Reviews: New Anime REDLINE & FIRST SQUAD: THE MOMENT OF TRUTH |
Written by Scott Katz
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Sunday, 15 January 2012 22:51 |
Anime fans are in for a treat as two signficant new films make their debut on Tuesday, January 17. From Manga Entertainment comes Redline and First Squad: The Moment of Truth. Both films are exciting, fun, eye-popping spectacles, but each could not be more different from the other.
Redline comes to us from Madhouse, the animation studio whose crazed, over-the-top style has won accolades from fans all over the world. Some of Madhouse's previous efforts include television series and feature films such as Black Lagoon, Death Note, Demon City Shinjuku, Paprika, Record of Lodoss War, The Girl Who Leapt Through Time and literally scores more. American audiences have seen their work in The Animatrix, Batman: Gotham Knight, Hulk Vs., and the new Marvel Anime series currently airing on G4. If you're an anime fan, the name Madhouse on a project automatically makes it must-see viewing.
Set in the far future, Redline tells the story of the biggest, baddest, most cutthroat racing event in the galaxy. Only adrenaline junkies with a death wish even consider trying to qualify for the competition, which is held once every five years. At the center of the swirling chaos, we find JP, our lanky, leather-jacketed young hero with a pompadour that is akin to Elvis' cranked up to 100. One of his main rivals is the sweet-natured, but headstrong female racer Sonoshee. Romance blossoms on the track, but the murderous cyborg rulers of Roboworld, where the Redline event is being held without their permission, threatens to crash this coupling before it can cross the finish line.
In a way, Redline is a throwback to the old ways of animation. It's completely and gorgeously hand drawn – over 100,000 individual drawings make up this film, which runs a generous 1 hour and 42 minutes – about a half hour longer than most anime films. The result of this seven year effort is immensely pleasing and the racing sequences provoke genuine giddy thrills. This is not a film which takes itself seriously at all, so don't you dare try to. It's admittedly barely there story has about the depth of a Fast and the Furious flick so the mandate is "look, don't think." But since this is Madhouse, there is more than plenty to look at and admire. The studio, whcih has a drool-worthy back catalog of influential hit movies and television series is at the top of its game here. Its long, arduous effort to get this film done has paid off handsomely. Redline is a triumph of traditional animation techniques (albiet supplemented by some computer effects and enhancements), and is what Speed Racer wishes it could have been.
REDLINE
102 minutes, Blu-Ray $29.99, DVD $24.98
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FIRST SQUAD: THE MOMENT OF TRUTH
75 minutes, Blu-Ray $29.99, DVD $24.98
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Click images above to watch the TRAILERS! |
Studio 4°C, which animated the other film under review, First Squad: The Moment of Truth, also has an impressive catalog of projects, and, in fact, contributed sequences to The Animatrix and Batman: Gotham Knight just as Madhouse did. Anime fans have also seen their work in feature films such as Steamboy, Spriggan, and Tekkon Kinkreet. Among their current work is the popular ThunderCats revival series currently airing on Cartoon Network. With a pedigree of this high quality, it comes as no surprise that their latest feature effort, First Squad: The Moment of Truth is a legitimate triumph of animation and solid storytelling with neither getting the short shrift. Because Redline is a balls-to-the-wall gonzo roller coaster ride full of sound and fury, it does keep you at an emotional arms' length. In contrast, the often quieter, more contemplative tone of First Squad successfully draws you in and forces you to pay attention to the characters and to care about what they care about.
First Squad: The Moment of Truth centers around Nadia, a girl who cannot remember her past, but who can foretell the future. The story takes place in 1942 as the Nazi forces, who have already conquered much of Europe, have their sights set on Russia. General Wolf, an SS officer, uses supernatural forces to raise from the dead an army of 12th century Teutonic Knights to aid him in his conquest against the Red Army. In Russia, Nadia is taken to a secret facility in order to make contact with other teenagers who had special gifts and were part of an elite unit killed by the Nazis. Nadia enters the land of the dead to convince her former comrades to come back with her to continue the fight against General Wolf and his supernatural army.
