The style requires animators to trace over live-action footage to produce a more “realistic” motion. Walking behind Bakshi and Frazetta means plunging into a rotoscoping subculture. Fire and Ice reveled in its aggressive gratuitousness, and The Spine of Night cranks its dial well beyond it. When the swords and axes come out, the heads and the limbs go off. And god damn great gobs and swaths of blood.
If you didn’t have a van, you went out and got one.
The spine of night movie#
The movie was raucous, violent, adolescent, deathly serious, and metal as hell. If you had a van and it wasn’t already rockin’ a Frzaetta mural on the side, it sure as hell was after watching Fire and Ice. In 1983, the two creators came together for Fire and Ice, an animated adventure populated with the worlds, characters, and anatomies celebrated in Frazetta’s paintings.
As in, Ralph Bakshi, the notorious adult animator, and Frank Frazetta, the monumental illustrator who birthed Conan the Barbarian’s modern look and brought his Death Dealer to Molly Hatchet. Written and directed by Philip Gelatt and Morgan Galen King, The Spine of Night is attempting to recreate a particular time, place, and vibe-when Ralph met Frank. No? The documentary section is two aisles over. Is your hand already clenched in the sign of the beast? Yes? Continue. The dialogue shot between the two rattles off like Iron Maiden lyrics. At the top, the quivering traveler ( Lucy Lawless) encounters a booming but aged guardian knight ( Richard E. Maybe even after you read the short IMDb synopsis: “Ultra-violent, epic fantasy set in a land of magic, follows heroes from different eras and cultures battling against a malevolent force.” If you press on, you’ll encounter a totally nude woman (well, she does have some skeletal jewelry dangling from her neck and strapped to her forearms) trudging up a snowy mountain. You’ll know if you’re down for The Spine of Night thirty seconds in.
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