The Last Unicorn
(1982)
Director: Arthur Rankin Jr., Jules
Bass
Voice Cast: Alan Arkin, Jeff Bridges, Mia Farrow
When Peter S. Beagle's novel The Last Unicorn
was first
optioned to be made into a movie, the plan was to make it into a
live-action
movie. I'm glad those plans were never brought to fruition, because I
simply
can't imagine this movie working in live-action, even if the producers
back then had access to present-day computer generated special effects.
There are some stories that are too fantastic or too imaginative to be
filmed in a live-action environment. It somehow makes fantasy look
fake,
instead of "real". With traditional cel animation, you can make the
audience
suspend its reality, make a world unlike real life, and what would be
silly
in real life become believable. The Last Unicorn is an
animated
movie that takes this technique to make one of the best fantasy movies
hiding out there. It's a well written story full of everything you'd
want
in a fantasy movie - action, magic, romance, humor, some impressive
visuals,
and a wonderful score that includes some great songs. It has slowly and
quietly built an appreciative audience throughout the years since its
release,
but I am reviewing it because I know there are many people out there
who
would like it, but have not even heard of it.
In an unnamed, medieval land, a lone unicorn (voiced by
Marrow) stays
guard over a small forest. One day, two human hunters briefly enter the
forest, and she overhears that she is supposedly the last unicorn in
the
world. Denying this news greatly in her mind, she asks a passing
butterfly
(Robert Klein) for if it's true, but he only gives cryptic clues that
do
not ease her mind. She soon reluctantly leaves the protection of the
forest
to see if she can find what happened, and to find more of her kind.
Along
her journey, she meets Schmendrick (Arkin), a kind-hearted but inept
magician,
and Molly (Tammy Grimes), an older and disillusioned woman resigned to
an unsatisfying life. Together, the three travel to the the kingdom of
King Haggard, where it is rumored that he is behind the disappearance
of
the unicorns.
These and other characters in the movie are one of the
ways the movie
differentiates itself from a typical Disney animated feature. True, in
the beginning there is the butterfly character, an annoying little
creature
speaking various anachronisms that could be taken straight out of a
modern
Disney feature. Fortunately, he is gone from the movie after several
minutes,
and does not appear again. Watching the movie for the third time for
this
review, I saw that not only do the other characters have imperfections,
there's an undercurrent of loneliness in them. It's implied that
Schmendrick's
ineptness has resulted in him being scorned by the magic community,
Molly
hates herself for what she has become, and if you examine the unicorn's
dialogue and actions closely, some slightly selfish behavior can be
found.
These negative traits actually make the characters more sympathetic,
because
we can identify with such aspects, and they make these ink and paint
characters
seem real.
Even the adversary found later in the movie - King
Haggard (Christopher
Lee) - can be identified with. Instead of being like a typical booming
and bombastic Disney villain, he comes across more as a tragic figure
than
someone evil. I actually felt more pity for this character than any
feeling
related to hatred. This is mainly due to the fact that he has a chance
to say what he did, and why. That brings up another reason why the
characters
in The Last Unicorn are so interesting; the movie gives
them
the opportunity to talk to each other, not afraid to let out their
feelings.
When Molly first meets the unicorn, she is moved to tears - then
suddenly
starts yelling, "Where were you when I was one of those innocent young
maidens you always come to? How dare you come to me now - when I'm this!...It
would
be the last unicorn that came to Molly Grue!" I'm glad Beagle himself
was
given the opportunity to write the screenplay (he was reportedly
satisfied
with the end results), because even though I haven't read the book,
it's
clear that a lot of the book's reported magic was retained.
Certainly, a lot of the movie's magic comes from its
music score, and
its songs. Now, I know what you are feeling - I, too, am sick of those
unnecessary and loud song-and-dance numbers in Disney animated
features.
In this case, however, there are only two instances where
characters
sing (and no dancing or Broadway-like numbers.) The first time ("Now I
Am A Woman"), the song itself is pretty bad, but at least the tone of
the
number isn't strident. The second number ("Anyway, I Love You"), with
Jeff
Bridges singing with Farrow (or, to probably be more exact, the singing
voice representing her) is very well done. Bridges singing voice is a
little
shaky, but it actually gives the song a kind of sincerity, helping the
song to generate the crescendo and haunting feel the whole sequence
needs.
