Hanna-Barbera, it seemed, was leveraging the comedian’s reputation in the worst way. Lynde’s affected intonations completed the picture. They were predatory, cross-dressing weirdos, bitter with thwarted desire – not far off gay stereotypes of the time. Only later did the artist detect something a bit off in the characterisation of these baddies. Squires grew up with Lynde’s catchphrases ringing in his ears. He became Hanna-Barbera’s villain of choice, lending his trademark nasal vocals to such dastardly creeps as Mildew Wolf ( It’s the Wolf) and Templeton the Rat ( Charlotte’s Web). Solar walk animation tv#Most infamous was the comedian Paul Lynde, whose roguish TV persona riffed on his barely concealed homosexuality. The American powerhouse pioneered cut-rate animation methods, resulting in a crude visual style much mocked by its competitors it compensated with sharp scripts, delivered by a roster of star voice actors. Hanna-Barbera ruled the airwaves throughout the 1960s and 70s. Music is indeed an apt metaphor for the intuitive way in which its narrative unfolds. Like that film, Solar Walk was conceived as an accompaniment to a musical composition – in this case, an orchestral jazz piece (the 21-minute work I saw is a festival cut). The quaint futurism evokes the late Roger Mainwood’s Autobahn (1979). This is Bucsi’s cue to unchain her subconscious: men, marsupials and other benign creatures journey through varyingly abstract scenarios linked only by a loose theme of friendly cooperation. Two homunculi board a rocket built by alien marsupials. The screening started strong with Hungarian animator Réka Bucsi’s Solar Walk, the only animation in the festival’s shorts competition (and a hot Oscars contender). Perhaps animators are still best placed to explore the farther reaches of the mind. Yet there was one screening that animation dominated: Amazing and Astounding, a grab bag of surreal shorts which explored aberrant dreamscapes and psyches. The fact that they were grouped with live action in themed strands, rather than ghettoised in their own sidebar, was encouraging. Animated films were sprinkled like gold dust across this year’s London Film Festival programme.
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