More vintage cartoons: Filmation’s Lone Ranger and Zorro
Lately I’ve been revisiting two more animated shows from my youth, Filmation’s The New Adventures of the Lone Ranger from 1980 andThe New Adventures of Zorro from 1981, which aired as part of The Tarzan/Lone Ranger/Zorro Adventure Hour. Both are available on a combined DVD set (on alternate discs); however, Netflix only has the second Lone Ranger disc in stock at this time, so I’m having to settle for only seeing half the series. These shows date from the two years just after Filmation’s classic Flash Gordon, when their production values became more sophisticated. They, along with Blackstar, were the final adventure series produced by Filmation under producers Lou Scheimer and Norm Prescott together; after 1981, Prescott left and Scheimer continued alone.
As you can see from the titles mentioned above, Filmation at this point was heavily into adaptations of classic adventure heroes, and both Lone Ranger and Zorro were fairly faithful interpretations. The New Adventures of the Lone Ranger starred actor/announcer William Conrad (star of the TV series Cannon) as the voice of the Lone Ranger and the announcer of the opening titles, which faithfully recreated the narration from the original radio and TV shows, and used the standard William Tell Overture as the theme music. According to the special features, Conrad did the role out of love for the Lone Ranger but didn’t want to be credited by name (perhaps because he was a big star by then and didn’t want to be associated with kidvid, or perhaps as a more benevolent gesture so Filmation didn’t have to pay him as much as his name was worth), so he was billed pseudonymously as J. Darnoc — just his surname in reverse, with the “J.” probably an homage to Jay Ward, producer of shows such as The Adventures of Rocky and Bullwinkle and Dudley Do-Right, which Conrad narrated. (At least that’s what I’ve always assumed; one of the people interviewed in the bonus features said it was Conrad’s middle initial. In fact his real name was John William Cann, Jr., so it would’ve been his first initial.) Tonto was played by Native American actor Ivan Naranjo; Filmation was generally pretty good at inclusive casting, making sure that “ethnic” characters were played by actors of the same ethnicity. The rest of the cast was… variable. Again, I’ve only gotten the second half of the series, but in the first few episodes on the disc, all the male voices other than the Ranger and Tonto are by Scheimer himself, and the female voices are by his wife Lane and his daughter Erika. All the Scheimers often did supporting voices in Filmation shows, but Scheimer was no Mel Blanc; he had a relatively wide repertoire of character voices, but they weren’t different enough that he could really carry an entire cast all by himself, so it quickly grew tiresome. And the female Scheimers simply weren’t very good actresses, especially the shrill-voiced Erika. Fortunately, the great Frank Welker took over as the main male “guest” voice after a while — a bit surprising, really, since the prolific Welker didn’t do much work with Filmation over the course of his career, except for a brief period from about 1979-81. Another few uncredited voices showed up here and there, including Alan Oppenheimer (Ming on Flash Gordon, Skeletor and Man-at-Arms on He-Man). Some of the Native American characters had a voice I recognize from the ’70s show Lassie’s Rescue Rangers, an actor who played a regular Native American character on that show; IMDb credits Hal Harvey in that role, but I’m not sure how much I trust that attribution. And there’s one guest role whose voice I’m almost certain belonged to Mission: Impossible star Greg Morris!
Anyway, Ranger followed a formula that probably wasn’t too different from the original television series, with the Ranger and Tonto travelling the West and nonviolently helping people in danger. The Ranger carried his gun and used his silver bullets, but only for precision shooting of ropes, branches, playing cards, and other inanimate objects. (In fact, silver bullets would be terrible for precision shots; the soft metal deforms easily and the bullets tend to spin or fragment.) He’d usually catch bad guys with his lasso. And the bad guys were often exceptionally bad for Filmation; usually Filmation antagonists tended to be misunderstood and readily reformed when shown a little kindness, but these were unrepentant scoundrels. In one episode, a pair of cattle rustlers/land thieves get their lives saved by the homesteader they were trying to rip off, and I expected them to apologize and repent their sins, but instead they remained the same lily-livered varmints they’d always been.
