The Tiger Manifesto

Criticism with claws

Category: Film Reviews

Film Review: Concerning Violence

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In the late 60s and early 70s, anti-imperialist films from directors like Gillo Pontecorvo and broader movements like Third Cinema had a significant if small presence in the film world. Filmmaker Göran Hugo Olsson, responsible for Concerning Violence and Black Power Mixtape, is animated by more antiquarian concerns than films like The Battle for Algiers. Concerning Violence, which combines documentary footage with dramatic readings from Frantz Fanon’s classic book The Wretched of the Earth, retains immediate relevance but concerns itself with the national liberation movements of the past rather than the present. One could, therefore, make the argument that the film is pairing Fanon and footage of FRELIMO guerrillas to outline a purely historical conjuncture of theory and action.

Though I appreciate its presentation of the both the text and footage from the last major burst of national liberation movements in Africa (the overthrow of the Portuguese colonial regimes in Guinea-Bissau, Mozambique, and Angola as well as the collapse of Rhodesia), its excavation of the past leaves room for its audience to take a more comfortable position. Leftists can use the film as a nostalgic trip back to halcyon days, and even liberals, while probably not being as pleased with the Fanon readings endorsing violence, could say “well, it was a different time.”

Of course, the film is a product of a 2014 release. It also begins with a prologue by Gayatri Spivak that, while cinematically inert, positions Fanon and the events of the film in a context of revolt and revolution that continues to this day. The effectiveness of this move is somewhat blunted, of course, considering that Spivak’s presence only reinforces the sense of the film as more an academic exercise than a call to arms. At the same time, the ending, which inches closer to the present, pricks the film’s audience to link the past and a possible future. At all times, the film avoids the affectations of a propaganda poster, which is welcome, and the film’s limited historical scope is not necessarily a negative. However, Concerning Violence does not fill the desperate need we have for films to capture the revolutionary energy of present-day movements. That is simply not what it is, despite the obvious relevance of its core ideas.

One commendable aspect of the film is that it features interviews with white settlers and missionaries. The latter are memorable largely for the air of politeness and naïvety that they exude. After talking confidently about the un-Christian character of African polygamy, the interviewer asks whether their perspective is a religious one or a European one. He asks them whether there is explicit support for monogamy in the Bible, which gets a sheepish and evasive response. The missionaries are tellingly far more interested in talking about a church construction projects happening in the background than the basis of their theological assertions. It’s an attitude of empty-headed enthusiasm I have seen many times in my own long history of church attendance.

One final aspect of the film I want to address in this quick analysis is its treatment of a group of FRELIMO guerrilla women. FRELIMO, the Mozambican national liberation movement that drove out the Portuguese colonial government, had, like many other guerrilla movements, a large number of women soldiers and other cadres. These segments, in which the women discuss their passion to build a new nation and their equal position as soldiers for FRELIMO, has a complex relationship to Fanon. As Spivak notes in her prologue, Fanon rarely mentioned gender and wrote in a male-centric style that emphasizes the masculine aspects of national liberation. And, despite the long history of women playing a key if not leading role in the rank-and-file of revolutionary movements, gender liberation has not been systematically applied in most liberated countries. This is not to negate the example or the ardour of the FRELIMO guerrillas or the women serving in liberation movements and people’s wars now, but rather to say that their sacrifices have been, overall, unrewarded. I am glad that the film does not just let Fanon’s more male-centric language stand without commentary from within the film.

I have been looking forward to seeing Concerning Violence since it came out. Though this article has focused on my criticisms, I still recommend the film to anyone who has an interest in Fanon’s work. Moreover, the positive depiction of even historical national liberation movements is all-too-rare in the cinema, which doesn’t give Olsson a pass for mistakes but does mean there are few alternatives to which we can compare his work. The film is still a powerful document about the inhumanity of imperialism, its bankruptcy and bloody thoughtlessness, and the necessity of tearing it down and creating a new society in its place.

The Peanuts Movie: Not a Review

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My maturation process was different from most people’s. From my teens on, I always thought of my past selves as ungainly skins to be molted off at the earliest convenience. Nostalgia was anathema to me, and I openly derided my past tastes. Thrown into university with a brittle psyche and depressive, even nihilistic, tendencies, I would complain at length to my friends about all the insecure students trying to reconnect with their childhoods when adulthood was beckoning. It’s not that I exorcised all my passions and tastes from earlier; I just had a hypercritical attitude about myself and, by extension, anything I liked.

Peanuts, though, was bone marrow, a phantom limb. My first love was the television specials, but I quickly devoured the 60s and 70s comics Schulz and Melendez mortared together to make those specials. Being raised in the Midwest as a depressive, hyper-articulate, wannabe adult, Schulz’s spare, efficient commercial line art and heavily psychologized characters were irresistible. So while Schulz’s capitalist acumen and  aptitude for self-promotion and unholy dedication were what made it famous, what fused Peanuts to my brain was its portrait of a hopeless world where people just took comfort in their own flaws.

And that’s why this is not a review of the Peanuts movie. The quality of any given ancillary Peanuts product is meaningless. In fact, all it has to do to have me enraptured is to preserve the tone. The tone that has me coming back to Wes Anderson’s movies long after I acknowledge they are rather inconsequential––so why do I cry for so many of them?––is the gentle bleakness of the polite, decaying Midwest. I don’t cry for the Peanuts movie because it’s not appropriately cruel. Too many softening touches, too much Hollywood glitz. It’s not that the creators don’t understand the characters, but that they recognize they have to limit the audiences exposure to them, like a heavy element somewhere in the low hundreds on the periodic table. Peanuts is all about being sad, privileged, conceited, and shattered all at the same time. It’s about having a comfortable enough life that you can take shelter even in your own worst flaws. Characters come together and form an unbroken chain of schadenfreude. Of course, that’s not all of it. It’s much gentler than that in practice, even if its character roster is populated by insecure whiners and overconfidence artists.

We could talk about how comic strips in general make their characters run on little hamster wheels, trapped in formula as surely as they’re bound in rectangular panels. Comparisons to Sisyphus and existentialism arise, but at the same time, in the logic of the strip (ignoring the deified hand of the author) Charlie Brown is not forced to run his kite into the kite-eating tree. He does it because he’s an all-American do-gooder who won’t give up though the plants themselves thwart him. He never seriously considers never kicking the football again. And contrary to Camus’s famous pronouncement about Sisyphus, no one can imagine Charlie Brown happy.

The Peanuts Movie is the most credible attempt I’ve yet seen to turn Peanuts into a conventional feature film. It succeeds well enough to make itself anonymous. Simultaneously, it’s hard to forget what happens in the film because most of it has happened before, in other movies or comics or specials.

Maybe someday I’ll get over Peanuts. I’ll probably have to want that to happen before I do, though.

 

Day 7 of Don Bluth: Titan A.E.

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As a historian, it’s helpful to remind yourself that decades and centuries don’t actually exist, that time measurements like that are relatively arbitrary and that material events don’t respect these tidy boundaries as much as VH1 would have you believe. And yet, as the historical materialist adage goes, the material is primary but, when an idea grips the people, it becomes a material force. For example, animation industry went through a traumatic transition at the end of the 1990s. Disney’s Renaissance formula of huge-scale Broadway-style musical blockbusters gave way to a few years of creative confusion where a raft of unusual projects came out. And while there were a few successes, the dominant theme for the 2D animation industry in the United States for the first decade of the 2000s was abject failure. So we come to Titan A.E.

Though I would describe early 2000s feature animation films from the States as an eclectic collection, there were smaller trends and currents that developed within the whirlpool of chaos. One of these was a spate of films capitalizing on the vogue for science fiction generated by The Matrix. Even the Scooby Doo movie in the year 2000 was about aliens instead of ghosts or swamp monsters. Nearly every one completely bombed. Disney, who leaned into the science fiction genre with gusto at the beginning of the 2000s, released Atlantis, Treasure Planet, Lilo and Stitch, Chicken Little, Meet the Robinsons, and the Pixar-produced Wall-E in that decade, with only Lilo and Wall-E generating much enthusiasm. Don Bluth’s contribution to this little fad for science fiction in animation was Titan A.E., which has an unusual and belaboured backstory.

