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| 1. Heavy Metal Director: Gerald Potterton, Jimmy T. Murakami | |
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The film was created by an army of 1,000 artists, animation experts and technicians from seventeen countries. Given the current state of technology, the movie today would probably only take a half-dozen animators and a few lap-tops. Regardless of its dated stylishness and rough edges, Heavy Metal was a pioneering film in 1981 and remains an infuential body of art today. A visual mixed bag of matte, blue screen, live action, stop motion, and Star Wars-influenced drawing/animation styles, the dazzling sci-fi epic scored a bullseye with its comic hipness, imagination, and drug kaleidoscope presentation. The final installment, Tarna, is the most mind-bending in terms of fluid animation, spectacular color schemes, imagination, and graphics, which appears 3-D. The green ball crashes into a mountain and the lava it produces turns the civilization around it into a merciless warring faction. They prey upon neighboring villages who then summon The Defender, a naked chick with a giant bird. The sequence in which Tarna, The Defender, slowly and enticingly dons her bondage-like battle gear and hip boots remains one of the hottest scenes ever in a movie, animated or not. All clothes aside, this tale is the centerpiece of the movie's artistic accomplishments. The best part of this Collector's Series disc is the plethora of extras included. The disc includes a voiceover by Carl Macek reading his book "Heavy Metal: The Movie". It also includes a documentary titled "Imagining Heavy Metal" which runs approximately 35 minutes. The disc also includes deleted scenes, including a rough cut of a entire additional segment which was cut form the movie titled Neverwhere Land, and an alternate framing sequence which can be heard with or without commentary by Carl Macek. There is a segment called "Artwork of Heavy Metal" which includes 26 pencil drawings, 59 conceptual art stills (2 of which are animated), 29 single cell stills, and 191 layered cell stills which expose some of the layering techniques used during the animation process. There are also 18 production photos of behind the scenes work which was done on the film and a segment which contains all the Heavy Metal Magazine covers from 1977 through 1999. But the best extra on this disc is the entire full-length rough cut of the pencil drawings used to get the look and feel of the production prior to the final production stage. This rough cut can also be viewed either with or without a full commentary by Carl Macek.
To fully appreciate Heavy Metal, one has to understand the era it came out in. At the time, most animation, at least what was seen in the US, was frequently of the "family entertainment" variety seen in Saturday morning cartoons and TV commercials. Apart from Ralph Bakshi, most animators were basically shackled by the need to present something that was "rated G". Heavy Metal took the exact opposite route. It was a liberating experience for the animators working on the film to be allowed to draw things they usually weren't allowed. And they got paid to do it, too! After the opening Soft Landing sequence, we're introduced to the Loc-Nar, a glowing green orb responsible for all the evil that has plagued the universe (or at least, that which has plagued the human race). The various stories contained in the film are told by the Loc-Nar to a young girl, as examples of it's awesome power. The stories include the film noir homage Harry Canyon, the male "wish fulfillment fantasy" of Den (which demonstrates the versatility of the late John Candy, who voices both Dan, the science nerd who gets transported into an alternate dimension by the Loc-Nar, as well as Den, the Conan/He-Man-esque beefcake that he is magically transformed into), the highly amusing Captain Sternn (trivia: the voice of the prosecutor is done by John Vernon, the actor who portrayed Dean Wormer in Animal House), the EC-esque B-17 (aka Gremlins, which went through so many script revisions, it's a miracle it got finished at all), the bizarrely hilarious So Beautiful And So Dangerous (ok, maybe there's some truth to the juvenilia charges during this segment, but only a corpse could keep from laughing at this piece), and revenge scenario of Taarna (imagine a tougher, sexier version of Xena, only about a decade and a half earlier). While there IS some element of juvenilia here, it's no worse than any other movie that's been released by any major studio during the last 25 years. In fact, I bet it's a little more cerebral than most of those other movies. Harry Canyon is a rather crafted film noir homage, while some elements of Taarna are clearly patterned on Sergio Leone's spaghetti westerns. And while there are a couple sex scenes and a certain amount of excessive violince in Heavy Metal, again, it's nothing compared to some of the garbage that's shown on cable TV these days. I'd certainly rather watch this than Basic Instinct or No Way Out. This movie is a classic piece of animation. Yeah, some of it's rough around the edges, but that has a lot to do with Columbia's decision to move up the deadline so they could have the original movie out in time for the summer 81 season. One has to consider the scope of the undertaking, and the relatively short time