Ralf Bakshi - Ralph Bakshi - Wikipedia

Ralf Bakshi
RalphBakshiJan09.jpg
2009 yil yanvar oyida Bakshi
Tug'ilgan (1938-10-29) 1938 yil 29 oktyabr (82 yosh)
Hayfa, Majburiy Falastin
KasbDirektor, ishlab chiqaruvchi, animator, karikaturachi, yozuvchi, aktyor, rassom
Faol yillar1956[1]- hozirgi
Ma'lumUzuklar Rabbisi, Fritz Cat, Sehrgarlar, Coonskin, Cool World, Amerika popi, Og'ir transport
Uslub
Turmush o'rtoqlarElaine Bakshi
Elisabet Bassett 'Liz' Bakshi
Bolalar2
MukofotlarInkpot mukofoti (2008)[2]
Veb-saytralphbakshi.com

Ralf Bakshi (1938 yil 29 oktyabrda tug'ilgan) - Amerikalik animatsion va jonli filmlar. 1970-yillarda u asosiy animatsiyaga alternativa yaratdi mustaqil va kattalarga yo'naltirilgan ishlab chiqarishlar. 1972 yildan 2015 yilgacha u teatrda namoyish etilgan o'nta badiiy filmni boshqargan, ulardan oltitasini o'zi yozgan. U ko'plab televizion loyihalarda rejissyor, yozuvchi, prodyuser va animator sifatida qatnashgan.

O'zining karerasini Territonlar televizion multfilm studiyasi sel polishing, Bakshi oxir-oqibat animator, keyin esa rejissyor lavozimiga ko'tarildi. U ko'chib o'tdi animatsiya bo'limi ning Paramount rasmlari 1967 yilda va o'zining "Bakshi Productions" studiyasini tashkil etdi. 1968 yilda. Ishlab chiqaruvchi orqali Stiv Krantz, Bakshi o'zining debyut badiiy filmini suratga oldi, Fritz Cat, 1972 yilda chiqarilgan. Uning asosida kulgili chiziq tomonidan Robert Crumb va qabul qilgan birinchi animatsion film edi X reytingi dan Amerika kinofilmlari assotsiatsiyasi, va bu barcha vaqtlarning eng muvaffaqiyatli mustaqil animatsion xususiyati.

Keyingi o'n bir yil ichida Bakshi yana etti qo'shimcha animatsion funktsiyani boshqargan. U kabi filmlar bilan yaxshi tanilgan Sehrgarlar (1977), Uzuklar Rabbisi (1978), Amerika popi (1981) va Olov va muz (1983). 1987 yilda Bakshi televizion ishiga qaytdi va serialni suratga oldi Qudratli sichqon: yangi sarguzashtlar, bu ikki yil davomida ishlaydi. To'qqiz yillik badiiy filmlardagi tanaffusdan so'ng u rejissyorlik qildi Cool World (1992), u asosan prodyuserlik davrida qayta yozilgan va yomon baholarga sazovor bo'lgan, natijada uning bugungi kungacha teatrlashtirilgan so'nggi metrajli filmi bo'lgan. Baqshi jonli film bilan televizorga qaytdi Ajoyib va ​​aqldan ozganlar (1994) va antologiya seriyasi Achchiq shahar (1997).

2000-yillarda u asosan tasviriy san'at va rassomchilikka e'tibor qaratdi va 2003 yilda o'g'li Eddi va Jess Gorell bilan birgalikda Bakshi animatsiya maktabiga asos soldi. Bakshi o'z ishi uchun bir nechta mukofotlarga sazovor bo'ldi, shu jumladan 1980 yilgi Oltin Grifon Uzuklar Rabbisi da Giffoni kinofestivali, 1988 yil Enni mukofoti Animatsiya san'atiga qo'shgan ulkan hissasi uchun va 2003 yilgi Maverick Tribute mukofoti Cinequest kinofestivali.

Ilk hayoti (1938–1956)

Ralf Bakshi a .da tug'ilgan Krymchak Yahudiy 1938 yil 29 oktyabrda oila Hayfa ichida Falastinning Britaniya mandati. 1939 yilda uning oilasi AQShga ko'chib ketgan va u shu erda o'sgan Braunsvill mahalla Bruklin. Oila kam ijaraga olingan kvartirada yashar edi, u erda Bakshi shahar atrofi bilan qiziqib qoldi. Bolaligida u kulgili kitoblarni yaxshi ko'rardi va ko'pincha ularni topish uchun axlat qutilarini qazib chiqardi.[3]

2009 yilda bergan intervyusiga ko'ra, Ralf o'zini juda kambag'al va uning mahallasi devorlari doimiy ravishda bo'yalganini aytgan. U derazadan tashqariga qaraganida va quyoshni kichkina bolaligida ko'rganida va har doim ko'chalarda chiqqanda, kimdir oziq-ovqat bilan to'ldirilgan yog'och aravachalarni ochib qo'ygan sandiqlarni sindirib tashlagani unga yoqdi. Ralf buni intervyuda shunday deydi: "Va itarish aravalari yog'och edi va binolarning aksariyati asrning boshlariga kelib eski yog'ochdan yasalgan edi va ular juda ko'p bo'yalgan edi, lekin bo'yoqlar o'chib ketgan edi, siz yuz yillik qor va yomg'irni biling, bo'yalgan va yana xira bo'lgan. " Baqshi xira ranglarni, mixlarni, yog'och sandiqlarni yaxshi ko'rardi va u o'z o'yinchoqlarini yog'ochdan qurardi. Ralf: "Menda yog'och, tsement va mixlar bilan bog'liq ajoyib tuyg'u bor edi" deb eslaydi.[4]

1947 yil bahorida Bakshining otasi va amakisi biznes imkoniyatlarini qidirib, Vashingtonga yo'l olishdi va tez orada oilani qora tanli mahallaga ko'chirishdi. Tumanli pastki.[5] Bakshi esladi: "Do'stlarimning hammasi qora edi, biz bilan ish olib borganlarning hammasi qora edi, ko'chadagi maktab qora edi. U ajratilgan edi, shuning uchun hammasi qora edi. Men qora filmlarni ko'rishga bordim; qora qizlar mening tizzamga o'tirdi. Men Men qora tanli partiyalarga bordim. Men yana bir qora tanli bola edim. Muammo yo'q! "[5]

The irqiy ajratish mahalliy maktablarning ta'kidlashicha, eng yaqin oq maktab bir necha chaqirim uzoqlikda joylashgan; Bakshi do'stlari bilan yaqin atrofdagi qora maktabda o'qish uchun onasidan ruxsat oldi. O'quvchilarning aksariyati Baqshining borligi bilan bog'liq muammolarga duch kelmadilar, ammo o'qituvchi direktordan maslahat so'radi, u telefonni chaqirdi politsiya. Oq tanli, yahudiy o'quvchi qora tanli maktabda o'qiyotganini bilib qolishsa, ajratilgan oq tanlilar qo'zg'alishidan qo'rqib, politsiya Bakshini sinfidan olib tashladi.[6] Ayni paytda, otasi tashvishlanishdan azob chekayotgan edi. Bir necha oy ichida oila yana Braunsvillga ko'chib o'tdi, u erda bu voqealar haqida kamdan-kam gapirishdi.[6]

15 yoshida, kashfiyotdan keyin Gen Byrnes ' Multfilmlar uchun to'liq qo'llanma jamoat kutubxonasida Baqshi oldi multfilm o'z tajribalarini hujjatlashtirish va fantaziya ta'sirida badiiy asarlar yaratish. U kitobning bir nusxasini o'g'irlab, undagi barcha saboqlarni o'rganib chiqdi.[7] O'smirlik davrida Bakshi boks bilan shug'ullangan.[8] Ishtirok etish paytida Tomas Jefferson o'rta maktabi, u akademiklarga unchalik qiziqmadi, ko'p vaqtini "kengliklarga, og'zini yopishga va doodling" ga qaratdi. Oziq-ovqat janjalida qatnashib, tamaki chekayotganida, Bakshini direktor xonasiga yuborishdi. Bakshiga ishonish Tomas Jeffersonda muvaffaqiyatga erishishi ehtimoldan yiroq emas, direktor uni unga topshirdi Manxetten "s Sanoat san'ati maktabi. 1956 yil iyun oyida Bakshi maktabni multfilm bo'yicha mukofot bilan tugatdi.[7]

Karyera

Ilk martaba (1956-1968)

Bakshi 18 yoshida uning do'sti Cosmo Anzilotti multfilm studiyasiga yollangan Territonlar; Anzilotti Bakshini studiyaning prodyuserlik menejeri Frank Shuddega tavsiya qildi.[9][10] Bakshi a sifatida yollangan sel polishing va har kuni to'rt soat davomida studiyaga, shahar atrofida joylashgan Yangi Rochelle. Uning past darajadagi pozitsiyasi Bakshidan animatsion kameralardan axloqsizlik va changni ehtiyotkorlik bilan tozalashni talab qildi.

Bir necha oydan so'ng, Shudde Bakshining ishda hali ham o'zini ko'rsatayotganiga hayron bo'lib, uni sello rassomiga ko'targan. Bakshi animatsiya bilan shug'ullanishni boshladi; o'ziga ko'proq vaqt berish uchun bir vaqtning o'zida u hamkasbi Leo Giulianining "qilinishi kerak bo'lgan" qoziqqa ishlashi kerak bo'lgan o'nta pulni tashladi. Ikki kundan keyin Bakshining aldovi sezilmadi, chunki u Shuddening ofisiga chaqirildi, chunki plyonkalar noto'g'ri tomonga bo'yalgan edi. Bakshi Giuliani xato qilganini tushuntirganda, uchalasi o'rtasida janjal kelib chiqqan. Shudde oxir-oqibat Bakshining yonini oldi. Shu paytgacha studiya xodimlari Bakshining animator bo'lish niyatidan xabardor bo'lishdi va u Konni Rasinski, Menni Devis, Jim Tayer, Larri Silverman va Jonni Gentilella kabi animatorlardan yordam va maslahat olishni boshladi.[11]

Baqshi o'zining birinchi rafiqasi Eleynga 21 yoshida uylangan. Ularning o'g'li Mark Baqshi 22 yoshida tug'ilgan. Eleyn uning uzoq ish vaqtini yoqtirmagan; oilaviy muammolarini parodiya qilib, Bakshi rasm chizdi Dum Dum va Dei Di, a kulgili chiziq "qizni olishga va saqlashga" qat'iy qaror qilgan erkak haqida.

