RSS

Tag Archives: musicals

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.

mv5bndezntc2nja2mf5bml5banbnxkftztcwnda5nzgymq-_v1_uy268_cr30182268_al_

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…

220px-strange_frame_poster

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…

Advertisements
 
Leave a comment

Posted by on May 3, 2017 in animation, Movie

 

Tags: , , , , , , , , , , , , ,

Les Miserables? Les Ennuyeux!

I’ll begin with apologies for the time I’ve taken posting. Settling into a new day job has that effect. Also, beware of spoilers, but it seems like I’m late to this party anyway…

Usually you can be reasonably sanguine as to why things are classics. Even the dense and digressive Moby Dick has value as a study in narrative and a historical document.

So it was with that and much favorable input from friends that I sallied forth to (finally) see the film rendition of one of the most seminal musicals of our age: Les Miserables, Victor Hugo’s classic tragedy of redemption, justice, and the pathological French inability to be nice to people.

Image

Hugh Jackman is Jean Valjean, a petty thief who breaks his parole to reinvent himself as a successful and honorable man, including adopting the daughter of a desperate prostitute he tried to rescue. But he is hounded by Russell Crowe’s Inspector Javert, a man driven by an inflexible sense of justice and the belief that once a crook, always a crook. Against a backdrop of a fresh Revolution in France, Valjean strives to do good to others and to evade of Javert’s persecution .

It’s a tale about suffering and human decency in the midst of poverty and despair, of love and the true meaning of justice.

Unfortunately it’s just not very good.

Now, before anyone gets to thinking so, I don‘t say that just because I don‘t like musicals. I co-starred in a production of Chicago when I was 17 and had an absolute blast. The bittersweet tragedy Man of La Mancha, the farce comedies Spamalot and a Funny Thing Happened On the Way to the Forum, the animated fantasy romance the Nightmare Before Christmas, and the musical episode of Buffy the Vampire Slayer are all dear to me. And every single one of them is better than Les Miserables

I will say in mitigation that the cast has no flaws save one, which we‘ll get to later. Hugh Jackman’s musical chops are well-established and his dramatic skills are top-notch. It is kinda funny watching his character age through the story until by the end he looks a bit like Beethoven, but it takes nought away from his excellence.

Russell Crowe is, it seems to me, somewhat underrated in both regards. You can tell that this kind of music isn’t his natural habitat. Folk/rock music like the kind he does with his band the Ordinary Fear of God is definitely a different animal, but like Michael Caine in the Muppet Christmas Carol, it’s almost more genuine for the fact that his singing isn’t perfect.

Anne Hathaway’s character, the above desperate dying prostitute, is the only one who adequately tugs at my heartstrings. Her sense of desperation, despair and violation was like getting repeatedly kicked in the stomach. It only falters in that her character arc is so short that it becomes mystifying what she was even doing in the story to start with. And again her singing voice is first-class.

The movie’s great innovation was to have the actors sing on camera without dubbing it in again later, so the sound isn’t as clean but it also seems more in the moment, with characters out of breath or their voices cracking with emotion at the appropriate moments, except for Samantha Barks last number, wherein she’s able to sing quite clearly despite having just taken a musket ball through her right lung, but details, details.

All of this is great material, despite a lot of critics saying the singing was no good. The singers do very well, but it’s not their fault that the music itself is, well, boring.

In the other musicals I’m acquainted with, the songs are deployed strategically, usually to establish a new character or plot element or at important turning points.

Les Mis kind of does that, but instead of creating distinctive, memorable, punchy songs for key moments, the characters are singing almost constantly, including in conversations. They don’t even appear to have much of a tune or melody most of the time, so it isn’t so much singing as it is talking on key to express things that could easily be expressed in normal speech. Dressing it up in music is therefore distracting where it ought to be compelling. Worse still, what tunes there are almost all sound the same so it mostly bleeds together in my memory. The Nightmare Before Christmas burns each number into your memory for all time, but this sounds like a long recording of Josh Groban doing voice exercises.