Story credits on the film go to Hans Bauer, screenwriter for Anaconda, and Randall McCormick, fresh from his smashing success with Speed 2: Cruises Control. Schlock ahoy, yes? Well, the actual writing credits fall to a trio of trendy creatives who had considerable caché in the late 90s. Joss Whedon, who needs no introduction; Ben Edlund, creator of The Tick; and John August, who had just written the acclaimed Doug Liman film Go and later became a go-to scrivener for Tim Burton. Two points immediately spring to mind. First, the team has some pedigree and some complementary just-off-of-mainstream sensibilities. Not to mention a familiarity with science fiction and fantasy. However, they are also the least natural collaborators with Mormon Disneyphile Don Bluth.

Unsurprisingly, given that he changed Secret of NIMH from a more science-based to a more magic-based story, Bluth was not a fan of science fiction. Nor was his longtime partner Gary Goldman. Titan A.E. is, for of all these reasons, the most anonymous directing work Don Bluth ever did. I was frankly astonished that Bluth was attached to the film, since I had seen it as a youngster, moderately enjoyed it, and forgotten about it. I certainly never associated it with fever dreams like The Pebble and the Penguin, much less his more decorated work in the 1980s. But enough preliminaries! Let’s move into the specifics.

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1. Bluth’s Hidden Hand

Given his lack of interest in science fiction and the unusual dialogue (on which more later), one might expect that Bluth’s key tropes wouldn’t be as noticeable here. On the contrary, the science fiction setting seems to highlight their presence, and one can see why Bluth would pick this project to do after Anastasia. As in all Bluth films, protagonist Cale Tucker (Matt Damon) has inherited a Trinket of Destiny from an older relative or loved one, becoming a totem as well as a plot-crucial object in some way. In this case, it’s a ring and hand imprint capable of reactivating the Titan, a Deus Ex Machina parked in space that can help humanity recover from the destruction of Earth by energy aliens. Within the space of the narrative, however, the reconciliation of the absent father with the son who vindicates the previous generation is played as almost as important as the restoration of the human race, which is a goal too abstract to fuel a conventional heroic narrative like this.

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This trope is common enough in standard heroic chosen one narratives, but the fact that the story includes the destruction and restoration of Earth via miraculous (albeit technological) means certainly appealed to the man who put the Great Valley at the end of the road in Land Before Time and had a rooster rescue the world from deluge in Rock-a-Doodle. That apocalyptic, cosmic sense of stakes sits comfortably with Bluth’s other work, which almost always sharpens the typical “believe in yourself and follow your dreams” beats into moments with a more religious and moral significance. The presence of a rainbow baptizing the new Planet Bob (Earth 2) does nothing to dispel the Christian overtones.

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It’s also worth mentioning that Bluth has set sequences in space before, notably the opening credits of Rock-a-Doodle, which shift from the depth of a star field to a sunrise over the Earth.

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From the opening of Rock-a-Doodle. Note the different aspect ratio as well.

Titan A.E. thus tells the parallel stories of one man reclaiming his place in his family legacy just as human beings restore their rightful place within the universe. Beyond the obvious Noah references already mentioned, the story bears a strong resemblance to that of Moses and the wandering Hebrews in the desert, with humans drifting on space colonies emerging to reclaim their promised land in a new Earth, saving them from lives of drudgery.

2. Meet the Crew

Even knowing next to nothing about Firefly, I can tell that the relationships among the crew members of the Valkyrie, the ship used to find the Titan, could support many comparisons with Whedon’s space western. Each crew member has a distinct personality quirk, most of them are always ready to spout salty comebacks, and their dialogue is spiked and clever. Among Bluth’s talents, clever and biting humour has never been one of them, which means Titan A.E. feels the least sentimental and naïve of his work, mostly due to these dialogue exchanges. Whereas the peak of sharp laughter in Rock-a-Doodle is an undersized owl mistaking words for other words, characters like the first mate Preed and Drew Barrymore’s Akima (a role I didn’t realize was whitewashed until just now) exchange witty banter that meets the bar more than not. Not to mention the downright acerbic Stith (Janeane Garofalo), a kangaroo alien who wears a red shirt from Star Trek and has an itchy trigger finger.

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Preen (left) sassing Stith (right), who would like to remind you that she’s walkin’ here!

At the head of the crew, however, stands none other than Captain Joseph Korso, played by a well-cast Bill Pullman. He’s notable for being one of the few morally ambiguous characters in Bluth’s body of work. Despite his mercenary motives and traitorous actions, he’s finally won over to the side of good because of his humanity. Though the ultimate antagonists of the film are the Drej, pure energy beings who fear human potential for poorly explained reasons (one of the major narrative weaknesses of the film), Korso provides an excuse for a climactic fistfight––proving ground for the protagonist’s matured masculinity, I suppose––and gives a human face to villainy that can’t be replicated.

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And Korso is also emphatically not terrible late 90s CGI.

3. Hit Them With the Ugly Stick!

Though all the characters are animated with traditional cels, an overwhelming amount of the rest of the film is done in computer generated imagery. Design work is overall strong if generic. For one, the Drej certainly lend themselves to computer animation, and their angular and reflective designs work well with the medium’s limitations at the time of production. Ships look slightly worse, and wouldn’t look too out of place in the FMV backgrounds of Wing Commander III, but competent design keeps them from being entirely ridiculous. In fact, one of the more creative bits of art in the film is the ramshackle drifter colony, assembled from rusty parts welded together.

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Granted, it’s a drawing and not a computer model.

Late in the film, however, we see the paradisiacal New Earth and its glory is more than a little diminished by how, shall we say, limited its textures appear to be.

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A potential reason for this is that some of the sequences of the film were produced by a different animation studio since Bluth’s studio in Arizona had already been downsized by about 300 people. Notably, Blue Sky Studios handled the Earth reformation sequence in their first work for Fox, just two years before Sid the Sloth and Scrat began their long reign of terror over the silver screen.

Finale: Closure at Last

Titan A.E., despite having a trendy, awful soundtrack and a hip story subject, was an astronomical failure. Fox Animation was no more, as was traditional animation in Hollywood outside of Disney and, after a few more years, at Disney as well. It also represents the end of Don Bluth’s career in features to date. Whatever happens in the future, he can be assured of some kind of historical legacy for outdoing Disney in the 80s and producing a string of fascinating failures from thereon out. While I would argue that his films are uncritical and naïve both politically and aesthetically, I find some of his more bizarre work endearing in spite of this fact.

It’s tempting to focus on Bluth’s nostalgia and say he was a classicist who, by the 1990s, was simply a step out of time. I would argue a slightly different tack: he was a classicist who would ride trends and compromise when necessary. Most of his 1990s output hews closely to what Disney was doing at the time, and when it didn’t––Troll in Central Park––it was an aimless catastrophe. Having sat through all of his 1990s work now, I can say that he was a unique voice, but it often sounded more like an echo than a vital force in the present. An echo of himself or the good old days? Depends on the movie.

 

Day 5 and 6 of Don Bluth: Anastasia and (one sentence on)Bartok the Magnificent

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After sorting through some personal business, I’m finally ready to roll. Let’s do it!

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Barely settled into his tax break-funded Phoenix studio, Don Bluth commenced work on Anastasia. Though jettisoning the idea of using Russian revolutionaries as villains, his film latched onto the conspiracy theories surrounding Tsar Nicholas II’s daughter Anastasia, who supposedly escaped execution. Infusing the Disney Renaissance formula into dark and thorny source material was not unheard of––by the time of Anastasia’s release, Disney itself had done the same with Pocahontas, The Hunchback of Notre Dame, and Hercules. And Don Bluth was comfortable with dark stories with strong supernatural overtones. For one reason or another, Anastasia was a financial success, perhaps the most confident and least pathetic Disney Renaissance imitator of the decade. Not to mention the only profitable product Don Bluth created between the years of 1990 and 2000.