O'zining animatsion uslubini takomillashtirishi bilan u ko'proq ishlarni boshladi, shu jumladan studiya bosh direktori uchun dizayn sinovlarini yaratdi, Gen Deitch. Deitch, Bakshining zamonaviy dizayn sezuvchanligiga ega ekanligiga amin emas edi. Davrdagi siyosiy iqlimga javoban va terapiyaning bir usuli sifatida Baqshi kulgili chiziqlarni chizdi Bonefoot va Fudge, "kun tartibi bilan ahmoqlar" ni satirik qilgan va Junktown, bu "noto'g'ri texnologiya va bekor qilingan ideallarga" qaratilgan.[11]

Bakshining turmush qurmayotganidan va sayyoramizning ahvolidan ko'ngli qolgani, uni jonlantirishga bo'lgan ehtiyojni yanada kuchaytirdi. 1959 yilda u ish stolini boshqa animatorlarga qo'shilish uchun ko'chirdi; Rasinskiydan jonlantirish uchun material so'raganidan so'ng, u ikkita sahnaning maketlarini oldi: suvda suzib yuradigan shlyapa va yugurish Dawg muovini, keyin Terrytoons seriyasining bosh qahramoni namoyish etiladi CBS. Animatorlar kasaba uyushmasining tahlikali tahdidlariga qaramay Rasinski Bakshini maket rassomi sifatida saqlab qolish uchun kurashdi. Bakshi Rasinskiyni ota shaxs sifatida ko'rishni boshladi; Farzandsiz Rasinski, Bakshining ustozi bo'lib xizmat qilishdan xursand edi.[11]

25 yoshida Baqshi direktor lavozimiga ko'tarildi. Uning birinchi topshirig'i ketma-ket edi Qayg'uli mushuk. O'sha paytgacha Bakshi va uning rafiqasi ajralib, unga har birini jonlantirish uchun vaqt berishdi qisqa yolg'iz. Bakshi Terrytoons direktorining an'anaviy rolidan norozi edi: "Biz haqiqatan ham siz o'ylagandek" yo'naltirmaganmiz ". Biz" animatsion rejissyor "edik, chunki hikoya bo'limi stsenariylarni boshqarar edi. Biz hech narsaga ta'sir qila olmadik, ammo Men hali ham sinab ko'rdim. Vaqtni takrorlab, musiqiy treklarni aralashtirib yubordim - men uni o'zimniki qilib olishim uchun u bilan sikardim. "[12]

Kabi boshqa animatsion studiyalar Xanna-Barbera "Terrytoons" tomonidan ishlab chiqarilgan seriyali kabi (hatto unga tegishli edi) tarmoqlarga shoularni sotishgan CBS ) mashhurligi pasayib borayotgan edi. 1966 yilda Bill Vayss Bakshidan CBS bilan uchrashuv uchun Manxettenga taqdimot taxtalarini olib o'tishda yordam berishni iltimos qildi. Tarmoq ma'murlari Vayssning barcha takliflarini "juda murakkab", "juda jirkanch" yoki "juda eskirgan" deb rad etishdi.

Sifatida Fred Silverman, CBS dasturining kunduzgi rahbari ofisdan chiqishni boshladi, tayyor bo'lmagan Bakshi super qahramon parodiyasini chaqirdi Qudratli qahramonlar. U ketma-ket qahramonlarni, jumladan, Kuchli odam, Tornado odam, Arqon odam, Kuku odam va Bezi odamni tasvirlab berdi: "Ular qaerda bo'lsa ham yomonlik bilan kurashdilar va yovuzlar o'zlaridan ko'ra ahmoq edilar".[13]

Rahbarlar bu g'oyani yaxshi ko'rar edilar va Silverman ishni bajarishdan oldin bir nechta rasmlarni talab qilar edi, Vayss darhol Bakshini serialni rivojlantirish ustida ishlashga topshirdi. Bir marta Silverman personajlar dizaynini ko'rgach, u CBS telekanali shouni yashil rangda namoyish etishini tasdiqladi, bunda Bakshi ijodiy direktori sifatida ishlaydi.[13] Bu segment sifatida ko'rinadi Qudratli sichqoncha o'yin uyi tarmoqning 1966–67 shanba kuni ertalabki jadvalida; seriyaning nomi o'zgartirildi Qudratli sichqoncha va qudratli qahramonlar yangi segmentni tan olish uchun.

Bakshi oylik maoshini oshirdi, lekin martaba o'sishidan kutganidek qoniqmadi; Rasinski 1965 yilda vafot etdi, Baqshi ijodiy nazoratga ega emas edi Qudratli qahramonlarva u animatsiya, yozuv, vaqt va ovozli ijro sifatidan norozi edi. Serialning dastlabki 20 segmenti muvaffaqiyatli bo'lgan bo'lsa-da, Bakshi o'zining kompaniyasini tashkil etish uchun Terrytoons-dan ketishni xohladi. 1967 yilda u fantastik serial uchun taqdimot qismlarini yaratdi Te-Vitt, Anzilotti, Jonni Zago va Bill Fucht yordami bilan.

O'zining balandligini oshirish uchun CBS ofislariga borayotganda u avtohalokatga uchradi. Avtoulov do'konida u Liz bilan uchrashdi, u keyinchalik uning ikkinchi xotini bo'ldi. CBS o'tgan bo'lsa ham Te-Vitt, uning dizaynlari 1977 yilda Bakshining filmi uchun asos bo'lib xizmat qildi Sehrgarlar. Tarmoq ofislaridan chiqib ketayotganda u buni bilib oldi Paramount rasmlari yaqinda otib tashlagan edi Shamus Kulhan, uning boshlig'i animatsiya bo'limi. Bakshi studiya huquqshunosi Burt Xempft bilan uchrashdi va Kulhaning o'rniga yollandi.[13][14]

Bakshi komikslar va pulpa-rassomlar va yozuvchilarni jalb qildi Xarvi Kurtman, Lin Karter, Kulrang Morrow, Archi Gudvin, Uolli Vud va Jim Steranko studiyada ishlash. Kulhaning tugallanmagan shortilarini tugatgandan so'ng, u Paramount-da to'rtta qisqa metrajli filmni suratga oldi, suratga oldi, yozdi va yaratdi: Fuz, Mini-Squirts, Marvin Digs va Sichqoncha yurishi.[15]

Marvin Digs, buni Bakshi "deb o'ylagangul bola picture ", u xohlagan tarzda tugallanmadi: unda" la'natlash so'zlari va jinsiy aloqa sahnalari bo'ladi va bundan ham ko'prog'i. [...] Albatta, ular bunga yo'l qo'ymaydilar. "U umidsiz natijani" 1967 yildagi cheklangan animatsion teatr "deb ta'rifladi.[8] Animatsiya tarixchisi Maykl Bariyer filmni "tajovuzkor yomon rasm, animatsiyani yaxshi ko'radigan odamlarni o'rnidan turishga va nafrat bilan teatrni tark etishga majbur qiladigan rasm" deb atadi.[8] Ishlab chiqarish Qudratli qahramonlar Bakshi Terrytoonsni tark etganida tugadi.

Paramount o'zining animatsiya bo'limini 1967 yil 1 dekabrda yopib qo'yguniga qadar Bakshi studiyaning rahbari sifatida sakkiz oy davomida ishlagan. U o'z pozitsiyasi har doim vaqtinchalik bo'lishini va Paramount hech qachon o'z maydonlarini ko'tarishni niyat qilmasligini bilib oldi. Garchi Xempft Bakshiga nafaqa paketi taklif qilishga tayyor bo'lsa-da, Bakshi darhol shartnomani buzdi.[15]

Xempft Bakshiga prodyuser bilan ishlashni taklif qildi Stiv Krantz, yaqinda Kanhaning fantastika seriyasining bosh direktori sifatida Kulhanni ishdan bo'shatdi Raketa Robin Gud.[10][16] Tez orada Bakshi va fon rassomi Jonni Vita tomon yo'l oldi Toronto, AQSh va Morrow va Vud kabi rassomlar bilan Kanada va Nyu-York o'rtasida qatnovni rejalashtirmoqda.

