Well, for a start, this shall be the home for my Biographical Inventory of Books. After that, who knows?
Wednesday, November 26, 2025
Just Grand-Uncle Rambling Again
Saturday, November 15, 2025
Rankin/Bass' The Hobbit (A Gathering)
Because we are nearing the Thanksgiving
season, we are also nearing the anniversary of the 1977 Rankin/Bass The
Hobbit (Nov. 27). Kenny pointing out those new figures of Bilbo and
Gollum brought it to my mind. People (not myself) seem to be of mixed opinions
about its quality. I find it at least as faithful in an hour and thirty minutes
to the source material as the Peter Jackson Hobbit trilogy (extended edition) is
in eight hours and fifty-two minutes, if not more so. Still, comparisons are
odious.
Probably the first
merchandise we got was the boxed two record LP set (at JC Penny’s, I think). I
also got that Hobbit poster (which we had to get through Susan’s Weekly Reader
order). That little single was available, but I only got that lately; Susan
found it at a garage sale. I got that hardback Abrams book as one of my first
purchases from the Science Fiction Book Club (maybe 1979?); John got the
paperback version of the same book from a Starlog (or was it Fantastic Films?)
magazine order. The Hobbit game came out after the Bakshi movie and inside used
a lot of artwork from the same; I think there is one tiny scrap from it left
over.
Strangely enough, the
special is still producing merchandise. While I had a VHS copy taped off of
Showtime, I only got a DVD copy many years later. There was a very fine series
of miniature (for games?) from RN Estudios (this was in 2024). And now these?
The road goes ever, ever on.
One of My Petty Pet Peeves
Because we are nearing the
Christmas season, I am sure to be annoyed by one of my needling pet peeves.
Because I am sure to hear the Rankin/Bass specials referred to as Claymation.
For the thousandth time:
ALL CLAYMATION IS STOP
MOTION. NOT ALL STOP MOTION IS CLAYMATION.
Stop motion has been used
since at least the original Willis O’Brien’s King Kong in 1933, really
earlier, of course, but most famously. In it, a model with an interior armature
(mechanical skeleton) is covered with sponge rubber, latex, and rabbit fur. Ray
Harryhausen, who can be seen as O’Brien’s heir, called his similar process
Dynamation. Rankin/ Bass dubbed their stop motion puppetry process Animagic.
Such branding was typical of the 60’s and 70’s as films and studios produced
such labels as Cinemascope and Panavision to make their brand ‘stick out’.
Claymation was popularized
mainly by Aardman Animations (Wallace and Gromit) and the works of Will Vinton
(who trademarked the name ‘Claymation’ for his process). Vinton is perhaps most
famous for the California Raisins. Will Vinton Studios switched from Claymation
to Foamation in the early 2000’s. Vinton lost control of the studio and it
changed its name to Laika, which makes stop motion (puppets, not clay) movies
like Coraline and The Box Trolls.
So, in conclusion:
RANKIN/BASS IS NOT CLAYMATION AND DOES NOT USE CLAY.
Sunday, September 14, 2025
They Were Busy Little Elves
https://www.youtube.com/watch?v=hBGp_EP6rnA
Wednesday, July 17, 2024
Wideo Wednesday
The ABC Saturday Superstar
Movie — retitled The New Saturday Superstar
Movie for its second season — is a series of one-hour animated made-for-television
films (some of which also contained live
action sequences), broadcast on the ABC television network on Saturday mornings from
September 9, 1972 to November 17, 1973.
Intended as a version of
the ABC Movie of the Week for
kids, this series was produced by several production companies —
including Hanna-Barbera, Filmation and Rankin/Bass — and mostly
contained features based on popular cartoon characters and TV shows of the
time, such as Yogi Bear, The
Brady Bunch and Lost
in Space. Some of the films served as pilots for
new TV series. – Wikipedia.
The ABC Saturday Superstar
Movie - Show Open - YouTube
And a complete list of those
shows can be found on Wikipedia. This program straddled my Third and Fourth
Grade years at school, and thus fall into that formative time that has been
occupying my mind lately. Two of the ‘movies’ in particular impressed me; both
were by Rankin/Bass.
