Posts Tagged Cartoons
CHILDHOOD REVISITED – BATMAN: MASK OF THE PHANTASM
Posted by kjohnson1585 in Animation, Childhood Revisited, Comics, Film, Television, Uncategorized on June 8, 2009
This shot is too epic for witty words.
BATMAN: MASK OF THE PHANTASM – (1993)
Director: Eric Radomski, Bruce W. Timm
Starring: Kevin Conroy, Dana Delany, Mark Hamill
Screenplay by: Alan Burnett
Tell all the modern Batman Begins and Dark Knight fans to go jump off a cliff, since us “real” fans knew how awesome Batman already was via “Batman: The Animated Series”. Christian Bale and (RIP) Heath Ledger are nothing compared to the Kevin Conroy and Mark Hamill voices that showcased the airwaves for three seasons (1992-1995). And, truth be told, Conroy’s Batman voice is a hell of a lot better than that raspy, sandpaper noise that emerged from Bale’s mouth when he donned the black mask.
Of course, I’m exaggerating. I certainly enjoyed Batman Begins and The Dark Knight a whole heck of a lot. But the rich, deep, dark Batman everyone knows and loves now was fighting crime back in 1992 every afternoon. In retrospect, it certainly was an excellent show, but other than a few awards and a die-hard fan base, I don’t think anyone watched it. The series debuted Mask of the Phantasm to theaters in 1993, and pretty much broke even at the box office. Gee, I sure wonder how the show/movie would perform now…
NOSTALGIC LENS: I remember little about this movie. I vaguely remember the flashbacks and I do remember (SPOILERS) that the Joker was the one who managed to solve the identity of the Phantasm before Batman did. I was pretty young, so to be honest, I don’t remember much about the animated series other than being enamored by it, and Batman whipping some series ass. Also, I do remember hearing that the show was animated on black backgrounds to really bring out the dark aesthetic. The specifics, however, are gone from my memory.
DOES IT HOLD UP: This movie is fantastic.
Now, granted, I fully understand why the movie failed at the box office. First, there was little to no marketing of the movie prior to its release. Secondly, the story engages in a lot of tropes and ideas that stem directly from the TV show. In other words, if you didn’t watch the series, you were a few steps behind. It’s not that the plot is too complicated; it’s more that the overall style doesn’t quite cater itself to the movie-going audience, especially those hard-bent on Tim Burton’s vision or delighted more in campier versions of the masked vigilante. To say nothing of those misguided souls that automatically peg animation as “kids fair”.
That final point is more significant than you may think, since the movie is rated PG. A number of Netflix and IMDB reviews seem to be disappointed by this “kiddie” rating, expecting, perhaps, a PG-13. Well let’s just say in this day and age, it would have certainly received that rating—but the real wonder of the film is how it delves into such strength, drama, action, and danger without dropping curse words or ramping up the blood.
As a new masked vigilante starts killing mob bosses, Batman is wrongly implicated for their murders, which has the police on his tail. Meanwhile, former lover Andrea Beaumont returns to town, which causes Bruce Wayne to relive some painful memories of his past. It seems Wayne and Beaumont were lovers, which left Bruce stuck between giving in to the love of his life or the vow to his parents. (By the way, the exact nature of this vow—to fight for vengeance in terms of righteousness—is never quite explained. I can’t even say for sure it’s implied, either. So it’s bit tricky to expect audiences to know what exactly is troubling Wayne, unless, again, you’re keen on to the TV show.)
But even if you’re not aware of the details, the movie really drives in some serious emotions:
The story is intriguing enough that it works perfectly for the elements that the film tries to convey, even though it’s really just a prolonged episode of the TV show. But the conflicts are full blown (Batman’s escape from the police is a tour-de-force in animated action) and all the ideas we know now about the Batman oeuvre are present here. An early scene of pre-Batman-Wayne fighting criminals near a warehouse perfectly compliments a similar moment in Batman Begins. Regarding The Dark Knight’s theme of people going over the edge of sanity? Why, the Joker (Mark Hamill is on top of his GAME) here delights in the idea that Batman may have finally snapped, too!
Again, the story isn’t too complex, which involves some vague, past mob threats and a unique (if not too original) plot-twist. But for PG movie with a short running time (76 minutes), there’s a lot of subtle drama with dark edges and overtones, making this a great and satisfying way to kill an hour with absolutely no regrets. Also, the animation is gorgeous. Who ever said it doesn’t date well is severely mistaken.
IN A NUTSHELL: Excellent movie, despite a few minor flaws here and there (some specific voice readings are kinda awkward, and there seems to be a misstep, plot-wise or timing-wise, in a few early scenes). Otherwise, though, it works in so many ways, and the animation is quite good—Batman was doing hardcore art-deco before Bioshock made it COOL. Check out this dramatically powerful yet understated ending sequence:
I want a full, HD poster of the shot at 0:41.
June 15th: The Rescuers
June 22nd: The Rescuers Down Under
CHILDHOOD REVISITED – THE BRAVE LITTLE TOASTER
Posted by kjohnson1585 in Animation, Childhood Revisited, Film, Uncategorized on May 25, 2009
Just let it happen, Blanket. It won't hurt. Much.