Bakshi, Krantz va prodyuserga noma'lum Al mehmon sud jarayoni o'rtasida bo'lgan. Mehmon bilan kelisha olmagan Krantz Bakshiga serialning namunaviy varaqalarini olib, AQShga qaytishini aytdi. Studiya bundan xabar topgach, Bakshini hibsga olish to'g'risida Toronto politsiyasi tomonidan order berildi. U amerikalik chegara qo'riqchisi uni nima qilishini so'rab to'xtatishdan oldin uni qo'lga olishdan biroz qochib qutuldi. Baqshi javob berdi: "Bu bolalarning hammasi Kanadaga chaqiruvdan qochish uchun ketmoqdalar, men esa Shtatlarga qaytib ketayapman. Bunda nima yomon!" Qorovul kulib yubordi va Bakshini ichkariga kiritdi. Vita aeroportda hibsga olingan; u olti soat davomida qidirildi va so'roq qilindi.[15]

Tez orada Bakshi o'zining "Bakshi Productions" studiyasini tashkil etdi Tikuvchilik tumani onasi ilgari ishlagan va Bakshi "dunyodagi eng yomon mahalla" deb ta'riflagan Manxetten.[15] Bakshi Productions o'z ishchilariga boshqa studiyalarga qaraganda ko'proq maosh to'lagan va ayol va ozchilik animatorlar uchun imkoniyatlarni kengaytirgan.[17] Studiya ish boshladi Raketa Robin Gudva keyinchalik uni egallab oldi O'rgimchak odam teleseriallar.[18] Bakshi 1968 yil avgust oyida Lizga uylandi. Ikkinchi farzandi Preston 1970 yil iyun oyida tug'ilgan.[15]

Fritz Cat (1969–1972)

1969 yilda "Ralf's Spot" reklama roliklari tayyorlash uchun "Bakshi Productions" ning bo'limi sifatida tashkil etilgan Coca Cola va Maks, 2000 yoshli sichqon, tomonidan to'lanadigan bir qator ta'lim qisqa shimlari Britannica entsiklopediyasi.[19][20] Bakshi studiya chiqadigan animatsiyaga qiziqmasdi va shaxsiy narsalar ishlab chiqarishni xohlardi. Tez orada u rivojlandi Og'ir transport, shahar ichidagi ko'cha hayoti haqidagi ertak. Krantz Bakshiga Gollivud studiyalari rahbarlari uning mazmuni va Baqshining kino bo'yicha tajribasi yo'qligi sababli filmni mablag 'bilan ta'minlashni xohlamasligini va agar uning birinchi filmi moslashtirish bo'lsa, buni ko'rib chiqishini aytdi. East Side Book Store-ni ko'rib chiqayotganda Aziz Markning joyi, Bakshi nusxasi bilan uchrashdi Robert Crumb "s Fritz Cat. Crumbning o'tkir satirasidan ta'sirlanib, Bakshi kitobni sotib oldi va Krantzga film sifatida ishlashini taklif qildi. Krantz Crumb bilan uchrashuv tashkil qildi, unda Bakshi rassomning o'ziga xos uslubini o'rganayotganda yaratgan rasmlarini taqdim etdi, u Crumbning rasmlarini animatsiyaga moslashtirishi mumkinligini isbotladi. Bakshining qat'iyatliligidan qoyil qolgan Crumb unga eskiz daftarlaridan birini ma'lumot uchun bergan.[20]

Tayyorgarlik suratga olingan plyonkada hajviy aktyorlar ishtirokidagi plakat kattaligidagi stelni o'z ichiga olgan studiya maydonchasida boshlandi - bu Baki filmni namoyish etishni maqsad qilgan edi. Crumbning g'ayratiga qaramay, rassom Krantz tomonidan tuzilgan shartnomani imzolashdan bosh tortdi. Rassom Von Bodu Bakshini Crumb bilan ishlashdan ogohlantirib, uni "silliq" deb ta'rifladi. Keyinchalik Bakshi Bodening bahosi bilan rozi bo'ldi va Crumbni "hayotingizda ko'rgan eng silliq avtoulovlardan biri" deb atadi.[20] Krantz Bakshini San-Frantsiskoga yubordi, u erda Crumb va uning rafiqasi Dana bilan birga bo'lib, Crumbni shartnoma imzolashga ishontirishga harakat qildi. Bir hafta o'tgach, Crumb filmning prodyuserlik holatini noaniq qoldirib chiqib ketdi. Bakshi Nyu-Yorkka qaytib kelganidan ikki hafta o'tgach, Krantz uning ofisiga kirib, Bakshiga Crumbning ishonchnomasiga ega bo'lgan va shartnomani imzolagan Dana orqali film huquqlarini qo'lga kiritganini aytdi.[20]

Bakshi loyihani barchaga taqdim etganidan keyin Gollivudning yirik studiyasi, Warner Bros. sotib oldi va 850 ming dollarlik byudjetni va'da qildi. Bakshi ilgari u bilan birga ishlagan Vita, Tyer, Anzilotti va Nik Tafuri kabi animatorlarni yolladi va maketlar va animatsiyani boshladi. Birinchi tugallangan ketma-ketlik Harlemdagi axlatxona sahnasi bo'lib, unda Fritz marixuana chekadi, jinsiy aloqada bo'ladi va inqilobni qo'zg'atadi. Krantz ketma-ketlikni 15-daqiqaga qisqartirish uchun rasmni moliyalashtirishga xalaqit bergan taqdirda chiqarishni maqsad qilgan;[21] Biroq, Baqshi filmni badiiy asar sifatida yakunlashga ahd qildi. Ular Warner Bros rahbarlari uchun ketma-ketlikni namoyish qildilar, ular jinsiy tarkibni tonishini va ovozli qismlarga taniqli shaxslarni jalb qilishni xohlashdi. Bakshi rad etdi va Warner Bros. chiqib ketdi, Krantzni boshqa joydan mablag 'izlashga undadi.[21][22] Oxir-oqibat u ekspluatatsiya filmlariga ixtisoslashgan distribyutor Cinemation Industries egasi Jerri Gross bilan shartnoma tuzdi.[21] Garchi Bakshi filmni suratga olishga etarli vaqt topolmagan bo'lsa-da, Gross uning filmiga mos kelishiga ishonib, uni ishlab chiqarishni moliyalashtirishga va tarqatishga rozi bo'ldi. tegirmon uyi shifer.[23]

Four cartoon figures of cats dressed in human clothes, walking single file.
Dan olingan rasm Fritz Cat, Fritz va uchlik yosh ayollar bilan u Vashington maydonidagi Parkda olib ketishga harakat qilmoqda. Fon filmning uslubiy yangiliklaridan birini namoyish etadi: bu fotosurat iziga asoslangan akvarel rasm.

Boshqa manbalardan, shu jumladan, moliyalashtirishga qaramay Shoul Zaents (tarqatishga rozi bo'lgan kim soundtrack albomi uning Fantasy Records yorlig'i), byudjet qalam sinovlarini istisno qilish uchun etarlicha zich edi, shuning uchun Bakshi animatsiyani qo'lidagi animator rasmlarini siyoh va bo'yashdan oldin aylantirish orqali sinab ko'rishi kerak edi. Operator cho'l sahnalari uchun kameralar etarlicha keng emasligini tushunib, shaffoflikni ochib berganida, Baqshi xatoni qoplash uchun kaktusni bo'yadi. Juda kam stsenariylardan foydalanilgan. Bakshi va Vita atrofni aylanib chiqishdi Quyi Sharqiy tomon, Vashington maydonidagi park, Chinatown va Harlem, kayfiyatsiz suratlarni olish. Rassom Ira Turek ushbu fotosuratlarning konturlarini a Rapidograf, texnik qalam Crumb tomonidan afzal ko'rilgan bo'lib, filmning fonlari animatsiyada deyarli misli ko'rilmagan stilize realizmga ega bo'ldi. Akvarel fonlari ohanglari asarlari ta'sir ko'rsatdi Ashcan maktabi kabi rassomlar Jorj Luks va Jon Frantsiya Sloan. Boshqa g'ayrioddiy texnikalar qatorida egilgan va baliq ko'zi kameraning istiqboli filmning hippilari va qalbakilarining shaharga qarashlarini tasvirlashda ishlatilgan. Ko'plab sahnalar namoyish etildi hujjatli yozuvlar ssenariy suhbati o'rniga haqiqiy suhbatlar - bu ham Bakshining imzosiga aylanadi.[23]

1971 yil may oyida Bakshi o'zining studiyasini qo'shimcha animatorlar yollash uchun Los-Anjelesga ko'chirdi. Ba'zilar, shu jumladan Rod Skribner, Dik Landi, Virgil Uolter Ross, Norman Makkeyb va Jon Sparey, Bakshini kutib oldi va buni his qildi Fritz Cat animatsiya sanoatiga xilma-xillikni keltirib chiqaradi. Boshqa animatorlar Bakshining kelganidan unchalik mamnun emasdilar va reklama joylashtirdilar Hollywood Reporter, uning "iflosligi" Kaliforniyada yoqimsiz ekanligini bildirgan. Vaqt o'tishi bilan Cinemation chiqarildi Melvin Van Piblz ' Shirin Sweetbackning Baadassssss qo'shig'i ga qaramay, katta muvaffaqiyatga erishish X reytingi u olgan edi. Qachon Amerika kinofilmlari assotsiatsiyasi Bakshining filmiga X reytingini ham berdi, Cinemation uni reklama, reklama maqsadida ishlatdi Fritz Cat sifatida "90 daqiqalik zo'ravonlik, hayajon va SEX ... u X-darajali va animatsion!"[24] Turli xillik buni "kulgili, chalg'ituvchi, chiroyli tarzda ijro etilgan yoshlik nuqtai nazari" deb atagan.[25] Jon Grant o'z kitobida yozadi Animatsiya ustalari bu Fritz Cat "Qo'shma Shtatlardagi tijorat animatoriga yangi ko'rinishlarni ochib bergan kashfiyot filmi" edi.[26] ma'lum bir davr mobaynida G'arb jamiyatining ma'lum bir qatlamini "deyarli bezovta qiluvchi aniq" "tasvirini" taqdim etish, [...] u juda yaxshi tarixga ega edi. "[26] Fritz Cat 1972 yil 12 aprelda Gollivud va Vashingtonda ochilgan.[8] Katta hit bo'lib, u barcha vaqtlarning eng muvaffaqiyatli mustaqil animatsion xususiyatiga aylandi.[24] Filmning namoyishi bilan bir oyda Bakshining qizi Viktoriya tug'ildi.[24]

Og'ir transport (1972–1973)