1. The Red Elephant in the Room

I’ll make this brief. Bluth’s film, based on a script written by a troop of five writers, translates the overthrow of Czarist Russia and ascendence of the Russian Revolution into a fairy tale about the death of the true, beloved king and the self-actualization of the true heir. An early song notes that the people of post-revolutionary “St. Petersburg” (then renamed Leningrad) were sorry the tsar was dead and excited to hear that his daughter might have survived. And this is the least of the film’s desecrations, though perhaps the one that bothered me the most since it can’t be explained away by fairy tale logic.

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Rasputin’s demons could only get a small crowd to show up for the storming of the Winter Palace.

I have no qualms with turning Rasputin into a devil-worshipping corpse warlock, especially one enlivened by the talents of Hollywood eccentric-in-residence Christopher Lloyd. Few historical figures are so generally reviled. But the sickening aura of American-style royalist nostalgia is too much to handle at times. And though this phenomenon is the stock-in-trade of other animated fairy tales, the fact that the monarchs here have some relation to real history makes it that much more pathetic and wince-inducing. Add the fact that Nicholas II and his family presided over a horrifying war of attrition and a virtual prison state for workers and oppressed nations makes me slightly less sympathetic to the plight of our bright-eyed protagonist. I’m sure an animated film about Marie Antoinette would take the same position. Silly people on the barricades! Royalism is all about beautiful music boxes, strong family values, and the gold filigree of feudal privilege.

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And hugs with Angela Lansbury.

2. Don Bluth Bingo

I don’t want to spend much time on reciting all the Don Bluth tropes recycled here. Instead, I’ll act like a clever internet person and just give you my Don Bluth bingo sheet for the movie. Refer back to earlier posts for this analysis, because my feelings on mystical keepsakes, nuclear family idol worship, and  campy bad guys (meh, bad, good, respectively) have not changed.

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Darn! Lost to the guy with the Rock-a-Doodle sheet. Though “Restoration of Paradise” and “Insta-Romance” are borderline in Anastasia.

3. Supernatural Limbo

While our main plot centres around two con men trying to make a princess out of an orphan lookalike, the core of what makes Anastasia worthy of any interest is far underground. Rasputin occupies a strange in-between dimension he calls Limbo, prevented from moving into the afterlife by his pact with Satanic forces. Sworn to eliminate every member of the Romanov family, he commands a legion of demonic bats (and one cute mascot bat) but is a shambling corpse himself. Most of the delight I get from the film is derived from the grisly body distortions the animators inflict on him. His mouth slides down his beard, his ligaments and tendons can stretch infinitely, and his head has its own ideas about where it’s supposed to rest.

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Rasputin’s an effective villain without much integrity.

His curse on Anastasia is not too dissimilar to that placed on Sleeping Beauty, sleeping in the dark until her adolescence before turning on her with a vengeance. Rasputin’s plans are, as expected, often too elaborate. Simply sending his demons to drop Anastasia off a cliff instead of sending them on a runaway train adventure would doubtless be more efficient. But Rasputin’s effectiveness as a villain is not just the sum of body horror and Christopher Lloyd. It hinges on one literally nightmarish scene where Rasputin uses his black magic to trick Anastasia into sleepwalking onto the deck of a ship during a storm and nearly succeeds in coaxing her into jumping. Further, the scene is effective because Anastasia––known as the amnesiac Anya the Orphan to all except the audience at this point––is shown to subsist on dreams. On visiting the boarded-up palace, she is swept away by visions of old ballroom dances, and one of the old standbys in family animated films is the beneficial aspect of dreaming and aspiration. The scene on the boat, however, uses her repressed memories and dreams of family life against her, luring her into a trap. It generates genuine tension in a film that often lacks it, and accomplishes this with effective animation sequences.

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Maybe Alexei shouldn’t be so carefree about jumping into the water.

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On the one hand, points for evil presentation. On the other hand, she probably would have jumped if he hadn’t turned the nice pool into a hellscape.

By contrast, the climactic battle on the bridge in Paris, despite evoking the same fear of drowning in the icy deep, falls flat because it’s just a physical confrontation that has little to do with the themes or dramatic stakes. Giant winged horses and topiary mazes can surely be frightening, and we’re supposed to link Anastasia’s triumph with her decision to save Dimitri, but his own appearance comes mostly out of nowhere and his faked Disney Death undermines that realization. It’s a far cry from the flat and lifeless romantic plots that underpin, say, Thumbelina and Pebble and the Penguin, but it’s one reason why the final part of the film spent in Paris is weak compared to the first half or so.

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The one strong aspect being this sequence where Paris is painted in an Impressionist style. Reminds me of American Pop.

Finale: Into the New Millennium

Anastasia was such a strong success that Fox commissioned a direct-to-video sequel called Bartok the Magnificent, released two years later. It was directed by Don Bluth and is relatively enjoyable, but I won’t dedicate an entire post to it because it’s fairly trifling. I will say, however, that it’s superbly cast and surprised me with how entertaining it was, so I would give it a watch if you don’t find Hank Azaria’s performance as Bartok unbearable. Truth be told, I enjoy aspects of it more than Anastasia proper, which is not what I expected.

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We’ll just pretend that this transformation sequence featuring gigantic dragon breasts didn’t happen.

Now, though, we’re going to move into the stars. Bluth has shown an affinity for space imagery before, but he had no real interest in science fiction. That didn’t stop him from picking up his (at time of publication) final animated feature:  Titan A.E., the flop that would put a premature end to Fox Animation and usher us directly into the age of Blue Sky Entertainment. We’ll see how that went tomorrow.

 

Day 4 of Don Bluth: The Pebble and the Penguin

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Penguin films became their own mini-boom in the late 2000s, starting off with the sonorously narrated March of the Penguins and blossoming with the likes of Surf’s Up and the two Happy Feet movies. These films probably owe none of their success to the far less remunerative Don Bluth picture The Pebble and the Penguin, which manages to adapt a fascinating animal behaviour into a banal affirmation of petrified (!) human engagement rituals.

Released in 1994, Pebble not only flopped and dragged Bluth’s Irish-based production company down with it, it was such an artistic failure that Bluth, the man who put his name on A Troll in Central Park, refused to take a directing credit for it. Not that he escaped through this tactic, since his production company was named after him.

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1. Biology and Banalogy

We already saw that Bluth has a thing for penguins back in Rock-a-Doodle, which features an inexplicable moment where scalpers are selling penguin suits to species who are barred from a rock club. Here, though, we’re dealing with not just penguins in general but the specific species known as the Adélie penguin. It turns out that these penguins have a peculiar mating practice of males presenting stones to females and being evaluated on their geological fashion sense. What Bluth and writers Rachel Koretsky and Steven Whitestone do is take that basic setup and turn it into one of Bluth’s usual affirmation of the most caricatured version of traditional Western gender roles.

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See, Hubie (Martin Short) is a stuttering, nervous type who attracts scorn and derision for his awkwardness. In fact, he’s derisively called a “Nerd” more than once. For reasons of easy character identification, he also wears a silly winter hat with droopy ears, confirming him as a schlubby comedy archetype. About ten minutes into the film, he runs into his one love, Marina, and she takes an instant liking to him for the sake of plot convenience. Hubie’s main appeal to his few friends is his ability to make them laugh, whether on purpose (unlikely considering his blunt-edged sense of humour) and unintentionally, which means the film vacillates wildly between treating Hubie like a hero and like a punch line. Being a punch line is probably not as reliable a way to get true friends in the real world as it is here. Marina, however, is another of Bluth’s vacant and passive rescue objects (cf. Thumbelina, Goldie, etc.) so for magical plot reasons she instantly falls in love with him and, like in Thumbelina, the plot is just delayed gratification.