THE BRAVE LITTLE TOASTER – (1987)
Director: Jerry Ress
Starring: Deanna Oliver, Jon Lovitz, Timothy Stack, Timothy E. Day, Thurl Ravenscroft
Screenplay by: Thomas M. Disch
How do you pitch a movie like this? “So, there’s this toaster, who breaks out of a cabin, and she (it’s a she, did I mention that?) and her appliance-companions go on a wild adventure to find their master. It’s for kids, but we’ll make it just creepy and awkward enough to freak them out.”
“SOLD.”
It’s a weird movie, in idea and in execution; a stretch so far out there that the movie had failed to find a distributor after its release. It lacks the “Disney” charm that the company is known for, and the animation itself is a little unrefined, something you usually don’t get out of Disney animated films of the early 80s and 90s.
That being said, this movie is amazing.
NOSTALGIC LENS: I always would catch this movie on the Disney Channel at some random point in the middle of it. I never watched it all the way through, so I had trouble following the story. Something about the animation, I recall, seemed to bother me as well. I got a “half-assed” vibe from it; akin to the strange feeling you get while watching the “Squiggle-vision” of “Dr. Katz” and “Home Movies”. I do remembered enjoying the music from it, though.
DOES IT HOLD UP: Watching it now, it’s a whole new experience.
There’s something sad about this movie, almost hopeless, even with its uplifting ending. Despite the straight-forward plot – the Toaster (Deanna Oliver) convinces the Lamp (Timothy Stack), the Radio (Jon Lovitz), the Blanket (Timothy E. Day) and the Vacuum, AKA Kirby (Thurl Ravenscroft) to travel to “the city” to find their master – there’s so much richness in the subtle, quiet moments that it’s easy for children, and even most adults, to miss or ignore. The movie isn’t concerned about the story or logistics so much as it seems more concerned about the moments, the themes, the attitudes and atmosphere. Everything is geared towards this, including the voice work, the animation, the music and score, the dialogue and the plot itself – which may explain my awkward sense in watching this film at a young age.
For example, there’s very little indication of the time period. The Radio constantly refers to Teddy Roosevelt, but plays “Tutti-Frutti” and “Mammy” on his broadcasts. Early sights of cars imply the 70s, but later in the movie we get a lot of (more modern) appliances which suggest the 80s… hell, even the 90s! One could argue this takes the movie out of a specific setting and into a “timeless” world, one separate from any recognizable temporal or physical location.
This allows for a specific focus on the characters, and it is just adorable, almost in a Romantic kind of way. No one over-does his or her line readings, which is excellent; even Lovitz stays under control, who we all know can really ham it up. Blanket may be considered the most annoying character, with his constant whining for his master, but he’s really just a child who wants to see his mom again. (I especially love the soft implications that Blanket would indeed have the most affection for the master, since he was designed to cuddle – numerous scenes display this, showcasing his need beyond desire and into function). Lamp and Radio have a delightful play between each other, and Kirby’s gruff attitude is more a front than anything—we learn this early on, when he secretly dances to “Tutti-Frutti.” So it’s not a stretch when we see him jump off a cliff to save his friends.
Sacrifice is an important theme here, and we see a lot of it, from Lamp’s reach towards lighting to power the battery, to Blanket’s makeshift tent, to Toaster’s final leap to save the master. Toaster, specifically, is an interesting case. She seems to be stuck in a moral quandary for a good part of the movie, bouncing between the collective hazing of Blanket’s crying and helping him out. She resembles a student whose joins the mean crowd to feel belonged, but also eager to help the losers when they need it. She’s a burgeoning leader (getting the appliances to clean the cabin, instigating the original call to find the master); but unclear of her purpose or real role. Until this scene from an arguably out-of-place nature sequence:
This moment in a strange way puts Toaster on the “right path,” forcing her closer involvement with Blanket (for a warm, toasty feeling, she says). She still has a way to go, and her nightmares won’t let her forget:
Holy crap, that was scary. But it’s powerful in a way; her own innate fears for sacrifice or… death (if we argue that appliances can die) come to play later, when she nervously drops her friends in a waterfall after a bout with vertigo (she genuinely feels terrible about that). So when she does make her final sacrifice, it’s all the more significant.
I’m running a bit long, so I’ll say one more thing. The music isn’t as memorable as I thought it would be (although “Worthless” is still pretty good), but again, it’s all about fears – organic fears that appliances would have (they anthropomorphize the appliances very, very well, such that their electricity-related puns come off as realistic dialogue instead of forced humor). From hope-filled “City of Light,” to the you’re-only-as-good-as-your-parts “It’s a B-Movie,” to you’re-now-obsolete “Cutting Edge,” to the final-nail-in-the-coffin “Worthless,” it’s an extremely poignant moment that when Toaster DOES jump to save her master, aware of the very real fact that she could be tossed aside and/or destroyed like the machine she is, you can’t help but get a little choked up. Even the Master’s girlfriend suggests throwing it away (what a fucking bitch—she doesn’t even CARE the master was almost killed). But he repairs it, and the Toaster’s fears are finally gone.
IN A NUTSHELL: There’s a lot of great stuff I wish I had more time to discuss here. The subtle moments and ambiance, combined with a quiet but rewarding aesthetic, makes The Brave Little Toaster such a pleasant wonderful experience that is SUCH a disappointment that the DVD itself lacks any really insight or inspiration. Also, the humor in this movie is excellent. Not only does it hold up, it’s even better than ever. This is what Toy Story wishes it could be (no offense to Toy Story—I liked that movie).
June 1st: Teenage Mutant Ninja Turtles: The Movie
June 8th: Batman: Mask of the Phantasm