Asosiy maqola: Og'ir transport

Vaqtiga qadar Fritz Cat ekranga chiqdi, Bakshi taniqli shaxsga aylandi, ammo uning obro'si birinchi navbatda birinchi "iflos" animatsion filmni suratga olishiga bog'liq edi.[27] U o'zining ommaviy reklama turlarida va savdo nashrlarida tanqidiga uchragan holda, u o'zining his-tuyg'ularini ifodalash uchun she'rlar yozishni boshladi. Bu an'ana bo'lib qoldi va Baqshi har bir filmida suratga olishni boshlashdan oldin she'rlar yozdi. Ushbu she'rlarning birinchisi "Ko'cha arablari" bo'lib, u oldin yaratilgan Og'ir transport 1972 yilda. Film uchun ilhom manbai qurush arkadalar, bu erda Bakshi tez-tez o'ynagan pinball, ba'zan uning 12 yoshli o'g'li Mark hamrohligida. Bakshi maydonga tushdi Og'ir transport ga Samuel Z. Arkoff, kim "qiynoqqa solinganiga" qiziqish bildirgan er osti karikaturachisi "va filmni qo'llab-quvvatlashga rozi bo'ldi. Krantz Bakshiga ishi uchun tovon puli to'lamadi Fritz Cat, va ishlab chiqarishning yarmida Og'ir transport, Bakshi unga qachon maosh berishini so'radi. Krantz bunga javoban: "Rasm pul ishlab olmadi, Ralf. Bu shunchaki shov-shuv", dedi. Bakshi Krantzning da'volarini shubhali deb topdi, chunki prodyuser yaqinda yangisini sotib olgan edi BMW va qasr Beverli Xillz. Bakshining advokati yo'q edi, shuning uchun u do'st bo'lgan rejissyorlardan maslahat so'radi, shu jumladan Martin Skorseze, Frensis Ford Koppola va Stiven Spilberg. Tez orada u Krantzni uni yirtib tashlaganlikda aybladi, prodyuser buni rad etdi.[28]

U ishlashni davom ettirar ekan Og'ir transport, Bakshi o'zining navbatdagi loyihasini boshlashni boshladi, Harlem kechalari, asosida erkin suratga olingan film Remus amaki hikoya kitoblari. Ushbu g'oya prodyuserni qiziqtirgan Albert S. Ruddi, Baqshi namoyish paytida duch kelgan Cho'qintirgan ota.[6][29] Bakshiga Krantz qo'ng'iroq qildi, u uni so'roq qildi Harlem kechalari. Bakshi: "Men bu haqda gapira olmayman" dedi va go'shakni qo'ydi. Ertasi kuni Bakshini studiyadan qamab qo'ygandan so'ng, Krantz bir nechta rejissyorlarni chaqirdi, shu jumladan Chak Jons, o'rnini qidirib. Arkoff, agar Krantz bir hafta o'tib qaytib kelgan Bakshini ishga qabul qilmasa, moliyaviy yordamini qaytarib olish bilan tahdid qildi.[30]

Bakshi ovozlarning organik bo'lishini xohladi, shuning uchun aktyorlariga ruxsat berib, improvizatsiya bilan tajriba o'tkazdi reklama lib yozuv sessiyalari paytida.[30] Bir nechta animatsiya ketma-ketligi qo'pol eskizlar sahifalarida paydo bo'ladi.[31] Filmda jonli aksiyalar va fotosuratlar ham mavjud. Garchi Krantz filmni R reytingini olishga intilib, jinsiy aloqa va zo'ravonlik bilan bog'liq turli xil sahnalarni tayyorlagan bo'lsa ham, Og'ir transport X baholandi.[22] Biroq, muvaffaqiyati tufayli Fritz Cat, ko'plab teatrlar kattalarga mo'ljallangan animatsiyani buyurtma qilishga tayyor edilar va film kassada yaxshi ishladi.[31] O'shandan beri Bakshi animatsiya sohasidagi birinchi odam bo'ldi Uolt Disney moliyaviy jihatdan muvaffaqiyatli ikkita film ketma-ket chiqarilishi.[32] Og'ir transport tanqidchilar tomonidan juda yaxshi kutib olindi. Newsweek uning "qora hazil, kuchli grotesquerie va o'ziga xos xom go'zalligini" olqishladi.[22] Hollywood Reporter uni "hayratga soladigan, g'azablantiradigan, tajovuzkor, ba'zida kelishmovchilikli, vaqti-vaqti bilan aqlsiz" deb atagan. Shu bilan birga, u asl san'at asaridir va Bakshi Disneydan beri eng ijodiy amerikalik animator. "[22] Vinsent Kanbi ning The New York Times tartiblangan Og'ir transport uning "1973 yildagi eng yaxshi o'nta filmi" orasida.[31] Film chiqarilgandan so'ng, viloyatdagi Kino Tsenzurasi Kengashi tomonidan taqiqlangan Alberta, Kanada.[22]

Coonskin (1973–1975)

Asosiy maqola: Koonskin (film)

1973 yilda Bakshi va Ruddy ishlab chiqarishni boshladilar Harlem kechalariParamount dastlab tarqatish uchun shartnoma tuzgan.[6][33] Esa Fritz Cat va Og'ir transport kattalarga yo'naltirilgan animatsiya moliyaviy jihatdan muvaffaqiyatli bo'lishi mumkinligini isbotladi, animatsion filmlar hanuzgacha hurmat qilinmadi va Bakshining rasmlari "jinsiy aloqa, giyohvandlik va haqoratni tasvirlash uchun" etuk "bo'lgan" iflos Disney zarbalari "deb qaraldi.[6] Harlem kechalari, Bakshining irqchilik bilan bo'lgan birinchi tajribalariga asoslanib, irqchilik xurofotlari va stereotiplariga qarshi hujum edi.[6][34] Bakshi aktyorlari Scatman Crothers, Filipp Maykl Tomas, Barri Oq va Charlz Gordone jonli va ovozli rollarda, animatsiyani to'satdan emas, balki to'satdan kesib tashladi, chunki u ikkala vosita "na bahona va na kechirim bilan birga yashashi" mumkinligini isbotlashni xohladi.[6] U ochilish sarlavhasi ketma-ketligi paytida Crothers uchun kuylash uchun qo'shiq yozdi: "Ah'm Niggerman". Uning tuzilishi qul ekish tarixidan kelib chiqqan edi: qullar she'rlar va hikoyalardagi satrlarni bir ovozdan dalalar bo'ylab katta masofalarga bir ovozdan "qichqirar" va tabiiy urishni yaratardi. Bakshi tezkor gitara yalashlari bilan qo'llab-quvvatlanadigan vokal uslubini "dastlabki versiyasi" deb ta'rifladi rap ".[6]

Bakshi stereotiplarni to'g'ridan-to'g'ri tasvirlab, tasvirlarni yo'q qilish orqali ularga hujum qilishni maqsad qilgan qora yuz ikonografiya.[34] Asosiy belgilar (aka Rabbit, Bear Bear va Preacher Fox) figuralarga o'xshash bo'lgan dastlabki dizaynlar To'llardagi shamol rad etildi.[6] Bakshi qora tanlilarning stereotipik dizaynini oq irqchilarning salbiy tasvirlari bilan yonma-yon qo'ydi, ammo filmning eng qattiq tanqidlari Mafiya.[34] Bakshi: "Men bu bolalar uchun qilingan barcha qahramonlarga sig'inishdan xafa bo'ldim Cho'qintirgan ota."[35] 1973 yilda ishlab chiqarilgan mahsulot.[36] Tahrirlash paytida sarlavha o'zgartirildi Koonskin endi yo'q ...,[37] va nihoyat Coonskin. Bakshi ishlash uchun bir nechta afroamerikalik animatorlarni yolladi Coonskin,[33] shu jumladan birinchi afroamerikalik ayol animator Brenda Benks.[38] Bakshi shuningdek, grafiti rassomlarini yollagan va ularni animator sifatida ishlashga o'rgatgan.[36] Filmning namoyishi norozilik namoyishi bilan kechiktirildi Irqiy tenglik kongressi, bu Baqshi va uning filmini irqchi deb atagan.[33][34] Uning tarqatilishi bilan shartnoma tuzilgandan so'ng Bryanston Distributing kompaniyasi, Paramount Bakshi va Ruddy tomonidan ishlab chiqilgan loyihani bekor qildi, Amerika xronikalari.[39]

Coonskinekspluatatsiya filmi sifatida reklama qilingan, cheklangan tarqatishga berilgan va tez orada teatrlardan g'oyib bo'lgan. Dastlabki sharhlar salbiy edi; Playboy "Baqshi hamma narsaning ozini tashlayotganday tuyuladi va uni birlashtira olmaydi", deb izohladi.[33] Oxir-oqibat, ijobiy sharhlar paydo bo'ldi Hollywood Reporter, Nyu-York Amsterdam yangiliklari (afroamerikalik gazeta) va boshqa joylarda. The New York Times' Richard Ederning aytishicha, film "[Bakshining] durdona asari [...] bo'lishi mumkin, bu g'ayritabiiy zo'ravonlik va ko'ngilsizlikni Amerika shaharlari hayoti, xususan qora tanli shahar hayotini etkazish uchun kamdan-kam uchraydigan shakl - multfilmlar va jonli harakatlar. ..] lirik zo'ravonlik, ammo hech qanday tarzda zo'ravonlikdan foydalanmaydi ".[33] Turli xillik buni "ko'chalardan kelgan shafqatsiz satira" deb atagan.[33] Uchun sharhlovchi Los-Anjeles Herald-Examiner "Albatta, bu ba'zilarni g'azablantiradi va, albatta, bu Disney emas. [...] O'zi yaratgan dialog - agar kassadagi to'siqlar bo'lmasa - shunchaki sog'lom ko'rinadi".[33] Bakshi qo‘ng‘iroq qildi Coonskin uning eng yaxshi filmi.[35]

Hey yaxshi qarab turibman (1973–1975/1982)

Asosiy maqola: Hey Good Lookin '(film)