Let’s put it this way: a documentary about actual Adélie penguins would be much more fascinating. Their natural behaviours are much closer to a John Waters movie than a Disney fantasy:

 “‘The pamphlet, declined for publication with the official Scott expedition reports, commented on the frequency of sexual activity, auto-erotic behaviour, and seemingly aberrant behaviour of young unpaired males and females, including necrophilia, sexual coercion, sexual and physical abuse of chicks and homosexual behaviour,’ states the analysis written by Douglas Russell and colleagues William Sladen and David Ainley.”

–From Adélie penguin wikipedia entry

 

We were robbed of a Ralph Bakshi penguin movie, I tell you.

Another peculiarity of this film that fits into Don Bluth modus operandi is the way the plot delivers Hubie’s perfect stone, but we’ll get there in section 3.

2. A Penguin Called Drake

A great camp villain is what separates the unbearable Don Bluth film from the delightfully awful one. Like Rock-a-Doodle, The Pebble and the Penguin benefits from a stunningly over-the-top and gay-coded performance by a famous character actor, in this case Tim Curry giving soul to the villain named Drake.

 

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He has one weirdly under-orchestrated song, but his primary role is to be a mean bully and keep the two literal lovebirds apart from each other. Living in a gigantic, inexplicably fabricated fortress with a gaping maw almost as hilarious as his own (as seen above). Though the fairytale logic of the central romance makes it narratively disposable rather than simple and resonant, I think the snickering reductiveness of Drake combined with Curry’s performance makes him a net plus for the film. Certainly better than playing a literal manifestation of pollution in Ferngully.

3. Keepsakes

Don Bluth protagonists have a tendency to keep totems or amulets with them, objects that have some mystical significance and are connected to their families in some way. In this film, it’s the titular pebble, which descends to Hubie from on high as an answer to prayer:

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Pictured: God taking pity on a poor nerd.

It’s the same potent mixture of “When You Wish Upon a Star” and Americanized Christian theology that animates all of Bluth’s films. What’s curious is that Marina and Hubie’s true love is known and established by the film very early, but his love appears to hinge entirely on giving her the stone. The stone is treated as an artifact that not only represents their love but is their love. Hubie goes to life-threatening lengths to keep hold of it, which is understandable, but the degree to which the pebble itself is treated as vital to their relationship––when Drake is the only real obstacle keeping them apart––is troubling since it muddles the messaging around what should be a clear and straightforward romance. It is very straightforward in most ways, but the fact that the characters spends almost no screen time together is probably the reason why the pebble gets title rights while Marina doesn’t. Emphasizing the pebble transaction also highlights how the film validates the mercenary way in which romances are decided in this penguin community: Hubie has to pay his fee to get his girl.

Finale: The End of Bluth Studios

After the debacle that is The Pebble and the Penguin, Bluth’s company collapsed and he took an offer from Fox to create films for their new animation studio. It was the end of Bluth’s era as a semi-independent filmmaker, and the beginning of a new role at a major studio. Soon enough it would be clear that Pebble and the Penguin would be Bluth’s (up to now) last production that really indulges in his idiosyncrasies, for better and (mostly) for worse. It’s a sour note to end this phase of his career on, but perhaps a huge injection of money from Fox would bring some kind of redemption.Screenshot 2016-07-05 23.34.32.png

 

 

Day 3 of Don Bluth: A Troll in Central Park

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Contempt is never a pretty attitude to take. At times, it can erode critical judgment and lead to overly cynical conclusions. Used sparingly and judiciously, however, an acidic tone can be a powerful weapon in the critical arsenal. And I’m afraid that blithe dismissal is not an appropriate reaction to A Troll in Central Park. It requires radioactive intervention.

I yawned my way through Thumbelina, but found it difficult even stay focused for this movie. Its closest relatives are sugar-frosted curiosities like Teletubbies or Oogieloves. All of these properties are driven by a basic core logic: put shiny colourful things in front of children and you will win the hearts of parents and their spawn alike. Virtually nothing happens in A Troll in Central Park for its entire middle four sixths, the filmmakers being distracted by other worthy pursuits like dithering, time wasting, and pandering. Therefore, I am especially glad that I don’t do blow-by-blow commentary on these movies, since trying to do so with Troll makes it ooze an enervating sap that does to critics what the opioid poppies did to Dorothy.

Sadly, it’s also basically beneath critique in the conventional movie review sense. You could head deeper and analyze its connection to Bluth’s pet theme of pastoral vs. city life, its dull valorization of the nuclear family, and its catastrophic characterizations. And I will briefly go into all of those problems. But let it be known that I find Troll in Central Park not just Don Bluth’s worst film but probably the worst major animated feature of the 1990s, or at least the most narratively impoverished and unwatchable.

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1. A Glitch in the Timeline

It’s important to note that Troll in Central Park was put into production before Thumbelina because it helps explain why this film is far less imitative of the Disney Renaissance formula. It stars a small boy in oversized clothing who grows and matures through harrowing encounters with the supernatural and discovers his innate courage. It’s  also an original script taking place in the modern world despite some fairy tale trappings.

That modern setting is fairly important to the plot of the film because our lead child character, Gus, is a character archetype more suited to the 1990s than some mythical past. That archetype being the frequently-used “child with high-powered yuppie parents who doesn’t get enough love and whose family issues are healed through supernatural derring-do.” character. Cf. the Santa Clause Tim Allen comedies for another prominent and more successful example, though that story focuses more on the father than the child. Jonathan Pryce, who plays Gus’ father Alan with a reverse Dick van Dyke American accent, is basically absent from the movie. So Gus is a spoiled 90s kid with a terrible attitude who has to be taught a moral lesson by Stanley the troll and Uncle Don about…something something family and courage.

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2. The Power of Dreams

Though I (accurately) describes the middle of this film as a wasteland of lollygagging and cutesy songs that accomplish nothing, they do tie into the central theme of this film, and so are not categorically useless.

Stanley’s contribution to Gus’ character development is in teaching him that as long as you believe hard enough your dreams can come true. Yes, how novel. It’s another instance of Don Bluth taking “when you wish upon a star” more seriously than he perhaps should, though in films like All Dogs and Rock-a-Doodle the spiritual elements are a bit more explicit and substantive than the banality Bluth settles for here. Perhaps the only scene in the film that works fairly well is when Gus confronts Stanley for being a passive coward and not being willing to fight for as well as believe in his dreams. Gus is more of the aggressive American type, taking more of the “God helps those who help themselveS” line on the matter, while Stanley is content to hide and carve out his own little haven.

Stanley’s not willing to take the necessary risks to save Gus’ sister Rosey (tad bit on the nose), so the fall of the villains and the renewal of Central Park and all of New York into a new Eden can only happen once Gus takes charge of the situation. The scene works because it takes the genuine character conflict between Stanley and Gus and brings those contradictions to a head, which brings out at least a little drama.Our climax is a thumb wrestling contest, though, so it still manages to conclude in an underwhelming way.

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Gus knows how to handle troll queens: thumb to thumb.

Moreover, the “power of dreams” pablum might be subject to some debate later in the film but for the preponderance of the running time Stanley is just presumed to be right that “all you gotta do is believe.” And though Dom Deluise does an OK job with his vocals, the character is actively annoying––toddlers might disagree here––and so the audience is primed to reject whatever he says so that we naturally agree with Gus when he calls out Stanley’s cowardice. Every fascinating thread this movie could have set up is squandered in favour of pandering. Bluth was legendary in the 80s for proving that children will go through almost anything during a film as long as the ending is happy enough. With all the shadows and intrigue leached out, Bluth’s saccharine appropriation of Disney’s moralizing dogma is undigestible.

Finale: Paradise Found

At the end of the film the entire city of New York is covered in a blanket of greenery radiating from Central Park. It’s the same ending to Sam and Max Hit the Road but treated as a reclamation of paradise rather than a global human catastrophe. It’s like Area X from The Southern Reach Trilogy finally encroached on Manhattan.