that was at hand to create it. Look at the "travelling sequence" during Taarna, where she's shown riding her mount (a sort of large bird creature) over a rolling landscape, and consider that it was done WITHOUT the use of any kind of computer generated work. It's explained in the audio commentary on the rough cut of the film, as well as during the documentary how it was done, and why it didn't quite turn out as planned). No one had ever done anything like that, and it had to all be done by hand. Really, you can't take this movie too seriously. It's a movie that exists soley to entertain. There's no big message or point to the movie. Just put the DVD in the player, turn out the lights, turn up the volume LOUD, and just enjoy the trip. It should be noted, that this disc also contains some of the best bonus features I've seen on any DVD. Besides the regular movie, you get a full length "rough cut" of the film, consisting of storyboards, pencil tests, and some completed animation. The only audio for this rough cut (besides the optional audio commentary, by Carl Macek, who also does a completely different commentary for the finished movie) is the dialog. There's long stretches of silence, but it's worth watching, as there's lots of bits of dialog that were cut from the final movie (we learn, for instance, that Katharine, like Den, was also transformed when she was transported to this mysterious alternate universe). It's also interesting to note that the stories weren't always in the order that they were in the final movie. There's also a half hour documentary with interviews from many of the filmmakers involved in making the film. We finally find out why we see a model of a house blowing up at the end (because they didn't have time to finish the animation for that one bit), and also why Cornelius Cole's Neverwhere Land was cut from the movie (either for reasons of length/continuity, or because Cole didn't finish it in time, depending on exactly which version of the story you wish to believe. You also get a few minutes of deleted scenes, most notably the above mentioned Neverwhere Land, which was originally supposed to link Captain Sternn and B-17. There's also a few minutes that surround an early version of the framing story (in whence the Loc-Nar was actually the power source of a magical merry-go-round, and the various objects on the merry-go-round related in one way to the stories...ie, there's a taxicab, Taarna's mount, etc...each time the girl takes a ride in a different vehicle on the merry-go-round, she experiences a different story). And finally, you get all Heavy Metal covers up through 1999, plus various bits of production drawings, cels, etc. In short, this is a classic film that should be viewed by all fans of animation and/or heavy flicks. Prudes and conservatives who get cranky at the very thought of a movie being ruined by a little too much flesh or blood (and really, there isn't THAT much of either in this film) or a little warped humor (ok, there's PLENTY of that here) are advised to keep away. I just wish they had restored Neverwhere Land to it's original place between Captain Sternn and B-17.
As with the magazine, the film is basically aimed at horny male adolescents, offering plenty of nude, amply bosomed women running around in the midst of stylized violence and gore; lots of rock music (though these ditties from popular metal bands of the late '70s may not appeal to the current generation of horny male adolescents); and references to the drug-oriented sub-culture (definitely not a cartoon for the pre-teen crowd). Each individual segment of HEAVY METAL was scripted and directed independently of the others, which likely accounts for the varying aesthetic and narrative styles. But many of these contributors were (and are now) some of the most talented people in the film industry, including writers Dan O'Bannon, Len Blum, and Daniel Goldberg, and directors John Bruno, John Halas, and Jimmy T. Murikami. (Gerald Potterton, listed in the credits as the film's director, was in reality the overseer for the project as a whole.) Because the film does not contain a single cohesive plotline, it is best to evaluate each animated segment in its own right. Some of those individual stories are quite thought-provoking or humorous--or both--and even some of the more mediocre segments still offer some fantastic visuals. One of the most intellectually interesting is a story called DEN, in which a young bespectacled geek is transported into a parallel universe and transformed into a handsome, muscled barbarian hero. After falling in love with a curvaceous maiden, he helps her save her people from their draconian Caligula-like dictator. B-17 is probably the most earnest segment, though there seems to be no intrinsic logic to the sparse narrative. In it, the dead crewmembers of a WWII bomber plane are inexplicably resurrected as flesh-eating zombies, subsequently seeking to make a meal of the plane's still-living pilot. Visually, however, this segment is quite stunning, evoking the deliciously gruesome artistic style of the old E.C. comics of the '50s and early '60s. And in the funniest segment--entitled SO BEAUTIFUL, SO DANGEROUS--a gorgeous Pentagon secretary is inadvertently sucked into an alien spaceship that resembles a huge smiley face. After confronting the spaced-out druggie crewmembers, she ultimately becomes