Pocky-clypse Now Review: Wizards

Welcome back, Wastelanders!

Since I've picked up a few new followers in recent weeks, a brief word of introduction: this is a regular column on the blog, where I do in-depth reviews of post apocalyptic films and books. Here's a quick link back to my general mission statement, and another one for my overall rating criteria.

Now for my regular readers, a fair bit of warning. Today's entry is a bit on the trippy side. We're not dealing with Road Warriors, Rampaging Wrestlers, or Rodents of Unusual Scientific Acumen. We're not even dealing with the late, great Rutger Hauer. 

Today, we're taking an electric slide into the animated side of the apocalypse. And we're doing it with a healthy side of funky guitars, WWII stock footage, and rotoscope. 

I'm talking about Ralph Bakshi's 1977 cult science-fantasy phantasmagoria, Wizards. 

Spoilers below.

The Story:


The film opens with a live-action shot of a large leather-bound book. The camera slowly pans down the title page, as the feminine narrator's soft, soothing voice croons out the words for us. 

Then, to make sure we don't get bored with all the fancy book learnin', we're immediately treated to a shot of the entire goddamn world exploding!

It's at this point, Wastelanders, that snark and humor completely fail me. What follows is one of the most exquisite and beautifully realized opening sequences in the entire apocalyptic genre. Combining pen and ink artwork by Mike Ploog with live-action background effects like smoke and lava, the narrator delivers the history of the post-holocaust earth.  

According to the story, five terrorists set off a nuclear blast that plunges the earth into a worldwide atomic war. For over 2 million years, radioactive clouds keep the world in darkness, driving nearly all human life to extinction, and turning most survivors into hideous mutants. In these scorched and poisoned lands, radiation causes each birth to be a new disaster in a never-ending chain of mutation. 

But in the good lands, fairies, elves, and dwarves awaken from their long sleep, and begin bringing life back to the planet.

Millions of years later, Queen Delia of the fairies gives birth to twin wizards, one good and one evil. Avatar, the good wizard, spends his childhood around his bedridden mother, trying to keep her entertained. Blackwolf, the mutant wizard, never visits, and spends his time torturing other creatures. When the Queen eventually weakens and dies, the two brothers fight for control of the fairy lands, but Avatar wins and Blackwolf goes into exile.

But before he leaves, Blackwolf throws out an ominous warning. "The day will come, my brother, when I will return and make this a planet where mutants rule."  

I should point out this "history" sequence clocks in at around three and a half minutes. It's a testament to Bakshi and his crew that it never quite feels that long. In fact, the only reason Bakshi and company manage to get away with this kind of gratuitous info-dump opening is that they paired it with some truly stunning visuals.

​At any rate, the story begins 3000 years later in the irradiated wasteland of Scorch, with Blackwolf issuing orders to his assassins to begin destroying the leaders of the free states. We're then treated to a succession of merciless killings across the hauntingly psychedelic landscape, as the action follows one assassin in particular, the stoic and brutally effective robot, Necron 99.  

The action then cuts to the deep forest, and a pair of mounted elven scouts. They're taking a short rest and allowing their animals to graze, but the lead elf—Weehawk—says they need to push on. Avatar must be warned of what they've seen. 

Just then, Necron 99 ambushes them, killing Weehawk's partner. Weehawk attempts to escape, but it's no use. At last, he's forced to throw himself at Necron in a desperate, kamikaze-like fury, launching them both over a cliffside and into the river below.

Meanwhile, back in Montagar, a sort of war council is going on. Avatar, the President, and the President's half-fairy daughter, Elinore, are all waiting for the elf scouts to report in. The President wants to arm the free states against the growing threat of Blackwolf, but Avatar urges against it, pointing out that science and technology were both outlawed millions of years ago.

Avatar tells the President and Elinore that he spent years searching out his twin brother, trying to learn what ever became of him. He knows that Blackwolf has been trying unsuccessfully to mold the mutated creatures of Scorch into an army. Balkwolf's frustrations have been driving him to dig deeper and deeper into the past, searching for the secrets of warfare among the ancient, pre-holocaust ruins. 