Ishlab chiqarish tugagandan so'ng Harlem kechalari, Bakshi jonli harakatlar va animatsion belgilar o'zaro ta'sir o'tkazadigan filmni suratga olish orqali o'zini badiiy jihatdan ajratib ko'rsatishni xohladi.[36] Bakshining aytishicha, "Men yaratmoqchi bo'lgan illyuziya - bu to'liq jonli aksiyalar filmi. Uning ishlashiga erishish bizni aqldan ozdirdi".[40] Hey yaxshi qarab turibman Bruklindagi 1950 yillar davomida o'rnatildi; uning bosh qahramonlari Vinni, "Stompers" nomli to'da etakchisi, uning do'sti Crazy Shapiro va ularning qiz do'stlari Roz va Eva. Vinni va Crazy Shapiro Bakshining o'rta maktab do'stlari Norman Darrer va Allen Scheterman asosida yaratilgan.[3][41] Warner Bros. 1973 yilda film ssenariysi bo'yicha tanlangan va yashil rang bilan yoritilgan.[36]

Ning dastlabki versiyasi Hey yaxshi qarab turibman 1975 yilda tugatilgan. Ushbu versiyaning uch daqiqali promo-aksiyasi namoyish etildi 1975 yil Kann kinofestivali va film Rojdestvo 1975 yilda namoyish etilishi rejalashtirilgan edi, ammo oxir-oqibat noma'lum muddatga qoldirilmasdan oldin 1976 yil va 1977 yil yozlariga ko'chirildi.[36] Warner Bros. filmning teskari reaktsiyasi natijasida yuzaga keladigan har qanday tortishuvlardan xavotirda edi Coonskin,[36] va jonli aksiyalar va animatsiyalar aralashganligi sababli film "ochib bo'lmaydigan" ekanligini his etdi va loyihaga qo'shimcha pul sarflamaydi. Baqshi filmni yakunlashni o'zi kabi boshqa loyihalar uchun rejissyor maoshidan moliyalashtirgan Sehrgarlar, Uzuklar Rabbisi va Amerika popi.[41] Ning jonli aksiyalar ketma-ketligi Hey yaxshi qarab turibman asta-sekin animatsiya bilan almashtirildi; yo'q qilingan jonli aksiyalar qatorlari orasida glam pank guruh Nyu-York qo'g'irchoqlari.[41] Ashulachi Dan Xiks dastlabki musiqiy partiyada ishlagan, ammo yakuniy versiyani Jon Madara kiritgan.[42]

Hey yaxshi qarab turibman 1982 yil 1 oktyabrda Nyu-Yorkda ochilgan va 1983 yil yanvarda Los-Anjelesda chiqarilgan.[40] Filmning chiqarilishi cheklangan edi va Qo'shma Shtatlarda deyarli e'tiborga olinmadi,[41] tashqi bozorlarda hurmatga sazovor biznesga ega bo'lsa-da.[36] Qisqa sharhda Vinsent Kanbi "bu mutlaqo nomuvofiq emas, lekin aslida uning xayolida nima bo'lsa, shuncha o'tib ketgandek" deb yozgan.[43] Animatsiya tarixchisi Jerri Bek "filmning boshlanishi juda istiqbolli, axlat axlat ko'chalardagi hayotni ba'zi axlat bilan muhokama qilishi mumkin. Bu Bakshining eng yaxshi qilgani misolidir - animatsiya vositalaridan foydalangan holda jamiyat haqida fikr bildirish. Afsuski, u buni qilmaydi" "Bu filmda buni etarli darajada bajaring." Crazy "deb nomlangan personaj tomning tomida tortishish paytida gallyutsinatsiya boshlaganida, hayoliy fantaziya ketma-ketligi mavjud. Bu sahna deyarli butun filmni oqlaydi. Ammo aks holda, bu g'oyalarni qayta tiklash uchun yaxshiroqdir ichida o'rganilgan Coonskin, Og'ir transportva Fritz Cat."[40] O'shandan beri film kabel televideniesi va uy videolari orqali kultga aylandi.[36] Kventin Tarantino afzal ko'rganligini ta'kidladi Hey yaxshi qarab turibman Martin Skorsezega O'rtacha ko'chalar.[44]

Fantastik filmga o'tish (1976-1978)

Asosiy maqolalar: Sehrgarlar (film) va "Uzuklar hukmdori" (1978 film)

1976 yilda Baqshi maydonga tushdi Urush sehrgarlari ga 20th Century Fox. O'rta maktabda ilhom uchun yaratgan hayoliy rasmlariga qaytib, Baqshi o'zining kattalar uchun mo'ljallangan filmlari singari ta'sir ko'rsatadigan "oilaviy rasm" ni yaratishi mumkinligini isbotlamoqchi edi.[45] Britaniyalik rassom Yan Miller va komikslar rassomi Mayk Ploog kelib chiqishi va dizayniga hissa qo'shish uchun yollangan. Ekipaj tarkibiga Vita, Turek, Sparey, Vitello va Spenslar kirdilar, ular Bakshining stsenariysi cheklanganligi va qalam sinovlaridan mahrum bo'lishgan. Ishlab chiqarish xarajatlari oshgani sayin Fox prezidenti Alan Ladd, kichik Bakshining ish haqini oshirish haqidagi iltimoslarini rad etdi va filmni suratga olish uchun unga 50 ming dollar berishni rad etdi. Shu bilan birga, Ladd shu kabi byudjet muammolari bilan shug'ullangan Jorj Lukas "s Yulduzlar jangi. Bakshi va Lukas franchayzingga egalik qilish, savdo-sotiq va orqa tomon to'lash, shuning uchun Ladd filmlarini yakunlanishini o'zlari moliyalashtirishni taklif qildi.[45]

Side view sketch of a man standing as he draws on a transparent easel onto which a movie projector throws an image of a film frame from the rear. The sketch is annotated with numbers from 14 to 29, and carries the title
Uchun patent chizmasi rotoskopiya da keng qo'llaniladigan texnika Sehrgarlar va Uzuklar Rabbisi

Bakshi rotoskopiyani filmning jang sahnalarini o'z mablag'lari bilan to'ldirishning tejamkor usuli sifatida tanladi. U suratga olish guruhini yoki aktyorlarni yollashga yoki 35 millimetrlik aktsiyalarni ishlab chiqarishga qodir emasligi sababli, Baqshi zarur bo'lgan katta jangovar sahnalar turini o'z ichiga olgan filmlarning nashrlarini so'radi, shu jumladan Sergey Eyzenshteyn "s Aleksandr Nevskiy va kerakli rasmlarni birlashtirdi. Biroq, har bir ramkaning fotosuratlarini bosib chiqarish narxi 3 million dollarga tushishi kerak edi. Buni o'rganish IBM sanoat o'lchamidagi fotokopisini taqdim etgan edi, Bakshi kompaniyaning texnik mutaxassislaridan biridan har bir freymning kattalashtirilgan nusxalarini ishlab chiqarish uchun mashinaga 35 mm g'altaklarni bera oladimi deb so'radi. Tajriba samara berdi va Bakshi har bir nusxasi uchun bir tiyinga kerakli sahifalarni oldi.[45]

Sifatida Urush sehrgarlari tugatish arafasida, Lukas Bakshidan filmining nomini o'zgartirishni iltimos qildi Sehrgarlar bilan ziddiyatni oldini olish uchun Yulduzlar jangi; Bakshi rozi bo'ldi, chunki Lukas ruxsat bergan Mark Hamill vaqt ajratmoq Yulduzlar jangi uchun ovoz yozish Sehrgarlar. Garchi Sehrgarlar cheklangan versiyani oldi, uni namoyish etgan teatrlarda muvaffaqiyatli bo'ldi va butun dunyo auditoriyasini rivojlantirdi.[40] Deyv Kehr ning Chikagodagi o'quvchi buni "qisqartirish texnikasi va shaklsiz ssenariy bilan buzilgan" deb ko'rdi.[46] Kino tarixchisi Jerri Bekning fikriga ko'ra, keksayib qolgan sehrgar "bosh qahramon" karikatura ustasi Von Bodega juda katta qarzdor. Cheech sehrgar belgi. "[47]

1976 yil oxirida Bakshi buni bilib oldi Jon Boorman ning moslashishini yo'naltirish uchun shartnoma tuzildi Uzuklar Rabbisi, unda J. R. R. Tolkien Uch jildli roman bitta filmga ixchamlashtiriladi.[48] Bakshi bilan uchrashuv tashkil qildi Mayk Medavoy, Birlashgan rassomlar Boormanning ssenariysi uchun sarflangan 3 million dollar evaziga Bakshini to'g'ridan-to'g'ri yo'naltirishga rozi bo'lgan ishlab chiqarish rahbari.[48] Medavoydan pastga koridor bor edi Metro-Goldvin-Mayer Prezident Dan Melnik, kim bilan uchrashuvni to'xtatdi Piter Bogdanovich u Bakshining huquqlarini olish to'g'risida muhokama qilmoqchi ekanligini bilganida Uzuklar Rabbisi. Melnik United Artists-ga 3 million dollar to'lashga rozi bo'ldi, ammo tez orada ishdan bo'shatildi; uning o'rnini egallagan Dik Shepherd tomonidan loyiha bekor qilindi. Bakshi Saul Zaents bilan bog'lanib, u MGMning qarzlarini qoplash uchun chek yozdi va dastlab uchta filmlar seriyasi sifatida rejalashtirilgan birinchi film uchun 8 million dollarlik byudjetni moliyalashtirishga rozi bo'ldi va keyinchalik ikkitasiga qadar muzokara o'tkazdi. Ishlab chiqarish boshlanishidan oldin Bakshi va Zaents Tolkien ko'chmas mulkini olishlarini talab qilishdi qoldiqlar filmdan.[48]

