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Director: Raoul Servais
Release Date: 1973
Rating: ★★★
Review:

Pegasus © Raoul Servais‘Pegasus’ tells about a lonely blacksmith who lives in the countryside.

The blacksmith has a love for horses, but unfortunately his surroundings are totally devoid of them. So he builds a horse head out of metal to worship. Unfortunately, the horse head appears to have an ability to grow and reproduce, surrounding his house like a forest.

‘Pegasus’ is a beautiful and surreal film. Unfortunately, it ends quite abruptly, leaving behind a sense that not everything has been said, yet.

Watch ‘Pegasus’ yourself and tell me what you think:

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Director: Wolfgang Reitherman
Release Date:
 November 8, 1973
Rating: ★★½
Review:

Robin Hood © Walt Disney‘Robin Hood’ was Walt Disney studio’s 21st feature. The film’s story and designs lean heavily on the 1938 feature ‘The Adventures of Robin Hood’, starring Errol Flynn.

But by now the characters are portrayed as animals, a relic of an abandoned feature film project about Reynard the fox called ‘Chanticleer’. This great idea doesn’t lead to a great film, however. Despite the fine character designs, the strong voice cast and the often superb animation, Robin Hood must be placed among the weaker Disney features.

Many of the character designs are so reminiscent of those in ‘Jungle Book’, the film almost feels like a rip-off. There’s a bear, voiced by Phil Harris, the voice of Baloo, there’s a snake with the power of hypnosis and there are some funny vultures. The story evolves at a remarkably slow pace, with some sort of plot only setting in after 29 minutes. More than any earlier Disney feature ‘Robin Hood’ seems particularly aimed at children: both great drama and great comedy are absent and danger is never really felt. The great finale is anything but that, and King Richard serves as an off-stage Deus ex machina, putting an equally welcomed as unsatisfying end to the film.

In a 1973 letter to animator Larry Ruppel, cited in John Canemaker’s book ‘Walt Disney’s Nine Old Men & The Art of Animation’, animator Frank Thomas expressed the film’s shortcomings:

“We obviously decided to keep it on the ‘fun’ side, but I have worried that the audiences would feel it was too flimsy – that we were not being quite serious enough with our characters. For instance, does anyone really fear Prince John? Is Robin ever worried about his ability to achieve something or even how it should be done? Did winning Maid Marian make any difference in Robin’s behavior. In real life it would have.”

The rather tinned music doesn’t help, either. Even worse, the film’s three forgettable songs are all presented within a twelve minutes period of the film (0’46-0’58), and the dance scene blatantly reuses complete dance animation sequences from ‘Snow White and the seven dwarfs’ (1937), ‘Jungle Book’ (1967) and ‘Aristocats’ (1970). All these aspects give the film a cheap feel. It frustrated younger animators like Don Bluth, who thought the film lacked both quality and soul, and it indirectly led to Bluth’s departure in 1979, during the production of ‘The Fox and the Hound‘ (1981).

The film’s only real treat is King John. This is by all means a marvelous character, perfectly voiced by Peter Ustinov. Because of the film’s strong visuals (after all, it’s the only Robin Hood film starring foxes), the film fares better in memory than by actually watching it.

In all, Robin Hood is a sad feature, which makes painfully clear that in the seventies Disney’s glory days lay years behind. Indeed, it would take the studio another fifteen years to crawl out of the uncertain times the studio went through after Walt Disney’s death.

Watch an excerpt from ‘Robin Hood’ and tell me what you think:

Director: René Laloux
Release Date: May 11, 1973
Rating: ★★★★★ ♕
Review:

La planète Sauvage © René Laloux
‘La planète sauvage’ is an old love of mine. I first watched it when I was ca. six or seven. It took me fifteen years before I learned which film I had actually watched, and it would take me another ten years before I could watch it again. However, all the time the film’s powerful images never left me.

‘La planète sauvage’ is a science-fiction feature, which tells about the life of humans (‘Oms’, which sounds like the french word for humans, ‘hommes’) on a strange planet occupied by story-block-high humanoid giants, called Draags. To them humans are no more than pets and pests. By accident, a pet Om, Terr (symbolically named after the French word for Earth, terre), learns the Draags’ knowledge and he leads his fellow humans into an uprising.

However, ‘La planète sauvage’ is not particularly famous for its straightforward and rather cliche plot. Its strength lies in its effective use of Roland Topor’s very surrealistic designs, which makes the depicted planet incomprehensible, foreign and scary. For example, the Draag’s behavior is so strange, that despite their humanoid form they feel very alien, indeed. The film’s original technique of combining drawn animation with cut-out adds to the surreal atmosphere. Even the space funk music accompanying the action sounds outlandish.

Even though the animation sometimes is rather stiff and at times even ridiculously poor, the graphic imaginary is so strong that these shortcomings never spoil the enjoyment of the film. On the contrary, the film’s totally unique and disturbing atmosphere and its philosophical questions about what makes man human make watching ‘La planète sauvage’ a very rewarding experience.

Together with Bruno Bozzetto’s ‘Allegro non troppo’ (1976) and Martin Rosen’s ‘Watership Down’ (1978) Laloux’s film must be counted among the most outstanding features of the seventies. René Laloux would make two other science fiction features, ‘Les maîtres du temps‘ (1981) and ‘Gandahar‘ (1988), but these do not reach the stunning originality of the visuals in this film.

Watch the trailer for ‘La Planète sauvage’:

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