Tales have reached Avatar of new war machines being built in Scorch, and of a great and ancient power that will enable Blackwolf to control his armies.

"What do you know about war?" Avatar asks them. "About bombs that could turn a planet molten and liquid? To think it could start again, ten million years after the last one..."

Just then, a burst of gunfire takes the President in the chest. Necron 99 has arrived, unseen by everyone. Avatar reacts, frying the robotic assassin with a blast of magic. At the same time, Weehawk bursts in through the door, sword drawn and ready to fight. But it's too little, and far too late. The President of Montagar is dead, and Elinore's cries fill the night.

Meanwhile, in Scorch, Blackwolf steps out onto the castle balcony to address his soldiers, calling them the "leaders of tomorrow's master race." He tells them the time has come to share the ancient secret of war, the key to creating hysteria and fear.

He then uncovers the secret relic he's found: an ancient movie projector, which he uses to play an old, Nazi-era propaganda film against the sky. German army marching music swells. Swastika flags flap in the breeze. 

Below the balcony, the mutants stare, awestruck. The new uniforms they're wearing, Blackwolf's new war machines. The new weapons. All of it looks like the strange old images in the sky. 

The movie whips the mutants into a frenzy. Battle footage from WWII joins the propaganda reel. Explosions. Gunfire. Artillery. Soon the mutants are screaming and chanting "seig heil," and clamoring to get to the front.

​In East Elfland, an army is already manning the trenches, preparing for Blackwolf's invasion. We get a short exchange between an older elf and young recruit, the standard war movie trope of the scared private confiding in the old veteran. The old veteran reassures him that the last time Blackwolf invaded, the evil wizard lost over a million men. He says the goblins and mutants look mean, but they're cowardly, they always run when met with resistance. This time will be no different. 

Blackwolf's armies approach, and the elves prepare to meet them. But just as they get into range, the wizard activates the projector. As soon the propaganda film begins playing, the elves stop and stare at the sky, frozen in abject horror at what they're seeing. The mutant army steamrolls into them, pouring into the trenches and slaughtering the defenseless elves in droves. 

Back in Montagar, Avatar reads Necron 99's thoughts, learning of the existence of Blackwolf's movie projector. He says that it must be destroyed, and that the robot assassin—who he renames Peace—can lead them to it.  

"I'll reason with him when he wakes up," Avatar says. He urges the others to go and prepare for the trip.

Weehawk spends the night saying goodbye to his tribe, and instructs them to name a new chief if he does not return. Elinore holds a funeral for her father. Then she promises the fairies that she will avenge his death, and that when she returns it will be as a full-fledged fairy, one ready to take her place as the Queen of Montagar.

As far as Avatar's reasoning with Peace, whatever he said must have been successful. Come morning, the ex-robot assassin has agreed to help lead them to Blackwolf's projector. But before the group sets off, Avatar offers Peace a final word of warning: 

"You let me down, you hurt my friends—especially the broad—I got stuff planned for you that will take 20 years to kill you. And you'll be screaming for mercy in the first five seconds."

This is our first real hint that Avatar is more than the simple, kindly bumbler we've seen since the end of the "history" portion. There are some fangs beneath that bushy red beard, Wastelanders. Sharp ones. 

For their part,  Weehawk and Elinore aren't quite ready to trust their former enemy, either. Weehawk even goes as far as reassuring Elinore that he plans kill Peace the second the ex-assassin shows them the projector. 

Preparations complete, our four heroes mount up, and they're off.

Meanwhile, back at Scorch, Blackwolf is attending his pregnant mistress. He's asking if the birth will be soon. She says it will. He says she is young to be queen—a statement which draws a look of shock from the girl—but if she delivers him a son, she will help to rule the planet.

The mistress tells him she doesn't want to rule the planet, that just their kingdom is enough. But this seemingly innocent statement sends Blackwolf into a rage. 

