner died on 19 November 1703, and was buried the next day under the name of Marchioly. All his furniture and clothing were reportedly destroyed afterwards.

In 1711, King Louis's sister-in-law, the Princess Palatine, sent a letter to her aunt, Sophia, Electress of Hanover, stating that the prisoner had "two musketeers at his side to kill him if he removed his mask". She described him as very devout, and that he was well treated and received everything he desired. It might be noted though that the prisoner had already been dead for eight years and that the Princess had not necessarily seen him for herself; thus she was quite likely reporting rumours she had heard at court.

Interest[link]

The fate of the mysterious prisoner – and the extent of apparent precautions his jailers took – created much interest and many legends. There are almost a hundred theories in existence and many books have been written about the case. Some were presented after the existence of the letters was widely known. Later commentators have still presented their own theories, possibly based on embellished versions of the original tale.

Theories about his identity made at the time included that he was a Marshal of France; or the English Richard Cromwell, son of Oliver Cromwell; or François, Duke of Beaufort. Later, many people such as Voltaire and Alexandre Dumas^[3] put forward other theories about the man in the mask.^[4]

It has even been suggested that he was one of the other famous contemporary prisoners being held at Pignerol at the same time as Dauger.

Candidates[link]

The King's relative[link]

Voltaire claimed that the prisoner was a son of Anne of Austria and Cardinal Mazarin, and therefore an illegitimate half-brother of King Louis XIV. How serious he was is hard to say. Alexandre Dumas used this theory in his book, The Vicomte de Bragelonne, but made the prisoner a twin brother. This book has served as the basis – even if loosely adapted – for many film versions of the story.

Hugh Ross Williamson^[5] argues that the man in the iron mask was actually the father of Louis XIV. According to this theory, the 'miraculous' birth of Louis XIV in 1638, after Louis XIII had been estranged from his wife for over twenty years, implies that Louis XIII was not the father.

The suggestion is that the King's minister, Cardinal Richelieu, had arranged for a substitute, probably an illegitimate son or grandson of Henry IV, to become intimate with the Queen, and father an heir. At the time, the heir presumptive was Louis XIII's brother Gaston d'Orléans, who was also Richelieu's enemy. If Gaston became King, Richelieu would quite likely have lost both his job as minister and his life, so it was in his interests to thwart Gaston's ambitions. Louis XIII also hated Gaston and might thus have agreed to the scheme.

Supposedly the father then left for the Americas, but in the 1660s returned to France with the aim of extorting money for keeping his secret, and was promptly imprisoned. This theory would explain both the secrecy surrounding the prisoner, whose true identity would have destroyed the legitimacy of Louis XIV had it been revealed, and (because of the King's respect for his own father) the comfort of the terms of his imprisonment and the fact that he was not simply killed.

The general[link]

In 1890 Louis Gendron, a French military historian, came across some coded letters and passed them on to Etienne Bazeries in the French Army's cryptographic department. After three years Bazeries managed to read some messages in the Great Cipher of Louis XIV. One of them referred to a prisoner and identified him as General Vivien de Bulonde. One of the letters written by Louvois made specific reference to de Bulonde's crime.

At the Siege of Cuneo in 1691, Bulonde was concerned about enemy troops arriving from Austria and ordered a hasty withdrawal, leaving behind his munitions and wounded men. Louis XIV was furious and in another of the letters specifically ordered him "to be conducted to the fortress at Pignerol where he will be locked in a cell and under guard at night, and permitted to walk the battlements during the day with a 330 309". It has been suggested that the "330" stood for masque and the 309 for "full stop". The dates of the letters fit the dates of the original records about the man in the mask. However, in 17th-century French avec un masque would mean "with a person in a mask".

Some believe that the evidence of the letters means that there is now little need of an alternative explanation for the man in the mask. Other sources, however, claim that Bulonde's arrest was no secret and was actually published in a newspaper at the time and that he was released after just a few months. His death is also recorded as happening in 1709, six years after that of the man in the mask.^[2]

The valet[link]

In 1801 revolutionary legislator Pierre Roux-Fazillac stated that the tale of the masked prisoner was an amalgamation of the fates of two separate prisoners, Ercole Antonio Mattioli (see below) and an imprisoned valet named "Eustache D'auger".

Andrew Lang, in his The Valet's Tragedy and Other Stories (1903), presented a theory that "Eustache Dauger" was a prison pseudonym of a man called "Martin", valet of the Huguenot Roux de Marsilly. After his master's execution in 1669 the valet was taken to France, possibly by capture or subterfuge, and imprisoned because he might have known too much about his master's affairs.

The son of Charles II[link]

In The Man of the Mask (1908), Arthur Barnes presents James de la Cloche, the alleged illegitimate son of the reluctant Protestant Charles II of England, who would have been his father's secret intermediary with the Catholic court of France. Louis XIV could have imprisoned him because he knew too much about French affairs with England.

