| Cool World | |
|---|---|
 Theatrical release poster | |
| Directed by | Ralph Bakshi |
| Written by | |
| Produced by | Frank Mancuso Jr. |
| Starring | |
| Cinematography | John A. Alonzo |
| Edited by |
|
| Music by | Mark Isham |
Production company | |
| Distributed by | Paramount Pictures |
Release date |
|
Running time | 101 minutes[1] |
| Country | United States |
| Language | English |
| Budget | $28 million[2] |
| Box office | $14.1 million[3] |
Cool World is a 1992 Americanlive-action animatedfantasy film directed byRalph Bakshi and written byMichael Grais andMark Victor. The film starsKim Basinger,Gabriel Byrne andBrad Pitt. Its plot follows a cartoonist who finds himself in acartoon-like universe he believes he created, where he is seduced by one of the characters, afemme fatale who wants to become human.[4]
Following the success ofWho Framed Roger Rabbit (1988) and his own professional resurgence in television in the late 1980s, Bakshi conceivedCool World as ahorror film. He brought the idea toParamount Pictures, and became attached to direct; it was his first feature film in nearly a decade, and intended as his comeback. However, interference from producerFrank Mancuso Jr. led to an extensive rewrite from Michael Grais, Mark Victor, and an uncreditedLarry Gross. As a result, relations between Bakshi, Mancuso, and the studio deteriorated, and the film had a highly tumultuous production.
Cool World was released in the United States by Paramount Pictures on July 10, 1992. The film received generally negative reviews from critics, and was abox-office failure, grossing $14 million against a production budget of $28 million.
In 1945Las Vegas,World War II veteran Frank Harris returns to his mother and invites her to a ride on his motorcycle. The two are involved in a traffic collision where Frank's mother is killed. Afterwards, Frank is inadvertently transported to acartoon-like alternate universe called "Cool World", where he becomes a detective for their local police department.
Forty-seven years after, underground cartoonist Jack Deebs is released from a ten-year prison sentence for murdering his wife's lover. During his imprisonment, he created a series of comics called Cool World based on recurring visions of his, prominently featuring the sultry, blondefemme fatale Holli Would. Holli's wish is to escape Cool World and become a real human being, which is possible when "doodles" (slang for Cool World's animated inhabitants) havesexual intercourse with "noids" (slang for humans). However, Frank and his doodle partner Nails keep a vigilant eye on Holli to ensure that the two dimensions do not intertwine.
Shortly after his release, Jack is also transported into Cool World and smuggled into a local nightclub by Holli and her henchmen, the Goons. Frank aggressively confronts Jack, explaining that Cool World had existed long before he created his series. He also warns him thatwriting implements, such as hisfountain pen, are lethal to the doodles and to abstain from having sex with Holli, as her transforming into a noid can be risky for both dimensions. Despite these warnings, however, Frank himself is in love with another doodle, Lonette, but limits himself to platonic advances towards her.
Eventually however, Jack succumbs to Holli's advances and she proceeds to seduce and make love to him, transforming her into a real human woman. She then steals Jack's pen to entrap Nails and leaves with Jack for the real world.
In the real world, Holli is excited and overwhelmed experiencing real sensations. Due to her presence there, she and Jack spontaneously flicker in between noid and doodle forms. While contemplating their situation, Holli tells Jack about the "Spike of Power", an artifact which was the cause of Frank being transported into Cool World and placed on top of theUnion Plaza Hotel by a doodle who crossed into the real world, and admits she wants to use it to remain in her noid form permanently. When Jack displays skepticism about the idea, Holli abandons him to search for the Spike on her own.
Frank learns what has happened and returns to the real world, where he reluctantly teams up with Jack to stop Holli. They arrive at the hotel as Holli begins to climb to the top of the tower. In his pursuit, Frank is pushed off the building to his death by Holli. As she seizes the Spike, she releases a multitude of monstrous doodles into the real world, affecting her surroundings. The Spike also transforms Jack into a superhero-like doodle, and, in the ensuing chaos, frees Nails from the pen.
Although enticed to begin a new life in the real world with Holli, Jack returns the Spike to its rightful place, sending him, Holli and the invading doodles back from whence the creatures came and restoring the balance between their dimensions. Nails brings Frank's body back to Cool World, where he and Lonette mourn his loss.
However, as she learns from Nails that Holli was briefly in her doodle form when she killed Frank, she explains that a noid killed by a doodle in the real world can be reborn as a doodle in Cool World. Frank is revived as such, allowing him to continue his relationship with Lonette in earnest.