Mad Mad Mad Monsters 1972 💀
Halloween Classic 👻 Rankin Bass HD -
YouTube
The first I want to cover is
The Mad, Mad, Mad Monsters (the title recalls Rankin/Bass’s earlier show
The Mad, Mad, Mad Comedians 1970, itself probably modeled on It’s a
Mad, Mad, Mad World 1963, and is not to be confused with their earlier
stop-motion film, Mad Monster Party 1967). In the show, Baron von Frankenstein has created a
bride for his monster creation, Junior, and wants to invite all the other
monsters to the wedding. Things are complicated by a jealous Igor, who covets
the ‘Monstress’, a nervous hotel clerk and his celebrity-happy bellhop, and
finally when the Bride is captured by Modzoola (a King Kong-like espy). I found
this pristine print on Youtube: the only trouble is that it lacks the sound!
The Red Baron (1972) -
YouTube
The second ‘movie’ I really
enjoyed was The Red Baron. For some reason (anniversary?) World War One
flying aces were big at the time, from Those Magnificent Men in Their Flying
Machines to Dastardly and Muttley in Their Flying Machines to Snoopy
and the Red Baron. In this version, the two Ruritanian countries of Weinerberg
and Pretzelstein (populated by anthropomorphic dogs) are at war, despite the loving star-crossed offspring of their leaders. The stuffy, bumbling, but chivalric
Baron von Richthofen answers his country’s call, and after building his own
plane and coloring it red (the only paint he has left), takes to the skies with
his faithful (and much more intelligent) cat Putzi. Originally mocked, he is
later hailed as a hero for his secret weapon of a gaseous smokescreen (actually
his reheated lunch, an old family recipe). Things are complicated when Weinerberg
sics Mata Hari (a Pitbull) on the Baron, but then she develops a romantic
passion for the old duffer. Can he (with the covert help of Putzi) straighten
everything out?
I find the design of these
shows very reminiscent of Rankin/Bass’s Frosty the Snowman (1969). This
is because of the continuing collaboration with Topcraft Co. Ltd., a Japanese animation
studio later famous for producing Hayao Miyazaki films.
Tuesday, February 8, 2022
The Wind in the Willows [Rankin/Bass]: Into the Archive
The Wind in the Willows is
a 1987 American animated musical television
film directed
by Arthur Rankin, Jr. and Jules
Bass,
co-founders of Rankin/Bass Productions in
New York, New York. It is an adaptation of Kenneth
Grahame's 1908 novel The Wind in the Willows.
Set in a pastoral version
of England,
the film focuses on four anthropomorphised animal
characters (Moley, Ratty, Mr.
Toad,
and Mr. Badger) and contains themes of mysticism, adventure, morality, and
camaraderie. The film features the voices of Charles Nelson Reilly, Roddy
McDowall, José
Ferrer, and Eddie
Bracken. The screenplay was written by Romeo
Muller, a long-time Rankin/Bass writer whose work
included Rudolph
the Red-Nosed Reindeer (1964), Frosty the Snowman (1969), The Hobbit (1977),
and The Flight of Dragons (1982),
among others. The film's animation was outsourced to James C.Y. Wang's Cuckoo's
Nest Studios (also known as Wang Film Productions) in
Taipei, Taiwan.
As Wikipedia goes on to note, Rankin/Bass had used Wind in the Willows characters (designed by the great Paul Coker, Jr.) in the 1970 show "The Reluctant Dragon and Mr. Toad", which I remember watching in the 1st Grade. In this 1987 adaptation, Charles Nelson Reilly makes a strangely apt choice for Toad because of his characteristic two-syllable throaty chuckle.
Sunday, November 28, 2021
"The Life and Adventures of Santa Claus/ Nestor, the Long-Eared Christmas Donkey"
“The Life and Adventures of Santa Claus” was the last
Rankin/Bass animated Christmas show to use their “Animagic” (stop-motion
puppets) feature. It first aired on December 17, 1985, on CBS. The special
retells the story of a more obscure book (1902) by L. Frank Baum (he of “The
Wizard of Oz” fame), which gives Santa an origin narrative with a more
fantastic twist. The special is paired with “Nestor, the Long-Eared
Christmas Donkey” and was first released on DVD under the Warner Archive
brand on November 17, 2009.