Bakshi ertakning keng multfilm versiyasini chiqarishni xohlamadi, shuning uchun u filmni to'liq jonli efirda suratga olishni va kadrlarni rotoskopiya bilan jonlantirishni rejalashtirdi.[48] Shuningdek, filmda qisqacha cel animatsiyasi va to'g'ridan-to'g'ri jonli efirdagi kadrlar mavjud. Ispaniyada jonli aksiyalar ketma-ketligini ishlab chiqarish amalga oshirildi. Katta tortishish paytida kasaba uyushma rahbarlari tushlik tanaffusiga chaqirishdi va Baqshi yashirin ravishda aktyorlarning kadrlarini suratga oldi Ork kostyumlar hunarmandlarga xizmat ko'rsatish stoliga qarab harakat qilishdi va filmdagi kadrlardan foydalanishdi.[48] Keyinchalik Jerri Bek yozganidek, u rotoskopik animatsiyani "chiroyli" deb topganda, jonli aktsionerlikdan foydalanish badiiy tanlovmi yoki byudjet cheklovlari sababli noaniq bo'lib qoldi.[49]

Ispaniyaning kino ishlab chiqarish laboratoriyasi kadrlarda telefon liniyalari, vertolyotlar va avtoulovlar ko'rinib turganini aniqlagach, ular Bakshining rejissyorning birinchi yordamchisiga "agar bunday beparvo kinematografiya chiqib ketsa, Gollivuddan hech kim qaytib kelmaydi yana otish uchun Ispaniyaga. " Bakshi Qo'shma Shtatlarga qaytib kelganida, har bir ramkaning portlatilgan bosimlarini ishlab chiqarish narxi ko'tarilganligini bilib oldi. U ilgari ishlatilgan jarayonni takrorlashni xohlamadi Sehrgarlar, bu u uchun mo'ljallangan tafsilotlar darajasiga mos emas edi Uzuklar Rabbisi, shuning uchun Bakshi va kameralar bo'yicha texnik Ted Bemiller kadrlarni arzonga ishlov berish uchun o'zlarining fotografik kengaytiruvchisini yaratdilar. Vizual effektlar byudjetini past darajada ushlab turish va filmga yanada aniq ko'rinish berish uchun animatsiya o'rniga jonli aksiyalar va analog optikalar ishlatilgan. Ovoz aktyorlari orasida taniqli odamlar bor edi Jon Xurt rolini kim ijro etgan Aragorn. Loyihaning obro'si og'ir bo'ldi savdo jurnali qamrovi va shunga o'xshash muxlislar Mik Jagger rol o'ynash imkoniyati uchun studiyaga tashrif buyurdi. Animator Karl Bell Aragornni chizishni juda yaxshi ko'rar edi, shuning uchun Bakshi Bellga animatsiya paytida kiygan jonli harakat kostyumini berdi.[48]

Ko'rish Uzuklar Rabbisi bayram filmi sifatida United Artists Bakshini uni 1978 yil 15-noyabrda mo'ljallangan rejasiga binoan bajarilishini talab qildi. Once it was finished, Bakshi was told that audiences would not pay to see an incomplete story; over his objections, Uzuklar Rabbisi was marketed with no indication that a second part would follow.[48] Reviews of the film were mixed, but it was generally seen as a "flawed but inspired interpretation".[49] Yangiliklar kuni's Joseph Gelmis wrote that "the film's principal reward is a visual experience unlike anything that other animated features are doing at the moment".[49] Rojer Ebert called Bakshi's effort a "mixed blessing" and "an entirely respectable, occasionally impressive job [which] still falls far short of the charm and sweep of the original story".[50] Vincent Canby found it "both numbing and impressive".[51] Devid Denbi ning Nyu York felt that the film would not make sense to viewers who had not read the book. He wrote that it was too dark and lacked humor, concluding, "The lurid, meaningless violence of this movie left me exhausted and sickened by the end."[52] The film, which cost $4 million to produce, grossed $30.5 million.[49] The studio refused to fund the sequel, which would have adapted the remainder of the story.[48] Uzuklar Rabbisi won the Golden Gryphon at the 1980 Giffoni kinofestivali.[53]

Amerika popi va Olov va muz (1979–1983)

Asosiy maqolalar: Amerika popi va Olov va muz (1983 film)

Following the production struggles of Uzuklar Rabbisi, Bakshi decided to work on something more personal.[48] U maydonga tushdi Amerika popi ga Columbia Pictures president Dan Melnick. Bakshi wanted to produce a film in which songs would be given a new context in juxtaposition to the visuals.[54] Amerika popi follows four generations of a Rus yahudiy immigrant family of musicians, whose careers parallel the history of American pop and starred actor Ron Tompson in a dual lead role.[55] While the film does not reflect Bakshi's own experiences, its themes were strongly influenced by people he had encountered in Brownsville.[54] The film's crew included character layout and design artist Louise Zingarelli, Vita, Barry E. Jackson, and Marcia Adams.[54] Bakshi again used rotoscoping, in an attempt to capture the range of emotions and movement required for the film's story.[56] According to Bakshi, "Rotoscoping is terrible for subtleties, so it was tough to get facial performances to match the stage ones."[54] Bakshi was able to acquire the rights to an extensive soundtrack—including songs by Janis Joplin, Eshiklar, Jorj Gersvin, Mamalar va Papalar, Herbi Xenkok, Lou Rid va Louis Prima —for under $1 million.[54] Released on February 12, 1981, the film was a financial success.[40] The New York Times' Vincent Canby wrote, "I'm amazed at the success that Mr. Bakshi has in turning animated characters into figures of real feelings."[57] Jerry Beck called it "one of Bakshi's best films".[58] Due to music clearance issues, it was not released on uy videosi 1998 yilgacha.[58]

By 1982, fantasy films such as Beastmaster va Konan barbar had proven successful at the box office, and Bakshi wanted to work with his long-time friend, the fantasy illustrator Frank Frazetta.[59] Olov va muz was financed by some of Amerika popi's investors for $1.2 million, while 20th Century Fox agreed to distribute.[59] Olov va muz was the most action-oriented story Bakshi had directed, so he again used rotoscoping; the realism of the design and rotoscoped animation replicated Frazetta's artwork.[59] Bakshi va Frazetta jonli efir ketma-ketliklarini ishlab chiqarishda katta ishtirok etishdi, ular kasting sessiyalaridan tortib to so'nggi suratga olishgacha.[59] Filmning ekipaj tarkibida fon rassomlari bor edi Jeyms Gurney va Tomas Kinkade, maket rassomi Piter Chung, and established Bakshi Productions artists Sparey, Steve Gordon, Bell and Banks.[59] Chung greatly admired Bakshi's and Frazetta's work, and animated his sequences while working for Uolt Disney kompaniyasi.[59] The film was given a limited release, and was financially unsuccessful.[60] Endryu Leal shunday deb yozgan edi: "Bu fitna odatiy [...] hech qanday esga olinmagan narsa, shunchaki grafika epizodi Filmga tushirish "s U odam seriyali. [...] Olov va muz asosan vahshiyona filmlardan keyin iz qoldirgan varvar filmlarining izohi bo'lib turibdi Arnold Shvartsenegger kabi ko'rinishi Konan."[61]

Unproduced projects and temporary retirement (1983–1986)

Ishlab chiqarilganidan keyin Olov va muz wrapped, Bakshi attempted several projects that fell through, including adaptations of Ovchi S. Tompson "s Las-Vegasdagi qo'rquv va nafrat, Uilyam Kotsvinkl "s Muxlis, Erik Ryuker Eddison "s Ouroboros qurti, Stiven Kreyn "s Maggi: Ko'chadagi qiz, Miki Spillane "s Mayk Xammer novels and an anthropomorphic depiction of Sherlok Xolms. He turned down offers to direct Rey Bredberi "s Bu yovuz bir narsa keladi va Filipp K. Dik "s Androidlar elektr qo'ylarni orzu qiladimi?. He passed the latter to Ridli Skott, who adapted it into the 1982 film Pichoq yuguruvchisi (although he was planning a TV version of said film).[62][63]

During this period, Bakshi reread J. D. Salinger "s Javdar ichidagi ovchi, which he had first read in high school, and saw parallels between his situation and that of the book's protagonist, Xolden Kolfild. Inspired to seek the film rights, he intended to shoot the story's bracketing sequences in live action and to animate the core flashback scenes. Salinger had rejected previous offers to adapt the novel, and had not made a public appearance since 1965 or granted an interview since 1980. Bakshi sent Salinger a letter explaining why he should be allowed to adapt the novel; the writer responded by thanking Bakshi and asserting that the novel was unfit for any medium other than its original form.[62]

Prompted in part by Salinger's letter, Bakshi briefly retired to focus on painting. During this time he completed the screenplay for Agar men uni ushlasam, uni o'ldiraman, a live-action feature he had been developing since the late 1960s. United Artists and Paramount Pictures each paid Bakshi to develop the film in the 1970s, but were unwilling to produce it, as were the studios he pitched the film to in the 1980s. Bakshining so'zlariga ko'ra, "Ular hech kim ayollar erlarini aldashlari mumkin va qila olishlarini hech kim tan olmaydi deb o'ylashdi. Ular buni juda issiq deb o'ylashdi, bu mantiqsiz edi".[62] In 1985, he received a phone call from Rolling Stones ' manager, Tony King, who told Bakshi that the band had recorded a cover of Bob va Earl "Harlem Shuffle ", and wanted Bakshi to direct the music video. He was told that the live-action shoot needed to be completed within one day (January 28, 1986) for it to be shown at the Grammy mukofotlari. Production designer Wolf Kroeger was forced to drastically compact his sets, and animation director and designer Jon Kricfalusi had to push his team, including Lynne Naylor, Jim Smit and Bob Jaques, to complete the animation within a few weeks. The band's arrival at the set was delayed by a snowstorm and several takes were ruined when the cameras crossed paths. Bakshi was forced to pay the union wages out of his own fees, and the continuity between Kricfalusi's animation and the live-action footage did not match; however, the video was completed on time.[64]