One of Charles's confirmed illegitimate sons has also been proposed as the man in the mask. This was the Duke of Monmouth. A Protestant, he led a rebellion against his uncle, the Catholic King James II. The rebellion failed and Monmouth was executed in 1685. But in 1768 a writer named Saint-Foix claimed that another man was executed in his place and that Monmouth became the masked prisoner, it being in Louis XIV's interests to assist a fellow Catholic like James who would not necessarily want to kill his own nephew. (Saint-Foix's case was based on unsubstantiated rumours, and allegations that Monmouth's execution was faked.)^[2]

The government minister[link]

Other popular suspects have included men known to have been held at Pignerol at the same time as Dauger. Fouquet himself has been considered, but the fact that Dauger is known to have served as his valet makes this unlikely. During the taking of the Bastille during the French Revolution of 1789, it was reported that a skeleton was found, still chained to the wall, and with an iron mask next to him. An inscription claimed that his name was "Fouquet".^[6]

This discovery has since been discredited, however, and it is supposed that it was an attempt by the leaders of the Revolution to make up for the fact that there were no actual political prisoners in the Bastille at the time of its taking. In fact there were only a handful of people serving time for forgery and a couple of lunatics.^[2]

The Italian diplomat[link]

Another candidate, much favoured in the 19th-century, was Fouquet's fellow prisoner Count Ercole Antonio Mattioli (or Matthioli). He was an Italian diplomat who, in 1678, acted on behalf of the debt-ridden Charles IV, Duke of Mantua, in the selling of Casale, a strategic fortified town near the border with France. Because a French occupation would be unpopular, discretion was essential, but, after pocketing his commission once the sale had been concluded, Mattioli leaked the details to France's Spanish enemies who made a bid of their own before the French forces could occupy the town. Mattioli was kidnapped by the French and thrown into nearby Pignerol in April 1679. The French took possession of Casale two years later.^[2]

Since the prisoner is known to have been buried under the name "Marchioly", many believe^{[citation needed]} that this is proof enough that he was the man in the mask. The Hon. George Agar Ellis reached the conclusion that Mattioli was the state prisoner commonly called The Iron Mask when he reviewed documents extracted from French archives in the 1820s. His book,^[7] published in English in 1826, was also translated into French and published in 1830. The German historian, Wilhelm Broecking came to the same conclusion independently seventy years later. Robert Chambers' Book of Days supports the claim and places Matthioli in the Bastille for the last 13 years of his life.^{[citation needed]}

Since that time, letters purportedly sent by Saint-Mars, which earlier historians missed, indicate that Mattioli was only held at Pignerol and Sainte-Marguerite and was not at Exiles or the Bastille and therefore it is argued that he can be discounted.^[1]

Eustache Dauger – the name of the prisoner[link]

In his letter to Saint-Mars announcing the imminent arrival of the prisoner who would become the "man in the iron mask", Louvois gave his name as "Eustache Dauger" and historians have found evidence that a Eustache Dauger was living at the time and was involved in shady and embarrassing events involving people in high places. His full name was Eustache Dauger de Cavoye.^[2]

Records indicate that he was born on 30 August 1637, the son of François Dauger, a captain in Cardinal Richelieu's guards. François was married to Marie de Sérignan and they had eleven children, nine of whom survived into adulthood. When François and his two eldest sons were killed in battle, Eustache became the nominal head of the family. Like them he joined the army where he came under the command of Armand de Gramont, comte de Guiche, a brave soldier, notorious playboy and bisexual.

Disgrace[link]

In April 1659, Eustache and Guiche were invited to an Easter weekend party at the castle of Roissy-en-Brie. By all accounts it was a debauched affair of merry-making, with the men involved in all sorts of sordid activities, including attacking a man who claimed to be Cardinal Mazarin's attorney. It was also claimed^{[by whom?]}, among other things, that a black mass was enacted, homosexual activity had taken place and that a pig was baptized as "carp" in order that they could eat pork on Good Friday.

When news of these events became public an enquiry was held and the various perpetrators jailed or exiled. There is no record as to what happened to Dauger, but in 1665, near the Château de Saint-Germain-en-Laye, he allegedly killed a young page boy in a drunken brawl involving the Duc de Foix. The two men claimed that they had been provoked by the boy who was drunk, but the fact that the killing took place near a castle where the King was staying meant that this was not a good enough explanation and, as a result, Dauger was forced to resign his commission.

Dauger's mother died shortly afterwards. In her will, written a year previously, she passed over her eldest surviving sons, Eustache and Armand, leaving the bulk of the estate to their younger brother Louis. Eustache was restricted in the amount of money to which he had access, having built up considerable debts, and left with barely enough for "food and upkeep". As titular head of the family, he had come into some small estates, but gave these up to Louis, who provided him with an additional annual payment.

Affair of the Poisons[link]

In the 1930s, the historian Maurice Duvivier linked Eustache Dauger de Cavoye to the Affair of the Poisons, a notorious scandal of 1677–1682 in which people in high places were accused of being involved in black mass and poisonings. An investigation had been launched, but Louis XIV had instigated a cover-up when it appeared that his mistress, Madame de Montespan, and his sister-in-law, Henrietta, the Duchesse of Orléans, were involved.^[2]

The records show that during the enquiry the investigators were told about a supplier of poisons, a surgeon named Auger, and Duvivier became convinced that Dauger de Cavoye, disinherited and short of money, had become Auger, the supplier of poisons, and subsequently Dauger, the man in the mask.

In a letter sent by Louvois to Saint-Mars, shortly after Fouquet's death while in prison (with Dauger acting as his valet), the minister adds a note in his own handwriting, asking how Dauger performed certain acts that Saint-Mars had mentioned in a previous correspondence (now lost) and "how he got the drugs necessary to do so". Duvivier suggested that Dauger may have poisoned Fouquet as part of a complex power-struggle between Louvois and his rival Colbert.