Meanwhile, Jack begins to plan his future with Holli, to her dismay.
Following a career resurgence withMighty Mouse: The New Adventures in the late 1980s, in 1990,Ralph Bakshi concepted a new film project involving a cartoonist who created a comic book while in prison that makes him an underground "star". The cartoonist would go on to havesexual intercourse with afemme fatale "doodle" named Debbie Dallas (a play on the title of the pornographic film,Debbie Does Dallas) and father a hybrid child with her; half-cartoon, and half-human. The child, growing up resenting its father for abandoning it, would grow up and go on to make a pilgrimage to the real world to try to hunt down its father and kill him. Ralph pitched the idea as a live-action animatedhorror film toParamount Pictures, where he had served as the final head of the studio'sanimation division some years earlier.[2][5] Bakshi stated that Paramount Pictures "bought the idea in ten seconds."[6] In addition to Bakshi himself writing his own screenplay going off of his concept,Michael Grais andMark Victor, along with an uncreditedLarry Gross wrote several drafts of the screenplay based on Bakshi's original concept. Grais has accused Bakshi of lying about his contribution, noting he and Victor won repeated arbitrations regarding their credits.[7]
ProducerFrank Mancuso Jr. — son of Paramount presidentFrank Mancuso Sr. — became attached as producer, leading Paramount to greenlight the film in November 1990.[1] A long-running rumor attached to the film is that when Bakshi discovered that his original concept had been re-written behind his back without his knowledge or permission, he got into a physical altercation with Frank Mancuso Jr. that involved him punching the producer in the mouth. However, in a 2022 phone interview with Kevin E. G. Perry ofThe Independent, Bakshi put that rumor to rest, saying, "I never punched Frank Mancuso Jr. […] That was just a rumour. I yelled at him a couple of times, but that wasn't his fault. I like Frank. I never punched him. Can you set that straight?"[8]
Bakshi had originally intended to cast Pitt andDrew Barrymore in the film's leading roles. Instead, the studio insisted on casting bigger box office draws, leading to Basinger and Byrne being cast in late January 1991.[1][9] The role of Frank was created for Pitt. Principal photography lasted from March 15 to April 19, 1991, with scenes being filmed both inLas Vegas and at soundstages at Paramount inLos Angeles.[1]
The relationship between Bakshi and Paramount quickly deteriorated during production.[10] Mancuso convinced Paramount that the film's potentialR rating from the MPAA in the United States, which would restrict attendance from anyone under 17 without a parent or guardian, would be too risky.[5] Hence why Mancuso hiredLarry Gross to revise the screenplay to target a more general PG-13 MPAA rating, and presented it on the first day of production.[5][9] Bakshi stated he felt "backstabbed" by Mancuso.[9] Bakshi also claimed Basinger had approached him and Mancuso during production to rewrite the film herself because she "thought it would be great [...] if she would be able to show this picture in hospitals to sick children [...] I said, 'Kim, I think that's wonderful, but you've got the wrong guy to do that with.'"[6]
Bakshi's animation was done on the Paramount lot. The film's animators were never given a screenplay, instead told by Bakshi to "do a scene that's funny, whatever you want to do!"[5]
The visual design of the live-action footage was intended to look like "a living, walk-through painting," a visual concept Bakshi had long wanted to achieve. The film's sets were based upon enlargements of designer Barry Jackson's paintings. The animation was strongly influenced byFleischer Studios (whose cartoons were released by Paramount in the 1930s and 1940s) and Terrytoons (where Bakshi once worked, and whoseMighty Mouse character was also adapted into a series by Bakshi).[5] The artwork by the character Jack Deebs was drawn byunderground comix artistSpain Rodriguez.[11]
Asoundtrack album,Songs from the Cool World, featuring recordings byMy Life with the Thrill Kill Kult,Moby,Ministry,The Future Sound of London, and others, was released in 1992 byWarner Bros. Records.[12] It included the track "Real Cool World" byDavid Bowie, his first original solo material in roughly three years; the song was written exclusively for the film. The soundtrack received stronger reviews from critics than the film itself, including a four-star rating fromAllMusic.[13]Mark Isham's originalscore forCool World, featuring a mixture ofjazz,orchestral pieces, and electronicremixes, and performed by theMunich Symphony Orchestra, was released oncompact disc byVarèse Sarabande, and in complete form in 2015 by Quartet. It also received positive reviews.[14][15]