Edenic paradises are as Bluthian as busty chickens and evil frogs. Many of his films share an eschatological vision of this restoration of the world to a garden. Contrast the blasted landscapes of The Land Before Time with the heavenly Great Valley. Or the literal heaven of All Dogs, the Vale of the Fairies in Thumbelina, etc. etc. Personal redemption is never enough for Bluth; the world has to go with it, no matter how inconvenient it might be for people’s commutes.Screenshot 2016-07-02 21.16.36.png

I consider this final scene at the very least worth considering seriously because of how uncompromising (or maybe just unthinking) its view of the world is. Nevertheless, A Troll in Central Park is the nadir of Don Bluth’s career, financially and critically since Warner Bros. buried the film with a limited, barely-promoted release. It’s been totally and rightly forgotten, a wispy flight of sentiment that inspires righteous contempt in many, many animation fans.

Day 2 of Don Bluth: Thumbelina

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Hark, a turn in the road! Bluth might be a convinced Disney imitator, but in the 80s and with Rock-a-Doodle, his films intentionally mimicked classic pre-60s Disney animation tropes rather than trying to duplicate what the Mouse were doing in the 80s. That is, they were often musicals but were not trying to do Broadway the way that the Renaissance movies were. Thumbelina represents Bluth’s first attempt to adapt his own style to the 90s format. Adolescent girl protagonist, pop star Barry Manilow writing the songs, fairy tale or literary adaptation rather, use of CG for sweeping camera shots, etc. It’s a 90s Disney movie without the scale and spectacle that the more lucrative Katzenberg Disney projects were able to muster. It’s pale (literally), exceedingly modest, and despite its high-quality animation is simply too much of a non-presence to work.

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1. Our Nega-tagonist

Thimble-sized Thumbelina is a vacant cipher of a character, more of a character design that can be stuffed into oddball outfits and moved about than a suitable anchor for a film. Separated from her safe domestic sphere––via river, identical to Rock-a-Doodle––she is supposed to endure tribulations to build up the confidence to reject her unwelcome (arguably paedophilic) suitors. As with the contemporary Disney movies, of course, her independent spirit is invested in a handsome True Love, so that her freedom is granted on the condition that she choose the most conventionally attractive male to mate with. Well, Granted, he’s the only one who’s presented as her own age, which is probably a plus as well.

I think I can summarize the problem succinctly by describing what Thumbelina actively does to shape the plot without it being someone else’s idea. Well, she meets the prince and immediately loves and trusts him (fairy tale logic), runs away from the Mexican (!) frog so she can get home to marry the prince, gets fired from her job as a club dancer for a a sleazy beetle played by Gilbert Gottfried, goes along with marrying the mole, then doesn’t marry the mole, sings to open up the Vale of the Fairies because a bird tells her to, and then marries the prince. Note that not all of those things listed even count as expressions of her own agency. Her only desire is to find a companion who is the same size as her, and the scene after we learn this, she finds one. The plot is essentially an hour of episodic delayed gratification, its inevitability so transparent it would let Don Bluth’s favourite golden lighting effects through.

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In short, Thumbelina is bland as paste, her prince who goes looking for her is stuck in an ice cube for a plurality of the movie, and she makes Ariel from The Little Mermaid cringe at her passivity.

One could argue that this is the point of the story, that Thumbelina is an unsure, shy, curious adolescent who is easily influenced and needs the guidance and support of strong friends to reach maturity. But what we have in Thumbelina is a film that is ostensibly about following your own path regardless of what other people say but is de facto about just going along with what the best people say you should do. The movie always knows what she should do before she does, which produced incredible frustration precisely because our narrator-jester character Jacquimo outright orders Thumbelina to do the right thing at the end of the film, and she does not believe it will work until she sees her true love re-emerging. 

2. Goldie and Thumbelina Should Chat Over Coffee

On Day 1, we saw Goldie, one of the only notable female characters in Rock-a-Doodle, exhibit the same passivity and emptiness as Thumbelina. Both of them are exploited by showbiz hucksters, existing as pure romance-objects rather than people. Easily manipulated, wilting and weak, they’re effectively allegories not for women’s self-reliance but for women’s need to be sheltered and led by the nose, lest they stray like lambs to the slaughter.

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Another parallel with Rock-a-Doodle is that Thumbelina’s primary virtue is her sacred voice. Like Chanticleer, she summons paradise into view at the end of the film by using her voice. Perhaps this is why Bluth and co-director Goldman gave Gilbert Gottfried a prominent singing role––for stark contrast. This theme is largely botched since it’s hitched to her character dynamics or lack thereof. Her voice is there to make her desirable and plays little to no role in fulfilling her own desires, except for when it summons her prince to the window, of course.

Finale: Disney-er Than Thou

Thumbelina looks and feels ancient compared to its contemporaries in 1994. Bouncy farmyard animals, tiny wide-eyed bugs, 1940s-style choir music on the soundtrack, and its hamfisted sentimentality all make this a film out of its own time despite its adherence to the 90s animated musical formula. Its creator’s eccentricities, blunted in Rock-a-Doodle because of test screenings, are repressed further despite manifesting in out-of-place swipes at the entertainment business and his everlasting love of putting evil frogs in his movies. Because I’m literally falling asleep writing about this film (without exaggeration), I feel it’s best to close this chapter of our Don Bluth retrospective and hope that not all of Bluth’s 90s output after Rock-a-Doodle was Disney Lite. His films are always at their best when they tear off on their own mystical tangents, not in sticking to readymade formula.

A truly, transcendently bad Bluth is at least discussing. So we’ll have plenty to talk about tomorrow, believe you me.

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Day 1 of Don Bluth: Rock-a-Doodle

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While finishing up the Ralph Bakshi Retrospective, I began to think forward about the next  series to launch on the blog. Series are excellent ways of organizing groups of posts around themes, help lubricate the writing process, and fill in gaps in my own cultural knowledge.

I decided that Don Bluth would be an excellent follow-up for a few reasons. They’re both animators from outside the Disney empire who produced commercially and critically successful films that were highly influential, albeit in different ways and from different vantage points. Not to mention that both men were born a year apart from one another and their directing careers overlap. But their peak periods of critical respect and commercial impact were in the 1970s for Bakshi and the 80s for Bluth. Though the reasons for this are largely contingent, since Bluth was unhappily working for Disney before walking out with a crew of animators in tow, there are also ways in which Bluth’s work “fits” the American 1980s and its film industry the way that Bakshi’s sensibilities both informed and squared with those of New Hollywood.

Now that I mention the 1980s, however, I have to confess that this series is not about them. We can usher them back into the garish pink closet they crawled out of, because this series is specifically looking at the seven features Bluth produced after 1989. Partly this is because there are seven of them and 1989 is both an arbitrary cutoff and justifies a catchy series title. Not entirely arbitrary, though. 1989 saw, among other world-historical events, the release of All Dogs Go to Heaven, which despite its mixed reputation is probably the purest embodiment of Bluth’s priorities as an animator and filmmaker. It also marked the end of his commercial success, as every film after that––excepting Anastasia––would be a financial failure. One could ask why the American animation renaissance in the 90s, which owes its existence to Bluth more than any single person, was merciless to one of its forefathers.

Though Bluth’s background is fairly well known and easily accessible through Google, I want to introduce a guiding theme for the series that will help us frame his career and hopefully understand his films better. This theme takes the form of a dichotomy, which is by no means absolute but which can help articulate Bluth’s relationship to the wider industry, especially his erstwhile employers at Disney. I’ll use Ralph Bakshi as the antithesis. Bakshi was a television animation director invested in the counterculture, a true outsider who made a hit essentially by accident. He pushed feature animation in radical new directions, appreciating classical animation but chafing under the stranglehold Disney had/s on the industry. He was a rebel, who rejected the status quo and worked as independently as possible to tell personal stories. Don Bluth had a notorious falling out with Disney, but it was more on the order of heresy than rebellion. 

Bluth is the staunchest classicist, more Martin Luther than Thomas Müntzer if you can follow my Reformation humour. His career was always founded on an imagined return to animation’s golden age, which he experienced while working as as assistant on Sleeping Beauty. Working with Disney in the 70s, he despaired and essentially packed up with a number of followers and tried to do Disney better than Disney. In the 80s, he arguably succeeded with the help of Steven Spielberg. In the 90s, though, when Disney was globally dominant and producing gigantic hits with budgets to match? One could ask whether Bluth’s ardent traditionalism, which makes his 90s films look far, far older than the contemporary Disney musicals, was both his greatest strength and an unbreakable limitation.

