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Directed and Written by RALPH BAKSHI...

Author: /time Magazine | Title: Cinema: Uncle Remus, '75 | 9/8/1975 | See Source »

Abortive Attempt. The film is a blend of animation and live action. Like Director Bakshi's previous inexplicable successes, Fritz the Cat and Heavy Traffic, the movie labors under the delusion that outrageousness is a synonym for wit, ugliness of line and color a form of style, crudeness a necessary ingredient of vitality...

Author: /time Magazine | Title: Cinema: Uncle Remus, '75 | 9/8/1975 | See Source »

...exhibit now under consideration represents something of a curiosity: a rip-off of a ripoff. It will be remembered that the original cartoon feature Fritz the Cat - largely the work of the animator Ralph Bakshi - so enraged Fritz's creator, the underground comic artist R. Crumb, that he disowned the whole movie. Crumb, a stringent satirist, had conjured up Fritz as a way to mock the poses of the pseudo hipster and to lay waste the giddy excess of the culture from which he sprang. Bakshi slicked Fritz up, cooled him out, and turned him into the perfect creature...

Author: /time Magazine | Title: Cinema: Pussyfooting | 8/12/1974 | See Source »

...along comes Steve Krantz, producer of Fritz and likewise of this sequel - as squalid and witless an assembly of animation as could be imagined. By comparison, the Bakshi version looks like Fantasia. To escape the shrill accusations of his wife, Fritz drifts off into cannabis reveries where his libido can run unchecked and where his paranoia eventually assumes control. He idles back to the high-stepping 1930s, then works his way up to the present and a visit with a Bowery bum, whom he accidentally immolates. In the film's most elaborate episode, he eases himself off into...

Author: /time Magazine | Title: Cinema: Pussyfooting | 8/12/1974 | See Source »

...painting of a restaurant or a Godfather parody in which the Mafia leader is shot up while eating spaghetti, are heavy-handed by comparison. The device of framing the film with shots of the cartoonist Michael at his favorite pinball machine is intended to serve as a metaphor for Bakshi's brand of East Village existentialism but since Tommy it's a pretty trite trick. The conventional film segments at the end only expose the paucity of the caricatures and if Bakshi is forced already in his second film to resort to autobiography--he sees himself as a kind...

Author: By Phil Patton, | Title: Film in Venice | 9/24/1973 | See Source »

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