#PINOCCHIO STORY ARCH SERIES#
As Rick Goldschmidt chronicles in his book, The Enchanted World of Rankin/Bass, the last five episodes of Pinocchio are actually a pilot pitch for an unsold series with a character called Willy Nilly, who evolved into Willie McBean.įor the Firestone tire company, Forrell, Thomas and Polack produced the few two albums in the “Your Christmas Favorites” LP series. In addition to its work on the Pinocchio series and this album, FTP handled the songs and music for Willie McBean and His Magic Machine, the first Rankin and Bass feature film.
#PINOCCHIO STORY ARCH TV#
Another writer, Len Korobkin, co-wrote the Mad Monster Party screenplay.Īlso pivotal is Forrell, Thomas and Polack, a New York music production house that supplied songs and backgrounds for commercials, TV shows and records. Tony Peters, credited as a writer on the album, was production designer for Rudolph. Larry Roemer directed the series as well as Rudolph and several other R/B projects. This album is pure gold if only because of all the early names involved that figure into Rankin/Bass history. Fibble, later casting them as Santa and Yukon Cornelius, respectively, in Rudolph. Bernard Cowan, who cast and directed all of Rankin/Bass’ Canadian voice sessions–and served as announcer for this series and several others–brought in actors like Stan Francis as Gepetto and Larry Mann as Foxy Q. The stop-motion process for Pinocchio-animated mostly on “two’s’ and “three”s that Rankin and Bass dubbed “Animagic”-was contracted by Dentsu in Japan, which is also the world’s largest advertising agency (the roots of Rankin as an art director and Bass as a copywriter were in advertising and promotions). From Hanna-Barbera’s Ruff and Reddy and King Features’ Popeye to UPA’s Mister Magoo and Dick Tracy, these cartoons were churned out in the hundreds, sometimes produced in several studios at once throughout the world. The late’50s/early ’60s were the era of five-minute syndicated cartoons with the flexibility for use in local children’s live-action variety shows, grab bag cartoon clusters and sometimes in their own dedicated half-hour. The New Adventures of Pinocchio was the first Rankin/Bass TV series (under the original name, Videocraft International), four years before Rudolph, the Red-Nosed Reindeer brought the company into prominence in holiday specials and King Kong made them a contender in Saturday morning TV. Cat” by Jules Bass, Jim Polack, Eddie Thomas “Pedro Pistol” by Jules Bass, Jim Polack, Eddie Thomas, Ed Flynn. Fibble” by Jules Bass, Jim Polack, Ed Flynn “Cool S. Songs: “Pinocchio (Theme),” “Simoro” by Jules Bass “Cricket” by Jim Polack, Jules Bass “Foxy Q. Stories: “Monkey See,” “Fast Talk,” Mutiny on the Clipper,” by Leonard Korobkin “Back Track,” Grab Bag” by Anthony Peters. Cat) Claude Ray, Jack Mather (Additional Voices) The Jim Polack Singers. Voices: Joan Fowler (Pinocchio) Stan Francis (Gepetto) Larry D. TV Series Producer: Arthur Rankin, Jr., Co-Producer: Jules Bass. Original TV Soundtrack and Cartoon VoicesįTP Records MLP-7002 (12” 33 1/3 RPM / Mono) His short fiction has appeared in the NewYorker, Harper's, and Playboy, amongst many other publications.It’s no lie: this is the obscure soundtrack to the first TV show to use the stop-motion “Animagic” process, years before Rudolph, Frosty, the Snow Miser and the Heat Miser. Robert Coover has published fourteen novels, three books of short fiction, and a collection of plays since The Origin of the Brunists received the William Faulkner Foundation First Novel Award in 1966. This is a spectacularly scatalogical work. He goes at his task with an almost alarming linguistic energy, a Burgessy splatter of vocabulary, and a ferocious love of everything comic and grotesque. Coover's work has long occupied a place of honor. This text refers to an out of print or unavailable edition of this title. Balitas, Allentown Coll., Center Valley, Pa.Ĭopyright 1991 Reed Business Information, Inc.
Coover is at his best in this wildly comic fable.
In Coover's version, anything can, and does, happen, as Pinocchio's human self relives its twig-hood adventures. Poor Pinocchio, his wish granted, is an aged, much-honored scholar who returns home to complete a book on the Blue-Haired Fairy and to die: He is returning to wood. Arms and legs askew, puppet with a nose problem and a yen to be human, Pinocchio is back, and Coover-wordsmith par excellence, sly storyteller, master maker of such fictions as Pricksongs and Des cants, The Universal Baseball Assoc., and The Public Burning -has him in his crafty, string-pulling, postmodern mitts.
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