"Enough! Enough for mutants to stay in their place, huh? Live with radiation so our bodies crawl with hell? We will live in the good lands! My son will grow where there isn't death in the very waters we drink, and the air we breathe!"

He then asks the wise men whether his son will be born mutant or human, to which the wise men reply "mutant." Blackwolf turns away in disgust. 

"The next one won't be," he says coldly. 

As he stalks off to attend to the business of his war, the mistress runs after him, crying and begging him not to have their child killed.

Back on the trail, Weehawk warns the others that Peace is taking them through the mountain fairies' domain. He urges them to go around. But Avatar and Elinore overrule him. They can't afford to lose time, Avatar says, and the fairies may have useful information. But according to Weehawk, the fairies and the elves are bad-blood cousins.

True to his warning, this direct route gets the group in trouble. This misadventure sees Elinore captured by the mountain fairies, as well as seeing the rest of the group separated, lost, half frozen, and—in Weehawk's case—nearly eaten by a monstrous spider.

However, the group successfully reunites after this ordeal, and resumes their journey toward Scorch. But unexpectedly, they run into an elf patrol armed with guns like the ones Blackwolf's army carries.

Back at the elves' camp, they learn the patrol is a part of a larger army, under the command of General Abdul. Abdul—an old friend of Avatar's—tells them the guns are captured Scorch weapons. Now, with weapons to match Blackwolf's, Abdul plans to sail across the sea and attack Scorch directly.

Avatar, still hoping to avoid all-out war, tries to talk him out of it, but to no avail. General Abdul is convinced the only way for elvenkind to survive is to take the fight back to Blackwolf's doorstep. And the warriors following him agree.

Late that night, a demon attacks the camp, attempting to take over Peace's mind. Avatar successfully fights the creature off, but it almost appears to be a decoy, as a tank comes speeding at them along the beach. 

As Peace raises his rifle to protect the others, Elinore stabs him in the back with her sword, killing him. She then jumps into the tank, which immediately speeds away. Avatar chases after it, calling her name, but the tank disappears into the distance without so much as firing a shot.

In pre-dawn darkness, General Abdul's ships begin crossing the sea for the attack on Scorch. Avatar stands alone on the deck, lost in a depression and muttering to himself. Weehawk stands away, speaking to General Abdul. He says that Elinore's betrayal has broken the old wizard's heart. 

Weehawk takes charge of the mission, practically forcing Avatar along the rest of the way, dragging the old wizard to shore ahead of the rest of the fleet. He still intends to sneak inside the castle, find the projector, and destroy it before Blackwolf can use it again.

The two sneak their way into the lower city of Scorch. There, the mutants have wholly adopted Blackwolf's propaganda film, as we see mutant officers in full Nazi regalia. We hear audio recordings of Hitler's speeches being broadcast over loudspeakers, and captive fairies being forced to sing songs in German. The mutants have even begun referring to Blackwolf as "the furher."

Avatar, still in a deep depression, finally snaps. He attempts to beautify some of the lower city with his magic, in a last-ditch attempt to prevent the war. This draws the attention of some mutant officers, and forces Weehawk to take action. In a lightning fast, three-on-one battle, the elf warrior kills the mutants, before being blindsided and knocked down by one of Blackwolf's little toadies. The toady then claims victory, and scurries off to claim rewards and praise from Blackwolf.

Avatar, looking on the bloody aftermath of the fight, comes partly to his senses again. He at last realizes what kind of bloodshed the world is looking at if the two of them don't finish the job, however distasteful it's going to be.    

Following the trail of Blackwolf's scurrying little toady, Weehawk and Avatar make their way into the castle. As they walk, Avatar commends the elf warrior.  

"You know, the world owes you much, kid. Even if we don't take another step."

Meanwhile, General Abdul's fleet pulls to shore. The alarms goes up, and Blackwolf's army takes the field to meet them. Another set-piece battle begins, but with the heavily-armed elves on the offensive this time, it's an even match. 

Then the ancient film projector begins rolling. Once again, the sight of the ancient propaganda film horrifies and paralyzes the elves, leading to a shift in the battle, and Blackwolf's forces begin to gain the upper hand.