The battle scenes are equisitely staged and the snow-filled environment of the Russian front is convincingly rendered. As is common among anime aimed at an older audience, the story is non-linear in its progression, and its action moves without warning back and forth through time in order to set things up and then fill in the backstory. An additional element that is rather unique to animated films is the inclusion of live action actors playing war veterans, historians, and psychologists being intercut into the flow of the narrative at various points and commenting on the story as if it were historical fact. This gives the film a faux-documentary style, which has proven polarizing to the audiences that have seen it. For our part, we really enjoyed it and felt it added a sense of depth and importance to the film. One caveat, however, is that it seems the necessary subtitles for the live action sequences only show up when the Russian soundtrack with English subtitles is selected. However, all the animated sequences, which make up the lion's share of the film, are dubbed nicely into English. We would have appreciated having English subtitles burned into the live action bits so that the audience wouldn't have to choose between English and Russian dialogue.
Each of these wonderful films could easily be spun off into an ongoing television anime series or at least a series of movies. In fact, First Squad ends so abruptly and with such a sense that there is more story to be told, that we hope there are sequels waiting for us down the line to pick up where things left off. For different reasons, we've been won over by each of these films and would like to visit their worlds again.
As far as the transfer quality is concerned, each boasts crystal clear video and powerful Dolby TrueHD 5.1 audio in their Blu-Ray versions (DVD audio is Dolby Digital 5.1). Video quality is outstanding given that there are many difficult and intricate animated sequences in both films. There are no special features on First Squad, while Redline boasts over 90 minutes worth including a Perfect Guide to Redline, a Quick Guide to Redline (both featuring behind-the-scenes interviews with the actors, writer, and director), and the Redline 2006 trailer. Each of these movies is priced to own, and we can wholeheartedly recommend both.
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65th Annual PRIMETIME EMMY AWARDS |
Written by USTownhall staff
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Sunday, 22 September 2013 14:58 |
The 65th Annual Primetime Emmy Awards were held at the Nokia Theatre in Los Angeles on Sunday, September 22, 2013 and broadcast on CBS. The eligibility period for nominations was June 1, 2012 through May 31, 2013. The list of nominees and winners are as follows:
DRAMA SERIES |
COMEDY SERIES |
MINISERIES / TV-MOVIE |
REALITY SERIES |
VARIETY SERIES |
Outstanding Series:
• Breaking Bad
• Downton Abbey
• Game of Thrones
• House of Cards
• Homeland
• Mad Men
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Outstanding Series:
• 30 Rock
• The Big Bang Theory
• Girls
• Louie
• Modern Family
• Veep
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Outstanding Miniseries or TV-Movie:
• American Horror Story
• Behind the Candelabra
• The Bible
• Phil Spector
• Political Animals
• Top of the Lake
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Outstanding Series - Competition:
• The Amazing Race
• Dancing With the Stars
• Project Runway
• So You Think You Can Dance
• Top Chef
• The Voice
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Outstanding Series:
• The Colbert Report
• The Daily Show
• Late Night With Jimmy Fallon
• Jimmy Kimmel Live
• Saturday Night Live
• Real Time with Bill Maher
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Outstanding Lead Actor:
• Hugh Bonneville, Downton Abbey
• Bryan Cranston, Breaking Bad
• Jeff Daniels, The Newsroom
• Jon Hamm, Mad Men
• Kevin Spacey, House of Cards
• Damian Lewis, Homeland
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Outstanding Lead Actor:
• Alec Baldwin, 30 Rock
• Jason Bateman, Arrested Development
• Louis C.K., Louie
• Don Cheadle, House of Lies
• Matt LeBlanc, Episodes
• Jim Parsons, The Big Bang Theory
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Outstanding Lead Actor:
• Benedict Cumberbatch, Parade’s End
• Michael Douglas, Behind The Candelabra
• Matt Damon, Behind The Candelabra
• Toby Jones, The Girl
• Al Pacino, Phil Spector
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Outstanding Series - Non-Competition:
• Antiques Roadshow
• Deadliest Catch
• Diners, Drive-Ins and Dives
• Mythbusters
• Shark Tank
• Undercover Boss
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Outstanding Special:
• The Kennedy Center Honors
• Louis C.K.: Oh My God
• Mel Brooks Strikes Back! With Mel Brooks And Alan Yentob