Bakshi recognized Kricfalusi's talent, and wanted to put him in charge of a project that would showcase the young animator's skills. Bakshi and Kricfalusi co-wrote the screenplay Bobbining qizi olish uchun o'spirin filmlari davrning.[65] Jeff Sagansky, president of production at TriStar rasmlari, put up $150,000 to develop the project, prompting Bakshi to move back to Los Angeles. When Sagansky left TriStar, Bakshi was forced to pitch the film again, but the studio's new executives did not understand its appeal and cut off financing. Bakshi and Zingarelli began to develop a feature about Gollivudning Oltin asri, and Bakshi Productions crewmembers worked on proposed cartoons influenced by pulp fiction. Bobbining qizi was reworked as a potential prime time series called Suzy's in Love, but attracted no serious interest.[66] They would try again in 2003 over at Spumcø, but nothing came from this either.[67]

Return to television (1987–1989)

Asosiy maqola: Qudratli sichqon: yangi sarguzashtlar

In April 1987, Bakshi set up a meeting with Judy Price, the head of CBS's Saturday morning block. Three days before the meeting, Bakshi, Kricfalusi, Naylor, Tom Minton, Eddie Fitzgerald and Jim Rirdon met to brainstorm. Bakshi remembers, "My car was packed to the windows. Judy was my last stop before driving cross country back to New York to my family." Price rejected Bakshi's prepared pitches, but asked what else he had. He told her that he had the rights to Qudratli sichqon, and she agreed to purchase the series. However, Bakshi did not own the rights and did not know who did. While researching the rights, he learned that CBS had acquired the entire Terrytoons library in 1955 and forgotten about it. According to Bakshi, "I sold them a show they already owned, so they just gave me the rights for nothin'!"[66]

Kricfalusi's team wrote story outlines for thirteen episodes in a week and pitched them to Price. By the next week, Kricfalusi had hired animators he knew who had been working at other studios. Qudratli sichqon: yangi sarguzashtlar went into production the month it was greenlighted; it was scheduled to premiere on September 19, 1987. This haste required the crew to be split into four teams, led by supervising director Kricfalusi, Fitzgerald, Steve Gordon and Bruce Woodside. Each team was given a handful of episodes, and operated almost entirely independently of the others. Although the scripts required approval by CBS executives, Kricfalusi insisted that the artists add visual gags as they drew. Bryus Timm, Endryu Stanton, Dave Marshall and Jeff Pidgeon were among the artists who worked on the series. Despite the time constraints, CBS was pleased with the way Bakshi Productions addressed the network's notes.[68]

During the production of the episode "The Littlest Tramp", editor Tom Klein expressed concern that a sequence showing Mighty Mouse sniffing the remains of a crushed flower resembled kokain foydalanish. Bakshi did not initially view the footage; he believed that Klein was overreacting, but agreed to let him cut the scene. Kricfalusi expressed disbelief over the cut, insisting that the action was harmless and that the sequence should be restored. Following Kricfalusi's advice, Bakshi told Klein to restore the scene, which had been approved by network executives and the CBS standartlar va amaliyotlar Bo'lim. The episode aired on October 31, 1987, without controversy.[68]

In 1988, Bakshi received an Enni mukofoti for "Distinguished Contribution to the Art of Animation".[69] The same year, he began production on a series pilot loosely adapted from his Junktown kulgili chiziqlar. According to Bakshi, the proposed series "was going to be a revitalization of cartoon style from the '20s and '30s. It was gonna have Dyuk Ellington va Fats Waller jazzing up the soundtrack." Nickelodeon was initially willing to greenlight 39 episodes of Junktown.[68]

On June 6, 1988, Donald Wildmon, boshlig'i Amerika Oila Assotsiatsiyasi (AFA), alleged that "The Littlest Tramp" depicted cocaine use, instigating a media frenzy. The AFA, during its incarnation as the National Federation for Decency, had previously targeted CBS as an "accessory to murder" after a mother killed her daughter following an airing of Exorcist II: Bid'atchi. Concerning Bakshi's involvement with Qudratli sichqon: yangi sarguzashtlar, the AFA claimed that CBS "intentionally hired a known pornographer to do a cartoon for children, and then allowed him to insert a scene in which the cartoon hero is shown sniffing cocaine." Bakshi responded, "You could pick a still out of Lady va Tramp and get the same impression. Fritz Cat wasn't pornography. It was social commentary. This all smacks of burning books and the Third Reich. It smacks of Makkartizm. I'm not going to get into who sniffs what. This is lunacy!" On CBS's order, Klein removed the sequence from the master broadcast footage. Wildmon claimed that the edits were "a de facto admission that, indeed, Mighty Mouse was snorting cocaine".[68] Despite receiving an award from Bolalar televideniesi uchun aksiya, favorable reviews, and a ranking in Vaqt magazine's "Best of '87" feature, Qudratli sichqon: yangi sarguzashtlar was canceled by CBS following the controversy.

The incident had a ripple effect, weakening Nickelodeon's commitment to Junktown. Bakshi has also stated that "we were trying something different [...] but a series didn't make sense. It just didn't work".[68] The series was scrapped, and the completed pilot aired as a special, Tattertownda Rojdestvo, in December 1988. It was the first original animated special created for Nickelodeon. Bakshi moved into a warehouse loft in downtown Los Angeles to clear his head, and was offered $50,000 to direct a half-hour live-action film for PBS "s Amerikani tasavvur qilish antologiya seriyasi. Mark Bakshi produced the film, Bu Bebop emas, his first professional collaboration with his father. Bakshi wrote a poem influenced by Jek Keruak, jazz, Beat Generation and Brooklyn that served as the narration, which was spoken by Xarvi Keytel. After a car crash, Bakshi completed the post-production in stitches and casts. Bakshi said of the work, "It's the most proud I've been of a picture since Coonskin—the last real thing I did with total integrity."[68]

As a result of the film, Bakshi received an offer to adapt Doktor Seuss "s Sariyog 'jang kitobi uchun TNT.[70] Ted Geisel had never been satisfied with the previous screen versions of his Dr. Seuss work. Bakshi wanted to produce an entirely faithful adaptation, and Geisel—who agreed to storyboard the special himself—was pleased with the final product. Bakshi next directed the pilot Hound Town NBC uchun; he described the result as "an embarrassing piece of shit".[71]

Cool World, continued television projects and semi-retirement (1990–1997)

Asosiy maqola: Cool World

In 1990, Bakshi pitched Cool World to Paramount Pictures as a partially animated dahshatli film. The concept involved a cartoon and human having sex and conceiving a hybrid child who visits the real world to murder the father who abandoned him. The live-action footage was intended to look like "a living, walk-through painting", a visual concept Bakshi had long wanted to achieve. Massive sets were constructed on a sound stage in Las Vegas, based on enlargements of designer Barry Jackson's paintings. The animation was strongly influenced by the house styles of Fleischer studiyalari and Terrytoons.[71] As the sets were being built, producer Frank Mankuso, kichik, son of Paramount president Frank Mancuso, Sr., had the screenplay rewritten in secret; the new version, by Maykl Greys va Mark Viktor, was radically different from Bakshi's original.[72][73] Paramount threatened to sue Bakshi if he did not complete the film.[74] As Bakshi and Mancuso wrangled over their creative differences, Bakshi and the studio also began to fight over the film's casting. To keep actor Bred Pitt, Bakshi had to replace Drew Barrymore, his original choice for the character of Holli Would, with Kim Beysinger, a bigger box office draw at the time.[72] The film's animators were never given a screenplay, and were instead told by Bakshi, "Do a scene that's funny, whatever you want to do!"[75]

Head and upper torso view of a lightly-bearded, middle-aged man in glasses and a plain T-shirt, sitting behind a table with a microphone on it. Two small posters that read
Bakshi speaking at Comic-Con International 2008 yil 26 iyulda

Dizayner Milton Nayt recalled that "audiences actually wanted a wilder, raunchier Cool World. The premiere audience I saw it with certainly did."[75] The critical reaction to the film was generally negative. Rojer Ebert wrote, "The DJ who was hosting the radio station's free preview of Cool World leaped onto the stage and promised the audience: 'If you liked Rojer quyon, you'll love Cool World! " He was wrong, but you can't blame him—he hadn't seen the movie. I have, and I will now promise you that if you liked Rojer quyon, quit while you're ahead."[76] Film kassalarning umidsizligi edi.[77] While other film projects followed, Bakshi began to focus more attention on painting.[78]

1993 yilda, Lou Arkoff, o'g'li Samuel Z. Arkoff, approached Bakshi to write and direct a low-budget live-action feature for Vaqtni ko'rsat "s Isyonchi shosse seriyali. Uchinchi marta Bakshi o'zining ssenariysini qayta ko'rib chiqdi Agar men uni ushlasam, uni o'ldiraman, which he retitled Ajoyib va ​​aqldan ozganlar.[78] The picture, which aired September 16, 1994, starred Jared Leto, Alicia Silverstone, Jennifer Blan and Matthew Flint. Reviewer Todd Everett noted that it had the same "hyperdrive visual sense" of Bakshi's animated films. He said, "Everything in 'Cool' [...] seems to exist in pastels and Bakshi shoots from more odd angles than any director since Sidni J. Furi uning gullab-yashnagan davrida. Va yakuniy ketma-ketliklar qonda ekranda qon to'kilmasdan kuchli zo'ravonlikni qanday namoyish etish mumkinligini namoyish etadi. Bakshi pulls strong [performances] from a cadre of youngish and largely unknown actors".[79]