Paramount focused the film's promotion both on being as Bakshi's comeback, and the hypersexual imagery of Holli Would. It was considered by some pundits as misaimed. Paramount's marketing president Barry London noted the film "unfortunately did not seem to satisfy the younger audience it was aimed at".[16] DesignerMilton Knight recalled that premiere audiences "actually wanted a wilder, raunchierCool World".[5]
Several different licensedvideo games based on the film were created byOcean Software. Thefirst game was developed byTwilight and released in 1992 for theAmiga,Atari ST,Commodore 64, andMS-DOS compatible operating systems. AnNES game and differentSuper NES game were both published in 1993 alongside aGame Boy version of the former.[17] A four-issuecomic bookprequel to the film was published as aminiseries byDC Comics.[18] It featured a script byMichael Eury and art work byStephen DeStefano, Chuck Fiala, andBill Wray.[19]
In July 1992, Paramount's marketing campaign of the film created controversy by altering theHollywood Sign to include a 75-foot (23 m) tall cutout of Holli Would.[20] The studio's request was initially denied by the City of Los Angeles; this was reversed once Paramount gave $27,000 to the city, and an additional $27,000 for cleanup after the1992 Los Angeles riots.[1] Local residents were angered by the sign's alteration, largely due to the sexualized image of Holli; they launched a failed lawsuit against the city to stop the alteration.[21][22][23] In a letter to the city's Recreation and Park Board, commission officials wrote that they were "appalled" by the board's approval of the alterations: "… the action your board has taken is offensive to Los Angeles women and is not within your role as custodian and guardian of the Hollywood sign. The fact that Paramount Pictures donated a mere $27,000 to Rebuild L.A. should not be a passport to exploit women in Los Angeles." Protestors picketed the unveiling of the altered sign.[23]
Cool World opened sixth at the North American box office, with $5.5 million. Although set to expand to more theaters in its second weekend, Paramount stunned exhibitors by immediately ceasing advertising for the film.[1] Its lifetime gross was US$14.1 million, barely more than half its reported US$28 million budget.[2][24]
OnRotten Tomatoes, the film has an approval rating of 4% based on 51 reviews, with an average rating of 3.4/10. The consensus reads: "Cool World throws a small handful of visual sparks, but they aren't enough to distract from the screenplay's thin characters and scattered plot."[25] OnMetacritic, the film has a score of 28 based on reviews from 16 critics, indicating "generally unfavorable" reviews.[26] Audiences surveyed byCinemaScore gave the film a grade of "C" on scale of A+ to F.[27]
Variety reviewer Brian Lowry compared the film to an extendedmusic video, praising the soundtrack and visuals, but panning the story.[28] The plot was heavily derided by other reviewers, with a review for theLos Angeles Times saying "[T]he plot makes almost no sense."[29]
Roger Ebert of theChicago Sun-Times wrote that the film "misses one opportunity after another ... [it is] a surprisingly incompetent film."[30]Leonard Maltin panned the film as "too serious to be fun, too goofy to take seriously; lead characters unlikable and unappealing. Looks like aRoger Corman version ofRoger Rabbit."[31] Chris Hicks forDeseret News described it as "a one-joke movie – and it's adirty joke. […] And much of what's going on here seems more angry and nasty than inspired or funny."[32] The film's acting and effects were singled out byThe Washington Post reviewer Hal Hinson, who wrote her performance made him wonder "whether Kim Basinger is more obnoxious as a cartoon or as a real person", and felt that the combination of animation and live action was unconvincing.[33]
In 1997, John Grant wrote inThe Encyclopedia of Fantasy thatCool World "stands as one of the fantastic cinema's most significant achievements, an 'Instauration fantasy' that reveals greater depths with each viewing."[34] In 2005, animation historianJerry Beck described the film as being "for adults and Bakshi completists only". He wrote the film "has a great premise, a great cast, and the best animation he's ever been involved with", but critiquing it as a "pointless rehash of many of Ralph's favorite themes, and the story literally goes nowhere".[35]
In some interviews after the release of the film, Bakshi denounced the film, saying "I thought if I did the animation well, it would be worth it, but you know what? It wasn't worth it."[36] Bakshi also stated that he "had a lot of animators there that I'd brought in and I thought that maybe I could just have fun animating this stuff, which I did."[9] In 2022, he stated "I used to disparage it, but not anymore" and that "Cool World has some of the best animation I've ever done."[8]
The film garnered aRazzie Award nomination forKim Basinger as Worst Actress.[37]
Shout! Factory released aBlu-ray "Collectors Edition" of Cool World in the United States and Canada, sourced from a4K scan of the original camera negative on September 13, 2022.[38]
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