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THE SCREEN: RIDLEY SCOTT'S 'LEGEND'

By Vincent Canby

• April 18, 1986

''Legend,'' directed by Ridley Scott, who has done better, is set in a timeless forest that you know must be enchanted: though the air is heavy with dandelion fluff, there's not a single dandelion in sight. In fact, the air is so full of dandelion fluff that it would seem to be more hazardous to the health than asbestos, which the fluff suggests, at least metaphorically.

However, ''Legend,'' being a fantasy-adventure, doesn't contain many asbestos-vulnerable mortals. Instead, its cast of tens is made up mostly of hobgoblins, leprechauns, elves and fairies. In addition, there are unicorns, of which it's said that ''as long as unicorns rule the earth, evil can never come to the pure of heart.''

These unicorns are the bane of the timeless existence of the Lord of Darkness, who's played by Tim Curry, but who looks like Donald Sutherland in a red Halloween mask and sounds like James Earl Jones as Darth Vader.

The Lord of Darkness represents evil. Representing good - none too efficiently - are a young man named Jack (Tom Cruise), who lives a life wild and free with the forest animals, and Lili (Mia Sara), a pretty, innocent maiden who's described as a princess, though she's without any visible principality.

In the course of ''Legend,'' Lili, who, though pretty and innocent, is extremely dumb, gives in to temptation with effects almost as fatal as Eve's bite of the apple. She pets a sacred unicorn, which allows the unicorn to be attacked by the Lord of Darkness's minions who chop off the unicorn's beautiful horn, which may or may not be a phallic symbol. In any case, we're told that whoever possesses the horn rules the earth.

I think I've got all this right, but the mythology of ''Legend'' isn't easy to follow. It's a slap-dash amalgam of Old Testament, King Arthur, ''The Lord of the Rings'' and any number of comic books. Though the film was apparently conceived by Mr. Scott (''The Duellists, ''Alien'' and ''Blade Runner'') and written by William Hjortsberg, the film's real auteur is Assheton Gorton, the production designer, who appears to have pigged out in the studio's carpenter shop.

He's created a series of fancy, plastic sets that keep the eye busier than the mind or the heart. When he runs out of dandelion fluff, he fills the air with cherry blossom petals and, later, with snow so fine and glisteny it looks to be sugar, plus 1,500 icicles made of resin and hot wax.

Among the small-scale people in the film are David Bennent, who once starred in ''The Tin Drum,'' and Billy Barty, who plays a comic dwarf named Screwball. Mr. Cruise goes through all this nonsense gamely, as if it were an initiation into a fraternity he wants very much to join.

''Legend'' opens today at Loews Astor Plaza and other theaters.

''Legend,'' which has been rated PG (''Parental Guidance Suggested''), contains some scenes of mild violence. The Cast LEGEND, directed by Ridley Scott; written by William Hjortsberg; director of photography, Alex Thomson; edited by Terry Rawlings; music by Tangerine Dream; production designer, Assheton Gorton; produced by Arnon Milchan; released by Universal Pictures. At Loews Astor Plaza, 44th Street west of Broadway; Loews New York Twin, Second Avenue and 66th Street; Loews 84th Street Six, at Broadway; Loews 34th Street Showplace Triplex, between Second and Third Avenues. Running time: 89 minutes. This film is rated PG. JackTom Cruise LiliMia Sara DarknessTim Curry GumpDavid Bennent BlixAlice Playten ScrewballBilly Barty Brown TomCork Hubbert PoxPeter O'Farrell BlunderKiran Shah OonaAnnabelle Lanyon Meg MucklebonesRobert Picardo

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LEGEND (1985) Theatrical Version

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Den of Geek

Looking back at Ridley Scott’s Legend

Director Ridley Scott followed up Blade Runner with the fantastical whimsy of Legend. Michael looks back at Scott’s cult fantasy...

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Hindsight is a strange gift. Geek history dictates that the 1980s were a heyday for the fantasy genre; however, few of the decade’s sword ‘n sorcery flicks were outright hits, and many barely made a comfortable profit. Indeed, nostalgia may enshrine the likes of Dark Crystal, Clash Of The Titans and Willow, but even the most successful only just cracked the domestic top 20 for their respective years.

Of the bunch, Ridley Scott’s Legend remains a particularly tricky case. On its theatrical release, it wasn’t just a box office failure, it was that terrible thing: a box office failure that, even after much pre-release tinkering by the studio, still bombed. Various cuts, endings, even soundtracks exist, but nothing that Universal changed attracted the desired audience. In 1985, Legend was pronounced dead on arrival, and Time critic Richard Corliss used the opportunity to open his review with a damning epitaph for the fantasy genre:

“A long time ago, in a conference room far, far away… it was ordained that sword-and-sorcery movies would be the Next Big Thing. Just imagine crossing the fantasy worlds of JRR Tolkien and George Lucas! Mythic reverberations! Megabucks! Didn’t work.”

Nevertheless, Legend lived on. It endures as a pop culture footnote, where, depending on how you look at it, it could be either The Film Ridley Scott Made After Blade Runner , or The Film Tom Cruise Starred In Between Risky Business and Top Gun. However, there is something strangely alluring about its confluence of chaos and creativity, and, with its recent Blu-ray release, there’s no better time to reassess with fresh, 21st Century eyes.

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While the souped-up, high-def transfer is certainly clean, it makes one thing clear: time has not been kind to Legend . The UK Blu-ray release contains both the hour-and-a-half long European theatrical cut, complete with the Jerry Goldsmith score that was junked for the Stateside release, and the recently-recovered ‘Director’s Cut’, which features 20-odd minutes that were lopped off after a series of unsuccessful test screenings.

Unfortunately, whichever cut you watch, you are still presented with a clichéd, hackneyed story, populated by thinly drawn characters and pat plotting that is neither clever nor classic. The Lord of Darkness (Tim Curry) wishes to cast the world into eternal night, and take the beautiful, if brash Princess Lily (Mia Sara) as his bride. Will Jack (Tom Cruise), the boyish, forest-dwelling lad, rise to the challenge and save both his paramour and the paradise he calls home?

Of course he does, but Scott and writer William Hjortsberg seem incapable of filling this fairy tale with drama, action or the fantastical sweep to make it rise above its self-consciously generic framework. Likewise, neither of the young protagonists make much of an impression. Cruise, at this crucial point in his career, obviously hadn’t developed the easy charm that would be on display in Top Gun, and there isn’t a trace of his eventual star wattage in this dull hero. Throughout, he is upstaged by the surrounding set, by various colourful creatures, and even by his own hair, which is constantly falling over his eyes, making this wild boy of the woods simply look like he needs his ears lowered.