Dauger in prison[link]

However, evidence has emerged that Dauger de Cavoye actually died in the Prison Saint-Lazare, an asylum run by monks which many families used in order to imprison their "black sheep". Documents have survived indicating that Dauger de Cavoye was held at Saint-Lazare in Paris at about the same time that Dauger, the man in the mask, was taken into custody in Pignerol, hundreds of miles away in the south.

These include a letter sent to Dauger de Cavoye's sister, the Marquise de Fabrègues, dated 20 June 1678, which is filled with self-pity as Eustache complains about his treatment in prison, where he has been held for 10 years, and how he was deceived by their brother Louis and Clérac, their brother-in-law and the manager of Louis' estate. A year later, he wrote a letter to the King, outlining the same complaints and making a similar request for freedom. The best the King would do, however, was to send a letter to the head of Saint-Lazare telling him that "M. de Cavoye should have communication with no one at all, not even with his sister, unless in your presence or in the presence of one of the priests of the mission". The letter was signed by the King and Colbert.

A poem written by the Comte de Brienne, himself an inmate at the time, indicates that Eustache Dauger de Cavoye died as a result of heavy drinking in the late 1680s. Historians consider all this proof enough that he was not involved in any way with the man in the mask.^[1][2]

In popular culture[link]

Literature

• Alexandre Dumas, père, The Vicomte de Bragelonne
• Henry Vizetelly, The Man With the Iron Mask
• Juliette Benzoni, Secret d'etat
• Louis-César, Cassandra Palmer series

Films and television

• 1909: La maschera di ferro – Italian silent film
• 1923: Der Mann mit der eisernen Maske – German silent film
• 1929: The Iron Mask – An American silent film starring Douglas Fairbanks
• 1939: The Man in the Iron Mask – American black and white film directed by James Whale, starring Louis Hayward, Joan Bennett, Warren William and Alan Hale, Sr. (as "Porthos")
• 1952: Lady in the Iron Mask – American color film starring Louis Hayward, Patricia Medina and Alan Hale, Jr. (as "Porthos")
• 1962: Le Masque de fer – Italian/French film, starring Jean Marais
• 1968: The Man in the Iron Mask – British TV series (9 episodes)
• 1977: The Man in the Iron Mask (1977) – British TV movie with Richard Chamberlain, Patrick McGoohan, Louis Jourdan, Jenny Agutter, Ian Holm, Ralph Richardson and Vivien Merchant
• 1979: The Fifth Musketeer also known as Behind the Iron Mask – Austrian/West German film directed by Ken Annakin, with Ursula Andress, Beau Bridges, Cornel Wilde, Lloyd Bridges, José Ferrer, Olivia de Havilland, Rex Harrison and Alan Hale Jr. (as "Porthos"); remake of the 1939 film
• 1985: The Man in the Iron Mask – Australian animated TV film
• 1987: Three Musketeers – Japanese anime TV series, included the character of The Man in the Iron Mask depicted as a Doctor Doom-like villain.
• 1998: The Man in the Iron Mask – British/American film directed by Randall Wallace, with Leonardo DiCaprio, Jeremy Irons, John Malkovich, Gérard Depardieu and Gabriel Byrne
• 1998: The Man in the Iron Mask also known as The Mask of Dumas – American film, directed by William Richert, with Edward Albert, Dana Barron, Rex Ryon and Timothy Bottoms

See also[link]

• Dumas's 1848 novel The Vicomte de Bragelonne, the final section of which is titled The Man in the Iron Mask (French: L'homme au masque de fer) and is based on this legend.
• Ivan VI of Russia, who was an almost lifelong prisoner after ascending the Russian throne as a baby, only to be overthrown within a few years.
• Look-alike.

Notes[link]

External links[link]

• The Mystery of the Iron Mask
• The Man in the Iron Mask at Project Gutenberg
• Who was the "Man in the Iron Mask"? at the Straight Dope

Glen Keane
Glen Keane at the Dreams Come True exhibition at ACMI on the 19th of November, 2010.
Born	(1954-04-13) April 13, 1954 (age 58) Philadelphia Pennsylvania
Occupation	Animator Author Illustrator Cartoonist
Years active	1973–present
Spouse	Linda Hesselroth

Glen Keane (born April 13, 1954) is an American animator, author and illustrator. Keane is best known for his character animation at Walt Disney Studios for feature films including The Little Mermaid, Aladdin, Beauty and the Beast, Tarzan, and Tangled. Keane received the 1992 Annie Award for character animation and the 2007 Winsor McCay Award for lifetime contribution to the field of animation.

Life and career[link]

Keane was born in Philadelphia, Pennsylvania, the son of cartoonist Bil Keane, creator of the The Family Circus, and Thelma "Thel" Carne Keane. He was raised in Paradise Valley, Arizona.

Keane's interest in art developed as a child by observing his father's work as a cartoonist.^[1] (Glen's younger self is represented in his father's comic strip as the character of "Billy"). In his early attempts to draw, his dad gave him a copy of Burne Hogarth's Dynamic Anatomy, and instructed him to analyze the body forms and the creative approach to life drawing. After high school, Glen applied to the California Institute of the Arts-School of Art, opting out of accepting a football scholarship from another college. In a lucky twist of fate, his application was accidentally sent to the Program in Experimental Animation (then called Film Graphics), where he was mentored under the now-renowned animation teacher Jules Engel.^[1]

Keane left CalArts in 1974 and joined Disney the same year. His debut work, which was created over a 3-year period, was featured in The Rescuers, for which he was an animator for the characters of Bernard and Penny, alongside the famed Ollie Johnston. In 1975, during the production of his debut film, Keane married Linda Hesselroth, and they are the parents of design artist Claire Keane, and computer graphics artist Max Keane.