The other songs in the movie (like the other two, written by Jimmy
Webb),
are played in the background to generate mood, and are performed by the
group America. America may be one of the most despised groups of the
'70s,
but to tell the truth, I can't imagine any other group playing and
singing
these particular songs this well. Haunting and dreamy, these songs
stick
in your head long after the movie is over; it's unfortunate the
soundtrack
is expensive as well as hard to get a hold of.
The animation, on the other hand, is a little uneven. Of
course, one
has to realize that this movie was made before computers were able to
assist
animators into polishing their work. The animators of The Last
Unicorn
didn't
draw as many frames per second as Disney did during this period, though
it's certainly much better than the animation on TV at the time. There
are a few sequences, such as the Red Bull's appearances, have been
given
more care, sometimes looking almost as if they were animated "on ones"
(a new movement in every frame.) Certainly, the background artwork is
definitely
above average, and one aspect of the animation draftsmanship is an
improvement
over Disney - there is none of that "sketchy" look (caused by Xeroxing
the pencil sketches of the animators) prevalent in Disney animation
from
101
Dalmatians to the mid 80s or so. The characters are
drawn
with solid lines and with a fair amount of detail, though their
coloring
for the most part may have too many dark colors. (I was also a little
troubled
by Schmendrick's impossibly big nose.) It's a little odd that the
design
of the characters are drawn in two different styles - the human
characters
are drawn in a style that can fit in the traditional Rankin/Bass style,
but the unicorn and the Red Bull are clearly straight out of anime.
This
can be partially explained by the fact Rankin/Bass shipped this movie
to
be animated in Japan, though the credits make clear the character
designers
were American. Odd as this culture mix may sound, the two styles do
still
manage to fit together.
Even if the quality of the animation was inferior to
what it is now,
I would still enjoy this movie very much. That's because an animated
movie
really works not really from its level of animation (though it helps),
but by its story. This particular story grabs you immediately, giving
at
the start barely enough of what we need to know, mixed with mystery and
wonder. I wanted to know what the answer was to the mystery, and how
these
fully fleshed out characters would do when confronted these same
questions
and puzzlements. The various subplots along the journey might stop the
story momentarily, but I was never bored, for there was always
something
going on in these subplots that either developed the characters or gave
us a better idea of this mythical world. The main story itself is
original,
and unlike any other fantasy I've read or watched. The movie, though
rated
G, may actually be a little too sophisticated for some children. Some
of
the vocabulary and situations may go over the heads of the young, and
some
mild profanities and two scenes of near nudity may not please parents.
Also, a few unsettling deaths and the Red Bull may frighten the more
tender
of children. However, I remember watching this movie when I was young,
and loving it, thinking it as a great kids' film. Seeing it again as an
adult, I now see it in a different light - I think it's one of the best
fairy tales for adults ever made.
UPDATE: Jonah Falcon sent this along:
"I saw The Last Unicorn theatrically, and on
HBO, and "Now That I'm A Woman" was not sung (except in the reprise).
It was removed because, well, Mia Farrow is a horrible singer. The
effect was actually stronger, because when she moves into the Unicorn
Mosiac room, she isn't singing, but silent and looks like she's having
a slight rush of memory - she does say, "I must go to HIM."
"If you get the German soundtrack CD of The Last Unicorn - they
replace Mia Farrow with a better singer, and it sounds great."
Jonah subsequently provided me with a MP3 of the track,
and I have to agree that it sounds a heck of a lot better. He also sent
also this extra information:
"The story behind it is that during the original cut
of The Last Unicorn,
they realized that Mia Farrow didn't have the vocal ability to sing
(Jeff
Bridges did - he had an accomplished musical theater background). They
decided to cut Mia Farrow singing "Now That I'm A Woman" (but still
showed her, just not singing), and redubbed her singing in the duet
with Bridges in "All I Have To Say".
"ITC wanted to make the movie as long as possible, so they restored
every cut scene, including Mia Farrow's singing! That explains why SHE
sings "Now That I'm A Woman", but doesn't sing during the duet."
Check for availability on Amazon (VHS)
Check for availability on Amazon (DVD)
Check
for availability on Amazon (Blu-Ray)
-
Check for availability of the soundtrack (CD)
Check for availability of Peter S. Beagle's original novel "The Last
Unicorn"
Check Amazon for book "The Enchanted World Of Rankin/Bass"
Also: Barefoot Gen, Tweety's High-Flying Adventure, Hearts & Armour
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