1995 yilda, Xanna-Barbera ishlab chiqaruvchi Fred Zaybert offered Bakshi the chance to create two animated short films for Multfilm tarmog'i "s Qanday multfilm!: Malcom and Melvin va Chaqaloq, U meni chaqiradi, focusing on a trumpet-playing cockroach named Malcom and his best friend, a clown named Melvin. Both were heavily edited after Bakshi turned them in and he disowned them as a result.[26] Bakshi was subsequently contacted by HBO, which was looking to launch the first animated series specifically for adults, an interest stirred by discussions involving a series based upon Trey Parker va Mett Stoun 's video Christmas card, Iso va Santa kabi. Bakshi enlisted a team of writers, including his son Preston, to develop Achchiq detektiv, keyinchalik o'zgartirildi Achchiq shahar, an antologiya seriyasi o'rnatilgan a noir-ish, technology-driven future.[26] Each episode was narrated by a female host named Raven, voiced by Mishel Fillips. The series premiered in July 1997—one month before the debut of Parker and Stone's Janubiy park —and thus became the first "adults only" cartoon series.[78] Although critical reaction was largely unfavorable, Achchiq shahar received acceptable ratings.[26] A second season was approved, but the network wanted to fire Bakshi's writing team and hire professional Los Angeles screenwriters. When Bakshi refused to cooperate, the series was canceled.[78]

Painting, teaching and new animation projects (2000–2013)

Bakshi retired from animation once more, returning to his painting. In 2000, he began teaching an undergraduate animation class at New York's Tasviriy san'at maktabi. On December 14, 2001, he did some paintings for the Kemeron Krou film Vanilla Sky.[80] He later became involved in several screen projects, including a development deal with the Ilmiy-fantastik kanal, In September 2002, Bakshi, Liz and their dogs moved to Nyu-Meksiko, where he became more productive than ever in his painting and began development on the Last Days of Coney Island film.[62] In 2003, he appeared as the Fire Chief in the episode "Fire Dogs 2" of Jon Kricfalusi "s Ren & Stimpy "Voyaga etganlar uchun multfilm".[81]

In September 2008, Main Street Pictures announced that it would collaborate with Bakshi on a sequel to Sehrgarlar.[82][83] In 2012, Bakshi began producing the short film series Bakshi Blues. Ushbu shimlarning birinchisi, Dickle Down-ni tomchilatib yuboring, contains reused animation from Coonskin and criticizes Republican presidential candidate Mitt Romni. The shorts will focus on "old and new characters" and will comment on modern-day America.[84]

Koni orolining so'nggi kunlari (2013–2016)

In February 2013, Bakshi launched a successful Kickstarter campaign to obtain funding for his latest film, Koni orolining so'nggi kunlari.[85][86]

Aktyor Metyu Modin was cast in the film in February 2013 after Modine, a longtime Bakshi fan, came across the film's Kickstarter campaign online.[87][88]

LDoCI was released on Vimeo in 2015. Bakshi released the film for free on YouTube 2016 yil 13 oktyabrda.[89]

Taqdirlar

In 2003, Bakshi received a Maverick Tribute Award at the Cinequest San Jose Film Festival[90] the same year he began teaching an animation class in New Mexico - this became The Bakshi School of Animation and Cartooning, which is run by Ralph's son Edward and his partner Jess Gorell.[81]

The Onlayn film tanqidchilari jamiyati released a list of the "Top 100 Animated Features of All Time" in March 2003 that included four of Bakshi's films: Fritz Cat, Uzuklar Rabbisi, Coonskin va Olov va muz.[91] Fritz Cat was ranked number 56 in the 2004 poll conducted by Britain's 4-kanal for its documentary 100 ta eng zo'r multfilm.[92] Zamonaviy san'at muzeyi has added Bakshi's films to its collection for preservation.[93]

In the 1980s and 1990s he served on the advisory board of the Los-Anjeles talabalar kino instituti.[94][95]

Meros

The availability of Bakshi's work on the Internet sparked a resurgence of interest in his career, resulting in a three-day Amerika kinematikasi retrospective held at Graumanning Misr teatri in Hollywood and the Aero Theater in Santa-Monika, Kaliforniya, in April 2005.[96] Filtrsiz: To'liq Ralf Bakshi, a hardcover book of Bakshi's art, was released on April 1, 2008. The foreword was written by Kventin Tarantino and the afterword by Bakshi.[97]

Gor Verbinski commented about Bakshi and showed that he was inspired by him during an interview in Hollywood Reporter for his first animated movie, Rango, saying: "What happened to the Ralph Bakshis of the world? We're all sitting here talking family entertainment. Does animation have to be family entertainment? Audiences want something new; they just can't articulate what."[98]

On January 12, 2014 at Misr teatri in Hollywood, there was a special screening of Bakshi's film Amerika popi aktyorlar bilan Ron Tompson va Mews Small qatnashishda,[99] it was the first time lead actor Ron Thompson had ever introduced the film before a live audience.[100]

Da Aero teatri yilda Santa-Monika, Kaliforniya on March 27, 2015, there was a screening of Og'ir transport va Amerika popi with Bakshi, Ron Tompson va Mews Small ishtirok etish.[101]

Filmografiya

Filmlar

YilFilmDirektorYozuvchiIshlab chiqaruvchiAktyorRolIzohlar
1972Fritz CatHaHaYo'qHaPig Cop No. 1
1973Og'ir transportHaHaYo'qHaTurli xil
1975CoonskinHaHaYo'qHaCop with megaphone
1977SehrgarlarHaHaHaHaFritz
Storm Trooper
1978Uzuklar RabbisiHaYo'qYo'qYo'q
1981Amerika popiHaYo'qHaHaPianino ijrochisi
1982Hey yaxshi qarab turibmanHaHaHaYo'q
1983Olov va muzHaYo'qHaYo'q
1992Cool WorldHaYo'qYo'qYo'q
2015Koni orolining so'nggi kunlariHaHaHaYo'qQisqa metrajli film
Also animator and background artist

Televizor

YilKo'rsatishSifatida kreditlangan
DirektorYozuvchiIshlab chiqaruvchiAnimatorOvozIzohlar
1957James Hound[Men]HaYo'qYo'qHaYo'q
Heckle va jeckle[Men]HaYo'qYo'qHaYo'q
1959Dawg muoviniYo'qYo'qYo'qHaYo'q
Foofle[Men]HaYo'qYo'qHaYo'q
1962The Adventures of Lariat Sam[Men]HaYo'qYo'qHaYo'q
1965Sad Cat[Men]HaYo'qYo'qYo'qYo'q
1966–1967Qudratli qahramonlarHaHaYo'qYo'qYo'qIjodkor
1968Raketa Robin GudHaHaIjro etuvchiYo'qYo'q
1968–1970O'rgimchak odam[Men]HaHaIjro etuvchiYo'qYo'q
1987–1988Qudratli sichqon: yangi sarguzashtlar[Men]HaHaHaYo'qYo'q
1988Tattertownda RojdestvoHaHaHaYo'qYo'qMaxsus televidenie
1989Bu Bebop emasHaHaHaYo'qYo'qTelevizor qisqa
Sariyog 'jang kitobiHaYo'qHaYo'qYo'qMaxsus televidenie
Hound TownHaYo'qIjro etuvchiYo'qYo'qUchuvchi
1994Ajoyib va ​​aqldan ozganlarHaHaHaYo'qYo'qTelevizion film
1997Malcom and Melvin[III][IV]HaHaHaHaHaTelevizor qisqa
Chaqaloq, U meni chaqiradi[III][IV]HaHaHaHaHaTelevizor qisqa
Achchiq shahar[Men][II]HaYo'qHaYo'qHaIjodkor
2003Ren & Stimpy "Voyaga etganlar uchun multfilm"[Men][V]Yo'qYo'qYo'qYo'qHaEpisode: "Fire Dogs 2"

^ Men Tanlangan qismlar
^ II Provided the voices of Connelly and Goldblum in the episode "Sex Drive", and Stevie in the episode "Mano's Hands"[102]
^ III Provided the voice of the Super Hero[102]
^ IV Animated in conjunction with Doug Compton
^ V Provided the voice of Fire Chief in the episode "Fire Dogs 2"[103][102]

Releases and ratings

SarlavhaIshlab chiqarilish sanasiTarqatishReyting
Fritz Cat1972 yil 12 aprelKinematografiya sohalariX
Og'ir transport1973 yil 8-avgustAmerika xalqaro rasmlariX (Re-rated R)
Coonskin1975 yil 20-avgustBryanston Distributing kompaniyasiR
Sehrgarlar1977 yil 9 fevral20th Century FoxPG
Uzuklar Rabbisi1978 yil 15-noyabrBirlashgan rassomlar
Amerika popi1981 yil 13 fevralColumbia PicturesR
Hey yaxshi qarab turibman1982 yil 1 oktyabrWarner Bros. Rasmlari
Olov va muz1983 yil 26 avgust20th Century FoxPG
Cool World1992 yil 10-iyulParamount rasmlariPG-13

Bibliografiya

  • Ralph Bakshi: A Private selection of drawings released from the Bakshi Archives. 2018 - 2019; 1-kitob (2019) ISBN  9781714319084
  • Ralph Bakshi: No Rhyme or Reason; 2-kitob (2020) ISBN  9781714319077

Shuningdek qarang

Izohlar

  1. ^ "About page of his website".
  2. ^ Inkpot mukofoti
  3. ^ a b Gibson, Jon M.; McDonnell, Chris (2008). "Brownsville". Filtrsiz: To'liq Ralf Bakshi. 22-24 betlar. ISBN  978-0-7893-1684-4.
  4. ^ "Ralph Bakshi - AFA NYC". 2009 yil 17-dekabr.
  5. ^ a b Gibson, Jon M.; McDonnell, Chris (2008). "Coonskin". Filtrsiz: To'liq Ralf Bakshi. p. 106. ISBN  978-0-7893-1684-4.
  6. ^ a b v d e f g h men Gibson, Jon M.; McDonnell, Chris (2008). "Coonskin". Filtrsiz: To'liq Ralf Bakshi. 108-9 betlar. ISBN  978-0-7893-1684-4.
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