After "The Rescuers" was completed, Keane went on to animate Elliott the Dragon in Pete's Dragon. Keane also animated the climactic bear showdown in The Fox and the Hound. In 1982, after being inspired by the groundbreaking film Tron, Keane collaborated with fellow animator John Lasseter (Toy Story, Toy Story 2) on a 30-second test scene of Maurice Sendak's Where the Wild Things Are, which was optioned for them by Disney executive Tom Wilhite.^[2] The test integrated traditional character animation and computer-generated backgrounds (see YouTube), and, like Tron, was a cooperation with MAGI. It was also Disney's first experimentation with digital inked and painted characters.^[3] But, the project turned out to be too expensive, and the studio was unwilling to invest further in the planned featurette. The test for Where the Wild Things Are was revolutionary for its time, and a predecessor to the famous ballroom scene in Beauty and the Beast.

In 1983, Keane left Disney as a contracted employee and worked as a freelance artist.^[1] During this time, he worked on the character of Professor Ratigan in Disney's The Great Mouse Detective. He also did some work on The Chipmunk Adventure where he did the sequences of "Boys and Girls of Rock N' Roll" and "Getting Lucky". He returned to Disney to work on the characters of Fagin, Sykes and Georgette for Oliver & Company. Keane rose to lead character animator, becoming one of the group sometimes referred to as the "Nine New Men". In this post he was responsible for animating some of Disney's most memorable characters in what has been referred to as the "New "Golden Age" of Disney Animation. Keane designed and animated the character of Ariel in the 1989 film The Little Mermaid. Then the eagle Marahute in The Rescuers Down Under. Subsequently, Keane worked as the supervising animator on the title characters for three Disney hit features: Aladdin, Beauty and the Beast and Pocahontas.

While living with his family in Paris, France for three years, Keane completed work on Disney's 1999 Tarzan for which he drew the eponymous character. Keane then returned to Disney's Burbank studio as the lead animator for Long John Silver in Treasure Planet. In 2003, Keane began work as the director of Disney's CGI animated film, Tangled (based on the Brothers Grimm story Rapunzel), which released in November 2010. In Tangled, Glen and his team hoped to bring the unique style and warmth of traditional cel animation to computer animation. In October 2008, due to some "non-life threatening health issues", Keane stepped back as director of Tangled, but remained the film's executive producer and an animating director.^[4]

On March 23, 2012, having worked approximately 37 years at Disney, Glen Keane left Walt Disney Animation Studios. Keane said in a let­ter sent to his co-workers, “I owe so much to those great ani­ma­tors who men­tored me — Eric Lar­son, Frank Thomas and Ollie John­ston — as well as to the many other won­der­ful peo­ple at Dis­ney whom I have been for­tu­nate to work with in the past nearly 38 years. I am con­vinced that ani­ma­tion really is the ulti­mate form of our time with end­less new ter­ri­to­ries to explore. I can’t resist its siren call to step out and dis­cover them.”^[5]

In addition to his work as an animator, Keane is the author and illustrator of a series of children's Bible parable books featuring Adam Raccoon and King Aren the Lion.

Quotes[link]

• "People are who they are by the way they react to things."^[6]

Filmography[link]

Publications[link]

• Keane, Glen (1986). Adam Raccoon and the King's Big Dinner. Colorado Springs, Col.: Chariot Victor Pub.. ISBN 978-0-7814-0039-8. OCLC 49002064. 
• Keane, Glen (1987). Adam Raccoon at Forever Falls. Elgin, Ill.: Chariot Books. ISBN 978-1-55513-087-9. OCLC 14588033. 
• Keane, Glen (1987). Adam Raccoon in Lost Woods. Elgin, Ill.: Chariot Books. ISBN 978-1-55513-088-6. OCLC 14905950. 
• Keane, Glen (1987). Adam Raccoon and the Circus Master. Elgin, Ill.: Chariot Books. ISBN 978-1-55513-090-9. OCLC 14931727. 
• Keane, Glen (1989). Adam Raccoon and the Flying Machine. Elgin, Ill.: Chariot Books. ISBN 978-1-55513-287-3. OCLC 18050595. 
• Keane, Glen (1989). Adam Raccoon and the Mighty Giant. Elgin, Ill.: Chariot Books. ISBN 978-1-55513-288-0. OCLC 19397210. 
• Campbell, Stan; Jane Vogel; John Duckworth; Jim Townsend (1992). Quick studies: Philippians–Hebrews. Glen Keane (ill.). Elgin, Ill.: D.C. Cook Pub. Co.. ISBN 978-0-7814-0028-2. OCLC 28687078. 
• Campbell, Stan; John Duckworth; Jim Townsend (1992). Quick Studies: James–Revelation. Glen Keane (ill.). Elgin, Ill.: D.C. Cook Pub. Co.. ISBN 978-0-7814-0029-9. OCLC 28687002. 
• Keane, Glen (1993). Adam Raccoon and the Race to Victory Mountain. Elgin, Ill.: Chariot Books. ISBN 978-1-55513-363-4. OCLC 25367425. 
• Keane, Glen (1995). Adam Raccoon and Bully Garumph. Elgin, Ill.: Chariot Books. ISBN 978-1-55513-367-2. OCLC 32745892. 
• Keane, Glen (1995). Cookie time: a first lesson in obedience. Elgin, Ill.: Chariot Books. ISBN 978-0-7814-0206-4. OCLC 37453329. 
• Keane, Glen (1995). Follow the king: A first lesson in trust. Elgin, Ill.: Chariot Books. ISBN 978-0-7814-0207-1. OCLC 37453329. 
• Keane, Glen; Samii Taylor; Joe Yakovetic (1995). Parables for Little Kids. Elgin, Ill.: Chariot Family Pub.. ISBN 978-0-7814-0258-3. OCLC 33440835. 