The chemistry between the leads is hamstrung by mannered, stuffy direction and an utterly ridiculous script. Take the scene where the lovers initially meet, in a secluded glade. Jack is cuddling a fox, while Lily harps on about learning the languages of various wildlife. “Rabbit,” Jack replies, looking up momentarily from his vulpine chum, “it’s much harder than finch!”

Sara seems to fare better, because Lily has more to do, but even then her character mostly amounts to unfortunate displays of curiosity. Her desire to touch up a unicorn unwittingly puts the whole world in danger, and all it takes for Darkness to steal her innocence away is to flash a shiny necklace in her direction.

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While the latter may be an unfortunately sexist plot point, there’s some good that comes out of it, namely a key sequence which introduces the Lord of Darkness, played to the pantomimic hilt by Tim Curry. For an astounding 20 minutes or so, all faults are pushed aside, and Scott’s over-designed, kitsch-y fantasy finds its footing.

However, with its romantic Jerry Goldsmith score and Assheton Gorton’s detailed production design, Legend was supposed to be a sumptuous big-screen fairy tale, a contemporary cinematic confection that recalled both the expressionistic fantasy of Jean Cocteau’s Beauty And The Beast and the animated splendor of Disney’s early features.

But in its best moments, where, for instance, Princess Lily dances with a shady, mysterious figure, who seems to represent her own inner sin, the film is more indicative of glossy, garish MTV music videos of the period. As Lily glides through a banquet hall flanked by huge, chess piece-like columns, and the camera swoops into a high crane shot, it becomes clear. This is high fantasy by way of Jim Steinman.

And then out steps Tim Curry, wearing what looks to be twice his bodyweight in blood-red prosthetics. 

Oozing sensuality and suggestion, the Lord of Darkness is a fabulous creation on the part of both Curry and special make-up artist Rob Bottin. Bottin, whose work also graces entries in the Verhoeven, Dante and Carpenter canons, here finds a perfect compromise between demonic exaggeration and practical make-up. Despite all of the throbbing, muscular protrusions, in particular the exceedingly phallic horns that shoot out of the character’s brow, the actor is given absolute freedom where it matters: his face.

Curry’s subsequent slide into smaller roles and voice work has only obscured his talents. Indeed, while he is a master of camp theatricality, he is also remarkably subtle, and that is evident in the minute details that transform Darkness from sexual seducer into an iconic fantasy role. As he attempts to steal away Lily’s innocence (or, as he puts it, “INN-NOH-SENSE!”), Curry needn’t chew scenery, he merely murmurs in baritone, and takes his time with the corny lines, relishing their suggestion with a curl of the lip, inclination of the head, or an evocative arch of an eyebrow.

Nevertheless, for all its skillful craft, the image of an over-sexed Satan wooing a princess (wearing, by this point, a plunging black dress with a massive collar) is just absolutely, wonderfully ridiculous. And it only goes to show that, despite the ambition to create a full-blown fantasy, full of Arthur Rackham-inspired woodland creatures and escapist adventure, Legend is best when kitsch outweighs convention.

For in comparison to Scott’s previous films, in particular Alien and Blade Runner, Legend ’s sense of place, and the personality found in the characters’ contexts, is lacking. Ripley and Deckard found themselves in future worlds that may have been technologically advanced, but they were lived-in dystopias; both characters were overwhelmed by their surroundings, be it deep space or a tech-noir metropolis. 

Legend , on the other hand, is cramped and superficial. This is no doubt caused in part by the film being mostly shot on the 007 Stage at Pinewood, one of the largest sound stages of its time. Whereas the same space has been used for some iconic interiors (say, the Fortress of Solitude), the experiment here was to create the magical exterior of the enchanted forest without venturing outside. 

However, without many of the vast establishing shots that are customary when depicting fictional, fantastical worlds, the forest seems small, and, in distinct contrast to Scott’s sci-fi protagonists, Lily and Jack aren’t figuratively overwhelmed by the world they live in, but literally overwhelmed by the cluttered set design of the film itself.

There probably isn’t another film in Scott’s career where the aspects of the production are so at odds with each other: the underwhelming leads are at the mercy of their backdrops, the swashbuckling climax is sabotaged by choppy editing, and the antagonist is a better dandy than demon. It’s such dissonance which led Roger Ebert, in his contemporary review of the film to note that:

“All of the special effects in the world, and all of the great makeup, and all of the great Muppet creatures can’t save a movie that has no clear idea of its own mission and no joy in its own accomplishment.”

Legend exposes that the ‘visionary’ quality that has always been a part of Scott’s work can, at its worst, scupper a film. And all it takes is to remember that the director cut his teeth in both set design and commercial work to realise that, on a bad day, these tendencies can get the better of him, resulting in such over-produced, confused fluff. 

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Even a self-confessed fan of Scott’s work, film critic David Thomson, admits that the director’s films are “made with relish and a boy’s delight in the surface prettiness of things”, and that he is “as much concerned with the design of their … places as with the quality of their people”. 

When writing about 2000’s Gladiator – the film which pulled Scott out of a decade-long slump of 1492: Conquest Of Paradise, White Squall and GI Jane, and found him rehabilitated as a blockbuster director – Thomson calls it “a sumptuously empty film. Monotonous in plot, muddled in action and daft in its ending, it was determined to knock out the eye while neglecting the mind.” Taken out of context, he might as well be talking about Legend .

Of course, unlike Gladiator, Legend wasn’t a hit. Until recently, Scott’s career was characterised by such troughs between box office peaks. The director’s follow-up, the romantic crime drama Someone To Watch Over Me, was, despite the genre shift, another bomb, whereas 1989’s Black Rain was his biggest hit since Alien . So, as he approaches the age of 75, and readies his geek-friendly sci-fi flick Prometheus later this year, it’s worth wondering why Scott’s name is held in such high regard. Have his misses outnumbered his hits, either commercially or creatively?

