Discover Why ‘American Pop’ is Ralph Bakshi’s Most Ambitious Film Yet!

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#1 in my ranking of Ralph Bakshi’s filmography.

American Pop, directed by Ralph Bakshi, stands out as his most intricate and ambitious project. This film provides a fascinating perspective on four musical generations spanning America’s history throughout the 20th century. Penned by Ronni Kern, the script keeps viewers engaged during its initial half, marking Bakshi’s finest work in terms of sustained animation quality. However, it struggles to maintain this level of engagement throughout, with a decline observed in the second half due to less captivating characters taking center stage. Yet, no character overshadows the others completely.

In Russia under Czarist rule, Jeffrey Lippa (later known as Zalmie) and his mother escape, with tragedy striking their family as Zalmie’s father, a rabbi, is killed by the Cossacks. Upon reaching America, a young Zalmie encounters Louis (Jerry Holland), a musical impresario who assumes the role of surrogate father when Zalmie’s mother perishes in an industrial fire. Together, they navigate the vaudeville scene during the early 20th century. Struggling with an immature physical appearance and voice, they join the European front as entertainers once America enters World War I. A bullet wound to the neck forces his voice to mature, marking a significant turning point in his life. Back home, Zalmie encounters Bella (Lisa Jane Persky), a stripper whom he falls for and has a son with, Benny (Richard Singer). Despite being a prodigy, Zalmie defies expectations, though he eventually marries a mob princess to placate his family. Before embarking on another war as a soldier in WWII, Zalmie reconnects with Bella once more.

Initially, let me point out that the first two individuals from this four-generation group are truly intriguing. Zalmie carved out his life through determination and resilience in America, despite not knowing its language. He nurtures a son with exceptional musical prowess, yearning for his success, but Benny rebels against authority. In search of conflict, he journeys to Europe, a land that may undervalue his musical genius. The irony lies in the fact that where his talent isn’t valued is where it finds appreciation in the chaotic backdrop of war, such as when two individuals bond through something universal like music, even if their connection is fleeting and temporary.

Here, Bakshi introduces montage sequences for the first time in a striking manner, and it’s quite intriguing. This technique skillfully blends the music from the 1940s with scenes of conflict in Europe, interspersed with glimpses of people dancing at home. This portrays the lifestyle Benny opted for, which is indeed fascinating.

After Benny’s son Tony (Ron Thompson) assumes control, the movie seems to lack focus and cohesive storyline. This could be intentional as Tony is portrayed as a drifter with little direction or ambition. In the early 1950s, he attends underground beatnik gatherings in New York City, often roaming the streets at night. His half-siblings struggle to understand him, and he leaves home with some money, embarking on a journey that includes a brief affair with a waitress in Kansas, and eventually riding the rails all the way to California. There, despite lacking musical talent, he begins writing music for a singer resembling Janis Joplin (Mews Small). However, his interactions with the band seem aimless, as it’s unclear why he becomes significant to them yet is so easily discarded. It seems that he is a drug-addled loser, but his departure appears to occur while he’s hospitalized after falling during a concert (under the influence, of course).

Initially, he follows their tour until Kansas, then joins them. Tragically, Frankie succumbs to an overdose there, and coincidentally, Tony’s son, Pete (also known as Thompson), is present, intending to listen. Realizing the link, Tony invites Pete along to New York, where Tony struggles with his drug addiction and eventually succumbs to it. This part focusing on Tony feels heavy and drawn-out. While it offers a unique perspective of the 60s, reminiscent of a more sophisticated approach than Bakshi’s work in Fritz the Cat, it drags on too long. The final section revolving around Pete throughout the 70s is the most affected by this prolonged narrative. He’s a drug dealer striving for a band to play his music. Most of this segment portrays Pete distributing drugs across the city, which is engaging to watch. Later, he manages to get the band to let him perform, culminating in a final montage showcasing Pete playing his music over film images. Regrettably, Pete is underdeveloped as a character, and I could have benefited from an additional ten minutes of depth for him, particularly at Tony’s expense.

I find this material quite engaging overall, yet I must admit that I feel it lacks cohesion. However, if we consider it as Bakshi’s most refined work, it might still be his best film. It showcases a remarkable restraint and focus stylistically, tackling an ambitious narrative spanning generations and the transformation of America. At times, it seems to drag on unnecessarily, but its portrayal of America remains evocative nonetheless. The performances are more powerful than expected, and there are even some genuinely emotional scenes.

Had Bakshi been more skilled in storytelling, this subject could have been captivating. Regrettably, his ambition outpaced his abilities, resulting in a film that’s not quite as effective. While it offers a broad overview of American music spanning around 70 years, the attempt at narrative coherence is still noticeable.

Rating: 2.5/4

Watch it for free (with ads) here.

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2025-02-19 00:31