the lover of the ship's robot and decides to remain aboard. After its initial release, HEAVY METAL attained a cult following of sorts and became a favorite of the midnight-movie crowd. Unfortunately, its release to the home-video market was delayed for years due to disputes over copyrights for some of the rock songs used in the soundtrack. Because of this, poorly produced bootlegged copies of the flick were illegally sold (usually at Sci-fi cons) and swapped among fans, and the inferior video quality contributed to the film's unfair reputation for being a mediocre film. But the music disputes were eventually resolved somehow, and the film became commercially available to the home market in the mid 1990s and regained its popularity as a cool cartoon. (Some statistics indicate that it is the most popular film in the Columbia/Tristar home-video catalog.) Columbia/Tristar's Special-Edition DVD of HEAVY METAL offers a beautiful digital transfer of the film and soundtrack, along with some really cool bounus material. For animation fans, one of the best of the bonus features is a fascinating feature-length pencil-test version of the film (with optional commentary). Columbia/Tristar also offers a version of the HEAVY METAL in their SuperBit collection, but as with their other SuperBit films, the disc space required for the higher bit rate precludes the inclusion of any bonus material. Unless the buyer has a high-definition TV and can appreciate the increased picture quality of the SuperBit disc, the Special-Edition version is the way to go. Either way, HEAVY METAL offers enough entertainment value to make it a worthy addition to the DVD collection of any SF or animation fan.
First of all, the framework that holds all the various animated segments together (in an old, isolated, Victorian house) seems to be a tribute to Clifford Simak's work. The first segment (Harry Canyon) is a gritty cyberpunk story set in a decaying New York of the near future, ala PKD. The second piece (Den) is a parody of heroic fantasy fiction, ala Edgar Rice Burroughs. The third (Captain Sternn) is a parody of heroic, hard science fiction, ala Roddenberry and the early Heinlein. The fourth (B-17) is pure graphic horror ala William Gaines and the horror mags of the 50's. The fifth segment (So Beautiful, so Dangerous) reminds one of the underground comics of the 60's and 70's in its look and content (drug humor.) Lastly, segment six (Taarna) is an original piece of straight heroic fantasy reminiscent of perhaps Robert E. Howard. The editors did a pretty good job of tying all of these diverse segments together with reference to the Lok-nar (a sentient, glowing, green orb from space that represents the origin of pure evil in cosmic and human history- perhaps this is a tribute to Lovecraft.) Back when this film first came out there was an organised feminist campaign to destroy it. I used to wonder if those people ever actually watched the film- I can't imagine a more heroic feminine archetype than Taarna.... This digitally remastered edition is really worth having. I don't remember the images being this crisp and bright when I first saw this in the theaters in '81. As for the sound track (Black Sabbath, Blue Oyster Cult, Cheap Trick, Devo, Grand Funk Railroad, Journey, Nazareth, Stevie Nicks, etc.) I don't see how it could be much better. Oh yes, as for the Stingray with the astronaut driving it dropping out of the orbiting shuttle- I don't have a clue as to what that was all about.... ... Read more | |
| 2. Railrodder/Buster Keaton Rides Director: Gerald Potterton, Buster Keaton, John Spotton | |
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our price: $29.95 (price subject to change: see help) Asin: 6304239386 Catlog: Video Sales Rank: 51795 Average Customer Review: US | Canada | United Kingdom | Germany | France | Japan |
Reviews (6)
The Railrodder depicts an older version of Buster's famous persona, porkpie hat and all, reading a newspaper article about increased Canadian travel and deciding he wants to join the crowd. He does this by accidentally starting up an electric railroad car that takes him across the country whether he wants to go or not. Buster, as always, resigns himself to greater forces and decides to enjoy the scenery. This short is amusing enough, but by Keaton's standards, the gags aren't very elaborate (probably owing to having to taking it easy on the advanced-aged Keaton). It's best seen as a novelty in which Keaton is allowed to perform an entire sound short in his old silent style. Of far greater interest is Buster Keaton Rides Again, a black-and-white documentary about the making of The Railrodder. The documentary shows Keaton the creative filmmaker who, even in his late seventies, is willing to tussle with his director in order to milk every possible laugh out of a gag. Of special note is a scene of Keaton arguing with Railrodder director John Spotton about a shot of Keaton and his car rolling over an extremely tall bridge which, if Keaton wasn't careful, would cause him to plunge to his death. Keaton's arguing with his wife Eleanor and with Spotton about this dangerous gag, which occupies but a few seconds of screen time, shows just how seriously Keaton took his filmmaking, even when his once-agile body was rapidly failing. The Railrodder and Buster Keaton Rides Again are worthy additions to anyone's Keaton library.