Over the years, the reputations of Alien and Blade Runner have only grown, as their influence spreads and time reveals their unique qualities. On the other hand, Legend , like many of its 80s fantasy brethren, found life in the long tail offered by home video, and seeded a generation of young cultish die-hards. When they hit adulthood, these fans looked fondly on the films of their youth and, let’s say, decided to write articles discussing them on the Internet, helping to solidify the reputation of this cinematic moment for generations to come. And thus, these cult films developed their own mythologies, and gathered their own disciples.

It’s for this audience that director’s cuts are reassembled and released. And, indeed, is there a director who has benefited more from the rise of the DVD, and from the release of various versions of the same movie, than Ridley Scott? In a period where auteur theory – a mode of thinking where critics bestowed authorial control on the director of a film, as opposed to the writer or producer – has become passe, it seems that the focus on extended cuts, deleted scenes and audio commentaries have given directors similar power by other means.

In an on-screen text introduction, Scott presents the director’s cut of Legend as “both an archival curiosity for fans and a digitised preservation of my original vision for the film”. However, the additional 20 minutes hold little meat for the curious viewer, and barely changes the film’s overall character. There are additional shots – more lingering looks between the leads, some foreshadowing – but the film has the same canter right up until a laughable alternate ending, where the difference is between Jack and Lily running off into the sunset together, or a minute or two apart. 

On the other side of the Atlantic, it’s a very different story. After all, since they were given the heavily edited version of Legend , where Jerry Goldsmith’s score was replaced with synth-soundscapes provided by Tangerine Dream, the differences are much more pronounced. However, the US Blu-ray, released at the back end of last year, also contains all of the special features from 2002’s ‘Ultimate’ edition, full of documentaries, interviews and other fan bait. 

Curiously, these are all missing from the UK disc, meaning that our Legend Blu-ray may be beautiful, but it is also superficial, shallow, and compromised by the studio. But, it begs asking, doesn’t that fit the film perfectly?

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Set in a timeless mythical forest inhabited by fairies, goblins, unicorns and mortals, this fantastic story follows a mystical forest dweller, chosen by fate, to undertake a heroic quest. He must save the beautiful Princess Lili and defeat the demonic Lord of Darkness, or the world will be plunged into a never-ending ice age.

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1985's Legend Is a Cult Classic Movie for Tom Cruise Fans

The 1985 fantasy-adventure film Legend had everything going for it. Ridley Scott had made his mark with The Duellists , then turned to science fiction with the Academy Award-winning Alien and the multiple versions of Blade Runner , before aiming at fantasy filmmaking. Tom Cruise had just finished football drama All the Right Moves and was a year away from mega-star status thanks to Top Gun . With tremendous talent in front of and behind the camera, Legend felt like a sure thing.. until it wasn't.

With special effects wizard Rob Bottin ( Robocop ) burying actors beneath prosthetics and Oscar-nominated production designer Assheton Gorton ( The French Lieutenant’s Woman ) creating this world from the ground up, Legend certainly looks amazing. Cinematographer Alex Thomson is also no stranger to fantasy, having been Oscar-nominated for his work on Excalibur . All that creativity, plus an immense amount of money and time, amounts to something -- even if it's not commercial success. Rather, Legend became a cult hit and it deserves all of the appreciation that's been lobbed on it since.

Tim Curry is the True Star of Legend

Curry's Performance as Darkness Stands Out

10 Best Fantasy Movies That Aren't Based on Fairy Tales

Tim Curry is the centerpiece around which Legend revolves. A preening, elegant and animalistic creation, his eight-foot-tall villain Darkness is an example of great 1980's practical movie effects . Curry -- encased in a full-body prosthetic -- creates an oppressive presence that dominates Legend from the shadows. Cloven hoofs, manicured talons, and a rich baritone distinguish this denizen of the underworld from the innocence above, while the actor towers over his co-stars. Even though Darkness only appears in the later part of Legend , Curry's performance is the most memorable. He elevates overly elaborate pantomime villainy to legendary status.

When Legend was released in 1985, Curry was best known as Dr. Frank-N-Furter in Frankenstein -inspired The Rocky Horror Picture Show , both on stage and on screen. There is no denying the theatrical element that comes through in his portrayal of Darkness, yet there is nothing camp or melodramatic about it. In fact, considering Legend is in a genre that has traditionally aimed at children, he certainly scares audiences by giving them something grotesque. This shocking difference is hammered home in the film's final act, when animal sacrifice and devil worship throw Legend into freefall. But Curry overshadows Cruise, both literally and figuratively.

Tom Cruise Makes an Early Impression - By Not Making One

Legend undersells cruise's hero character jack, 10 best tom cruise movies (that arent mission: impossible films).

The true test of any actor is their ability to make an impression. Legend pushes that idea to breaking point with Tom Cruise, who does less than zero throughout the film. Scott captures him amid pollen with glitter glistening on his skin opposite an equally perfect Mia Sara, and the heightened lovefest between their characters Jack and Lili lasts throughout the movie. Nothing more is asked of Cruise acting-wise, apart from the occasional action sequence; Legend is far from the best Tom Cruise performance .

However, there still are glimpses of the movie star he would become. Cruise has an on-screen presence that is impossible to mimic. He may not make a wonderful impression like other fantasy movie heroes, but he walks away from Legend almost unscathed. That's impressive, since at one point he faces off against a towering Tim Curry wrapped in bright red skin and brandishing a broadsword. Less than a year after Legend , Cruise was winning over film audiences as Lt. Pete "Maverick" Mitchell in Top Gun -- proving how much bigger he was than any one movie.

Legend's Uneven Story Kept It From Being a Box Office Hit

The film has a number of production flaws, ridley scott's 10 best movies according to rotten tomatoes.

There is no denying that Legend lacks a story of any substance . There is so little for audiences to hang onto dramatically that the movie soon becomes an exercise in artistic appreciation. Scenes either feel stretched out too long or lack meaningful dialogue, and writer William Hjortsberg ( Angel Heart ) turns every fairy exchange into rhyming couplets that soon become distracting. But that's not the only way in which the movie wanders off in its own direction -- feeling more like an arthouse film than anything else.

Between the endless shots of Lili running in slow motion, or Jack breaking through sheet ice as the world is plunged into darkness, Legend loses its way. Moments of visual genius are overshadowed by artistic overindulgence, meaning that scenes simply do not work. Whether the fact that the movie's primary set burned down affected the finished product is up for debate, but Legend suffers from tonal inconsistency throughout. Thankfully, Bottin and his team of visual effects boffins manage to turn this turgid trifle into a cult classic, thanks to some groundbreaking techniques.