The story is told as a flashback, framed by a meeting of
the Immortals, a group of elemental spirits, who are gathered together by the
Great Ak, the Master Woodsman of the World. Claus, a mortal who had been
adopted as a baby by the wood-nymph Necile, has led an exemplary life of good
and charitable deeds, but is now on the verge of death. Ak recounts ‘the life
and adventures of Santa Claus’ to convince his fellow Immortals that the man is
indeed worthy of their one and only Mantle of Immortality. Along the way his
Northern residence, reindeer, gifts to children, stockings, and decorated trees
are all given yet another explanation. The main villains of the piece are the Awgwas,
a kind of evil goblin who try to make children do bad things by making them
miserable. It ends, of course, with Claus being gifted the Mantle and becoming
the immortal present-giver that he is.
The “Life and Adventures” holds a rather odd place in the
Rankin/Bass Christmas shows. Most of their other holiday specials have at least
a tenuous continuity, starting with “Rudolph” in 1961 and lasting into the
Eighties with only a few flat contradictions here and there. Their stories
(even non-Christmas holiday specials) could be ‘calqued’ together into one long
narrative.
These
stories grew more fantastic (in the literary sense) and outré as time went on
and less based on existing lore, with “Frosty and Rudolph’s Christmas in July”
unfolding like a fever-dream Stephen R. Donaldson might have had after drinking
too much eggnog; the evil Winterbolt bears a passing resemblance to his Lord
Foul in machinations and manipulations. Perhaps Rankin/Bass was influenced by
the fantasy works being produced in-house at the time, like “The Hobbit” or “The
Last Unicorn”. Anyway, “Life and Adventures” appears in its own discrete bubble
in 1985 and puts a period to the original cycle.
My
personal memories of this show are, of course, not as steeped in nostalgia as
others. Although still keenly interested in holiday specials at the time, and
more so because it was based on a Baum book I had never read, I was in my early
twenties and was bringing a more critical eye to any new offerings. If I’m
recalling things correctly, I had to work my shift at Mr. Gatti’s the night it
premiered but had someone record it via VCR for me. I was able to catch most of
the beginning on the big in-store TV by lingering while I bussed some tables,
then intermittently saw bits of it for the next hour or so. I certainly was
impressed (and still am) by the opening number, “Ora e Sempre” (Today and
Forever). [https://www.youtube.com/watch?v=LlcQ3hO-EPY]
This
special is not to be confused with the 2000 animated film, the similarly named
and based “The Life and Adventures of Santa Claus”, created by Mike Young
Productions and starring (among others) Robby Benson, Jim Cummings, Maurice
LaMarche, and Hal Holbrook. This version might be fine, but somehow I have
never had the patience to watch it all the way through.
“The
Life and Adventures of Santa Claus” is paired on this DVD with another
Rankin/Bass Christmas Animagic special, “Nestor, the Long-Eared Christmas
Donkey” (1977). It is based on a 1975 song sung by Gene Autrey, who had
previously popularized “Rudolph the Red-Nosed Reindeer” and “Frosty the Snowman”.
The show is more in line with the Rankin/Bass strand typified by their “The
Little Drummer Boy”, although Santa and his sleigh make an early appearance.
Narrated by Roger Miller (you know, the rooster Alan-a-Dale from Disney’s “Robin
Hood”) as Santa’s donkey (don’t ask), he explains how Nestor, a long-eared
misfit living in the Roman era, saves the first Christmas by bearing Mary and
Joseph safely the Bethlehem, thus finding his place, ‘going down in history’
like a more famous quadruped with a shiny nose. It has some few similarities to
Disney’s “The Small One”, released in 1978 but based on a 1947 book, and no similarity (save one) to the 1960 song "Dominick the Donkey" (Santa's Italian Christmas donkey!) . As a show,
I find it neither especially memorable nor offensive. It is simply a sort of
extra bonus to my Rankin/Bass collection.


















