References[link]

External links[link]

• Glen Keane at the Internet Movie Database
• Glen Keane lecture at CalArts on YouTube
• "The Art of Glen Keane" Blog
• Glen Keane interview for the Animation Podcast
• Interview with Glen Keane about 'Tangled', April 18, 2011

Freedom Beast is a fictional comic book character in the DC Universe.^[1]

Fictional character biography[link]

A South African by birth, Freedom Beast was born Dominic Mndawe. His first appearance was in Animal Man #13. That issue takes place during the rule of apartheid in South Africa; Dominic was under arrest for taking pictures of racially motivated acts of violence being committed by white Afrikaner policemen. In a cell, Dominic was about to be killed by his captors when he is rescued by Animal Man and B'wana Beast (Mike Maxwell), Mndawe's predecessor and future mentor.^[1]

After the rescue, Maxwell gives Mndawe the elixir and helmet that confer powers on their owner. The two briefly had a disagreement as Mndawe was adamant to continue his political resistance to the South African government and its policy of apartheid with while Maxwell was insistent that the calling is apolitical. However, they eventually reconciled on this point and Mndawe continued pursuing his political objectives which he justified with the personal maxim, "Tomorrow's mythology is Today's politics.".

Those powers include mind control and the ability to fuse two or more animals into one hybrid beast under the control of Freedom Beast.

Animal Man and Freedom Beast then prevent the massacre of a group of peaceful demonstrators by Afrikaner police. Animal Man returns to the USA, while Maxwell and Freedom Beast stayed in South Africa.

Mike Maxwell returns in Animal Man #47 (May 1992). He had been taken over by an evil force called the Antagon and transformed into the Shining Man. He perishes in the ensuing battle.

Animal Man and Dominic team up once again during the Day of Judgement incident, protecting African wildlife from the murderous intentions of demon invaders.

Current status[link]

Freedom Beast's most recent appearances were in the Day of Vengeance Infinite Crisis Special, where he is possessed by Rage, one of the Seven Deadly Sins.^[2] He is also seen at the gathering of mystics at Stonehenge in Infinite Crisis #6.

Freedom Beast reappears as South Africa's representative in the reformed Global Guardians in Green Lantern v4 #11 and 14–17. However, he and his teammates are brainwashed by the Faceless Hunter and used as weapons against Green Lantern (Hal Jordan). The Global Guardians are eventually freed, and Freedom Beast returns with them in Checkmate v2 #24 and 29–31.

In Final Crisis #4, Freedom Beast is seen fighting off a controlled Gorilla Grodd on Watchtower 4 in Gorilla City

In issue #1 of Justice League: Cry for Justice, Freedom Beast is killed by minions of Prometheus. Dominic's partner Congorilla discovers his dying friend and vows to find justice for his murder. Prometheus is subsequently killed by Green Arrow in issue #7 of the same series.

In Justice League of America #60, Congorilla mentions that he still has Dominic's helmet and elixir in his possession. Seeking to honor the memory of his old friend, Congorilla ultimately resigns from the Justice League and sets out to find a worthy candidate to become the new Freedom Beast. In Justice League International #1 a character alongside Congorilla appears wearing the mask, referencing Congorilla has found a successor. who this character is currently unknown.

See also[link]

• African characters in comics

References[link]

External links[link]

• World of Black Heroes: Freedom Beast Biography
• Museum of Black Superheroes entry

Jerry Goldsmith
Goldsmith conducts the London Symphony Orchestra, 2003
Background information
Birth name	Jerrald King Goldsmith
Born	(1929-02-10)February 10, 1929 Los Angeles, California
Died	July 21, 2004(2004-07-21) (aged 75) Beverly Hills, California
Genres	Film score, Contemporary classical music
Occupations	composer and conductor
Years active	1951 - 2004

Jerrald King "Jerry" Goldsmith (February 10, 1929 – July 21, 2004) was an American composer and conductor most known for his work in film and television scoring.

He composed scores for such noteworthy films as The Sand Pebbles, Planet of the Apes, Patton, Chinatown, The Wind and the Lion, The Omen, The Boys from Brazil, Alien, Poltergeist, Gremlins, Hoosiers, Total Recall, Basic Instinct, Rudy, Air Force One, L.A. Confidential, Mulan, The Mummy, three Rambo films, and five Star Trek films. He was nominated for six Grammy Awards, nine Golden Globes, four BAFTAs, and seventeen Academy Awards. In 1977 he was awarded an Oscar for The Omen.