• Saturday Night Live: Weekend Update Thursday (Part One)
• 12-12-12: The Concert For Sandy Relief
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Outstanding Lead Actress:
• Connie Britton, Nashville
• Claire Danes, Homeland
• Michelle Dockery, Downton Abbey
• Vera Farmiga, Bates Motel
• Elisabeth Moss, Mad Men
• Kerry Washington, Scandal
• Robin Wright, House of Cards
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Outstanding Lead Actress:
• Laura Dern, Enlightened
• Lena Dunham, Girls
• Edie Falco, Nurse Jackie
• TIna Fey, 30 Rock
• Julia Louis-Dreyfus, Veep
• Amy Poehler, Parks and Recreation
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Outstanding Lead Actress:
• Jessica Lange, American Horror Story: Asylum
• Laura Linney, The Big C: Hereafter
• Helen Mirren, Phil Spector
• Elisabeth Moss, Top of the Lake
• Sigourney Weaver, Political Animals
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Outstanding Host:
• Ryan Seacrest, American Idol
• Betty White, Betty White's Off Their Rockers
• Tom Bergeron, Dancing with the Stars
• Heidi Klum and Tim Gunn, Project Runway
• Cat Deeley, So You Think You Can Dance
• Anthony Bourdain, The Taste
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Outstanding Writing - Series:
• The Colbert Report
• The Daily Show With Jon Stewart
• Jimmy Kimmel Live
• Portlandia
• Real Time With Bill Maher
• Saturday Night Live
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Outstanding Supporting Actor:
• Bobby Cannavale, Boardwalk Empire
• Jonathan Banks, Breaking Bad
• Aaron Paul, Breaking Bad
• Jim Carter, Downton Abbey
• Peter Dinklage, Game of Thrones
• Mandy Patinkin, Homeland
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Outstanding Supporting Actor:
• Adam Driver, Girls
• Jesse Tyler Ferguson, Modern Family
• Ed O'Neill, Modern Family
• Ty Burrell, Modern Family
• Bill Hader, Saturday Night Live
• Tony Hale, Veep
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Outstanding Supporting Actor:
• James Cromwell, American Horror Story: Asylum
• Zachary Quinto, American Horror Story: Asylum
• Scott Bakula, Behind The Candelabra
• John Benjamin, The Big C: Hereafter
• Peter Mullan, Top of the Lake
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ANIMATED
Outstanding Animated Program:
• Bob’s Burgers
• Kung Fu Panda: Legends of Awesomeness
• Regular Show
• The Simpsons
• South Park
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Outstanding Writing - Special:
• The 70th Annual Golden Globe Awards
• Louis C.K.: Oh My God
• Night of Too Many Stars: America Comes Together for Autism Programs
• Saturday Night Live: Weekend Update Thursday (Part One)
• 66th Annual Tony Awards
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Outstanding Supporting Actress:
• Anna Gunn, Breaking Bad
• Maggie Smith, Downton Abbey
• Emilia Clarke, Game of Thrones
• Christine Baranski, The Good Wife
• Morena Baccarin, Homeland
• Christina Hendricks, Mad Men
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Outstanding Supporting Actress:
• Mayim Bialik, The Big Bang Theory
• Jane Lynch, Glee
• Julie Bowen, Modern Family
• Merritt Wever, Nurse Jackie
• Sofia Vergara, Modern Family
• Jane Krakowski, 30 Rock
• Anna Chlumsky, Veep
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Outstanding Supporting Actress:
• Sarah Paulson, American Horror Story: Asylum
• Imelda Staunton, The Girl
• Ellen Burstyn, Political Animals
• Ellen Burstyn, Political Animals
• Alfre Woodard, Steel Magnolias
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Outstanding Directing - Series:
• The Colbert Report, James Hoskinson
• The Daily Show With Jon Stewart, Chuck O'Neil
• Jimmy Kimmel Live, Andy Fisher
• Late Show With David Letterman, Jerry Foley
• Portlandia, Jonathan Krisel
• Saturday Night Live, Don Roy King
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Outstanding Guest Actor:
• Nathan Lane, The Good Wife
• Michael J. Fox, The Good Wife
• Rupert Friend, Homeland
• Robert Morse, Mad Men
• Harry Hamlin, Mad Men
• Dan Bucatinsky, Scandal
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Outstanding Guest Actor:
• Bob Newhart, The Big Bang Theory
• Nathan Lane, Modern Family
• Bobby Cannavale, Nurse Jackie
• Louis C.K., Saturday Night Live
• Justin Timberlake, Saturday Night Live
• Will Forte, 30 Rock
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Outstanding Writing:
• Richard LaGravenese, Behind The Candelabra
• Abi Morgan, The Hour
• Tom Stoppard, Parade's End
• David Mamet, Phil Spector
• Jane Campion and Gerard Lee, Top of the Lake
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Outstanding Directing - Special:
• The Kennedy Center Honors, Louis J. Horvitz
• London 2012 Olympic Games Opening Ceremony, Bucky Gunts and Hamish Hamilton
• Louis C.K.: Oh My God, Louis C.K.
