Posted by R. Emmet Sweeney on March 1, 2016
The animated films of Mamoru Hosoda are all about the practical aspects of the fantastical. Wolf Children (2012) begins with the transcendent love between a city girl and a werewolf, but instead of ending at their union, it begins there, with the bulk of the film concerned with the hard realities of raising two rambunctious lycanthrope kids. Summer Wars (2009) uses a video game virtual reality to tell a story about getting along with your prospective in-laws, while the girl in The Girl Who Leapt Through Time (2006) uses her powers to perfect a karaoke routine. His new film, The Boy and the Beast, is about a child runaway who discovers a secret world of warrior animals, where he is mentored by a splenetic bear-man. Though there are universe-shaking implications, the core of the movie is about how a kid fills in the emotional lack left by his absent parents. Opening in limited release on March 4th, The Boy and the Beast is another of Hosoda’s gorgeous spectacles that finds beauty and pain in the minutiae of existence.
Posted by Kimberly Lindbergs on December 17, 2015
Tonight TCM is premiering a batch of winter themed Disney cartoons and movies beginning with the Oscar nominated film So Dear to My Heart (1948) that combines live action and animation to tell a sweet story about a young boy who raises a mischievous black-wool lamb. This is followed by a three animated shorts (Rescue Dog; 1947, The Grasshopper and the Ants; 1934 and Corn Chips; 1951) and the live action musical Babes in Toyland (1961) starring one-time Mouseketeer, Annette Funicello. The evening concludes with the dramatic adventure film Never Cry Wolf (1983), an Artic-based documentary titled White Wilderness (1958) and the Viking fantasy The Island at the Top of the World (1974). This is classic entertainment that the whole family can enjoy so if you’ve got children who need to be in bed before midnight I suggest using your recording devices so you can watch these programs at your convenience.
Posted by Kimberly Lindbergs on September 17, 2015
One of the best new films I’ve seen in recent months is WHITE GOD (2014). This Hungarian production thoughtfully directed by Kornél Mundruczó tells the deeply troubling story of Hagen, a pampered pooch owned by a somewhat aloof thirteen-year-old girl named Lilli (Zsófia Psotta) who is abandoned by Lilli’s callous father and left to fend for himself. We follow the discarded pet on his harrowing journey through the streets of Budapest where he encounters other homeless dogs as well as abusive dogcatchers, cruel butchers and finally bloodthirsty dog handlers who train Hagen to kill. When he eventually escapes his torturers, he is a much meaner animal and forms a pack with other abused canines. In a brutal finale, the dogs roam the city taking revenge on the humans who have tormented them.
The film is weighted with biting social commentary as well as religious and political allegory but at its heart, WHITE GOD is a rather simple and profoundly sad story about a helpless dog that learns he must rely on himself and rebel against authority if he wants to survive in a dog-eat-dog world. It also doubles as a sensitive coming-of-age story about the young dog owner who learns a similar lesson although the perils and circumstances she faces are much more privileged and forgiving.
While watching WHITE GOD I was reminded of a few other films I admire that center around dogs like Hagen who were forced to take similar journeys while suffering the consequences of man’s inhumanity to man and animal alike.
The problem with animated cartoons was baked in on Day One.
Winsor McKay was not the creator of cartoons, but he’s close enough for discussion’s sake. Right away with his inaugural film,, he devotes half the running time to emphasizing how gruelingly hard the whole enterprise is: the months of work, the towering stacks of drawings. Eventually the animation starts, his famous newspaper cartoons spring to life, and all that effort is legitimized. But as thrilling as the fruits of his labors are, he makes sure to keep the labor part of it in full view.
This was the problem: making pictures moves means drawing an absurdly unreasonable number of pictures. As magic tricks go, this one’s nightmarishly hard.
And this sets something of an upper limit to the enterprise: detail-intensive work like this can’t be easily rushed. So, as a business concern, making animated cartoons profitable means one of two things. Either a) upselll the hard work and try to get audiences to pay a premium for the technically difficult work you’re doing, or b) try to find a way to get away with having the pictures not move.
This is the story of Plan B.
Posted by Kimberly Lindbergs on May 7, 2015
Last week I celebrated the 100th birthday of Orson Welles and this week I’m celebrating another milestone, the 50th anniversary of THUNDERBIRDS and the International Rescue team featuring secret agent extraordinaire, Lady Penelope.
This popular “Supermarionation” series of television shows and feature-length films debuted on British TV in September of 1965 but Lady Penelope made her first appearance nine months early within the pages of the comic book magazine, TV Century 21. Lady Penelope’s early introduction indirectly resulted in her becoming somewhat of a special ambassador for THUNDERBIRDS and she managed to entice both male and female comic readers with her stories of “Elegance, Charm and Deadly Danger.” This coming Saturday (May 9th) TCM viewers will be able to see Lady Penelope as well as her fellow International Rescue team members in THUNDERBIRD 6 (1968) airing at 8 AM EST – 5 AM PST. In anticipation of THUNDERBIRD 6 and in celebration of the THUNDERBIRDS 50th anniversary, I thought I would explore the enduring appeal of Lady Penelope who, along with her pink six-wheeled Rolls-Royce and trusty sidekick Parker, has managed to capture the imagination of children and adults for the past 50 years.
