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AniMaytion Month: Rock and Rule/Strange Frame

Last year about this time I spent some posts focusing on works of science fiction, and this spring I’m kind of doing it again by default, except that this month, my particular interest is in animated productions.

And, in addition to that, I find myself in the position of having recently encountered two animated features that are, at best, cult classics in terms of notoriety, and both of them involve people in a post-apocalyptic scenario saving those they love through the power of rock and roll.


Chronologically, the first one is 1983’s Rock and Rule, produced by Canada’s Nelvana Studio – the first English animated film produced entirely in this country, I gather. In a time after global war has left the world populated by animalistic humanoid mutants, Angel and Omar are a couple who dream of making it big as musicians. Angel has a real talent but Omar is selfish and insecure about his own success and they quarrel over exposure for their own songs. Angel is sought out by Mok, a sorcerous former superstar who tempts Angel with going solo. Mok has been searching for a special voice that will enable him to achieve a new kind of power – a horrible demon summoned from beyond. However, I would never have known this movie existed if it hadn’t turned up in the YouTube suggestions while I was watching the other one…


In 2012, an award-garnering indie film called Strange Frame: Love and Sax came out completely under most radars. Centuries after the polluted Earth has been abandoned and humanity has colonized the rest of the Solar System, hereditary debt bondage and genetic engineering to make you better at a given job are the norm. Parker, a runaway middle-class saxophonist on Ganymede falls in with a debt-slave rebel, Naia. The two become a couple and form a subversive band. When Naia catches the eye of a recruiter for a big music producer, Parker finds herself turfed out as Naia becomes a brainwashed, sanitized superstar. Joining up with the crew of a DIY spaceship, Parker formulates a plan to defy the big fame machine, recover her beloved and get away from it all.

First off, it should be made clear that neither of these movies is meant for kids. I gather that it was a popular misconception that Ralph Bakshi made Rock and Rule; the use of rotoscoping does give that impression, I suppose. The movie sure isn’t shy about suggestive clothing – club dancers wearing the bare (ha, ha) minimum, the villain half-naked in a robe and Angel forced into an outfit on par with the Princess Leia slave bikini – and there’s a scene of Omar and Angel making out very energetically. Strange Frame meanwhile takes place in a Blade Runner-esque grungy future where fetishistic clothing is commonplace and Parker and Naia have sex two or three times in the run of the story – it’s not pornographic by any means but it is still pretty steamy. Plus the monster Mok summons in Rock and Rule is fundamentally disturbing.

Rock and Rule‘s voice cast aren’t big names, as far as I know, except for Catherine O’Hara in one scene. That said, the singing voices are quite big. Well, to be honest, the only one I knew was Iggy Pop, and that’s only because of the time he was on Deep Space Nine. He and one Lou Reed lend their voices to musical numbers by the villainous Mok, the singer Robin Zander does Omar and Deborah Harry does Angel’s singing.

Strange Frame, by contrast, first caught my eye precisely because of its cast: Parker, the heroine and narrator is voiced by Claudia Black, late of Farscape and Mass Effect 2, Naia is played by Tara Strong, Grenman, the captain of the DIY ship – the delightfully named Lone Mango – is Ron Glass, and Chat, the band’s drummer, is Alan Tudyk. Given the general look of the thing, two Firefly and one Farscape actors make perfect sense, really. Cree Summer, Tim Curry as the villain, and George Takei as the villain’s overseer round off one heck of an ensemble.

I can certainly understand why somebody thought that Rock and Rule was Bakshi’s doing. You can tell from how they move that the characters are rotoscoped over live performers at least some of the time, and the attention to detail is pretty impressive. Whoever was animating Mok’s face certainly cared about their work. It’s got more movement in it than some whole characters. It seems to be set in the far future with a new civilization having arisen long after the old one. Omar and Angel make out in a car that looks abandoned in a sort of campsite, the nearby big city is called Nuke York and features such as Mok’s airship, his power plant base and the hovering-shuttle transit system suggest islands of advanced technology in a sea of used future – Blade Runner again splattered across Mad Max, as it were. What’s kind of weird is the halfhearted way the characters are made to look like animals. If TV Tropes is to be believed, most of the main characters are meant to look like dogs, but they resemble dogs to about the same extent that Arthur resembles an aardvark. Angel just looks like a regular gal with a button nose if you don’t look too close. Mok is supposedly meant to be a cat, but I don’t see it at all. He looks like Count Dracula as played by Steven Tyler. Overall, the effect isn’t ‘these are cartoon anthropomorphic animals’ so much as ‘these are humans but something about them is weirding me out.’ That said, the animators pushed the boat out on the demon. It doesn’t stick with cliched demon imagery. Instead it goes the Eldritch Abomination route of depicting something that seems unused to having a physical form, and is in a constant state of hideous flux.

