There is nothing quite as enthralling as the perfect marriage between a director and pre-existing material since there are some instances where it is difficult to fathom anyone else handling specific adaptations. In the case of Mike Mignola’s masterpiece Hellboy, which tells the story of a demonic entity who finds his way to our dimension as an infant and grows up to be a guardian of the human race and a liaison between the worlds, it is impossible to imagine anyone other than Guillermo del Toro handling the story when it came to bringing it to life on screen. A lifelong devotee of the character, del Toro was the perfect candidate to adapt Mignola’s graphic novels, crafting a wonderfully irreverent and off-the-wall retelling of the titular character’s origins, as well as a narrative centred around a few well-known plot elements from the source material that ultimately come together to create a fascinating and engaging subversion of many tropes, several of which are directly contradicted by del Toro’s unique and unconventional approach to exploring these characters and their adventures. The first in a pair of films that are widely considered among the greatest entries into the genre, Hellboy is a fantastic attempt to bring this iconic character to a much wider audience, handled by a director whose firm commitment to the material and undying devotion to honouring a beloved character that carries a lot of meaning to many people who find value in his compelling exploits. One of del Toro’s most wickedly entertaining and oddly uplifting works, Hellboy has more than earned its place within the canon of memorable superhero films, which it does by challenging the confines of a genre it actively attempts to dismantle from the fundamental level, which is the easiest path towards an unforgettable, truly compelling work that remains the gold standard for a genre that has undergone many changes over the years.

Speaking about superhero films at the present moment can be treacherous for several reasons since both proponents and detractors of the genre tend to have extremely militant opinions, and any attempt to sway the conversation in one direction over the other will inevitably end with some of the most intense, unsettling debate imaginable. I’ve mainly stayed out of the discourse since this is not a genre that particularly interests me (at least in the contemporary form it has taken), but it also isn’t something that seems to stir much of a reaction. However, Hellboy is a perfect example of a superhero film that is designed to be enjoyed by those who are not necessarily enamoured with the genre as a whole, as well as being very appealing to those who do find value in these stories. Some even find it surprising that it is categorized as such since everything about it seems quite different from what we tend to expect from these films. Made at a time when superhero films were very popular but far from being as over-saturated as they are now, del Toro’s efforts are nothing if not entirely enthralling and genuinely quite ingenious, particularly in the subjects he chooses to include. Hellboy is a blend of an origin story of the titular character and an adaptation of a few key stories that feature him as the protagonist, which gives the director a wide berth in which he can work, making a substantial difference in our response to these ideas. Thematically, the film is very rich – it uses themes of good vs. evil, as well as the boundaries between humanity and monstrosity, as an entry-point into some scathing social and historical commentary, which is a common feature in a lot of del Toro’s work, and one of the fundamental reasons his efforts are so acclaimed, particularly when dealing with subjects that are slightly more unconventional and daring.

I’ve often jokingly stated that the only reason del Toro was brave enough to adapt Hellboy was because Ron Perlman exists – but watching this film and seeing the nuances of how he handles the titular character, there may be more credit to this theory than we anticipate. Perlman is one of our great actors, someone who has defied the Hollywood system that constantly sought to view him as being capable of only playing heavies and menacing villains, and has developed a strong body of work that transcends genre and allows him to play a wide range of characters. Hellboy is bound to be the one performance that defines his legacy, not necessarily because it is his best work in a dramatic sense, but rather the degree of commitment he had to bring the character to life, to the point where he remains somewhat protective of the role (albeit not enough to participate in the ill-fated reboots in recent years), and which firmly established him as a truly gifted leading actor. His performance here is terrific – his hulking physicality and tendency to capture the intricacies of a very complex character are fantastic, and lend themselves to a performance that is extremely compelling and deeply captivating, having a sincerity that we’d not expect based on a cursory glance. He’s joined by some wonderful actors in supporting parts – the always exceptional Sir John Hurt is at his most warm and comforting as Hellboy’s adopted father, while Doug Jones and David Hyde Pierce share the part of Abe Sapien, who steals every scene he is in through simply representing the kind of oddities that have always fascinated del Toro’s directorial decisions. The cast is just as committed to these characters as the director, and their affection for the story is one of the core reasons Hellboy is such a resounding success.

However, it seems to be almost common knowledge that the reason Hellboy is such a triumph is found in del Toro’s direction, with many stating their wholehearted belief that he is one of the most passionate filmmakers working at the present moment, something that we can entirely understand simply by looking at his body of work. He adored Mignola’s work, and he put in every ounce of effort to faithfully adapt his masterful graphic novels. However, it was not merely an opportunity to show reverence – there was a deep commitment to capturing the spirit of these stories in a way that was authentic and engaging, carrying a unique approach that we find truly inspiring. The first step was to define the structure of the film – Hellboy is equal parts superhero drama, buddy comedy and horror, all three elements working in tandem, and showing del Toro’s penchant for playfully manipulating genre to create unforgettable cinematic landscapes, playgrounds that he handcrafts and populates with unique characters, each one a detailed and captivating addition to his canon of exceptional works. The tone oscillates between unsettling and hilarious, and the director is not against playing into the inherent comedy that can be found in these scenarios – after all, the film does explore the relationship between an inexperienced FBI agent forced to be the caretaker of a wisecracking demon and his all-knowing piscatorial companion. All of this is tied together with del Toro’s trademark attention to visual detail, with Hellboy being exceptionally well-made, a colourful, engaging work from which diverting our eyes seems entirely impossible.

Hellboy is a fantastic film and serves as the very definition of a passion project for del Toro, who works wholeheartedly to create an adaptation that is both worth our time and honours the source material. Unfortunately, as brilliant and acclaimed as the graphic novels may be, the fact that we received two exceptional adaptations is a minor miracle, since every subsequent attempt to rework the character into a reboot has failed miserably. The argument most of us tend to gravitate towards is that Hellboy is a character that is simply antithetical to filmmaking in principle – the visual style, the unique humour and narrative structure do not easily translate to screen, and the only reason this film succeeds is because del Toro puts in every possible effort to capture the spirit of the character in a way that doesn’t sacrifice the nuances of Mignola’s creation, while also acknowledging the limitations of the genre, and actively trying to work within those parameters in a way that at least aims to be faithful. The film is wonderfully entertaining, and proves to be unexpectedly quite lighthearted despite its heavy subject matter – and as far as superhero films go, this is one of the closest examples we have to a film reaching perfection, which proves that all a film needs to be effective is a strong vision, a lot of dedication from a wide group of artists and the willingness to take risks, all of which are perfect descriptors of this wonderfully captivating and wickedly entertaining work that is as entertaining today as it was two decades ago.