It’s also not helped by the fact that the lyrics show occasional signs of being written but not read. Valjean approaching the little orphan Cosette in the dead of night and saying ‘tell me where you live’ falls rather creepily on modern ears. The worst, or possibly best, is when Russell Crowe is preparing to fight the revolutionaries and vows “they will wet themselves with blood.” Unfortunately, the melody structure puts a momentary rest between “wet themselves” and “with blood” so this domineering policeman wearing his Legion d’Honeur and declaring himself in almost Wagnerian tones appears for an instant to have promised to make the rabble pee their pants.

All of that would be merely disappointing, but what kills it dead for me is that that this tragic work of high romance has a story so untidy that I am puzzled as to where the emotional engagement it claims to induce could be coming from.

I don’t know whether this goes all the way back to the source, but it’s an essay on its own. The repeated jumping of decades to get to a given moment or scene means that the character development is erratic or nonexistent. Anne Hathaway is put through hell and made out to be the key to Valjean’s redemption, only to drop dead in favour of her daughter who we don’t even meet for several more scenes.

Valjean’s paranoia about Javert is fair enough, but he somehow turned from loving father-figure into murderously clingy during one of those time skips. The revolutionaries and Valjean don’t appear to have any connection for the longest time, so that the whole Revolution side of the plot leaves me thinking ‘isn’t there a redeemed criminal whose journey I was supposed to be watching?’ And the finale lionizes Valjean and the Revolution together despite the fact that Valjean had no part in it and wouldn’t have gone anywhere near it except for selfish reasons of his own.

Basically, it’s a case of trying to come up with all the tragedy, pathos and drama they could imagine but forgetting that a plot connecting these things in more than a superficial way is what gives them impact. The Hugh Jackman/Anne Hathaway segment would have made a great movie on its own but the film dispenses with it and then keeps going for another two hours. The Revolution would have been great story if it hadn’t been plastered onto the last third of a bigger movie. People die because the plot requires them to, not necessarily from any clear cause. People behave in a way that wrings out the most tears, rather than out of logical motives. Love is superficial and immediate, since we’re in too much of a rush to make you cry to bother with characterization. I still wanted everything to turn out as okay as possible but I also wanted it to hurry up and do so because I was getting incredibly bored.

And finally, someone needs to explain to the writers what ‘comic relief’ means. Because it doesn’t mean it’s a relief when it stops. The innkeepers who are Cosette’s adoptive family and who treat her like a slave end up stalking Valjean for the apparent offense of giving them lots of money. They are dirty, nasty and selfish and keep coming back and making complete gits of themselves. Comic relief is supposed to lighten the mood, make you feel like even in the darkness there’s some light. It’s not supposed to take the darkness and put a clown face on it. I also think it represents the one error in casting this movie; the innkeeper is played by Sacha Baron Cohen of Borat fame, whose first big break in comedy is possibly the worst mistake in BBC history. I know, it’s supposed to be funny, but I remind you that deliberately obnoxious is still obnoxious. The last time they showed up, just as we were gearing up for the denouement I actually said “Oh Christ, not these cretins again” aloud in the theatre.

So, before this review starts rivaling the movie for length, it’s got great acting, visuals and story elements behind it, but Les Miserables spends too much time trying to make us weep and not enough giving us actual people to cry about. The music is monotonous and beneath the talents of the people singing it, the characters never get to the third dimension and I have read hurt/comfort fan fictions with better plot structure. Similarly to Snow White, the kind of overwrought melodrama that these ‘classic’ stories use is hard to take seriously when so many other stories can achieve the same emotional effect by way of character depth and strong storytelling.

So with apologies to my many, many friends who liked it, I’m afraid I remain dry-eyed on the matter.

 
Leave a comment

Posted by on February 18, 2013 in Movie

 

Tags: , , , , , ,