Strange Frame‘s animation is made in a style of stop motion with paper cutouts. It incorporates bits of old live-action movies and CGI-distorted live images for some of the backgrounds and vehicles. The character design is eclectic to say the least. The various genetically engineered persons create a colourful cast. Reesa, Grenman’s first mate, looks more like a hybrid of monkey and bat than a human; the three ‘Muses’ who advise Parker include a catgirl and a lady with ram’s horns; Atem, the band’s bassist looks like a werewolf and Chat the drummer has four arms. Parker is easily the most normal-looking. The grungy, orange-tinted scenery, megacity setting, corporatocratic society and whacky-tending-to-racy clothing styles evoke Blade Runner, Transmetropolitan, or Warhammer 40K Hive Worlds. The way ancient spare parts get used to build ships, and how some ships are built using hollowed-out asteroids as hulls was particularly nifty. The combination of digital and physical media – or appearance thereof – is reminiscent of the Neil Gaiman movie Mirrormask.

Neither film is a musical exactly, but music is nonetheless a key part of the story. Rock and Rule is, as I said, a bit of an all-stars lineup of its time. Lou Reed’s villain song for Mok is fun enough. The original Canadian version and American redub of this movie are apparently markedly different, because I found a standalone clip of Iggy Pop’s contribution, but in the original version’s upload I watched, it’s barely audible above the sound effects of our heroes dashing to the rescue. I’m innately wary of any story where somebody’s voice or talent is supposed to be earth-shattering, especially when it’s as literal as here, because it’s hard to find a real talent that lives up to that much hype. But to my pleasant surprise, Angel’s song, ‘Send Love Through’ – later reworked by Deborah Harry into the single ‘Maybe For Sure’ – is written and performed so well that you really could believe that it has the power ascribed to it. Certainly, it’s now been stuck in my head for over a week.

Music in Strange Frame is superb. The songs of Naia’s that get spotlighted are catchy, especially the one she composes in the first act. The only disappointing thing is that you feel like you’re only hearing portions of them. Strange Frame doesn’t seem to have a soundtrack album. The background music is also catchy as hell, with Jazz, electronic and other influences evident. The saxophone’s presence, as Parker’s instrument, gives the music real drive and emotion. The big chase scene at the end is especially good. The sci-fi sound effects are first rate, too. As before, some of the busier scenes might make it hard to notice what’s going on. According to the Wikipedia page there’s a Roger Waters song in the movie, but don’t ask me where.

Rock and Rule‘s story is, if nothing else, pretty original in concept, and the way that a quarrelsome couple can come together to vanquish evil through song is oddly moving, if a little cheesy. The only drawback is that the characters evolve by the flick of a switch, rather than gradually. Omar is hot-headed and selfish, storming off in a huff when Mok seeks out Angel’s solo talent, but we don’t really see enough of their life to know why she puts up with him. I think the relationship is meant to be seen as passionate but creatively fractious, but without enough context it almost looks abusive. It still drives a theme of your loved ones and your art being more important than your ego. Omar pulls a big damn heroes moment more because it looks cool in the movie than because it seems true to the character, while their other two bandmates actually make a rescue effort we get to witness. And that doesn’t actually accomplish much, except to get their drummer, somewhat an audience surrogate, into position. Omar’s character arc, such as it is, is served by Angel, despite her nominally being the main character. She doesn’t really have an arc. She doesn’t fall for Mok’s enticements of solo success, he kidnaps her. She stays much the same. Though it is cool that she’s a positive example to those around her, and she’s an active and intelligent character, it does seem like she’s doing a lot of the emotional labour here. Mok is a villain I like. Complex he ain’t, but cunning, grandiose, petty and diabolical, and the theme of fundamental goodness drives his downfall as well as the demon’s. But the plot has a sense of being rushed from point to point.