How Did Legend Become a Cult Classic?

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From another cult hit in John Carpenter's The Thing to winning an Oscar for Total Recall , Rob Bottin has elevated every movie he touches. In the case of Legend , he designed, implemented, and engineered some of the most intricate practical effects ever seen on film. He was rewarded for his efforts with another Academy Award nomination in the Best Makeup category. Beyond the creation of Darkness, Bottin also brought to life another creature ripped from the pages of a fairy tale nightmare called Meg Mucklebones, played by future Star Trek fan-favorite Robert Picardo.

Encountered by Jack on his way to the underworld, Meg is a marvel of prosthetic make-up and hydraulic invention. Buried beneath this terrifying disguise, Picardo embraces his inner swamp monster. Gnarled, nasty and after a tasty morsel, Meg Mucklebones is the perfect combination of visual effects and acting prowess. Her leering over her intended victim surrounded by a putrid bog is one of the most powerful moments in this disjointed movie.

There is no doubting the ambition behind Legend , which oddly comes off like a cross between Blade Runner and Someone to Watch Over Me . Legend has some of the most impressive visuals Ridley Scott has ever shaped -- including towering trees, woodland glades and awe-inspiring set designs. Those who helped create its world -- including Bottin, Thomson, Gorton and composer Jerry Goldsmith -- made something truly dazzling. Legend might be flawed, but there are elements that shine through the visual distractions, wafer-thin plotline and overly engineered acting. Hiding therein are moments of sheer filmmaking genius. With numerous cuts to choose from and an endless array of interpretations to draw from them, Legend is the cult classic that keeps giving.

In a fantastical realm, a young hero embarks on a quest to rescue a princess and recover the last of the unicorns from a malevolent figure who seeks to plunge the world into eternal night. Joined by allies from the forest, he confronts dark forces in an epic battle to restore balance to the land.

Director Ridley Scott

Release Date April 18, 1986

Cast Cork Hubbert, Alice Playten, David Bennent, Tim Curry, Billy Barty, Tom Cruise, Mia Sara

Writers William Hjortsberg

Rating PG-13

Main Genre Fantasy

• Tim Curry's performance carries the film.
• Excellent makeup and visual effects throughout.
• Stunning production design and superior score.
• A less impressive performance by Tom Cruise.
• Thinly-drawn story and uneven pacing.