Back in the castle, Avatar and Weehawk find Blackwolf in the throne room. They agree to split up, with Avatar confronting Blackwolf, and the elf warrior seeking out the projector. 

On his way through the castle, Weehawk finds Elinore. In a rage, he leaps to kill her for betraying them, but he's stopped at the last moment by Blackwolf's mistress. Grieving her mutant son's death, the mistress says there has been too much bloodshed, and begs him to stop and think before he swings his sword. 

In that moment, Elinore explains that Blackwolf took over her mind and possessed her when they were on the beach. He made her attack and kill Peace. She had no choice. Weehawk realizes he must run back to the throne room and tell Avatar, before the old wizard throws his life away.  

Meanwhile, Blackwolf urges Avatar to give up. "Brother, there is no need for me to destroy you. Surrender. Surrender your world."

​But Avatar, snarky as ever, only gives his twin brother a round of applause. He then begins loosening his sleeves in the classic "nothing-up-here" motion typical of performing stage magicians.    

"I ain't practiced much magic in a long time. But I wanna show you a trick mother showed me when you weren't around. To use on special occasions like this." 

He then produces a 9mm Luger pistol from one of his sleeves, and shoots Blackwolf in the chest.

As Blackwolf dies, castle begins to crack and crumble around them. Avatar tosses the pistol away, ready to just be buried along with his twin. Right then, Weehawk runs in with Elinore, screaming that she's no traitor, that she was possessed. The three of them run for their lives, barely escaping as the castle falls behind them.

With the projector destroyed, the mutant army collapses into a disorganized rabble. Most scatter and run. The elves mop up the few resistors. There is some brief celebrating, but mostly the elves are eager to return home.

Outside, Weehawk asks Avatar and Elinore if they are ready to ride for Montagar with the others. But Elinore says tells Weehawk he will ride home alone, and rule as king. She plans to start a new kingdom somewhere else with Avatar.



The Vitals:


Violence - 

A word of caution, Wastelanders. If you grew up on a diet of anime and newer, post-90's western animation, don't look for lavishly detailed or choreographed fight scenes. The battles in Wizards are stylized. But they're done in a style that really has no other equivalent, except maybe in Bakshi's other fantasy works. 

Even then, I'd venture to say Wizards stands completely apart.

Bakshi combines live action newsreel footage with rotoscoped and hand-drawn animation, the latter using creatures with a distinct "head shop" aesthetic.

The collage-like result is a bunch of elves and mutants swinging swords at each other while Adolf Hitler screams in the background, artillery explodes, Messerschmitt fighters soar through the air, and rotoscoped warriors from movies like Zulu and El Cid stalk through the battlefield like otherworldly wraiths. 
​

​In sum, it's not really a depiction of a battle. It's more like a weird, psychedelic hallucination of one. 

It's also a wonderfully effective and ballsy move on Bakshi's part. The Battle of Helm's Deep it ain't. But damn if it also doesn't capture the confusion and disorientation of the modern battlefield better than it has any right to.

Fact is, as unconventional as they are, the battle scenes in Wizards are a genuine artistic achievement, and the movie would be worth the price of admission for them alone.


Man's Civilization Cast in Ruins -

Hardly any, but Wizards earns a free pass here for plot and world building reasons. Millions of years have passed since the apocalypse, so it's unlikely there'd be any standing ruins left from modern-day society. If anything, the opposite is true. Scorch aside, the world has grown into an exotic and lush place in the wake of its destruction.

The one notable exception is in the short and somewhat heavy-handed "religion" sequence. The inside of the temple is filled with kitschy remnants of 20th century American culture: cola signs, pinball machines, juke boxes, and an old Oscar statue. 

Naturally, none of it offers any salvation when Blackwolf's troops come calling, which is precisely the point. Neither do the two goofball priests, who would much rather spend their time engaged in hours' long ceremonies than in helping the needy prisoners right outside the temple's doors. 

Dystopian Survivor Society -

Scorch. 