Strange Frame‘s plot is a lot better organized, with Parker’s narration keeping you on top of things. That said, some of the plot is communicated visually without being spelled out, but it comes across more as ‘we want you to interpret this’ rather than Rock and Rule‘s ‘we don’t have time to explain this properly’ vibe. Exactly how the villains’ evil plot works is a little unclear. They make an android duplicate of Naia but still keep her squirrelled away in stasis – I interpreted it as using the android as a conduit for her talent while locking away her rebellious personality. The other bandmates kind of fall by the wayside with little ceremony. In contrast to the sense that large chunks of plot and character are missing in Rock and Rule, Strange Frame seems to have a lot of plot elements that don’t go anywhere. I gather the original plan was to make a series out of it, and there are threads tending to indicate that. The parallel narrative with the AI installed on the Lone Mango barely interacts with everything else. It sort of reminded me of that ‘castaway’ metaplot thing in Watchmen. While the villain is vanquished, his overseers, represented by the voice of George Takei, are never seen, named, nor called to account. The rescue plan seems to go a little too easily, and the big chase scene seems oddly unimaginative, albeit visually enjoyable. That said, the ending, while open-ended, is positive and satisfying, and the movie defies the increasingly infamous Dead Lesbian trope!

It might be obvious by now that I like Strange Frame more than Rock and Rule. Strange Frame‘s dialogue and voice acting are excellent, funny, heartbreaking, and clever. I had to laugh at Claudia Black bringing us a whole new set of sci-fi fake swear words after her tenure on Farscape. The story’s better constructed, and the characters are more varied and interesting, with almost everybody in it a person of colour (when they look human) a sexual minority, or both. I like the setting, a future civilization spanning the Solar System, like the Expanse or Cowboy Bebop. I like the artistry of the animation, which is quite unlike anything I’ve seen.

I’m not saying I don’t like Rock and Rule. Apart from its Canadian background, it’s still an great archetypal story, however haphazard, and its animation style gets me in the nostalgia somewhat. The imagery is quite imaginative. Despite the comparisons to Bakshi, I actually thought some of the scenery was akin to Studio Ghibli’s style. It’s just that if I had a choice of which one to push to friends, Strange Frame would be – and indeed, is – first in line. I recommend it first for story, characters, voice acting, progressivism and general weirdness. Rock and Rule‘s weirdness seems more unintentional than Strange Frame‘s. For music though, for me, it’s a dead heat, I’m glad to say, and it feeds this weird fascination I have with stories about fictional bands I was previously feeding on a diet of Jem and the Holograms.

You can rent Strange Frame on YouTube and Rock and Rule has been running the bootleg circuit so long I don’t think anyone cares anymore, so it too will pop up on YouTube time and time again, so check them both out, if you like.

Meanwhile, in the interest in getting that song out of my head, here it is in a fan-edited video so you all have to hear it too…

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Posted by on May 3, 2017 in animation, Movie


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Luna: A Story of the North

There’s no getting around it: culture in the West today, and indeed in a lot of other places, is dominated by trends set by the United States. Whatever your feelings on the subject, it is the order of things.

Mind you, plenty of it’s good stuff. Still, it’s nice, once in a while, when you stumble across something made elsewhere, especially if it’s an elsewhere you’re from.

That’s why I like shows like the 90s vampire series Forever Knight, and more recently, Flashpoint. Because lots of movies are made in Toronto (look closely during the traffic shots in Blade Trinity; you’ll see a CityTV van whiz by) but those two had the distinction of being Canadian-made shows that freely admitted they were set in Toronto.

That kind of content is hard to find, if only because it’s hard to spot in the vast expanses of TV-land. Circumstance dropped a sample of Canadian production in my lap the other day when CTV showed the movie Luna: Spirit of the Whale.


This review is a bit problematic because the fact that I saw it was a complete fluke and I frankly don’t know how anybody reading this will be able to chase it down for themselves. In case you can find it, online or through your library, though, I wanted to draw attention to it.

The setting is Nootka Sound, on Vancouver Island, British Columbia. Our hero is Mike, of the Mowachaht/Muchalaht First Nation. He’s returning home after leaving to kick his drinking problem and build a new life. Having achieved these things, he’s now returned for his father’s funeral. His father was hereditary chief of the Mowachaht/Muchalaht and his mother hopes he’ll take up the mantle in his turn. Mike, however, is uncomfortable with the idea.