• Cast & crew
• User reviews

• A young man must stop the Lord of Darkness from destroying daylight and marrying the woman he loves.
• In a mystical forest bathed in sunlight, the fate of Creation hangs in the balance. Only when the sinister forces of evil have slain the last unicorn on Earth will the wicked Lord of Darkness have the power to cast the world into an endless night. With his horrible goblins scouring the virgin land to capture the magnificent creatures, it's up to pure-hearted forest dweller Jack and his beloved Princess Lili to undertake an impossible quest. Together, they must defy the abyss and restore harmony to the universe. But as they soon realise, the struggle between light and darkness demands sacrifice. Can two valiant mortals overturn the dark plans and re-establish the eternal balance of the cosmos? — Nick Riganas
• Darkness (Tim Curry) seeks to create eternal night by destroying the last of the unicorns. Jack (Tom Cruise) and his friends do everything possible to save the world and Princess Lili (Mia Sara) from the hands of Darkness. Enter a world of unicorns, magic swamps, dwarfs and rainbows. — maschzentertainment
• A demon who seeks to create eternal night by destroying the last of the unicorns and marrying a fairy Princess is opposed by the forest boy Jack (Tom Cruise) and his elven allies in this magical fantasy. Two different versions of this movie feature soundtracks by either Tangerine Dream or Jerry Goldsmith. — Keith Loh <[email protected]>
• A magical adventure which features elves, demons, and other mythical creatures. The Lord of Darkness (Tim Curry), the personification of evil, plans to disperse eternal night in the land where this story takes place, by killing every unicorn in the world. Although he looks unbeatable, Jack (Tom Cruise) and his friends are disposed to do everything to save the world and Princess Lili (Mia Sara) (who Darkness intends to make his wife) from the hands of this evil monster. — Chris Makrozahopoulos <[email protected]>
• The Lord of Darkness ( Tim Curry ) alone in his chamber, calls his minion the goblin Blixx ( Alice Playten ). He confides to Blixx that he wishes to kill the last two unicorns so that darkness will fall upon the world, allowing him to emerge from his cave where he is shielded from the sunlight that is his enemy. He cannot approach the unicorns, he tells Blixx, because only the pure can find them. Only someone innocent and pure, such as the Princess Lily ( Mia Sara ), can attract the unicorns. He sends Blixx and his two companions, Pox ( Peter O'Farrell ) and Blunder ( Kiran Shah )to set a trap with orders to bring the unicorn's horn back to him. The scene shifts to Princess Lilly all innocence and mischief, heading to the enchanted forest. Along the way the playful young teen visits her friend Nell ( Tina Martin ) a kindly peasant who lives at the edge the woods. She warns Lilly that visiting the woods is not a princess-like activity, but Lily goes anyway, leaving as quickly as she arrived amid Nell's warnings of things to forest things avoid. Lily's real plan is to visit her beloved Jack( Tom Cruise ), a forest child and trusted friend to all the creatures that live there. Unknown to the two lovers, Blixx and his companions have found them and although the goblins are repelled by the teens' beauty and goodness, they follow Jack and Lily knowing that the youngsters will sooner or later attract the targeted unicorns. Unaware of the danger, Jack and Lily play in the forest glades together like children. Then Jack tells her that he has a special surprise, taking her to see the last two unicorns - a mare and a stallion. These are sacred animals, guardians of purity, innocence and all that is good. Mortals like Jack and Lily are not permitted to see--let along touch them, but Lily, delighted by their beauty and against Jack's warning--approaches them and gently pats one on the nose. Although the unicorns appear to be as pleased by Lily as she is by them, she has unwittingly made them vulnerable. Blix, hiding from sight, seizes the opportunity presented by Lilly's charm of the unicorns, to fire a poisoned dart into the flank trusting stallion. Stung and in pain, the stallion gallops away followed by the mare. Blix's party gives chase while unknowing, Lilly, delighted by the experience, but puzzled by the unicorns sudden departure, returns to Jack. But Jack is very angry at her for desecrating the unicorn with her human touch. Lily, though not at all contrite, apologizes teasing Jack by telling him that she will marry the man that finds her ring. She tosses the ring and it falls into a pond. Jack leaps to his feet and dives into the water to retrieve it. Meanwhile Blix and his party overtake the dying stallion and cut off the magical horn. Without the power of the stallion the world plunges into sudden, severe winter. The onset of a blizzard and the howling winds drive Lily to seek shelter. Meanwhile, below the surface of the pond Jack seeks unsuccessfully for Lily's ring. Out of breath, he swims to the surface but his way blocked by thick ice. Using the last of his strength to smash though, he crawls, gasping, to the shore, perplexed by the sudden snow and cold. Lilly, meanwhile, seeks refuge at Nell's house, but finds everyone and everything inside frozen solid. Hearing approaching riders, she hides in the loft when Blix and his triumphant party arrive seeking food and loot. Listening from her hiding place she overhears them bragging about what they have done and realizes it was her sin that provided them the opportunity. As they leave to deliver to horn to Lord Darkness she vows to follow them and make everything right again. At the same time Jack encounters a group of fairy folk led by the pan-like Honeythorn Gump ( David Bennent ). and his companions, two dwarves, Screwball ( Billy Barty ) and Brown Tom ( Cork Hubbert ) and Oona ( Annabelle Lanyon ) - a Tinkerbell-like pixie who only appears as a firefly sized point of light. The fey are also confused by the sudden change of climate. Upon careful questioning by Gump, Jack admits that he took Lilly to see the unicorns. Gump is outraged but forgives Jack when he realizes that Jack's motives had only been driven by love. Jack and rest of the group discover the mutilated body of the stallion and the still living mare. Gump tells Jack that a hero is needed right things. Jack protests that he is not a hero, but Gump leads him to a cave leaving Brown Tom to guard the mare. While the others wait outside Oona guides Jack into the cave to find armor and weapons that he will need. There, Oona reveals to Jack that she is able to assume the form of a beautiful wood fairy and tells him to keep her secret. Around the camp-fire that night Blix torments his companions with the magic of the horn when the cloaked form of Lord Darkness appears. Blix, trying to avoid Darkness's wrath, drops the horn and it is picked up by Blunder who tell Darkness he will use the horn's power to take over Darkness's throne. Unfortunately, he has greatly overestimated what the horn can do. Darkness seizes the horn and forces Blunder back to the underground lair. Still angry, Darkness orders Blix to capture the Princess and the mare. Lilly, who has been following the goblins, witnesses this exchange and races back to find the mare. She runs into Brown Tom and warns him of Blix's approach. She is too late and although Tom puts up a good fight, he is knocked cold and the Princess and the mare are captured and taken to Darkness's underground palace. When Jack, Gump, Screwball and Oona return they revive Tom and he tells them what has happened. The group sets out for the palace, but must first cross a swamp. There, Jack runs into the troll-like Meg Mucklebones ( Robert Picardo ). She threatens to eat Jack, but he distracts her with her own image in his mirror-like shield until he can use his sword to cut off her head. This is the first real challenge Jack has faced and he is quite overwhelmed when he realizes he has bested a powerful enemy. Still, enemies more powerful still lie ahead. Arriving at the castle the group stumble through a trap door, down a slide, and into cages of the palace's kitchen. There we learn that Darkness and the goblins are not above cannibalism. Various creatures in other cages await their turn to be made into meals by the kitchen staff, a pair of trolls. In the next cage they find Blunder, who beneath his armor is actually a creature closely related to the dwarves. Just as they are becoming acquainted one of the giant trolls appears and seizes Blunder as the main ingredient of a meat pie. Jack asks Oona to retrieve the keys to their cell but Gump points out that she is too small to carry them. Jack then reveals Oona's ability to assume human size. Oona is outraged at Jack's betrayal of her secret, but he tells her that if he keeps her secret they will all die. Gump, angered at Oona, demands to know why she has kept this information from him, but she challenges him that her secrets are her own to keep. She then turns to Jack seductively and even after using her glamour to assume Lily's form, finds that Jack will not sway from his own true love. Although she is angered by his rejection, she knows that he is the only hope against Darkness, so she retrieves the keys and sets her companions free. They escape the kitchen and split up to search for Lilly and the mare. Meanwhile, Darkness is complaining to an unseen father that he is distracted by Lily and doesn't understand why. The father's voice, emanating from the fireplace, states that Lily attracts him because she is so pure. He suggests that Darkness seduce Lily and corrupt her. Lily has been brought to the palace's throne room where Darkness' servants have laid out things things to tempt her: There is food, beautiful jewelry and a faceless dancing form wearing a revealing black dress. At first Lily is frightened but soon the seductive spell begins to affect her, luring her to dance with the black shrouded figure. A sudden flash finds Lily dancing alone, garbed in the sparkling black dress; a fit queen for the Lord of Darkness. Believing his techniques have worked on her, Lord Darkness enters the chamber through a mirror. He is a seven foot tall, hairless, muscular being with crimson skin, yellow slit-pupil eyes, hoofed feet and crowned with three foot long ebony bull's horns. Terrified Lily squirms away from him. Darkness, however, keeps his distance and tells Lily he only seeks her conversation. Slowly, Lily's confidence returns as she realizes Darkness' attraction to her. Soon, Darkness, not Lily is the one who's being played. When he tells Lilly the dress and jewels are her wedding presents she stands up to him and tells him it will never happen. Even his frustrated rage no longer frightens her. Outside the room Jack and Gump overhear Darkness tell Lilly his plans to sacrifice the mare at sunset to bring eternal darkness to the world. Overconfident, Darkness reveals the one thing that can hurt him: sunlight. This inspires Jack with an idea. They rejoin Screwball and Brown Tom who have located the mare in the dungeon. Jack leads the group to steal the shiny silver platters from the kitchen to use to reflect sunlight down the chimney, though the palace and into the underground lair. The group returns to the kitchen and there release a grateful Blunder from the pie in which he was the main ingredient. Blunder eagerly switches sides to join the intrepid heroes. Unfortunately moving the heavy giant platters awakens the kitchen trolls and a battle ensues, ultimately won by Jack using his new heroic skills and a lot of luck. Screwball, being the smallest, volunteers to climb up the chimney carrying one of the platters so that it might catch the sunlight to reflect down into the lair. The rest of the group place more platters at strategic points throughout the underground palace. Lily, meanwhile, has convinced Darkness that she will marry him willingly on one condition. She wants to be the one to kill the mare! Ecstatically he agrees. Screwball and the final plate make it to the surface but unfortunately the elderly Screwball is so exhausted by the climb he has fallen asleep at the the chimney opening. Jack and Gump find the site of the intended sacrifice and slip inside while Oona flies frantically to find Screwball to see what is taking so long. Hiding on a ledge above, Gump and Jack observe the beginning of the ceremony. Darkness, holding the stallion's horn proclaims his intent to use it to kill the female. Proudly, he passes the horn to Lilly, who stands beside him, for all intents appearing the perfect wife for the master of evil. Gump, convinced she has joined Darkness, tells Jack to shoot her with an arrow. But Jack, trusting in his love for Lilly, hesitates. Fulfilling his trust, Lilly severs the mare's chain, shouting at the unicorn to flee. Enraged, Darkness strikes Lilly into unconsciousness. Jack leaps to her defense but he is no match for Darkness's strength, magical power and psychologically aimed taunts. Meanwhile, Oona finds and awakens Screwball. Together they angle the final platter to reflect sunlight down the chimney shaft. The light darts through the palace corridors and blows the doors off the dungeon and striking Darkness and opening an abyss behind him which threatens to suck him in. The evil lord, caught and weakened by the sunlight, clings to one of the pillars until Jack to cuts off his hand. Unable to hold on any longer Darkness drops unicorn horn and is swept into the starlit abyss. His last words to Jack are that he cannot be destroyed because there can never be light unless there is also Darkness. Gump brings the stallion's horn back with them and replaces it on the stallion's head. The stallion awakes fully restored and is joined by the mare. With that, the world is released from its relentless winter. All is back to normal except that Lily does not waken. Gump tells Jack that she is under a deep spell. Jack once more leaps into the pond and this time emerges holding Lily's ring. He slips it onto her finger and kisses her. His love awakens her, but she is changed by her experience. While still good and pure as before, she now respects the powers of the wood. They leave the wood together while their fairy friends wave farewell. The final shot is of Darkness, still alive in an unknown place, laughing as he plans his revenge. Alternate endings :- There are three different versions of the film's conclusion: In the American theatrical version, Jack and Lili assure each other of their love and watch the unicorns reunite, and they run off into the sunset together, hailed by the forest fairies and the unicorns. Darkness watches them from the void, laughing. The European theatrical version also ends with both Jack and Lili running off into the sunset, but without Darkness's final appearance. In the Director's Cut, Lili wakes with Jack trying to convince her she was merely dreaming, but she is ultimately unconvinced. They confess their true love for each other, but Lili realizes they live in two different worlds. She puts the ring on his finger and tells him to treasure it, then asks if she can come back tomorrow. Jack says he will always be there for her and Lili returns to her home to her responsibilities. Jack happily runs off into the sunset, hailed by the forest fairies and the revived unicorns.

