Cinema Scholars reviews the new animated fantasy The Spine Of Night, which opens in theaters, on demand and digital October 29, 2021.
Introduction
When telling an epic fantasy tale, it makes sense that a filmmaker might eschew the live-action format in favor of a platform where the visual possibilities are endless. Animation unlocks a world where the bounds are only limited by the extent of one’s imagination. Anything goes when you’re not tethered to real-world limitations.
It’s no surprise that fantasy storytelling and animation have always been such a great fit. While seeing great adventures stories play out in a three-dimensional world is impressive, there’s something truly special about the detailed rendering of animators that gives a certain exciting vibe to a project.
In the new animated feature The Spine Of Night, writing/directing duo Philip Gelatt and Morgan Galen King tackle an ambitious fantasy epic in a familiar style.
Pyrantin in the fantasy/horror film, THE SPINE OF NIGHT, an RLJE Films release. Photo courtesy of RLJE Films.
Synopsis
In a far-away primeval kingdom, a swamp witch known as Tzod (voiced by Lucy Lawless) is one of the last keepers of the ancient “Bloom,” a mystical aqua-colored flower that holds the secrets of the universe. Those who possess the Bloom can also harness incredible power from the mysterious growth. While Tzod and her followers live a simple, peaceful life honoring the great power of the sacred Bloom, the nearby ruling class has little regard for the swamp people and their traditions.
Inevitably, royal henchmen slaughter Tzod’s devoted denizens and take the witch into their custody for subordination toward the growing society. Though she is hesitant, Tzod uses the Bloom’s powers to escape her imprisonment, unwittingly relinquishing its magical force to Ghal-Sur, an imprisoned scholar with questionable intentions. From here, an epic battle between good and evil overtakes the land with a brutally violent result.
Analysis
The Spine Of Night is an incredibly ambitious entry in the annals of animated fantasy films. Clearly inspired by works like Ralph Bakshi’s epic Fire And Ice, Gelatt and King carry on the tradition of dramatic storytelling via gratuitous grown-up animation that would make Frank Frazetta beam. While comparisons with the 1981 odyssey Heavy Metal are sure to be drawn, the general feel of The Spine Of Night sits firmly in the Bakshi school of fantasy filmmaking.
The rotoscoped style of the film lends itself to an inexplicable sort of realism in the fanciful imagery. The natural way in which the characters move as a result of the animation technique helps to create a sense of intimacy as well. It also just looks cool! Harkening back to another of Bakshi’s famed features, American Pop, the rotoscoped aesthetic makes The Spine Of Night feel alive. Instead of animated musical numbers with a pulse, however, it’s the brutal fight scenes in The Spine Of Night that seem almost tangible.
Although animated gore may not have the visceral impact of live-action splatter, the rotoscoping renders these moments impressively gruesome nevertheless. Countless scenes of ultra-violent brutality and bloodletting dominate The Spine Of Night, further solidifying the film as a hardcore entry in the genre of fantasy animation.
Performances
The Spine Of Night features voice work from Joe Manganiello, Larry Fessenden, Betty Gabriel, and fan favorite Patton Oswalt as an exceedingly ruthless ruler. However, an incredible performance by Lucy Lawless as the witchy Tzod is the backbone of the film. Her throaty, dramatic delivery sets a serious and mystical tone that carries through until the end of the odyssey.
Also notably lending his voice to the film, Richard E. Grant’s tone and cadence command the screen in his scenes that serve as a sort of “wrap around” in the narrative. Even as his character, “The Guardian” of the last fading Bloom, weakens, his performance is all the more captivating.
As Ghal-Sur, Jordan Douglas Smith’s portrayal seems strangely inert when first introduced. But as his character’s arc darkens, Smith comes into his own as the main villain of the story, replete with a convincing descent into power-hungry madness.
Further Discussion
A gorgeous score by composer Peter Scartabello further legitimizes the grandiose narrative. Sweeping cues and moments of poignant strife are nicely accented by Scartabello’s musical choices.
Though separate storylines woven throughout The Spine Of Night feel a touch disjointed at times, the overall effect culminates in a well-rounded epic. A switch in animation styles in a third-act flashback sequence might seem a bit jarring, but the dazzling silhouette style is fascinating nonetheless.
Conclusion
For casual filmgoers, the ultra-violence, gore, and general gratuity of The Spine Of Night might make it a tough sell. But for fans of strange cinema, epic fantasy, and all-things animation, The Spine Of Night is the latest in obligatory viewing.
RLJE Films will release The Spine Of Night in theaters, on demand and digital October 29, 2021.