I mean, sure, it's basically just Mordor with the serial numbers filed off. But so what? If you're going to go with an expansionist dictatorship ruled by an insane magician at the heart of a blasted wasteland, it's best to wear your inspiration on your sleeve. Bakshi—who went on to animate a Lord of the Rings adaptation a year later—does so here with pride, and the movie doesn't suffer one iota for it.

If anything, Bakshi leans into Tolkien's anti-industrial metaphors even harder.

If Montagar and East Elfland have returned to a state of pastoral, almost tranquil wilderness, Scorch has bypassed the early industrial revolution entirely, to become a full-on, mid-20th century industrial power, with 1940's-style assembly lines turning out planes and tanks for Blackwolf's coming blitzkrieg. 


Futuristic Bloodsports -

Nada. Granted, it wouldn't be much of a stretch to imagine the mutants of Scorch would have some among their decadent pastimes, but the story never suggests or hints at it. 


Barbarian Hordes -

The mutants of Scorch definitely qualify. In fact, one of the film's biggest plot points is that they're such a barbarian horde, they're utterly incapable of fighting as a cohesive unit until Blackwolf rediscovers the secret of 20th century propaganda.

And frankly, it's the fact that Wizards takes this "war for the mind" approach to building the enemy horde that makes it stand out from most of the genre.   

Where so many films made in the wake of the gasoline crisis of the '70s focus on things like physical shortages and civil unrest to create the wasteland hordes, Wizards really feels more like a belated product of the 60's. 

Hell, there's barely a wasteland here, let alone a wasteland horde. The world of Wizards is a hodgepodge of hippie counterculture, Cold War paranoia, and environmentalism, filtered through a weatherbeaten old copy of Lord of the Rings.

This isn't the Lord Humungous promising his followers gasoline and human chattel, folks. This is Mordor meets MK-ULTRA. This is about what the people in charge can make you think. What they can make you believe. And by extension, what they can make you do. 

Heady stuff. And sadly, never more relevant. 


Badass Warrior Women -

The Half-Fairy Queen, Elinore. 
​

The half-fairy queen, Elinore. And no, I'm not being snarky. 

While she doesn't do much in the way of actual fighting, Elinore shows plenty of grit in swearing to avenge her father's murder, and in undertaking a dangerous quest into an irradiated hellhole to dismantle the enemy's doomsday weapon. When she believes she's cornered by assassins on a frozen mountaintop, she's more than willing to face the them head on with her sword drawn and a battle cry on her lips.

Does she get quite as many chances to prove herself as The Blood of Heroes' scrappy, tough-as-nails underdog, Kidda? 

No. But let's be real. If I start judging every Badass Warrior Woman in the genre by that criteria, this category will probably have to go away altogether.


Watch Thou For the Mutant -

This being an animated feature, we can expect Wizards to deliver the goods when it comes to mutants. And it does, with the caveat that most of them conform to the "head shop" aesthetic mentioned in the Violence entry. It works just fine, provided you don't mind your slavering, inhuman beasts bent on murder and conquest to look like they'd rather be chilling somewhere with a bag of 'shrooms.
​

While most of the mutants in Wizards serve as the film's off-brand orcs, special attention should be called to the subplot involving the Blackwolf and his young mistress.

Blackwolf—himself a mutant—has gotten his mistress pregnant, and apparently not for the first time. He's hoping for a pure-blooded child, and he consults the wise men for an augury. They inform him the child will be born a mutant, and the mother immediately begins pleading in vain for its life. But Blackwolf has already written the child off as worthless, and is already telling himself that "the next one won't be."

Which means for all his bluster and rhetoric about seeing the mutants as "tomorrow's master race," Blackwolf clearly holds mutant life—even his own, one suspects—more cheaply than he does pure human life. 

It's an interesting dichotomy. One that adds a bit of dimension to Blackwolf. 


The Commentary:


Right out of the gate, Wizards won me over by using one of my all-time favorite storytelling tropes: the return of magic in the wake of an apocalyptic event. 

