How ‘Adventures of Mark Twain’ Rocked ’80s Animation

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The 1985 movie “The Adventures of Mark Twain,” created by Will Vinton, is unique because it’s the sole production that utilizes his signature “Claymation” method, making it an unparalleled piece in the realm of animated films.

Vinton had previously won an Oscar for his short movies. It was his groundbreaking creation “Closed Monday” in 1974, a mesmerizing 8-minute piece, that marked the first time a stop-motion animated work received an Academy Award.

By the 1980s, Vinton had been earning recognition as a pioneering animator amidst the era of Disney and weekend cartoons. This movie, his sole feature production, was a long-awaited masterpiece designed to bring his groundbreaking stop-motion techniques to wider audiences.

Despite “The Adventures of Mark Twain” being a financial disappointment at the box office, it serves as an intriguing find for enthusiasts of unusual animations, marking Vinton’s commercial success coming later (details forthcoming).

The movie starts by displaying a title card about the return of Halley’s Comet, which was a significant topic in the early 80s (it will reappear in 2061). Right from the start, the enchantment unfolds as the film is just two minutes in, and we see a book opening, with its pages turning into liquid visions symbolizing Mark Twain’s boundless imagination.

After getting accustomed to the futuristic elements mixed with a hint of vintage steampunk narratives reminiscent of Mark Twain’s works, it becomes clear what Vinton’s artistic approach can achieve and where it falls short. Despite the characters appearing somewhat like oversized action figures, their facial expressions are exceptionally expressive.

Vinton’s movie offers a heartfelt tribute to Twain and his literary creations, but with a futuristic spin. In this portrayal, Twain serves dual roles as author and captain of a gigantic spacecraft. Characters like Huckleberry Finn, Becky Thatcher, and Tom Sawyer secretly board the spacecraft as it soars into outer space.

Twain intends to deeply engage with the comet and spends his spare moments recounting some of his most renowned anecdotes (stories that do not involve Tom, Huck, or Becky, but rather scenes derived from several of Twain’s well-known short stories) to the group.

The idea, serving as an entertaining introduction to Twain’s humor and narrative style, is quite enjoyable. It sparks thoughts of potential movies with a similar charm. For instance, one could imagine a film about a haunted train by Stephen King, or perhaps an island mystery in the vein of Michael Crichton’s works.

In my perspective, Vinton’s groundbreaking films captivated Twain devotees as well as those drawn into animation‘s magic, a realm often filled with formulaic content for children during that era. However, there were two notable exceptions: Don Bluth’s 1982 masterpiece, “The Secret of NIMH,” and the works by Ralph Bakshi.

In this time before Aardman Animation, the film was screened in cinemas, coinciding with the year Disney released their critically panned film “The Black Cauldron.” Vinton was one of the less conventional pioneers, including artists like Adam Elliot of “Memoir of a Snail” and Bill Plympton of “The Tune.” These creators were steering clear of predictable, mass-produced work to create animation that was deeply personal, daring, and proudly unique.

It’s noteworthy to highlight that this place doesn’t feature any Jim or controversial elements, although some Mark Twain enthusiasts might perceive the lack of Jim as a potential oversight.

Apart from the numerous quotes by Twain that pepper the narrative (like “I became a writer… I haven’t worked a day since”), the interspersed anecdotes add humor and oddity to the tale. The “Adam and Eve” segment, said to have been crafted initially by Vinton to establish the film’s theme, stands out marvelously. It’s especially captivating in its portrayal of God shaping the Earth and offering commentary on the process.

(“This is nice…this is cute…”)

Despite some parts of the “Adam and Eve” sequence feeling overly prolonged and the humor seeming stale for modern times, the artistry displayed remains breathtaking throughout the film. Vinton’s ability to create compelling characters and immersive settings using clay never fails to captivate us, even when the individual story segments may vary in their ability to hold our attention.

In many instances, the images are evocative and poetic, like the one depicting Adam gazing upon Eve’s reflection in a pond. However, there are moments when the tone abruptly changes, such as the somber scene where Twain is shown playing a pipe organ amidst faces contorted with torment.

Additionally, there’s the chilling “Mysterious Stranger” segment, which served as a prelude to the captivating character development that Vinton delivered in the equally impressive film “Return to Oz,” released in 1985.

Intriguingly profound instances can be discovered, like Twain passionately expressing himself in a vast chamber filled with his own literary collections. “The Adventures of Mark Twain” sometimes feels episodic and abrupt, but even when the narrative falters, the animation consistently impresses, preventing it from becoming too chaotic due to Vinton’s exceptional craftsmanship.

Despite being unveiled by Funhouse Pictures, the film struggled to leave an impression at its initial release (I recall the trailer, yet it was nowhere to be found in cinemas during its premiere). However, Vinton’s most significant triumphs occurred following this period.

Through recurrent showings on The Disney Channel, “The Adventures of Mark Twain” became known to many, but Vinton’s notable achievements include creating TV commercials for “The California Raisins,” featuring in Michael Jackson’s “Speed Demon” music video (1989), and producing three seasons of the popular series “The PJ’s” (1999-2001) led by Eddie Murphy.

The Adventures of Mark Twain” highlights the talent Vinton had long suspected, as he sculpted his unique Claymation creations. These works of art present surreal and beautiful scenes that mirror reality, offering a vivid, lifelike or dreamlike (or nightmarish) portrayal of life, all fashioned from clay.

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2025-02-15 07:03