He collaborated with some of the most prolific directors in film history, including Robert Wise (The Sand Pebbles, Star Trek: The Motion Picture), Howard Hawks (Rio Lobo), Otto Preminger (In Harm's Way), Joe Dante (Gremlins, The 'Burbs, Small Soldiers), Roman Polanski (Chinatown), Ridley Scott (Alien, Legend), Steven Spielberg (Poltergeist, Twilight Zone: The Movie), and Paul Verhoeven (Total Recall, Basic Instinct). However, his most notable collaboration was arguably that with Franklin J. Schaffner, for whom Goldsmith scored such films as Planet of the Apes, Patton, Papillon, and The Boys from Brazil.

Early life and education[link]

Goldsmith, who was Jewish, was born 10 February 1929 in Los Angeles, California.^[1] His parents were Tessa (née Rappaport), an artist, and Morris Goldsmith, a structural engineer.^[2] He started playing piano at age six, but only "got serious" by the time he was eleven. At the age of thirteen he studied piano privately with legendary concert pianist and educator Jakob Gimpel^[3] (whom Goldsmith would later employ to perform piano solos in his score to The Mephisto Waltz) and by the age of sixteen he was studying both theory and counterpoint under Italian composer Mario Castelnuovo-Tedesco, who also tutored such noteworthy composers and musicians as Henry Mancini, Nelson Riddle, Herman Stein, André Previn, Marty Paich, and John Williams.

At the age of sixteen, Goldsmith saw the movie Spellbound (1945) in theaters and was inspired by the soundtrack by veteran composer Miklós Rózsa to pursue a career in music. Goldsmith later enrolled and attended the University of Southern California where he was able to attend courses by Rózsa, but dropped out in favor of a more "practical music program" at the Los Angeles City College.^[4] There he was able to coach singers, work as an assistant choral director, play piano accompaniment, and work as an assistant conductor.^[5]

Film and television scoring[link]

1950s and work at CBS[link]

In 1950, Goldsmith found work at CBS as a clerk typist in the network's music department under director Lud Gluskin.^[5] There he began writing scores for such radio shows as CBS Radio Workshop, Frontier Gentleman, and Romance. In an interview with Andy Velez from BarnesandNoble.com, Goldsmith stated, "It was about 1950. CBS had a workshop, and once a week the employees, whatever their talents, whether they were ushers or typists, would produce a radio show. But you had to be an employee. They needed someone to do music, and I knew someone there who said I'd be great for this. I'd just gotten married and needed a job, so they faked a typing test for me. Then I could do these shows. About six months later, the music department heard what I did, liked it, and gave me a job."^[6] He later progressed into scoring such live CBS television shows as Climax! and Playhouse 90. He also scored multiple episodes of the hit television series The Twilight Zone. He remained at CBS until 1960, after which he moved on to Revue Studios, where he would later compose music for such television shows as Dr. Kildare and The Man from U.N.C.L.E..^[5]

His feature film debut occurred when he composed the music to the western Black Patch (1957). He continued with scores to such films as the western Face of a Fugitive (1957) and the science fiction film City of Fear (1959).^[7]

1960s[link]

Jerry Goldsmith began the decade composing for such television shows as Dr. Kildare and Thriller as well as the drama film The Spiral Road (1960). However, he only began receiving widespread name recognition after his intimate score to the classic western Lonely Are the Brave (1962). His involvement in the picture was the result of a recommendation by veteran composer Alfred Newman who had been impressed with Goldsmith’s score on the television show Thriller and took it upon himself to recommend Goldsmith to the head of Universal Pictures’ music department, despite having never met him.^[8] That same year, Goldsmith composed the mostly atonal and dissonant score to the pseudo-biopic Freud (1962) that focused on a five-year period of the life of psychoanalyst Sigmund Freud. Goldsmith’s score went on to garner him his first Academy Award nomination for Best Original Score, though he lost to fellow first-time nominee Maurice Jarre for his music to Lawrence of Arabia (1962). In 1963, Goldsmith composed a score to The Stripper, his first collaboration with director Franklin J. Schaffner for whom Goldsmith would later score the motion pictures Planet of the Apes (1968), Patton (1970), Papillon (1973), and The Boys from Brazil (1978).^[7]

Following his success with Lonely Are the Brave and Freud, Goldsmith went on to achieve even more critical recognition with the theme music to The Man from U.N.C.L.E (1964), and scores to such films as the western Rio Conchos (1964), the political thriller Seven Days in May (1964), the romantic drama A Patch of Blue (1965), the epic war film In Harm's Way (1965) (in which Goldsmith also made a brief cameo appearance),^[9] the World War I aviation film The Blue Max (1966), the period naval war epic The Sand Pebbles (1966), the thriller Warning Shot (1967), the western Hour of the Gun (1967), and the controversial mystery The Detective (1968).^[10] Goldsmith's scores to A Patch of Blue and The Sand Pebbles garnered him his second and third Oscar nominations, respectively, and were both one of the 250 nominees for the American Film Institute’s top twenty-five American film scores.^[11] His scores for Seven Days in May and The Sand Pebbles also garnered Goldsmith his first two respective Golden Globe nominations for Best Original Score in 1965 and 1967.^[12] During this time, he also composed for many lighter, comedic films such as the family comedy The Trouble with Angels (1966), the James Bond parodies Our Man Flint (1966) and its sequel In Like Flint (1967), and the comedy The Flim-Flam Man (1967).^[7]

In 1968, Jerry Goldsmith caught massive critical attention with his landmark, controversial soundtrack to the post-apocalyptic science fiction epic Planet of the Apes (1968), which was one of the first film scores to be written entirely in an Avant garde style. When scoring Planet of the Apes, Goldsmith used such innovative techniques as looping drums into an echoplex, using the orchestra to imitate the grunting sounds of apes, having horns blown without mouthpieces, and instructing the woodwind players to finger their keys without using any air. He also used steel mixing bowls, among other objects, to create unique percussive sounds.^[7] The score went on to garner Goldsmith another Oscar nomination for Best Original Score and now ranks in #18 on the American Film Institute’s top twenty-five American film scores.^[11] Though he did not return to compose for its sequel Beneath the Planet of the Apes (1970), Goldsmith scored the third installment in the Planet of the Apes franchise, Escape from the Planet of the Apes (1971).