It's a trope that's largely fallen out of favor in the last forty years, thanks to the gradual  segmenting and separation between science fiction and fantasy. I groused a little about this subject a couple of months back, when I talked about the awesome, science fantasy weirdness found in earlier editions of Dungeons & Dragons. 

Expanding on that post slightly, 1977 can be seen as something of a watershed moment when it comes to viewing science fiction and fantasy as two separate genres. Not only was Advanced Dungeons & Dragons published, bringing an already popular game to an even wider audience, but Terry Brooks' The Sword of Shannara also appeared, proving the economic viability of the Tolkien clone. The explosive, runaway success of both products can almost be seen as a "twin Big Bang" event, one that largely drove "pure" fantasy to form its own separate publishing category. 

Ironic, considering that both Shannara and Advanced Dungeons & Dragons are almost certainly post-apocalyptic science fantasies.

All this is to say that Wizards, being released in 1977, managed to hit the market just before this kind of wild genre-mixing went out of style. And man, does it ever show.

We've got wizards shooting lightning, orcs flying fighter planes, and lizard-imps working computer consoles. We have mutant armies with machine guns and tanks battling elf armies with bows and arrows, while giant pterodactyl-birds screech through the sky.  

It's a glorious, post-apocalyptic fantasy kitchen sink, rendered in funkadelic 70's color with every animation technique Bakshi and company could find the time or budget for. Simply put, this movie is a feast for the eyes, folks. One I heartily recommend to all fans of animated storytelling.

That said, the film isn't entirely without flaws. 

There's a certain disjointedness to the narrative. Some pieces of the film never quite feel like they come together to serve the coherent whole. The scenes in the mountains are unevenly paced, and the later "betrayal" and reveal about Elinore come a little too close together to have any real emotional impact. Likewise with the separation and reunion of the traveling party. Both are obviously attempts to ratchet up the tension as we near the film's climax, but both end up falling a little flat. 

Speaking of the climax, Avatar's willingness to use a gun against Blackwolf was undoubtedly one of the film's biggest and most satisfying payoffs. Bakshi shows us that for all Avatar's ideals about magic versus technology, and his genuine desire for peaceful solutions, the old wizard understands that sometimes there are no easy or clean answers. Sometimes a violent solution is necessary to stop a truly evil threat. 

Avatar tosses the gun away at the end, clearly feeling like he's irrevocably dirtied himself by using one of the ancients' death machines. It's a very human reaction, and one the audience immediately empathizes with.
    
Admittedly, the idea of an apocalyptic fairyland is one that's stuck with me ever since first seeing this film, probably because it's just so damned weird. But looking at my outline for my current work in progress—and at the few chapters I've already drafted—I'm just now seeing how deeply that idea took root. 

I'm seeing my post-holocaust world with its re-born magic. I'm seeing my gun-toting elves and my illusion-casting fairy. I'm seeing my warlord obsessed with digging into the technological secrets of the past. I'm seeing my killer robot with the--

Hmmm... A few surprises should be left on the table, I think. 

The thing is, Wizards has long been a favorite of mine. I've always been a fan of the amazing visuals, the science-fantasy genre mixing, and the wide range of animation styles Bakshi plays with to tell his story. But I've never realized until now what an influential film Wizards is to me. 

And for that, Mr. Bakshi and company have my deepest and heartiest thanks.


The Rad Rating:

​While part of me feels like I should give Wizards a lower score for not having a tighter and more carefully structured plot, the other part of me feels like doing so would be missing half the point. Wizards is at least as much a purely visual experience as it is a traditional animated movie.

If you don't believe me, go back and watch that opening "histories" segment again. But do it with the sound on mute. See how much of the story you manage to pick up just from Mike Ploog's wonderful pen and ink illustrations, and the carefully selected background effects.

Bottom line: although it sports some undeniable some flaws, Wizards is a genre-defining classic, one that arguably represents the high-water mark of apocalyptic animation in the West. It's a criminally underrated film, one that's never quite gotten the wider recognition or the audience it deserves.

Highly recommended.

Until next time, Wastelanders!

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