• The Oscars, Don Mischer
• 12-12-12: The Concert For Sandy Relief, Michael Dempsey
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Outstanding Guest Actress:
• Margo Martindale, The Americans
• Diana Rigg, Game Of Thrones
• Carrie Preston, The Good Wife
• Linda Cardellini, Mad Men
• Jane Fonda, The Newsroom
• Joan Cusack, Shameless
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Outstanding Guest Actress:
• Molly Shannon, Enlightened
• Dot-Marie Jones, Glee
• Melissa Leo, Louie
• Melissa McCarthy, Saturday Night Live
• Kristen Wiig, Saturday Night Live
• Elaine Stritch, 30 Rock
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Outstanding Directing:
• Steven Soderbergh, Behind The Candelabra
• Julian Jarrold, The Girl
• David Mamet, Phil Spector
• Allison Anders, Ring of Fire
• Jane Campion and Garth Davis, Top of the Lake
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Outstanding Writing:
• George Mastras, Breaking Bad, "Dead Freight"
• Thomas Schnauz, Breaking Bad, "Say My Name"
• Julian Fellowes, Downton Abbey, Episode 4
• D.B. Weiss and David Benioff, Game Of Thrones, "The Rains Of Castamere"
• Henry Bromell, Homeland, "Q&A"
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Outstanding Writing:
• David Crane and Jeffrey Klarik, Episodes
• Louis C.K., Story & Teleplay by Pamela Adlon, Louie
• Greg Daniels, The Office
• Jack Burditt and Robert Carlock, 30 Rock
• Tina Fey and Tracey Wigfield, 30 Rock
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Outstanding Directing:
• Tim Van Patten, Boardwalk Empire
• Michelle MacLaren, Breaking Bad
• Jeremy Webb, Downton Abbey
• Lesli Linka Glatter, Homeland
• David Fincher, House of Cards
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Outstanding Directing:
• Lena Dunham, Girls
• Paris Barclay, Glee
• Louis C.K., Louie
• Gail Mancuso, Modern Family
• Beth McCarthy-Miller, 30 Rock
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Review: CHUCK JONES: THE DREAM THAT NEVER WAS |
Written by Scott Katz
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Monday, 26 December 2011 00:00 |
Throughout his life, Chuck Jones was a dreamer. He was always able to tap into the child within himself as part of his creative process, and children and dreams are both ever-present themes and inspirations to Jones during his long career. That much is evident to anyone who had ever met the man or even those of us who were only fortunate enough to be entertained by his deep catalog of animated cartoon classics. In addition to creating the Roadrunner and Pepe Le Pew series, Jones is responsible for some of the most famous Warner Bros. cartoons in their canon: "What's Opera, Doc?," "One Froggy Evening," the Bugs Bunny/Daffy Duck/Elmer Fudd Hunting Trilogy, and literally scores more. Of course, children and dreams are perfectly encapsulated in Jones' two Ralph Phillips cartoons. But from a mind as active and creative as Jones' was, not all dreams could be realized. In Chuck Jones: The Dream That Never Was, we are taken on a remarkable journey through a twenty-year period in Jones' life that was a mere footnote in most texts about the man – if it got a mention at all.
Chuck Jones: The Dream That Never Was weighs in at about 280 pages, and there's not a wasted paragraph among them. The book is neatly divided into six sections that chronicle the full story of Crawford in all its various iterations over two decades – but this project's ambitions don't stop there.
The book opens with a massive 43 page essay by Kurtis Findlay that not only outlines Chuck Jones' various attempts to get Crawford before the public – both successful and not – but also covers his entire career with a particular emphasis on his post-Warner Bros. accomplishments. That makes this book especially valuable as this period is less well-documented than his salad days as one of the guiding forces behind Looney Tunes and Merrie Melodies. Findlay's prose is at once thorough, enlightening, and entertaining, and he guides us expertly through the highlights of Jones' tenure at MGM and beyond. Chuck Jones is justifiably one of the premier figures of the Golden Age of Animation, and his career at Warners has been discussed in great depth in any number of tomes, but his post-Warner career remains scarcely-mined territory so there are many stories just waiting to be told of this period. Truthfully, Jones had such a long and prolific creative life that every day was likely a new adventure and each phase of Jones' career could without a doubt support a book of its own. Even Jones' supposed misfires and failures are more interesting than the highlights of many other animators and warrant an in-depth study.