Goldsmith concluded the decade with scores to such films as the western Bandolero! (1968), the spy thriller The Chairman (1969), the science fiction film The Illustrated Man (1969), and the western 100 Rifles (1969). In 1969, he also composed the theme to the comedy-drama television series Room 222.^[7]

1970s[link]

Goldsmith received more critical praise with his pompous, daring music to the World War II biopic Patton (1970). Throughout the score, Goldsmith used an echoplex to loop recorded sounds of "call to war" triplets played on the trumpet that musically represented General George S. Patton's belief in reincarnation. The main theme also consisted of a symphonic march accompanied by a pipe organ to represent the militaristic yet deeply religious nature of the protagonist.^[13] The music to Patton subsequently earned Goldsmith an Academy Award nomination for Best Original Score and was one of the American Film Institute's 250 nominees for the top twenty-five American film scores.^[11] Goldsmith's critical success continued with his emotional score to the prison escape film Papillon (1973), which also earned him a nomination for an Academy Award and a nomination for the AFI's top twenty-five American film scores.^[11]

In 1974, Goldsmith was faced with the daunting task of replacing a score by composer Phillip Lambro to the neo-film noir Chinatown. With only ten days to compose and record an entirely new score, Jerry Goldsmith quickly produced a score that mixed an eastern music sound with elements of jazz in an ensemble that only featured a trumpet, four pianos, four harps, two percussionists, and a string section.^[14][15] Goldsmith received an Academy Award nomination for his efforts though he lost to Nino Rota and Carmine Coppola for The Godfather Part II. The score to Chinatown is often regarded as one of the greatest scores of all time and ranks #9 on AFI's top 25 American film scores.^[11] It was also nominated for a Golden Globe for Best Original Score.^[12]

Goldsmith earned more critical praise with his score to the epic period adventure film The Wind and the Lion (1975), which, true to the style of such Golden Age scores as Maurice Jarre's Lawrence of Arabia, relied upon a diverse ensemble including many Morrocan instruments and a large percussion section.^[16] The score garnered Goldsmith an Academy Award nomination for Best Original Score, though he lost to fellow composer John Williams for his score to Jaws. The Wind and the Lion was also one of AFI's 250 nominees for the top twenty-five American film scores.^[11]

	Jerry Goldsmith - "Ave Satani" noicon "Ave Satani" clip from the soundtrack of The Omen.
Problems listening to this file? See media help.

In 1976, Goldsmith composed a dark choral score to the horror movie The Omen, which was the first film score to feature the use of a choir in an Avant-garde style.^[17] The score was successful among critics and garnered Goldsmith his first (and ultimately only) Academy Award for Best Original Score and a nomination for Best Original Song for "Ave Satani".^[18] It was also one of AFI's 250 nominees for the top twenty-five American film scores.^[11] His wife, Carol Heather Goldsmith, also wrote lyrics and performed a vocal track titled "The Piper Dreams" released solely on the soundtrack album.^[17] Goldsmith would go on to compose for two more entrees in the franchise; Damien: Omen II (1978) and Omen III: The Final Conflict (1981).

He continued to have critical success with scores to such films as the dystopian science fiction Logan's Run (1976), the period drama Islands in the Stream (1977) (which remained one of his personal favorites),^[19] the science fiction suspense Coma (1978), the science fiction thriller Capricorn One (1978), the disaster film The Swarm (1978), the period comedy The Great Train Robbery (1979), and his Oscar nominated score to the science fiction thriller The Boys from Brazil (1978), in which he utilized lively waltzes to juxtapose the horrific concept of the film, cloning Adolf Hitler.^[20]

In 1979, Goldsmith composed a score to the landmark science fiction film Alien. His score featured an orchestra augmented by a shofar, didgeridoo, steel drum, and serpent (a 16th century instrument), while creating further "alien" sounds by filtering string pizzicati through an echoplex. Many of the instruments were used in such atypical ways they were virtually unidentifiable. His score was, however, heavily edited during post-production and Goldsmith was required to rewrite music for several scenes. The final score resulted in several pieces being moved, replaced, or cut entirely. Director Ridley Scott and editor Terry Rawlings also, without the consent of Goldsmith, purchased the rights to the "Main Title" from Freud (1962) which they used during the acid blood sequence.^[21] Despite the heavy edits and rewrites, Goldsmith's score to Alien earned him a Golden Globe nomination for Best Original Score^[12] and was one of AFI's 250 nominees for the top twenty-five American film scores.^[11]