So we’ve covered Bakshi the rebel. Now we move on to Bluth the heretic, who left the One True Church but only to hasten a return to past glory. And our first film is the enigmatic Rock-a-Doodle, a surreal fable that’s more concentrated idiosyncrasy than film.

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I’m 90% sure there’s a comma splice in the tagline.

Released in 1992, Rock-a-Doodle is the story of a rooster named Chanticleer (Glen Campbell) who brings up the sun when he crows. Pushed out of his cozy farm life thanks to an evil Grand Duke of Owls (Christopher Plummer), he heads to the city to become a rock-and-roll star. Because he never crows, the sun never rises and a deluge of rain begins to overwhelm the world. A small child named Edmond (Toby Scott Granger), shown in live action at the beginning in bookends à la Wizard of Oz, tries to summon Chanticleer  but is transformed into a cat by the Grand Duke and joins the party trying to get Chanticleer back to the farm so he can summon the sun back and save the world from devastation.

1. Family

Actually, check that last part, it’s more about saving Edmond’s home and family than “the world.” The aforementioned live action segments play like a midcentury Disney live action film, delightfully ham handed despite being plagued by Granger’s “naturalistic” child acting. As is typical of Bluth films, family and particularly the nuclear family are associated with the sacred and the mystical. The Great Valley in The Land Before Time was a faraway and alien place, yes, but it was also fundamentally home because that’s where the young dinosaurs’ friends are. Likewise, the final victory of Chanticleer is significant primarily because the sunrise protects the family and delivers the sleeping Edmond back there. Contrariwise, our villains are dandyish or depraved, with Christopher Plummer’s Grand Duke living with a small parliament of owls who sing harmony together to organ music. The Duke even has a nephew, but of course no son because effeminate, gay-coded villains are cast as the dark shadow of the family, in this case literally.

Our central character Edmond’s coming of age is in turn directly tied to this, since the impetus for his becoming-a-man is the need to protect his family, which he is unable to do at the beginning. He’s stuck inside with his mother, still identified with the feminine half of the family. By the end, he’s become a man––at least metaphorically.

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2. Country Mouse and City Mouse

Rock-a-Doodle’s central problem is separation from family/being without light. Notably, the city is a place ruled by artificial light, which can whirl on merrily despite the lack of sunlight. Phone relationship reign, whether it be between Chanticleer and his media magnate agent Pinky or between the rocking rooster and his legions of adoring fans. Since Rock-a-Doodle is something of a showbiz movie, Pinky stands in for the rotting corporate heart of the biz, a pudgy fox (employing a chicken?) who drives a phallic car and flies a phallic helicopter (and they all live together in a phallic little house) coloured 80s pink. Life in the city is simply not authentic in Rock-a-Doodle’s mind, which prefers the green idyll of the yeoman farm. Jeffersonian, to say the least.

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The City bathed in trademarked Bluth Devil Light

3. Puritan and Pervert

If it’s not obvious by this point, I will point out that Bluth’s films are politically conservative, Rock-a-Doodle being no exception. On top of this, they are sentimental and preoccupied with theological mysticism. More on that later. But in depictions of the female animals, the animators show off their pervy side as well. As someone who has seen and loves Fritz the Cat, I have a great deal of experience with sexualized animals. And yet the first thought I had when I saw this––

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-–was how I was much more vexed by Bluth’s sexualization of the characters than Bakshi’s. I criticized Bakshi for his constant mishandling of his women characters, but for Bluth the problem is related but manifests in a different way. Where Bakshi’s love of transgression often overcame his critical faculties, more often with women than with racial issues, Bluth and his team fabricate these vaguely terrifying mammalian chickens because it’s just how you feminize anthropomorphic animals. Goldie, a chorus girl pheasant who works under Pinky and is one of two female characters worth discussing, looks like this:

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She’s the one on the right.

She was modelled after Jessica Rabbit, and though her stick-waisted appearance here is faintly ridiculous, she was originally even more exaggerated. After the critical coolness on All Dogs, Bluth and company sought the advice of test audiences for this film, and they had to edit her looks––among other parts of the movie––to avoid a PG rating. One of Goldie’s roles in the plot is to agree to keep Chanticleer from getting lonely so he won’t try to fly the coop, so to speak. Of course, she eventually falls in Disney love with him and presumably has their relationship consecrated by a minister of the word, thus returning the world to balance. Before this, however, her characterization is equal parts seductress and wilting flower, femme fatale and rescue victim. The epitome of the Disney princess à la Sleeping Beauty but with an attraction that is more explicitly sexualized. When we talk about Thumbelina tomorrow, we’ll see a more sanitized version of this same archetype.

My point is that the film combines a strict adherence to hetero nuclear family values while also indulging in the pleasure of representing sexualized figures, presumably for the benefit of both artist and viewer. It’s not hypocrisy, exactly, but it’s an important marker of the kind of tensions that exist in Bluth’s work.

4. The Voice

One reason why I find Rock-a-Doodle so doggedly enjoyable despite its failures and miscalculations is because it does have a strong central motif that it develops well. Most of the central characters are defined by their voice in some way. Goldie is a singer, Chanticleer has the magic crow and sings rock-and-roll, there is a technically skilled mouse with a lisp, and Edmond has a grating, annoying voice. Our villain The Grand Duke is also a singer and has a magical breath that can shape shift people. It’s the boy calling for Chanticleer that incites the plot, and it’s everyone cheering for Chanticleer to use his voice to save the world/the family that wins the day. Edmond is choked at the end and appears dead because he’s silent. I appreciated this as an anchor in a film that is otherwise often poorly tethered and rushed.

Finale: The Voice of God

When Edmond protests to his mother near the beginning of the film that he wants to help beat back the flood, his mother tells him to pray for the sun. Though it might seem odd that the figure to whom he prays for divine intervention is a magic rooster, it firmly establishes this as a Christian parable about the power of prayer. It’s “When You Wish Upon a Star” filtered through Mormonism. While this makes Rock-a-Doodle more distinctive in its messaging than the typical sanitized Disney movie, it will also be more polarizing.

Unfortunately, character designs were not the only things edited because of preview screenings. Scene-destroying narration by Phil Harris (who plays a dog in the movie as well) was slathered on to help hand-hold audiences through the film, often explaining what is already apparent in front of us. Not only this, but the narration overrides the music at key points, including the introductory song (!). Not only is it unnecessary and condescending, but it completely ruins the drama in a few scenes, effectively sabotaging the movie it’s explaining to us.

No version without narration like the various “final” cuts of Blade Runner exist, but if it did that would be the version to get. As it is, I would say that Rock-a-Doodle is a shambolic movie that succeeds more through its oddity than its core story. That, and a wonderful performance by Christopher Plummer bring this film far above some of the disastrous material we’ll encounter soon…soon enough.

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Belladonna of Sadness and the Animators’ Hand of God

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Not Safe for Work images ahead.

“I felt it was almost as if Tezuka had a few little drawers, which he opened, pulled out some things that he had used long ago, and though, Wow, look at this! before reassembling them into some sort of work…There’s a scene in [Takes of a Street Corner] where posters of a ballerina and a violinist or some such things are trampled…I remember when I saw this, I was so disgusted that chills ran down my spine…

There is a well-known rakugo comedy routine in which the owner of a tenement is learning gidayū ballads, and gets all his tenants together and forces them to listen to him. Well, Tezuka’s animation was just like that.”¹

–Hayao Miyazaki

Tezuka did not direct Belladonna of Sadness, but it ended up being the self-inflicted death blow for his animation company, Mushi Productions. Part of a trilogy of animated films intended for adults––1001 Nights and Cleopatra being its less experimental siblings––the movie is currently on a revival tour. I recently saw the 4K digital restoration of this occult rape fantasia at a local theatre and had to work through my impressions very carefully. It embodies in its radiant mix of impeccable taste and lurid sexuality the profound contradictions at the heart of attempts to bring animation to the adult counterculture.