Chuck Jones passed away in 2002, and while his immense body of work does speak for itself, it is always interesting and instructive to hear the stories behind the story – the story of the gestation process of a project and how it finally saw completion – or not. That's what makes well-written text pieces like Findlay's such crucial reading. Findlay doesn't give us a dry recitation of the facts; he successfully captures the essence of who Jones was as a person and as a creator. Through the anecdotes chronicling his time as head of MGM animation and his later stint at ABC children's programming (where's that book?), we are shown a Chuck Jones who wants more than anything to push the boundaries of what is possible in the television animation format. Jones never gives up this goal even in the face of continued ambivalence our outright apathy from the studio and network executives.
Upon being dismissed from Warner Bros. due to his moonlighting as writer of the screenplay for UPA's Gay Purr-ee, Jones was quickly snatched up by MGM where he created a series of Tom and Jerry shorts that played throughout the 60s.
To his credit, Findlay doesn't try to whitewash the past; he gives full details about how much of Jones' post-Warner work was not unanimously well-received – both his Tom and Jerry series and the other projects he created for MGM. For instance, although Jones won an Oscar for his classic short, "The Dot and The Line: A Romance in Lower Mathematics," the author of the book it was
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Chuck Jones: The Dream That Never Was
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MSRP: $49.99
ISBN: 978-1613770306
reprints full Sundays and dailies run
of Crawford 1978 newspaper strip
280 pp, Available now
www.libraryofamericancomics.com
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based upon, Norton Juster, reportedly hated the result. Juster had a similar reaction to Jones' feature-length treatment of one of his other books, The Phantom Tollbooth. To one degree or another, Jones met with dissatisfaction from the authors of other works he interpreted while at MGM including Dr. Seuss on the adaptations of How the Grinch Stole Christmas and Horton Hears a Who, Frank Tashlin (the director whose animation unit Jones took over upon Tashlin's exit from Warner) on "The Bear That Wasn't," and the great Walt Kelly whose signature creation was brought to television by Jones in 1969's Pogo's Special Birthday Special. Perhaps the heart of the problem was that Jones was adapting other people's material and in fleshing them out for the very different media of television and film, imprinted too much of his own voice and sensibilities on stories that were very personal to their authors. This is in marked contrast to the Looney Tunes stars who were really committee characters and thus malleable enough to withstand the differing interpretations of multiple directors.
Findlay weaves a fascinating tapestry delineating how Jones began developing the character and world of Crawford in 1967 for a proposed television animated series, and how he worked on it with his wife through various refinements until it was ready to pitch to MGM in 1969. However, nothing came of it as Jones' busy schedule coupled with the closing of MGM's animation unit after the completion of The Phantom Tollbooth scuttled any plans to bring Crawford to television.
However, in 1977, another opportunity arose to bring Crawford to life albeit not on television, but in the pages of the daily newspaper comic strips. In 1977, Robert Reed (no, not the Brady Bunch dad) of the Tribune Company approached Jones with the idea of creating his own comic strip for his group of newspapers that would feature a set of kids to compete with Peanuts, the hugely successful strip that was part of the United Features Syndicate stable. To that end, Jones dusted off his Crawford proposal and reworked it and the characters for the daily newspaper strip format. The strip premiered in January 1978 in the New York Daily News and a handful of smaller papers. It is unknown why the Chuck Jones name did not have enough star power to get his strip picked up by more papers, but our own analysis of the results show a lack of cohesion and continuity in the seven months the strip was in existence. Jones had a lot of ideas, but failed to take the time to create distinctive and convincing characters to execute those ideas. Jones' trademark witticisms and wordplay are in full effect, make no mistake. But with few exceptions, the dialogue could be exchanged between characters with little to no effect on the outcome. The biggest obstacle to the public's being able to embrace the strip is that the titular character is actually the least interesting in the bunch. In the first few weeks of the strip, Crawford serves merely as straight man to his buddy Morgan, who initiates much of the action. On the whole, the Crawford cast is less interesting than their Peanuts counterparts: Crawford, Morgan, and Libby never engage, provoke, or touch us the way Charlie Brown, Linus, and Lucy do.
