Hey! Did you know I have a letterboxd? Follow me there to learn my thoughts on what I’m watching or shame me for the movies I haven’t seen yet. I’ve been very active on it lately so give a look if you’re curious boxd.it/3KskX
Animation discourse has rotted so strongly that the few people remaining are either legacy critics hiding in secluded discord servers or unchallenging nostalgia bait. The scene I once loved slipped into safe regurgitation of the acceptable cartoon topics or utter bigotry. It’s unfortunate.
(*Author's Note: Singin' in the Rain is my favorite musical, so no shade meant)
Forget Singin' in the Rain*! More animators should 1969's "Sweet Charity" to understand communicating personality, rhythm and inventive staging. Shirley MacLaine, brightly dancing to director Bob Fosse's flawless choreography, brings out a truly magical moment for movie musicals. Highly recommended!
Williams, an otherwise capable artist, was always a sloppy director for his constant ability to never finish films on time. Damning his professional career for the next three decades. Yet, his commercial works for film and ad agencies remind you when it was finished he could turn in solid stuff.
Richard Williams' animated credits sequence for the Richard Lester adaptation of "A Funny Thing Happened on the Way to the Forum" (1966). Brilliantly rendered to encapsulate the aged beauty of Roman mosaic art, fitting the accurate to life comedic identity of Lester's Rome: beauty caked with sleaze
Major takeaway: Never stop producing commentary tracks. Even the worst schlock deserves expert analysis and deconstruction. I want to hear trusted sources dissect even the most loathsome drive-in filler.
The beauty of commentary tracks is experiencing new perspectives and important historical context that enrichens your appreciation of the greatest works of cinematic art. Oppositely, it's enjoyable listening to an academic roast for trash that doesn't deserve a second glace. Such as...
you can’t keep a good crow down :)
Credits from "Urbanissimo" (1666) featuring Benny Carter (saxophone) and all ensemble musicians. Of them includes Maynard Ferguson (trumpet), Shelly Manne (drums), Harry Edison (trumpet), Ray Brown (bass) and Pete Jolly (piano)
The Hubley difference is crediting every musician apart of the ensemble. Here is every player with their instrumented provided
-Maynard Ferguson (trumpet)
-Shelly Manne (drums)
-Harry Edison (trumpet)
-Ray Brown (bass)
-Pete Jolly (piano)
...and of course, Benny Carter on saxophone
Benny Carter's isolated score for Faith & John Hubley's "Urbanissimo" (1966). Carter captures the destructive waste of urban industrialism using a bright hot swinging jazz ensemble. Gentle swing mixed with violent hardbop, playing into the film's effortless political satire. Have a listen!!