That same year, Goldsmith concluded the decade composing what is widely considered his most recognized and celebrated score for Star Trek: The Motion Picture (1979).^[22] Having been the initial choice of Gene Roddenberry to compose the original Star Trek pilot "The Cage" yet being unable to do so due to scheduling conflicts, Goldsmith was the first pick of both Paramount Pictures and director Robert Wise to compose a score for The Motion Picture.^[23] Goldsmith's initial main theme was not well-received by the filmmakers, director Robert Wise stating, "It sounds like sailing ships". Though somewhat irked by its rejection, Goldsmith consented to re-work his initial idea and finally arrived at the majestic Star Trek theme which was ultimately used.^[24] The film's soundtrack also provided a debut for the Blaster Beam, an electronic instrument 12 to 15 feet (3.7 to 4.6 m) long, created by musician Craig Huxley.^[25][26] The Blaster had steel wires connected to amplifiers fitted to the main piece of aluminum; the device was played with an artillery shell. Goldsmith heard it and immediately decided to use it for V'Ger's cues.^[27] An enormous pipe organ first plays the V'Ger theme on the Enterprise's approach, a literal indication of the machine's power.^[28] His score for The Motion Picture earned him nominations for the Academy Awards, Golden Globes,^[12] and was one of AFI's 250 nominees for the top twenty-five American film scores.^[11] Goldsmith would later compose the scores for Star Trek V: The Final Frontier (1989), Star Trek: First Contact (1996), Star Trek: Insurrection (1998), and Star Trek: Nemesis (2002), as well as the theme to the television series Star Trek: Voyager in 1995. In addition, his theme for The Motion Picture, as arranged by Dennis McCarthy, was reused as the theme for Star Trek: The Next Generation in 1987.^[29][30]

1980s[link]

Throughout the 1980s, Goldsmith found himself increasingly scoring science fiction and fantasy films in the ongoing wake of the successful Star Wars (1977) composing for such films as the The Omen sequels Damien: Omen II (1978) and Omen III: The Final Conflict (1981), the space western Outland (1981), the animated fantasy The Secret of NIMH (1982), and the episodic fantasy mystery Twilight Zone: The Movie (1983), which he composed in four different styles to accompany the four parts of the film.^[31]

In 1982, Goldsmith was hired to compose the music to the classic Tobe Hooper directed, Steven Spielberg produced fantasy horror Poltergeist. He wrote several themes for Poltergeist including a gentle lullaby for the protagonist Carol Anne and her family's suburban life, a semi-religious theme for scenes concerning the souls trapped between the two worlds, and bombastic atonal bursts during scenes of horror.^[32] The score for Poltergeist garnered him a nomination for an Academy Award, though he lost again to fellow composer John Williams for E.T. the Extra-Terrestrial (1982). Goldsmith later returned in 1986 to compose the more synthetic score to Poltergeist II, the first of its two sequels.^[33]

He did, however, still manage to compose for such non-fantasy productions as the period television miniseries Masada (1981) (for which he won an Emmy Award), the controversial war film Inchon (1982), the action classic First Blood (1982), and his Oscar and Golden Globe nominated score to the political drama Under Fire (1983) in which he used the ethnic sounds of a South American pan flute, synthetic elements, and the prominently featured solo work of jazz guitarist Pat Metheny.^[12][34]

Throughout the decade, many of his compositions became increasingly laced with synthetic elements such as his scores for the horror sequel Psycho II (1983), the comedy horror film Gremlins (1984) (for which he won a Saturn Award for Best Music),^[35] the fantasy superhero adaptation Supergirl (1984), the fantasy adventure Legend (1985) (initially heard only in European prints and then years later in a 2002 director's cut),^[36] the action sequel Rambo: First Blood Part II (1985), the family fantasy Baby: Secret of the Lost Legend (1985), and the fantasy horror Poltergeist II (1986).^[7] His incorporation of synthesizers, orchestra, and the recorded sounds of basketball hits on a gymnasium floor also garnered him another Academy Award nomination for his innovative and critically acclaimed score to the dramatic sports movie Hoosiers (1986), though he lost to Herbie Hancock for Round Midnight.^[37]

Goldsmith finished out the decade with noteworthy scores to such films as the medieval adventure Lionheart (1987), the science fiction comedy Innerspace (1987), Rambo III (1988), the science fiction horror Leviathan (1989), and Star Trek V: The Final Frontier (1989), his second Star Trek film score.^[7] Goldsmith's score to Leviathan (1989) is notable for having incorporated the use of recorded whale sounds during the main titles.^[38] His critically acclaimed comedy score to The 'Burbs (1989) is also noteworthy for the use of pipe organ, recorded dog barking sound effects, and for parodying the trumpet "call to war" triplets on an echoplex from his previous score to Patton (1970).^[39]

1990s[link]

In 1990, Jerry Goldsmith received critical acclaim for his score to the romantic drama The Russia House, which featured a unique mixture of Russian music and jazz to complement the nationalities and characteristics of the two main characters.^[40] He also composed critically acclaimed music for the science fiction action film Total Recall (1990), which Goldsmith later regarded as one of his best scores.^[41] Other noteworthy scores of the era include Gremlins 2: The New Batch (1990) (in which Goldsmith also made a brief cameo appearance),^[42] the psychological thriller Sleeping with the Enemy (1991), the family comedy Mom and Dad Save the World (1991), the fantasy romance Forever Young (1992), the thriller The Vanishing (1993), and the family comedy Dennis the Menace (1993).^[7] In 1992, Goldsmith also composed a critically acclaimed score for the medical drama Medicine Man.^[43] In concert, Goldsmith would later recount a story of how actor Sean Connery copied Goldsmith's signature ponytail hairstyle for his character Robert Campbell in the film. In the film's closing credits Goldsmith is listed as "hair designer".