For a rail buff, it's very enjoyable. They are using real equipment on real right-of-ways of Canadian National. From the east coast to the west coast with many picturesque and many dismal backgrounds, but each the perfect backdrop to the comedy unfolding. Mr. Keaton died soon after this film was made, but his gift to us will be here anytime that little kid in us stands by a railroad track or watches this video and dreams. Gene Holmerud
Film #2 is one of the most interesting films of Buster's post-silent career. "Buster Keaton Rides Again" is a down-to-earth black and white documentary about the making of "The Railrodder". The camera picks up on the fact that you know Buster is having a good time making this film and the director, Gerald Potterton, knows enough that Buster is one of the greatest directors the cinema's ever had to let him take over the reins and supervise some of the scenes. One scene shows Buster annoyed and tense, and makes the viewer feel disturbed about a troubled filmmaking situation, then he throws us an about-face and mutters an unrelated, dry one-liner about a never-ending train passing by that has an excessive number of cars. But the troubled situation continues as Buster is shown being stubborn and ornery about one of his gags being replaced by another because it was thought to be too dangerous ("that is not dangerous, that's child's-play, for the love of Mike!"). Other scenes show Buster playing a serious game of bridge....having fun by yelling at a baseball game on TV (that has horrible "snowstorm" reception) because one player made a flunky move....his wife Eleanor, a no-nonsense, good-common-sense kinda gal, explaining how she prevents him from getting physically ill with the medication she carries...and looking uncomfortable but being polite at a Manitoba social event. Interspersed is narration that describes the events of his life. Sometimes it's irritating. Made me wince. Instead of just giving us the facts, it throws in a fake, dramatic monologue that was a popular style in 60's documentaries. However, it includes an excellent series of photos of Buster's childhood that make the viewer realize that Buster was expected to act and dress like a full-fledged adult on and off the stage starting at age 4. A lot of cigarette smoking with related coughing fits are shown. The consumption of a lifetime of inhaling these things caused his death at 70, which was 1 1/2 years after this documentary was made.
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| 3. George and the Christmas Star Director: Gerald Potterton | |
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| 4. Cool Mccool:How to Catch a Crook Director: Geoff Ray, Peter Zander, Ron Cambell, Gerald Potterton | |
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| 5. Shooting the Breeze Director: Geoff Ray, Peter Zander, Ron Cambell, Gerald Potterton | |
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| 6. Cool Mccool:Grime & Punishment Director: Geoff Ray, Peter Zander, Ron Cambell, Gerald Potterton | |
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| 7. Rainbow Gang Director: Gerald Potterton | |
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| 8. The Wonderful Wizard of Oz Director: Tim Reid (VII), Gerald Potterton | |
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| 9. Wonderful Wizard of Oz Director: Tim Reid (VII), Gerald Potterton | |
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| 10. Ozma of Oz Director: Tim Reid (VII), Gerald Potterton | |
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| 11. The Marvelous Land of Oz Director: Tim Reid (VII), Gerald Potterton | |
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| 12. The Marvelous Land of Oz Director: Tim Reid (VII), Gerald Potterton | |
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| 13. The Emerald City of Oz Director: Tim Reid (VII), Gerald Potterton | |
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| 14. Ozma of Oz Director: Tim Reid (VII), Gerald Potterton | |
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| 15. The Emerald City of Oz Director: Tim Reid (VII), Gerald Potterton | |
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| 16. Cool Mccool:Shooting the Breeze Director: Geoff Ray, Peter Zander, Ron Cambell, Gerald Potterton | |
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(price subject to change: see help) Asin: 6302696488 Catlog: Video Sales Rank: 88090 US | Canada | United Kingdom | Germany | France | Japan |
| 17. Cool Mccool Director: Geoff Ray, Peter Zander, Ron Cambell, Gerald Potterton | |
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| 18. Cool Mccool:How to Catch a Crook Director: Geoff Ray, Peter Zander, Ron Cambell, Gerald Potterton | |
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| 19. Cool Mccool:Grime & Punishment Director: Geoff Ray, Peter Zander, Ron Cambell, Gerald Potterton | |
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| 20. Christmas Cracker & 3 Other Tales Director: Grant Munro, Norman McLaren, Gerald Potterton, Jeff Hale (II) | |
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