So maybe Filmation was a little less determined to be wholesome at this point, but they still strove to make the show educational, by having the Ranger and Tonto constantly get involved with real events and people from the Old West, including Mark Twain, Buffalo Bill and Annie Oakley, Belle Starr, the James brothers, Matthew Brady, Nellie Bly, etc. I actually learned a lot about history from watching this show back in the day. The problem is that these events range from the brief run of the Pony Express in 1860-61 to the Oklahoma Land Rush in 1889, and yet the Ranger, Tonto, and their horses remain ageless and unchanging over this span of nearly three decades (which is not presented in any kind of chronological order). So in the course of teaching history, the show played a bit fast and loose with it.
Filmation’s limited animation at this point had reached the stage where they created some fluidly animated movement sequences — in this case, mainly involving riders mounting, dismounting, and riding horses, horses rearing up, etc. — and kept using them over and over and over again, often several times an episode. The highlight here is a rather nice shot of the heroes riding away from the camera, with Silver’s and Scout’s tails sweeping in to fill the frame with white and then rather gracefully swishing away while the riders recede into the distance. It’s a lovely bit of animation, but it does get a bit tired when you see it five times in eleven minutes. As usual for Filmation, though, the background art is superb — lush vistas of Western landscapes and towns, rendered in a painted-line-art style that’s unusual for Filmation but is quite elegant and beautiful. Some of the background art looks like it may have been traced from vintage photos or illustrations.
Zorro was a moderately faithful adaptation of Johnston McCulley’s creation, featuring characters from the original book — not just Don Diego/Zorro (one of the models for Batman, a masked hero who hides behind a foppish, dissolute facade), but his corrupt rival Capitan Ramon, the bumbling Sergeant Gonzalez, and his father Don Alejandro. Although they replaced Diego’s deaf/mute servant with Miguel, who’s basically the equivalent of the Green Hornet’s Kato — a servant who fights alongside the hero and has no nickname of his own (Zorro just calls him “amigo,” leading me to wonder how many non-Spanish-speaking kids thought that Amigo was his hero name). Most of the episodes were written by Arthur Browne Jr., a veteran writer of TV Westerns for decades, including The Rifleman, Gunsmoke, The Virginian, and The Big Valley. They did a good job capturing a classic adventure flavor, and Zorro’s personality as a dashing gentleman thief and Errol Flynn type, though the stories could be fairly simple, and quite repetitive if watched back to back on DVD. The remaining episodes were by Robbie London, who would go on to work on many later Filmation shows (notably He-Man) but who was just starting out here. His first episode, “Fort Ramon,” is an incoherent mess: Ramon takes over a mission and somehow manages to turn it into a fort with high stone walls in a matter of hours; then Zorro and Miguel plant explosives to blow it up but are discovered and driven off, yet it never occurs to Ramon to search the fort and find the explosives in plain sight; etc. Fortunately they weren’t all that bad.
What makes this show unique in Filmation’s canon is that it wasn’t animated in the US. This was the only time that Filmation gave into the trend of outsourcing the animation work to Asia, since the abundance of other work they had in 1981 required sharing the load. But they had the good sense to go with the best animation studio in Japan, Tokyo Movie Shinsha (who made Akira and did fine work on plenty of other US animated shows including The Real Ghostbusters, Batman: TAS, Superman: TAS, the ’90s Spider-Man, etc.). The storyboard and layout work was still done in-house at Filmation, though, as is usually the case. The show thus looks very different from Filmation’s usual work. On the one hand, the animation is much more fluid and less repetitive, though it still depends heavily on stock rotoscoped animation of swordfighting moves, with different characters traced over the same set of movements in different episodes/scenes. And it has some of those nifty little touches that make TMS work so expressive, like what I’ve come to think of as “the TMS run.” Most animation houses give running characters a pretty basic, regular motion cycle, but when TMS characters run, they often move irregularly, flailing and off-balance, their pace syncopated and uneven, and it just gives it such a sense of character and energy and naturalism. So overall, the animation is a great improvement on Filmation’s usual work. (It was rather amusing to hear Scheimer in the special features complaining that TMS’s work was below Filmation’s usual standard.) Yet on the other hand, TMS’s drawing and painting style at the time was rougher and messier than Filmation’s — the lines less clean, the background paintings more impressionistic. It doesn’t work as well for me, and it just doesn’t feel like a Filmation show.
