Tells how the Lone Ranger hooks up with Tonto. With Lenny Bruce doing all the voices, this animation of a Bruce routine begins with local folks upset at the Lone Ranger because he won't ...
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Title: Thank You Mask Man (1971)
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Tells how the Lone Ranger hooks up with Tonto. With Lenny Bruce doing all the voices, this animation of a Bruce routine begins with local folks upset at the Lone Ranger because he won't stay around to be thanked after a good deed. So, he stays and finds he likes hearing "Thank you mask man." When their attention starts to shift elsewhere, he shocks and disgusts the townspeople with a final request. Written by <jhailey@hotmail.com>
Plot Keywords:
mask | dark comedy | ends with a ride into the sunset | western spoof | parody |Parents Guide:
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Country:
USALanguage:
EnglishRelease Date:
28 September 1971 (USA) See more »Also Known As:
Gracias al hombre enmascarado See more »Company Credits
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The Lone Ranger: I'll tell you what. Anything? Give me that Indian over there.
Street Sweeper: Who's that? Tonto?
The Lone Ranger: Yes, Tonta! I want Tonta the Indian!
Street Sweeper: What the hell you talkin' about? You can't have Tonto.
The Lone Ranger: Bullshit! You made the deal, that's what I want. I want Tonta the Indian.
Street Sweeper: You gonna get your "Tonta," buddy. His name ain't "Tonta," it's "Tonto." What the hell you want Tonto for?
The Lone Ranger: To perform an unnatural act.
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Quotes
[the townspeople have offered the Lone Ranger anything he wants as a reward]The Lone Ranger: I'll tell you what. Anything? Give me that Indian over there.
Street Sweeper: Who's that? Tonto?
The Lone Ranger: Yes, Tonta! I want Tonta the Indian!
Street Sweeper: What the hell you talkin' about? You can't have Tonto.
The Lone Ranger: Bullshit! You made the deal, that's what I want. I want Tonta the Indian.
Street Sweeper: You gonna get your "Tonta," buddy. His name ain't "Tonta," it's "Tonto." What the hell you want Tonto for?
The Lone Ranger: To perform an unnatural act.
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Contrary to the review above, Lenny did not co-write and co-direct this film, unless he somehow managed to do so five years after his death. If anyone could do that, it would be Lenny.
Bruce's stream-of-consciousness comedic riffing, his ridiculing of homophobia and the denigration of Native Americans, his doing all the voices of the various characters, epitomize his genius, accomplished while he encountered endless formidable adversaries, the direct descendants of fanatical Comstockery. What torment he endured was a product in no small part of religious fanaticism, the same sort of social control that required the Supreme Court to decide against the forces of theocracy in Griswold v. Connecticut, Roe v. Wade, and Lawrence v. Texas.
Commentators here have complained about the quality of the film, but in 1971, lacking both the budget of a Disney studio and the current state of technology that allows for instance, for South Park, it captured the essence of the man and the quality of his work. Without Lenny, we couldn't have had Richard Pryor.