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• Chicago Sun-Times Roger Ebert Like many recent sword and sorcery movies, it is so effective in rendering evil, so good at depicting the dire, bleak fates facing the heroes, that it's too dreary and gloomy for its own good.
• Chicago Tribune Gene Siskel I don't want to remember any more about Legend than to make sure I include it in my ''worst films of 1986'' list and never rent it when it comes out as a video cassette.
• TV Guide TV Guide Staff Sumptuous, grandly-scaled, and often ludicrous.
• Slant Magazine Ed Gonzalez Legend is a Gothic fairy tale brought to life.
• Los Angeles Times Kevin Thomas Legend is not without whimsical touches, but it surely could have used more humor and invention.
• Orlando Sentinel Jay Boyar You are caught up in a morality play... the deepest significance of which the makers of this PG movie are apparently betting the adolescents of America will instinctively comprehend.
• Washington Post Tom Shales Legend may turn out to be legendary, but not in the way the filmmakers intended.
• Variety Variety Staff Legend is a fairytale produced on a grand scale... At the same time, the basic premise is alarmingly thin, a compendium of any number of ancient fairytales.
• New York Times Vincent Canby Ridley Scott has done better.
• Christian Science Monitor David Sterritt If a movie can have so much money and talent poured into it, and still come out this stale and tedious, something larger may be happening than the failure of one misbegotten project.
• Gannett News Service William Wolf Its production design, special effects, and overall look can't be faulted. But its hackneyed story about good versus evil is so insipid and dull that no matter how much one might applaud the visual achievement, the movie is still a gigantic bore.
• Common Sense Media Barbara Shulgasser Dark and often scary '80s fantasy hasn't aged well.
• Cinema Crazed Felix Vasquez Jr. A remarkable and bleak fantasy thriller for folks that like their fantasy based on thick characterization and less humongous battles.
• Eye for Film Jennie Kermode Ultimately Legend is a bit of a wet squib, appealing in small doses but struggling to maintain audience interest for the full running time.
• FilmsInReview.com Victoria Alexander Ridley's misstep.
• Combustible Celluloid Jeffrey M. Anderson Ridiculously self-important and serious.

Take Plex everywhere

• ABBREVIATIONS
• BIOGRAPHIES
• CALCULATORS
• CONVERSIONS
• DEFINITIONS

The Lord of Darkness: Every wolf suffers fleas. 'Tis easy enough to scratch!

Princess Lily: I hear a throat begging to be cut!

The Lord of Darkness: Are you so eager to see blood flow?

Princess Lily: As you are to drink it!

Princess Lily: Are you afraid to kiss me, Jack?

Jack: I'm afraid you'll break my heart.

Princess Lily: Then I'll steal your heart instead.

The Lord of Darkness: The dreams of youth are the regrets of maturity.

The Lord of Darkness: What is light without dark?

Blix: Fire, fire, burning higher, making music like a choir!

Princess Lily: This place holds more magic than any place in the world.

Blix: Black as midnight, black as pitch, blacker than the foulest witch.

Blunder: She was so sweet, I could eat her brains like jam!

Blix: This shot be just as sweet as pie.

Blix: May be innocent, may be sweet... ain't half as nice as rotting meat.

Honeythorn Gump: Love you say? Well love is another matter.

Oona: What care I for human hearts? Soft and spiritless as porridge! A faerie's heart beats fierce and free!

Blix: Mortal world turned to ice... Here be goblin paradise!

Jack [After Lily touches the unicorns]: What you did is forbidden.

Lily: Who says so?

Jack: It is known, Lily. These are sacred animals. You risk your immortal soul.