Indeed, despite the fact that Zorro was the only collaboration between two of my favorite animation studios, Filmation and TMS, I’m surprised at how lukewarm I am about it. The production values are cool, but the stories don’t grab me. It’s a very straightforward historical series where the threats are things like pirates and floods and the oppressive policies of the greedy governor-general, and I guess that just doesn’t captivate me. And it has the usual problem of kids’ shows built around swordfighting, in that the fights always have to be inconclusive (see also Mystic Knights of Tir Na Nog). In the show, the fights always end with Zorro or Miguel disarming their opponents — which just makes me wonder why the opponents never just pick their swords back up. Although there are a few times when they do.
And one thing strikes me as odd about Zorro, watching it so soon after the 2012 presidential election. I’ve always thought of Filmation’s shows as socially liberal in orientation — promoting racial tolerance and diversity, peace over fighting, things like that. Yet Zorro‘s narrative of the corrupt government using taxation as a tool of oppression and theft, with the heroic outlaw returning the people’s money to them, feels like kind of a right-wing propaganda message, particularly considering that the show came out right after Ronald Reagan’s massive tax cuts were signed into law. I’m not saying that was the intent, and it probably wasn’t. Scheimer just picked up the rights to Zorro because it was an established property and an easier sell to the networks than an unknown concept, as he explained in the bonus interviews. And it certainly never occurred to me as a kid watching in ’81 to think of it in those terms. Still, watching it in a 2012 political context, it comes off a little oddly for Filmation.
Still, as with Lone Ranger, Filmation deserves credit for ethnically inclusive casting. The principal cast here was mostly Latino, headlined by Henry Darrow as Zorro/Don Diego. Darrow was actually the first Latino to play Zorro, and this was the first of three consecutive Zorro TV series that Darrow starred in, interestingly enough. Two years later, in the short-lived sitcom Zorro and Son, he played an aging Don Diego trying to train his bumbling son to take his place (yes, nearly the same premise as Anthony Hopkins’s The Mask of Zorro); and in the ’90s, Darrow played Don Alejandro opposite Duncan Regehr’s Zorro in the Disney Channel Zorro. The rest of the cast consists of people whose names I’m unfamiliar with, though Sgt. Gonzales was played by Don Diamond, who had a recurring role in the 1957 Guy Williams Zorro series as the assistant to Sgt. Garcia, the Gonzales-equivalent character in that show. So aside from Darrow, the only voice I recognize is Scheimer, who inevitably shows up doing various bit roles.
Both these shows are also from a new era musically; from about ’79 onward, Filmation stopped reusing musical cues from its earlier ’70s shows and its composers Ray Ellis and Norm Prescott (under the pseudonyms Yvette Blais and Jeff Michael) produced lusher, richer scores. Both LR and Z still used score libraries rather than scoring each episode individually, but each show’s library cues were written specifically for it rather than recycled from earlier shows, though a couple of Lone Ranger cues were recycled in Zorro and both shows cribbed the occasional Flash Gordon cue. Both scores are in a classy, rich orchestral style evocative of old adventure movies and serials, and are probably the best things about both shows. Although each show just recycles the same cues over and over (and whoever was editing Filmation’s music around 1980 liked to jump between brief fragments of different cues, which can be quite jarring), the cues themselves are really good, among my favorites of Ellis and Prescott’s work. Both shows’ scores are very reminiscent of the gorgeous Flash Gordon score, with the flavor of ’30s or ’40s movie and adventure-serial scores, but more tailored to their genres — more Western-sounding and Copland-influenced for LR, more Latin-tinged and Errol Flynn-esque for Zorro. Repetitive though it is, it’s gorgeous music, and I deeply wish somebody would unearth the original master tapes for all of Filmation’s music, restore and remaster it, and put it all on CD. Sadly, it’s unclear whether those masters even still exist. And there’s no telling what kind of clearance complications there would be, with so many of the scores written for licensed productions.