However, he starts helping out around the community, including taking a delinquent youth under his wing. Things go really strange for him when, having organized the kids to clean, repair and take out two traditional canoes, they encounter a solitary Orca who seems extremely keen to spend time with them. Mowachaht/Muchalaht lore dictates that chiefs reincarnate as either wolves or whales.

The community at large sees this as a positive sign and it raises the spirits of the disaffected young man Mike has been informally mentoring. Unfortunately, the government, run ragged by the number of people going to interact with the whale, and the nuisance it’s causing the local fishing business, decides to relocate Luna, to use the whale’s given name. The First Nation will have none of it, and Mike is caught between worlds trying to find a solution.

Now, luckily I long ago deleted any detailed memory of Free Willy so I went in with a more or less clean slate. Still, for a movie made in 2007 there’s something intensely 90s about this movie. The personable wild animal, the reluctant hero with a troubled background, the sympathetic wildlife expert overshadowed by a thick-headed bureaucrat, plucky attempt to stand up to the Man in an emotional showdown. It also plays the old ‘based on a true story’ card, which is guaranteed to bring melodramatic angst and everyman David-on-Goliath conflict for the ride. It also glosses over the tragic fate of the real Luna by leaving things at a point where it can have a saccharine snatched-from-the-jaws-of-defeat happy ending.

So narratively it’s a bit cheesy. I will give it this, though, near as I can figure, it doesn’t paint the morality black-and-white.

On the one hand, the government man is doing what he thinks is right. He’s close-minded, merely humoring the First Nation in its insistence on having a say, and cares most about the bottom line and the political look of things. However, he follows the letter, if not the spirit of the law, and the people he brings in to handle things genuinely want to help Luna. Significantly, the inequities of the political system are demonstrated, but the movie shows restraint and realism by making him merely a stubborn politician without also making him, for example, an overt racist just to bash the point home.

On the other hand, the point of view of the First Nation side isn’t portrayed in a totally positive light. It’s common in tradition vs. progress type stories, especially where Native Americans are involved, to portray a kind of starry-eyed spirituality that is inherently superior and always right in the face of big, bad modernity. I gave Captain Planet and the Planeteers a lot of guff about this too, because it does First Nations a disservice as much as a negative portrayal. Mike’s traditionalist foil, Bill, believes firmly in Luna’s nature as a reincarnation of their chief and takes the opposite extreme to our government interloper, thinking of the whale is if it were a human being. If you’re going to anthropomorphize an animal, the highly intelligent Orca makes more sense than most, but doesn’t necessarily make it wise.

Mike, meanwhile, is middle-of-the-road. Bill anthropomorphizes to one extreme, and the government agent figures that the regulations contain all he needs to know about nature on the other. Mike takes the moderate view that nature ought to be left alone and Luna should be given as open-ended a chance as he can. He repeatedly tries to lead Luna out to sea to see what his nature compels him to do, giving him the choice. He comes to find the belief in Luna’s spiritual significance compelling, but doesn’t forget that this is a wild animal running by nature’s rules. He also bucked my expectations of the ‘returning home’ story in that his reluctance is bred from his own internal insecurities. His memories of his father are mostly positive, he loves his mother to bits and takes a genuine interest in the wellbeing of his childhood home.

The movie boasts plentiful Canadian talent: Mike is played by Adam Beach (also in Windtalkers and Cowboys and Aliens) and veteran actor Graham Greene (Dances with Wolves, Thunderheart) plays Bill. As a bonus it shares a producer in common with Flashpoint: Anne Marie la Traverse.

So, if you can get a hold of it, Luna: Spirit of the Whale is pretty good. The story’s a bit cheesy but thematically resonant. It tells a story of Canada’s First Nations without fetishizing the idea of native people and achieves a decent level of moral ambiguity. The special effects are bit behind the times (it is very easy to see when the whale has been digitally added to the shot) but has a great cast and landscape to make it up.

“They say the sea is cold, but the sea contains/the hottest blood of all.”
Whales Weep Not! By D.H. Lawrence


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Posted by on October 8, 2013 in Movie


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