Lily: I only wanted to touch one. Where is the harm in that?

Lily: Are you afraid to kiss me Jack?

Lily: Then still your heart. You're dear to me as life itself! Don't you wish this was our wedding ring?

Jack: If I say yes, will my wish come true?

Lily: I'm a princess. It's my right to set a challenge for my suitors. I will marry whoever finds this ring! [Lily throws the ring in a lake]

Meg: "Foul tasting fairy! [sees Jack] Come to Meg, juicy boy! Who be this tender morsel to disturb Meg Muckelbones's rest."

Jack: "Jack. They call me Jack ma'am."

Meg: "Jack... What a fine, fat boy you are, Jack."

Jack: You don't really mean to eat me, do you Ma'am?"

Meg: Oh, indeed I do!"

Jack: That would be a shame, because someone as fair and lovely as yourself Miss Meg, deserves far better than scrawny me. Don't you think?

Meg: You think me fair, do you Jack?

Jack: All the heavenly angels must envy your beauty!

Meg: What a fine meal you will make, be the rest of you as sweet as your tongue!

Jack: No wait! Fill your soul with loveliness! Feast on the beauty of your reflection. You are an angel miss Meg. Look!

Screwball: There's only one thing I want to know.

Brown Tom: What?

Screwball: WHY ME?

Blix: Wow. Forgive that intrusion, great lord, but goblins are inclined to be outspoken and I like to encourage their initiative.

The Lord of Darkness: [holding the Unicorn's horn in his hand] Did you think this a mere plaything? [they shake their head's "no"] With it, my empire is eternal! Before I ruled only the night. Now, my minions will frolic in darkness until the end of time. The Unicorns are dead, is this not true?

Blix: True lord, very plenty true.

Pox: Undeniably true.

The Lord of Darkness: You lie! Here is dawn!

Blix: The stallion is dead. Dead as dreams.

The Lord of Darkness: Out with it!

Pox: The mare lives still!

The Lord of Darkness: If even one Unicorn walks the Earth, my power is not complete.

Blix: It's just a female, lord. She has no power.

The Lord of Darkness: Only the power of creation! Get the mare, I command you!

The Lord of Darkness: Father, I hold the world in my grasp and yet, this girl distracts me. It has been an eternity since I have felt such desire. What am I to do?

Satan (Darkness's father): She fascinates you because her soul is pure. To make her one of us, charm her, woo her, change her spirit, hypnotize her, set her free, bring her to you!

The Lord of Darkness: Lady, do not be afraid. Quiet, quiet. How like you my gifts? Does the gown not please you?

Lily: (sobbing) No

The Lord of Darkness: (small Evil laugh)

Lily: No, you lie. You disgust me. You are nothing but an animal.

The Lord of Darkness: (Evil laugh) We are all animals, my lady. Most are too afraid to see it!

Lily: DAMN YOU!

The Lord of Darkness: We are all of us damned, my queen.

Jack: I trust you Lily, I will always trust you.

The Lord Of Darkness: Mother Night! Fold your dark arms about me. Protect me in your black embrace. I sit alone, an impotent exile, whilst this force, this presence, returns to torment me!

The Lord Of Darkness: Looking upon these frail creatures, one would not think that they could contain such power. One could rule the universe with it!

The Lord Of Darkness: I require the solace of the shadows and the dark of the night. Sunshine is my destroyer!

The Lord Of Darkness: The dreams of youth are the regrets of maturity. Dreams are my speciality. Through dreams, I influence mankind.

The Lord Of Darkness: You think you have won?! What is Light without Dark? What are you without ME?! [laughs] I am a part of you all! You can never defeat me! We are brothers eternal!

I know everything, Jack. Yet I do not understand what has happened today. Suppose you tell me, Jack? You know these woods as well as any elf. Did you not see something odd today, any strange spirits? Did nothing untoward happen?

Look! Ugly one-horned mule!

Nobody knows but you. It's our secret Jack. Don't tell Gump! Promise? Promise?! I could be anything you want me to be, even your heart's desire. You've got to help us, Jack! A fairy's love makes anything possible.

Oona: I'll do what you ask if you'll kiss me, Jack.

Jack: Easy enough. [pecks her quickly on the cheek]

Oona: You call that a kiss? Am I not sweet?

Jack: Sweeter than bee pollen on summer wind.

Oona: [taking the form of Lili] Sweet as the wind that blows me to you!

Screwball: It's fairy magic!

Jack: Lili? Lili!

Oona/Lili: Yes, Jack?

Jack: This isn't real.

Oona/Lili: Oh, but it is! I'm warn and alive and want to be in your arms.

Jack: [hesitating] No, I can't! No. It's just more fairy glamor. Human hearts don't work that way.

Oona: What care I for human hearts, soft and spiritless as porridge? A fairy's heart beats fierce and free!

Darkness: What have we here? A little boy!

Songs: Just one step at a time And closer to destiny I knew at a glance There'd always be a chance for me With someone I could live for Nowhere I would rather be.

Songs: Just one beat of your heart And stranger than fantasy I knew from the start It had to be the place for me Someone that I would die for There's no way I could ever leave.

Songs: Legends can be now and forever Teaching us to love for goodness sake. Legends can be now and forever Loved by the sun, loved by the sun.

Songs: Who sings of all of Love's eternity Who shines so bright In all the songs of Love's unending spells? Holy lightning strikes all that's evil Teaching us to love for goodness sake. Hear the music of Love Eternal Teaching us to reach for goodness sake.

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Legend (1986)

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Product Description

• Feature Commentary With Director Ridley Scott
• Lost Scenes
• Bryan Ferry "Is Your Love Strong Enough" Music Video
• Photo Galleries

Product details

• Aspect Ratio ‏ : ‎ 2.35:1
• Is Discontinued By Manufacturer ‏ : ‎ No
• MPAA rating ‏ : ‎ NR (Not Rated)
• Product Dimensions ‏ : ‎ 7.6 x 5.5 x 0.6 inches; 3.2 ounces
• Item model number ‏ : ‎ 42927968
• Director ‏ : ‎ Ridley Scott
• Media Format ‏ : ‎ Color, NTSC, Widescreen, Subtitled
• Run time ‏ : ‎ 1 hour and 54 minutes
• Release date ‏ : ‎ October 11, 2016
• Actors ‏ : ‎ Tom Cruise, Mia Sara, Tim Curry, David Bennent, Alice Playten
• Subtitles: ‏ : ‎ French, Spanish
• Producers ‏ : ‎ Arnon Milchan
• Language ‏ : ‎ English (DTS 5.1), English (Dolby Digital 2.0 Stereo), English (Dolby Digital 5.1)
• Studio ‏ : ‎ Universal Pictures Home Entertainment
• ASIN ‏ : ‎ B01K4EU7SQ
• Writers ‏ : ‎ William Hjortsberg
• Number of discs ‏ : ‎ 1
• #5,669 in Mystery & Thrillers (Movies & TV)
• #10,165 in Action & Adventure DVDs

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What three athletes took the Olympic flag through Los Angeles?