It dovetails well with my Bakshi Retrospective, in other words.

Originally released in Japan in the summer of 1973, the film did so badly that it killed Mushi Productions, one of the historic titans of early Japanese film animation. Its avant-garde tendency contributed to its commercial failure but also ensured its longterm historical significance. Produced in watercolours with limited and stylized animation, with some scenes being just pans across huge, elaborate paintings, it tells the story of a woman who makes a deal with the devil to get the power to make her family prosper.

Director and co-writer Eiichi Yamamoto’s basis for the story was La Sorcière, called Satanism and Witchcraft in English. I’m not familiar with the book, but it has a reputation for being one of the first largely sympathetic accounts of European witchcraft, framing it as a protest against the repression of feudalism and the Catholic Church. Considering the 19th century’s obsessive fascination with the occult, it’s hardly surprising that the book came from the 1860s.

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And, judging by these 1911 illustrations by Martin van Maële, the book looks about as scientific and accurate as one would expect.

The book’s author, Jules Michelet, was not some gumshoe amateur, either. He was a Huguenot (French Calvinist) historian whose crowning achievement was a 19-volume history of France that exposed his scathing hatred of the Middle Ages. He even wrote and worked energetically during the Paris Commune, being unyieldingly hostile to French empire and feudalism in general. A thoroughly Romantic individual, his sensibility definitely informs the iconoclasm and mysticism of Belladonna.

Films that touch on witchcraft and the early modern European witch scares in particular are dealing with some fairly complex history. The definitive Marxist work on the with hunts is Silvia Federici’s Caliban and the Witch, who weaves this period of repressive violence against women together with the birth of the capitalist system and its destructive assaults on both peasant communities and women’s traditional knowledge. Many of its insights are summarized and well-presented in the zine Burning Witcheswhich is an excellent piece of work in its own right.

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Indeed, the film does have a critical edge to it and has some marginal material in it that could accord with Federici’s analysis, though presented in a warped and often patriarchal manner (on which more later). For instance, the entire plot of the film, such as it is, pivots around acts of violence against women. Entities political, supernatural, and human all take part either in the literal rape of the protagonist, Jeanne, or violently repress her in some way. Our heroine is ritually raped by the lord of the land on her wedding knight, and later gains occult powers through being raped by Satan himself, who appears in the form of a grotesque phallic being. People begin to suspect that she wields sinful power when she and her family carry on a successful artisan practice during a period of hardship. She and her husband prosper while the rest of the town is suffering from famine and excessive taxation. Because he is the only one who can pay his taxes (due to his wife’s labour) Jeanne’s husband Jean is appointed tax collector by the same lord who raped his wife.

Jeanne thus breaks out of the subsistence agricultural economy at an early point in the film, though that’s portrayed to be part of their dream at the beginning. Eventually, Jeanne becomes a usurer, using her position to exceed even in the lord in terms of wealth and power. At this point, she is a person to be reckoned with, and the king stirs up a mob to chase her out of the town and into a local forest for being a witch. Belladonna specifically frames the witch hunt as a result of a woman’s empowerment and the fear it produced within the population and particularly in the lord and his loyal Catholic bishop.

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Once chased to the periphery of civilization, Jeanne creates a phantasmic world and slowly wins the town to her favour with her power to heal the Black Plague and––no less––because of her ability to host orgies that would put the Summer of Love to shame. Here Michelet’s anti-Catholicism nestles right up to a crude approximation of the 60s sexual revolution. Just as the hippie isolationists of the 1960s arguably reconfigured Romantic ideas to suit their separatist retreats and communes, the film looks beyond the confines of the civilized space and the community that produces it for liberation, looking for escape in physical indulgence and mental expansion through substance use.

Deciphering the exact “view” the film might have about the historical witch burnings is not entirely possible. It’s easy to see that it sees the burnings in a negative light, and even sees witches as figures of revolt and counter-hegemonic power, but it’s obviously only using this period of history as a prop for its own agenda: to free animation from the tyranny of the “family” audience and canned subject matter. The animators are in some sense telling their own story through Jeanne: she is the instrument through which they will liberate their art.

Though the film is commendable in glorifying Jeanne’s power and even positioning her as a revolutionary figure in some ways, its depiction of her reminds one of the ways in which Surrealists would appropriate women’s bodies as props to celebrate their own liberation from the superego. Within the plot of the film, Jeanne transcends her victimhood to become an avatar of freedom and free love. In fact, at a certain point, her personality almost completely transforms from confident but often harrowed and “damaged” to serene and detached.

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Her body becomes a vessel for the fulfillment of the filmmakers’ fantasies, as well as those of the audience. These fantasies are cast as aesthetic and erotic, of course (given her constant nudity), but also, given what I’ve said above, deeply political as well. She is an embodiment of the film’s ideal woman and ideal world. The way the film eventually links her to French republican representations of Liberty and Nation is telling; like in Bakshi’s Coonskin, the sexualized woman serves as an attention magnet, drawing attention to what the filmmakers are doing and trying to tell the audience. Her power to heal and fulfill dreams is ultimately tied to that of the filmmakers to satisfy our (and their own) desires with the power of animation. Belladonna is masturbatory (what Miyazaki alluded to as the Hand of God in the article cited above) to the degree that it takes pleasure in a one-sided fantasy of animation’s Promethean power to satisfy the audience’s lust for women’s bodies objectified on screen. Jeanne is the birth of a thousand dreams, the climax of many others.

Notably, the filmmakers give us a parallel character, a feudal double for Jeanne. She is the wife of the lord, the lady of the land. Her own story is that of jealousy, repression, a gradual loss of power and respect. She, too, is taken and raped by a servant, who gets help committing this deed with Jeanne. The lord’s wife eventually dies by her husband’s sword as she climaxes, another instance where the film locates the source of patriarchal power in its control over women’s sexuality. There are certain ironies to that, given how the film’s celebration of sex and women’s bodies is more than a little manipulative and self-serving.

I mentioned Surrealism, but that movement, and its pop 60s counterpart Psychedelia, are only two of the reference points for Belladonna. We also have a whole sheaf of late 19th century European art, as well as earlier “decadent” movements like Mannerism. Eiichi Yamamoto, the director, specifically mentions the influence of Egon Schiele and Gustav Klimt as well as the Japanese illustrator Masakane Yonekura, who worked on the film. Yamamoto mentions that he wanted to capture the decadence of the fin-de-siècle, which serves as a mirror for the decadence of the early 1970s.² Klimt is certainly the most obvious reference, as his Symbolist art weaves together extravagant use of gold leaf with stylized, erotic subjects. While Belladonna is not as opulent, it takes from Klimt a fascination with characters who are largely abstract and ill-defined, standing in for universal concepts more than psychologically realistic characters. They’re fixed enough to serve as stand-ins for Men, Rulers, Priests, Women, the Mob, but are flexible enough (especially Jeanne, whose body is put through a gauntlet of usually-painful transformations and distortions in the film) to accommodate the experimental animator’s need to reconfigure, twist, and poke.

Viewing Belladonna of Sadness on a large screen is an arresting spectacle, featuring a number of captivating sequences. My personal favourite is the way the Black Death is portrayed as a great dark water dissolving away the great structures of civilization, leaving withered skeletons and spectral human beings in its wake. Another riotous sequence is the final sexual encounter between the Devil and Jeanne, which culminates in a pounding psychedelic soundtrack that rushes along a series of pop-art images that are individually witty or ironic but in their sum convey a sense of world-historical shaking and tearing. They’re also silly, but the overall effect is quite strong.

