Fire and Ice, while on the surface
your standard fare of good versus evil fantasy, but in terms of style and
presentation it surpasses most of them by quite a bit. This was due to a lot to
the partnership between Ralph Bakshi and Frank Frazetta, which culminated in a
visually striking film.
By
1982, fantasy films had proven to be considerably successful at the box office,
including The Beastmaster (to be a
later blog) and Conan the Barbarian. Bakshi
received $1.2 million to finance Fire and
Ice from some of the same investors as American
Pop, and 20th Century Fox agreed to distribute the film based upon the
financial longevity of Wizards
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| Subhumans in Fire and Ice |
Bakshi hot off The Lord of the Rings (to a great disappointment to many the sequel
was never completed) used many of the visual techniques and acting styles as he
had done previously, especially with the race of Sub-Humans who work for the
evil wizard. These are obviously orc equivalents, and they move and sound in a
similar manner.
And since it would be a heavily action
orientated film he decided to use rotoscoping again, as he had with Lord of the Rings, American Pop, and Wizards.
Rotoscoping, for those who aren’t
quite sure is an animation
technique where animators trace over live footage, frame by frame. Originally,
recorded live-action movie images were projected onto a frosted glass panel and
re-drawn by an animator. This projection equipment is referred to as a
rotoscope. Although this device was eventually replaced by computers, the
process is still referred to as rotoscoping. The technique is almost as old as
cinema, invented in 1917 by Max Fleischer for a Koko the Clown cartoon. And while Bakshi didn’t invent it, he
certainly popularized it, perhaps utilizing it more than anyone since Fleischer
had.
Over a thousand background paintings
were done for the film, several by Franzetta himself. Two other notable artists
on it were Thomas Kinkade (known as the "Painter of Light") and James
Gurney, creator and painter of the popular "Dinotopia" series of
illustrated novels. It was written by two veteran Conan comics writers, Roy
Thomas and Gerry Conway.
Some
critics claim that the plot was paper thin and added very little to the genre.
And while I agree there isn’t much plot, I think time has proven that this film
has had an impact- just not a world shattering one. People remember this film
after they see it, even twenty years later bits and pieces of it stick out.
Frazetta and Bakshi knew that the fantasy film genre depended more on visuals
and atmosphere. And that is what they gave us in spades.
 |
| Neckron |
The plot from what there is: From their stronghold in
Icepeak, the evil Queen Juliana and her son, Nekron send forth a wave of
glaciers, forcing humanity to retreat south towards the equator. Nekron sends a
delegation to King Jarol in Firekeep to request his surrender, but this is a
ruse orchestrated by Queen Juliana for Nekron’s sub-humans to kidnap Jarol’s voluptuous
and always near naked daughter, Princess Teegra. Queen Juliana feels that
Nekron should take a bride to produce an heir.
 |
| Darkwolf |
But Teegra makes an escape and comes upon Larn, a young
warrior and the only survivor of a village razed by glaciers, who offers to
escort her back to Firekeep. As Teegra is recaptured, Larn teams with the
mysterious Darkwolf to save Teegra and then travel to Icepeak to stop Juliana.
Darkwolf faces Nekron and kills him as Icepeak succumbs to lava released by
King Jarol and is destroyed.
The film finishes with Larn about to kill a beaten
sub-human until Teegra stops him saying that "it's over" and embraces
him. Darkwolf is seen atop a cliff; he watches the pair, smiles and then
disappears. Teegra and Larn kiss as the credits roll.
Again not the most original or ground
breaking story, but the actions scenes are incredible. You will not forget
them.
The full film is below. Enjoy and
Caveat Emptor!
For more fun try Across the Wounded Galaxy by Rex Hurst
For more fun try Across the Wounded Galaxy by Rex Hurst
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