The journey took viewers through the many iconic and beautiful sights around los angeles., by brendan brightman • published august 11, 2024 • updated on august 11, 2024 at 6:18 pm.

Los Angeles has a rich history in being home to some of the world's best athletes, but who was given the honor of taking the Olympic flag on its journey across the city to complete the handoff from Paris to Hollywood ?

Here's a breakdown of the three athletes who brought the Olympic flag to L.A.:

Kate Courtney

24/7 New York news stream: Watch NBC 4 free wherever you are

Courtney, who began the Olympic flags' L.A. journey after Tom Cruise successfully transported the flag from Paris to the Hollywood sign in a sequence that only Hollywood could produce.

Closing ceremony marks end of Paris Olympics with Tom Cruise and a handover to Los Angeles

In photos: See moments from the 2024 Olympics closing ceremony in Paris

The Marin County, Calif., native is a professional mountain biker who has previously won a world championship in 2018 and a world cup series win in 2019. Courtney also competed for Team USA in the Tokyo Olympics, where she placed 15th in the women's cross-country event.

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Fun fact: Mountain biking first got its start in the 1970 s in Marin County, Calif., with riders biking up Mount Tamalpais.

Michael Johnson

Johnson, who ran with the Olympic flag through the streets of L.A., is a four-time gold medalist and previous world record holder in Track & Field.

After graduating from Baylor University in Texas, Johnson embarked on a historic Olympic career. He first won a gold medal in the men's 4x400m relay in Barcelona in 1992, before becoming the first and only man to win gold in the 200m and 400m individual events in Atlanta in 1996.

In the 200m in 1996, Johnson set a world record with a time of 19.32 seconds, which was only broken by Usain Bolt in 2008.

The Olympic legend again won gold in the men's 400m in Sydney in 2000, solidifying his spot in the upper echelon of men's Olympic Track & Field athletes.

Jagger Eaton

Eaton is one of the biggest stars in skateboarding, a sport that has its beginnings in Los Angeles, and the only Olympian from the Paris Games to be featured in the L.A. journey.

The Arizona native is the first skateboarder to win world championships in both street and park events and has won two Olympic medals for street (bronze in Tokyo and silver in Paris ).

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Tom Cruise, Snoop Dogg among celebrities watching Simone Biles at the Olympics

John legend, ariana grande and jessica chastain were part of the a-list group being fans of team usa in paris as the women's gymnastics team competed for the first time, by nbc new york staff and the associated press • published july 28, 2024 • updated on july 28, 2024 at 8:33 am.

The hottest ticket on second full day of competition at the Paris Olympics was very clearly the chance to watch Simone Biles and the USA women's gymnastics team compete, attracting the likes of Tom Cruise , Snoop Dogg and Ariana Grande .

A star-studded crowd attended the return to the Olympics of Biles, the most decorated athlete in the history of gymnastics.

Among the high-profile fans were Hollywood star Tom Cruise and Oscar-winning actor Jessica Chastain sitting under the roof of the packed Bercy Arena on Sunday.

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Lady Gaga , who delivered a dazzling performance as the first musical act during the opening ceremony earlier this week, was also in the mix. The Grammy-winning performer posted a video of Biles' routine on the beam on her Instagram account, with the caption: “She nailed it, what an honor to be so close!”

Snoop Dogg had front-row seats while Greta Gerwig, Ariana Grande, Cynthia Erivo, John Legend and Chrissy Teigen, Nick Jonas and Anna Wintour also attended Biles’ competition. Snoop Dogg is working at the Paris Olympics as a special correspondent for NBC Sports.

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Afghan taekwondo para-athlete makes history with first medal for Refugee Paralympic Team

Snoop Dogg was in a partying mood and danced during the team’s presentations. Cruise was mobbed by fans and agreed to selfies, shaking a few hands.

Biles competed in the team’s qualifying alongside U.S teammates Jordan Chiles, Hezly Rivera, Sunisa Lee and Jade Carey. It was her first competitive appearance in Paris, where she will try to add to her already impressive tally of seven Olympic medals.

Despite discomfort in her left leg , the American gymnastics superstar posted an all-around total of 59.566 and the Americans scored a 172.296, well clear of the field and is expected to be in contention for most, if not all, of the individual apparatus events during the Paris Games.

Also in attendance were USA snowboarder Shaun White and his girlfriend Nina Dobrev. Athletes across the Olympic spectrum have said they want to make it a point to catch the most decorated gymnast of all time in what could be the final competition of her unparalleled career. Among them: LeBron James and the U.S. men’s basketball team, which was busy Sunday with Olympic qualifying.

💡🎥🎬 we've got @TomCruise & Greta Gerwig in the hosue! https://t.co/jRh8IiF2B4 pic.twitter.com/oMc0AZTeTp — USA Gymnastics (@USAGym) July 28, 2024

When will USA women's gymnastics compete?

Tuesday, July 30 - Women's team final : The women's team final begins at 12:15 p.m. on Tuesday, July 30. You can watch it on NBC and stream every apparatus on Peacock.

Thursday, Aug. 1 - Women's all-around final : The women's all-around final begins at 12:15 p.m. on Thursday, Aug. 1.

Saturday, Aug. 3 - Women's vault final : The women's vault final begins at 10:20 a.m. on Saturday, Aug. 3 on NBC and Peacock.

Sunday, Aug. 4 - Women's uneven bar final : The women's uneven bars final begins at 9:00 a.m. on Sunday, Aug 4 on NBC and Peacock.

Monday, Aug. 5 - Women's balance beam finals : The women's balance beam finals begin at 6:36 a.m. on Monday, Aug. 5.

Aug. 5 - Women's floor exercise finals : The women's floor exercise final begins at 8:20 a.m. on Monday, Aug. 5.

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