After seeing so many animated films from the 1970s, I think I can come to a preliminary conclusion about the typical way that Woman is portrayed in these kinds of adult animation experiments. They are never either the sharp-tongued Hollywood women of the Golden Age nor the ascetic badasses typical of action fare starring women today. Instead, they are both outspoken and powerful and the inevitable victims of male sexual power. Sexuality is the dominant theme, though, and whether the film in questions frames this violence fetishistically (the 70s B movie is one of the great repositories of rape in cinema after all) or more antagonistically––and this film does a bit of both––it is often the only thing that matters. I find this somewhat difficult to comprehend so far removed from the so-called Sexual Revolution, but the singular fascination with sex in this film is as graphic a reminder as I would want of this tendency in 70s filmmaking. Everything is sex––violence, personal autonomy, and politics––and sex is everything.

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Masakane Yonekura illustration.

What Miyazaki says in his article about Tezuka, that the man and his company were often obsessed with their own power of presentation and that they were desperate to impress, certainly rings true for Belladonna of Sadness. Some of the images in the film are indeed of the sort that would send a chill skittering up your spine. And not always in a good way. Yet I think that time, and the coalescence of animation as an art form around CGI and the “family audience” has been kind to this movie. Take out of its troubled time, and it shows up the current crop of commercial animated pictures for the diluted and formulaic works they are. It’s a piece well worth digesting and discussing, for despite its flaws it contains a spark of what popular art should be.

P.S. I left an enormous amount of content unwritten for the sake of taming an already lengthy piece. I could wax essayistic on what its relationship to anime is, its relationship to 19th century European japonisme, its soundtrack, its relationship to Tezuka’s other work, and on and on. I probably won’t come back to this film again, at least for awhile, but I encourage others who see it to write about these topics if they’re of interest.

Notes:

  1. Hayao Miyazaki, “I Parted Wayes With Osamu Tezuka,” in Starting Point, trans. Beth Cary and Frederik L. Schodt (San Francisco: Viz Media, 2009), 194-196.
  2. Interview with Eiichi Yamamoto: http://www.style.fm/as/13_special/mini_060118.shtml

Ralph Bakshi Retrospective Part 10: Last Days of Coney Island

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“But if we’re going to go back to using hand-drawn animation, it frees us to use hand-drawn animation. In the old days, when you’d do hand-drawn animation, you’d try to make your line very slick. It wasn’t with a computer, but you’d try for a certain slick-ness, a certain clarity, which all animation did: Disney, Warner Brothers, UPA. But the computer has freed us, I feel, to get closer to what painting is. We don’t have to be slick any more. Hand-drawn animation could never out-slick a computer.”

Ralph Bakshi, in an interview with Simon Abrams

To say that Last Days of Coney Island brings us “full circle” in Bakshi’s career would be more than wobbly rhetoric. In his latest and so far final film major film release, Bakshi makes a number of distinct returns. He returns to Brooklyn in the 1960s, the incubation chamber for his entire career and the subject he has mythologized and demythologized throughout his entire career. More than any other animator, Bakshi has himself become part of the 1960s New York myth, one of its most organic and self-conscious offshoots. Despite the fact that Bakshi, now in his late 70s, lives in George Herriman’s Southwestern territory, he produces another film in the line of Fritz, Heavy Traffic, and Coonskin. Last Days of Coney Island shows this animator living and, in more ways than one, commemorating the dead, by his artistic bywords: collage, expressionism, and independence.

But perhaps I’m too eager to begin eulogizing. Last Days might be an irreverent tribute to death and loss, but it is the work of a vital and still-living artist. And as much as it clings to the old world of street toughs, mob cops, and underground comics, the film is just as much a product of the present. Distributed on Vimeo, funded on Kickstarter, and processed in Photoshop and Toon Boom Studio, the film exists in the weird neverland of today’s film industry where Hollywood has no pocket change for $2 million animated films anymore but you can raise $175,000 for your own project with no oversight. Considering that Bakshi’s entire career has consisted in doing more with less, you can see how working this way might appeal to him despite his selective commitment to craft traditionalism.

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One of Bakshi’s paintings that appears in the film.

And what came out of this hybrid process? Put shortly, Last Days of Coney Island is a condensation of the Bakshi urban film. With a scant one fourth of Bakshi’s usual 80-90 minute running time, the film’s narrative flails and flies to reach its bitter conclusion. We encounter our usual troop of castoffs and lumpen elements––mobsters, bartenders, closeted gay men, prostitutes, crooked cops––and their stories are presented broken, fragmented. Bakshi centres not one protagonist but three, mixing dialogue low in the soundtrack and hitching the result to a Mark Taylor jazz score that scrapes and burns along with the sketchy images.

“Sketchy” is meant quite seriously here, since the frame has not been cleaned or scoured of errors or clutter. Every frame more resembles painting, Bakshi’s post-Hollywood career of choice, more than classic animation. Character forms are still cartoons, probably the most grotesque and even unsettling Bakshi has created yet, but they fill frame space in a different way. Easily dismembered, often subject to surreal transformations, their bodies share the elasticity of traditional cartoon figures but don’t have any inherent stability. They’re always collapsing, reconstituting themselves, and flowing like water sloshing in a porous container. “Flowing” might even be the wrong word, since the character movement looks unfinished, jerking from pose to pose without the refinement we’re accustomed to seeing even in Bakshi films.

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Shorty, one of our protagonists, and the circus freaks he extorts.

Backgrounds, meanwhile, are a collage of paint, old photographs, vintage video footage, and scraps of paper and, at times, even old pulp fiction book covers. We often see stretched and pixelated video footage of, say, the Kennedy Assassination, and perceive the obvious borders between two JPEGs pushed into the background. At no point do the characters exist comfortably in frame, as the scenery is always pushing and containing them. Despite some of Bakshi’s apparent unease with digital conventions––use of some editing techniques that are distinctly out of style and title fonts that are basic and dull––the overall effect is both to ground the film in a certain time and to communicate how that time and place was already composite, a recycled collection of random ephemera from all times. That was, after all, the essence of Coney Island. And this film, scrounged together from digital scans of vintage photos, embodies that essence in its very form.

I haven’t discussed the story itself in detail for a couple of reasons. The first is that the film is too chaotic and flippant for me to form much of an emotional attachment to it. Characters go through years of their lives, are killed suddenly, make startling revelations, all into a void the film would have filled if it had been 90 minutes long. Second, the film is relatively short and easily accessible, and contains some ironic twists that clarify the thematic intent of the film.

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That intent, as the title might imply, is to mark the passing of an age, or rather several ages. Last Days ends with a dedication to a number of Bakshi’s collaborators who have died before him, positioning this as a tribute to a whole generation of animators and their work. In some ways, their traditional craft has itself passed with the advent of computerized production. Of course, Coney Island itself stands in for a certain mythical conception of the United States itself. Bakshi uses Coney Island to periodize the United States, with its collapse coinciding with the phenomenon we usually call The Sixties. Given that the director spent the first half of the 70s reflecting on the aftermath of Kennedy, King, Malcolm X, Kent State, etc. etc., we can even see Last Days as a sort of origin story for the New York we see in those movies. A thorny milieu on the edge of collapse, a convulsion of violence, and the dissolution of an entire world find their way into the story. It’s the Big Crunch, a compression of tension and pain and trauma that will only explode when the likes of Fritz are forced to swallow it.

So what can we, as radicals and viewers, make of Ralph Bakshi? Most poignantly, his urban films dramatize the pitched battles waged on the carcass of urban decay. They revel in showing the toll of violence, instability, corruption, and, of course, exploitation on the human body and mind. In his fantasy visions, we see a flowering of the utopian desires that can only wither and rot in the contemporary world. By no means are Bakshi’s politics commendable, nor should we uncritically claim his work as some kind of beacon in the darkness. I think we should approach Bakshi’s work with both their content and process in mind. We can see them as fists slamming at the boundaries of animation and its capacity for expression. We can appreciate them as always-compromised protests, the work of an artist strongly embedded in the worlds he portrayed and furious at the horrible state of things. Above all, I think we can see him as the most impure (or is that the purest?) and radical edge of the New Hollywood, the prophet who most clearly articulated its machismo, its righteous rage, and its cutting failures. But a history of animation or film without Bakshi? I hope I’ve shown that such a history would be impoverished by this exclusion.

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