Walt Disney had a problem. Technically, he had several problems, but they were all knotted up with each other like a set of headphones that had been left too long in someone’s pocket (great metaphor, huh? That’s why they pay me the big bucks).
And his response to this problem was in many ways mean-spirited and venal, cheap and short-sighted. But listen, Walt Disney is one of my heroes. He didn’t have the luxury of seeing the future, of knowing how his decisions would pan out. He did what he could to keep his studio alive, and while I might wish he had made some different choices, I also get why he did what he did.
And thanks to his choices—good, bad, or indifferent they may have been—he seeded to the world a deliriously weird film called The Three Caballeros. This oddity will be on later this week. You have to rearrange your schedules to see it. Cancel your plans, turn your phones off.
Posted by Kimberly Lindbergs on December 18, 2014
As a kid growing up in 1970s my Sunday nights revolved around The Wonderful World of Disney. It was my cherished respite before the much dreaded school week began and I savored every last minute spent in front of the family television set. At the time, residents in the San Francisco Bay Area where I was born and mostly raised, only had access to 10 or 12 available channels to choose from and many of those were locally run and operated. There were no video stores renting movies in those days and the idea of streaming films directly into your own home was merely a faraway fantasy. In these limited environs, The Wonderful World of Disney offered kids and adults of all ages a surprisingly diverse and family friendly smorgasbord of programming that included animated and live action films, nature documentaries, educational shorts and special broadcasts made especially for television. Much to my delight, Turner Classic Movies has recently teamed-up with The Walt Disney Studios for a new on-going program called Treasures from the Disney Vault hosted by Ben Mankiewicz and film critic Leonard Maltin that’s making its debut this coming Sunday night on December 21st. TCM’s impressive 8-hour block of television is a throwback to The Wonderful World of Disney of my childhood and I hope it will introduce a new generation to the wonderful treasures hidden deep within the vaults of the Disney Studios.
Posted by Susan Doll on September 29, 2014
Next Monday, October 6, TCM presents an evening of early American animation, a must-see for cartoon fans of all ages. The line-up begins with the cartoons of Winsor McCay, followed by animation from two companies lost to the history books, the Bray Studio and the Van Beuren Studios. At 12:15 am, Lotte Reiniger’s unique Adventures of Prince Achmed airs, followed by the 1939 version of Gulliver’s Travels and the Japanese feature Magic Boy. Chuck Jones’s beloved Phantom Tollbooth concludes the evening’s entertainment, which has been dubbed “Back to the Drawing Board” by TCM. Of the vast array of styles and stories represented in this selection of pre-classic animation, I am most excited to see the work of the Bray Studios and Prince Achmed by Reiniger (above).
Posted by R. Emmet Sweeney on July 29, 2014
In the 1950s Hiroshi Okawa wanted to make Toei Company the Disney of Asia. Toei had already become a prolific producer of jidaigeki (period drama) movies, focusing on cheaply made programmers to fill out double and triple bills. They made 104 features in 1954 alone. Toei president Okawa had grander designs, and acquired the animation company Nichido in 1956 in the hopes of competing in the international cartoon market. Toei followed the Disney formula of selecting local fables and fairy tales for adaptation, and adding on a menagerie of cute animals. They also followed the Disney edict of making only one film per year. In a test of the receptivity of the U.S. market, they released their first three films there in 1961, all through different distributors. Their first animated feature was The Tale of the White Serpent (1958), an iteration of the Chinese folktale “Legend of the White Snake”. It was dubbed and released in the U.S. as Panda and the Magic Serpent by the independent Globe Pictures. The first Japanese anime to receive substantial stateside distribution was Magic Boy, completed in Japan in 1959 and released by MGM in ’61. Alakazam the Great (1960) was released stateside by exploitation experts American International Pictures. The overseas theatrical experiment failed, though Toei’s animation wing would start a pipeline into U.S. television, becoming a staple on Saturday afternoon matinees. Now the Warner Archive has given the U.S. version of Magic Boy its first DVD release, allowing us to examine part of Okawa’s grand plan (it also airs on TCM on Monday, October 6th at 3AM).
Posted by David Kalat on August 31, 2013
Salvador Dali’s surrealist career was bookended by his experiences in the movies.
I have to couch that statement with the limiter “surrealist career” because Dali was a prolific and prodigious talent whose larger artistic career in toto is almost incomprehensibly vast—he was painting like a pro when he was a small child, and kept at it until 1989. That’s right, Dali was around to witness the first Internet virus. Just wrap your head around that.
But… he is known and celebrated primarily as a surrealist, and it is that phase of his career which intersects the world of movies. And therein lies our tale.
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