Inspired by the generation's new trends in art, the film resides with the dazzling Pop Art styles of Andy Warhol, Martin Sharp, Alan Aldridge and Peter Blake. Lasseter writes in his essay, "As a fan of animation and as a filmmaker, I tip my hat to the artists of Yellow Submarine, whose revolutionary work helped pave the way for the fantastically diverse world of animation that we all enjoy today."ĭirected by George Dunning and written by Lee Minoff, Al Brodax, Jack Mendelsohn and Erich Segal, Yellow Submarine began its voyage to the screen when Brodax, who had previously produced nearly 40 episodes of ABC's animated Beatles TV series, approached The Beatles' manager Brian Epstein with a unique vision for a full-length animated feature.īased upon a song by John Lennon and Paul McCartney, Yellow Submarine is a fantastic tale brimming with peace, love, and hope, propelled by Beatles songs, including " Eleanor Rigby," "When I'm Sixty-Four," "Lucy in the Sky With Diamonds," "All You Need Is Love," and "It's All Too Much." When the film debuted in 1968, it was instantly recognized as a landmark achievement, revolutionizing a genre by integrating the freestyle approach of the era with innovative animation techniques. The iTunes and physical releases also include reproductions of animation cels from the film and a 16-page booklet with a new essay by Yellow Submarine aficionado John Lasseter (Chief Creative Officer, Walt Disney and Pixar Animation Studios). In a recent review, the Times of London hailed the film as "a masterpiece of Pop Art."īonus features for the Yellow Submarine film include a short making-of documentary titled "Mod Odyssey" (TRT: 7:30), the film's original theatrical trailer, audio commentary by producer John Coates and art director Heinz Edelmann, several brief interview clips with others involved in the film, storyboard sequences, 29 original pencil drawings, and 30 behind-the-scenes photos. This was all done by hand, frame by frame. Due to the delicate nature of the hand-drawn original artwork, no automated software was used in the digital clean-up of the film's restored photochemical elements. and his team of specialists at Triage Motion Picture Services and Eque Inc. The yellow submarine itself stops in an ocean of pulsating watches, representing time, to light a cigar for a friendly sea monster.Previously out of print, Yellow Submarine has been restored in 4K digital resolution for the first time by Paul Rutan Jr. The bulbous Blue Meanies, which personify an evil mood as actual villains, pursue the innocent, well-coifed cartoon Beatles across an ever-shifting milieu of mysterious seas and holes that can be magically picked up and moved. …The movie’s mod-psychedelic look, which typifies the era’s spirited graphic art, emerged around the same time as the related psychedelic work of Terry Gilliam, Alan Aldridge and Victor Moscoso, but it has its own whimsical aesthetic. In his 2009 New York Times obituary, Steven Heller wrote, “Heinz Edelmann, the multifaceted graphic designer and illustrator who created the comically hallucinogenic landscape of Pepperland as art director for the 1968 animated Beatles film Yellow Submarine, died on Tuesday in Stuttgart, Germany. Born in Czechoslovakia and trained in Germany, Edelmann only worked on Yellow Submarine from 1967 to 1968 but it over-shadowed all his other projects, such as the illustrations of Andromedar SR1 (1970, Cotsen Eng 20Q 87723) and German edition of Kenneth Grahame children’s book The Wind in the Willows (1973). While George Dunning (1920-1979) was the director of Yellow Submarine, Heinz Edelmann (1934-2009) was the creative director and the one most often credited with the overall style of the film. They offer an interesting contrast in styles. The Graphic Arts Collection is fortunate to have a small collection of animation cells, including two from the 1968 film based on the music of The Beatles called Yellow Submarine and one from Walt Disney Studios of Donald Duck, among others. Cell from The Yellow Submarine, including Ringo, 1968.
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