Guilty Pleasure 8: Dune
When "Dune" was released at Christmas 1984 I avoided it like the plague. It looked creepy... and it had that new rating, PG-13. I wasn't sure what to make of that. The film was not well received when it was released, in fact Siskel & Ebert declared it the worst film of 1984 on one of their end of the year episodes. I finally checked the film out as an adult, while I agree the film has some major problems, I keep finding myself returning for another look every year or so.
The film is based on Frank Herbert's 1965 sci-fi novel. The book is challenging to say the least. It's a complicated mix of sci-fi, religion and politics that leaves many readers scratching their heads while just as many others cheer it's greatness.
In the director's chair was David Lynch. Yes that David Lynch, the man behind such strange creations as "Blue Velvet," and the TV series "Twin Peaks." But "Dune" was only his third film, following his bizarre debut "Eraserhead" and the more mainstream "The Elephant Man." It was certainly his most ambitious project to date. Lynch took on writing the screenplay as well, anyone who has read the book knows that many would prefer the Chinese water torture over such an assignment. Much of the screenplay works well, while other parts, especially the overuse of our being able to hear the characters thoughts, do not.
My suspicions in 1984 were true, the film is is creepy. Imagine that, a creepy David Lynch film (that's sarcasm by the way). In fact, Lynch takes the creepiest elements of Herbert's book and cranks the creep-factor up to 11. For example, the book's main villain, Barron Harkonnen is one of the most vicious and vile villains I've ever encountered in print. In the film he's much worse, played by Kenneth McMillan as a cackling, slobbering mad man covered in disgusting sores.
Certain elements of the film do work really well. I love the opening of the movie in which Virginia Madsen as Princess Irulan gives us the back story. It echoes the tone of the book in which each chapter begins with a quote from one of Irulan's many writings on the events depicted. Kyle MacLachlin (a Lynch favorite in his first film) is well cast as Paul Atreides, as is future Law & Order girl Alicia Witt as the scariest 8 year old in the universe, Alia. Best of all is the unique costumes and set design which contribute to setting a distinct tone for each of the three "houses" that figure prominently in the story.Several different versions of the film have popped up over the years. An "extended edition" clocks in at 40 minutes longer than the theatrical cut and thoroughly complicates the already complicated story. Lynch disowned this version of the film which lists "Alan Smithee" as it's director and "Judas Booth" as screenwriter. For that matter, Lynch has pretty much disowned the theatrical version as well. He rarely speaks of the movie and according to Wikipedia he is quoted as having said that he "probably shouldn't have done that picture."
"Dune" is intriguing but flawed and is certainly far from being the worst film of 1984.
"Dune" is intriguing but flawed and is certainly far from being the worst film of 1984.
Buckaroo Bugs 
DVD's are great for viewing Clampett cartoons. Being able to freeze frame the images can give you a real appreciation for the various poses used in the animation. This is perhaps best demonstrated in Red Hot Ryder's horse. He's a minor character in the cartoon, but from an animation standpoint he's the highlight. The character combines modern elements along with qualities of a rubber band like character right out of the early days of animation. This one sequence where Red Hot Ryder and the horse jump off the edge of the Grand Canyon is evidence enough. When the horse realizes what he's done, he actually turns back through himself to turn around. It's brilliant animation!
Animation at it's best when it explores the limits of what the art form is capable of. This cartoon is a great example of that.
El Terrible Toreador
Like most Silly Symphonies, there is not much story here. The gags are pretty simple, though you can see a progression taking place here as the sight gags are not repeated over and over as they are in many early cartoons. A few gags seem quite imaginative for this time period, especially when we think the bull and the toreador are fighting but when the smoke clears we see that they are playing patty cake.
The bullfight arena is a classic setting for golden age cartoons. Almost every major character has been a toreador at some point, so it is interesting to see what is probably one of the earliest examples of a bullfight cartoon.
This scenario leads to some absolutely beautiful background art. Several New York City landmarks are portrayed in some very rich and detailed paintings. There are plenty of good gags, but most of the fun of this cartoon just comes in watching Jerry taking the city in.
It's interesting to note some of the differences in Jerry's appearance in this short. Tom and Jerry have gone through many design changes over the years. In this film, Jerry's nose seems to be a bit more round and bulbous and his whiskers seem longer. He also wears a somewhat dumb expression much of the time, which is not your typical Jerry look.
I'm not sure if this film still runs on TV or not. There are a few moments that would keep it off the Cartoon Network rotation, including a blackface gag and one bizarre moment when it could be interpreted that Jerry is looking up the skirts of some of the ladies of New York. Still this is a great cartoon. Oh and I almost forgot to mention the wonderful music! It is obviously inspired by Gershwin (perfect for the New York setting) and compliments the on screen action beat per beat.
In this cartoon, Sylvester has barely any energy left to chase the fastest mouse in all Mexico. But when Speedy's cousin Slowpoke comes for a visit, the putty tat is re-energized. Both Speedy and Sylvester are soon overshadowed by the scene stealing Slowpoke.
This cartoon came close to the end of the golden era of cartoons, yet this is a strong cartoon. Slowpoke is a hilarious character, it's a shame he was only used twice. Some might see him as a Mexican stereotype, but really he's simply the opposite of the leading man...a classic comedic situation. Like the slow wolf from some Droopy cartoons, I love the way Slowpoke moves and minimal amount of animation used to bring him to life.
In this short, Woody is in the old west and ends up participating in a shooting contest. The competitors can choose their weapons, so Woody uses a slingshot while his top rival, Buzz Buzzard as an Indian, uses a bow and arrow.
There's nothing wrong with a silent cartoon comedy, but the animation has to really excel. While this short has some good moments, mostly early in the film, many sequences are lacking that extra punch that is needed. Had Buzz and Woody been given some 
This Droopy short actually does not feature Droopy. Rather there are three kid versions of Droopy who terrorize a small schoolhouse. The Wolf, voice by the brilliant 
The voice and animation of the slow-moving, whistling wolf are a perfect combination. I love his strange posture when he walks. The feet lead as the rest of the body seems to move much slower behind. The wolf is the real star of the short. Even though this is not directed by 
To Beep or Not to Beep
Many of the early Road Runner shorts depend on a series of very short gags. As the series progressed, director Chuck Jones started to go for longer gags. Whereas many Road Runner gags would last a few seconds at longest, some of the gags in this film last several minutes. And it is with mixed results.
One gage which involves a giant spring seems way too labored and just doesn't flow well. On the other hand, the catapult sequence is skillfully paced and plays more like a series of short gags with a big payoff at the end.
"My Favorite Duck" is the first cartoon to team director Chuck Jones and writer 
Not all of the gags work, but some are classics. The fishing sequence in which Porky ends up floating on the wrong side of the water is very original as is the ending where the film breaks and Daffy has to describe the end of the film to the audience.
The Hot Dog you see above hangs in the loby of the Hall of Fame (which is the only area where photos are allowed), it was used in concert by the band Phish. When you look at it from above you can see inside the bun and I noticed that it's made out of some of the same materials I've seen many a puppet prop made out of.