Also, during the course of the strip's life, its stars Crawford and Morgan undergo radical shifts in character traits and even physical appearance. The gang seems to age several years overnight again proving that the concept needed more thought and development time before seeing print.
Still, as a collected work, this book is a marvelous achievement by all involved. The Library of American Comics – spearheaded by Dean Mullaney and Bruce Canwell – already have such a deep catalog of hit books to be proud of that, from an editorial perspective, it must be a daunting task to keep coming up with projects to top themselves. We're glad to report that with Chuck Jones: The Dream That Never Was, they really have upped the ante on what has come before.
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Image from Chuck Jones: The Dream That Never Was
[Image credit: The Library of American Comics]
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This book is a must-have for any fan of comic strips, animation, or Chuck Jones himself. Chuck's strips, storyboards, and sketches – and there are heaping gobs of it published here to drool over – occupy the lion's share of the book. That signature angular style Jones developed in the 1950s is here on display in all its charm. Chuck Jones, the artist, ranks up there with the best cartoonists that the newspaper or animation media ever produced. He had a mastery of body language – including the iconic sideways glance to the audience – which few artists could match and it was always effectively employed to convey character, mood, and subtext. With the precision of a surgeon, Jones always knew how big or small he needed the action to go in order to get the reaction from the audience that he wanted.
The Library of American Comics is no stranger to accolades for their works, which have won Eisner Awards in the Best Archival Collection category three times already. While the recent Flash Gordon and Jungle Jim volume 1 (reviewed elsewhere on this site) is the more obvious Eisner-bait for this year's awards, we think Chuck Jones: The Dream That Never Was is the more deserving and hope it at least gets a nomination. Chuck Jones is the kind of book that needs to see print because it gives full detail and context to a period in the artist's life that had heretofore been a footnote at best. Just when you thought you knew all you could about Jones, this book comes along and provides an exciting opportunity for discovery that adds a thrilling undercurrent to each turn of the page and makes the reading experience that much more rewarding. Yes, the stories on the page are fun, whimsical, and charming, but the story behind the story is the bigger prize and one that will make The Dream That Never Was a go-to reference for both animation and Chuck Jones aficionados now and for decades into the future.
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Written by USTownhall staff
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Monday, 19 August 2013 19:21 |
SEPTEMBER |
OCTOBER |
NOVEMBER |
DECEMBER |
September 6
• Riddick
• Touchy Feely
September 13
• The Family
• Insidious: Chapter 2
September 20
• Enough Said
• Parkland
• Prisoners
• Rush
• Thanks for Sharing
September 27
• Baggage Claim
• Cloudy with a Chance of Meatballs 2
• Don Jon
• Metallica: Through the Never
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October 4
• Gravity
• Runner Runner
October 11
• Captain Phillips
• Machete Kills
• Romeo and Juliet
October 18
• 12 Years a Slave
• All is Lost
• Carrie
• Escape Plan
• The Fifth Estate
• Kill Your Darlings
October 25
• Blue is the Warmest Color
• The Counselor
• Jackass Presents Bad Grandpa
Date to Be Announced
• Diana
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November 1
• About Time
• Ender's Game
• Last Vegas
November 8
• Thor: The Dark World
November 15
• The Best Man Holiday
• The Book Thief
• Great Expectations
• The Wolf of Wall Street
November 20
• Her
November 22
• Delivery Man
• The Hunger Games: Catching Fire
• Nebraska
November 27
• Black Nativity
• Frozen
• Grace of Monaco
• Oldboy
November 29
• Mandela: Long Walk to Freedom
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December 6
• Dallas Buyers Club
• Inside Llewyn Davis
• Out of the Furnace
December 13
• American Hustle
• The Hobbit: The Desolation of Smaug
• Saving Mr. Banks
• Tyler Perry's A Madea Christmas
December 18
• The Monuments Men
December 25
• 47 Ronin
• August: Osage County
• Grudge Match
• The Invisible Woman
• Jack Ryan
• Labor Day
• The Secret Life of Walter Mitty
December 27
• Lone Survivor
Date to Be Announced
• Philomena
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