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Director: Émile Cohl
Release Date: October 8, 1908
Rating: ★★★★½
Review:

L'Hôtel du silence © Émile Cohl‘L’hôtel du silence’ is Émile Cohl’s answer to J. Stuart Blackton’s influential ‘The Haunted Hotel’ from 1907. Unlike Blackton, Cohl doesn’t employ stop motion in his film, however, making ‘L’hôtel du silence’ an addition to the trick film tradition, not an entry in the animation canon.

The film features a man visiting a hotel without any personnel. The man’s stay at the hotel is far from pleasant, however: his dinner disappears into the floor, his bed throws him on the floor when the alarm clock rings, and a shower soaks him completely. In the end, he’s confronted by an enormous bill. The man tries to sneak away without paying, but he is held inside the lobby by the desk. Even the door refuses to let him go out before he has paid some tips. This last gag is arguably the best of the whole film.

The unknown actor who plays the hapless visitor clearly is a professional clown: he acts out his emotions to the audience with broad gestures, and he’s clearly used to slapstick comedy, making him a forerunner of the American slapstick tradition. The camera remains static, with all the actions taking place in two tableaux: the lobby and the bedroom. Cohl uses a lot of contraptions and quite some trick photography, but no animation to tell his story, which is quite static, but pretty amusing for a film of the 1900s.

Watch ‘L’hôtel du silence’ yourself and tell me what you think:

‘L’hôtel du silence’ is available on the DVDs ‘Émile Cohl – L’agitateur aux mille images’

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Director: Émile Cohl
Release Date: 1908
Rating:  ★★
Review:

Le petit soldat qui devient dieu © Émile Cohl‘Le petit soldat qui devient dieu’ is a short film about a little tin soldier.

We watch him and the other tin soldiers leave their box, and perform some antics in front of a childlike drawing of a house. At one point the little soldier is left behind, when the others return to their box. Suddenly we watch him floating on a paper boat down the sewer, and on the Seine.

Apparently the tin soldier floats to the ocean, because in the next scene he’s found by an African boy and taken to his negro tribe, who are about to kill another black man. The chief licks the tin soldier and dies instantly. Then the other tribesman crown the other black man. The end.

‘Le petit soldat qui devient dieu’ is another one of Cohl’s early experiments in stop-motion, blending it with live action. Unfortunately, the short is the weakest of Cohl’s 1908 films: the tin soldier sequences are very static, all taking place against the same backdrop, and consisting of little more than soldiers marching. Moreover, none of the action makes sense. But the end is the worst: not only is this scene totally incomprehensible, the cannibals are but white men in blackface, and their characters are the worst cliche cannibals imaginable.

Watch ‘Le petit soldat qui devient dieu’ yourself and tell me what you think:

 

‘Le petit soldat qui devient dieu’ is available on the DVDs ‘Émile Cohl – L’agitateur aux mille images’

 

Director: Émile Cohl
Release Date: December 14, 1908
Rating:  ★★★★
Review:

Les frères Boutdebois © Émile Cohl‘Les frères Boutdebois’ are two wooden puppets who perform some acrobatic tricks against a theatrical backdrop.

The film contains no story and ends abruptly, but the stop-motion is quite good, and an enormous improvement on ‘Japon de faintasie’. The two puppets seem to have some character, and the trick photography is pretty convincing.

Somehow this short little film seems the direct ancestor of Jan Švankmajer’s stop-motion films, both in animation style and in atmosphere, even though this film lacks Švankmajer’s surrealism (or that of Cohl’s own ‘Fantasmagorie’ for that matter).

Watch ‘Les frères Boutdebois’ yourself and tell me what you think:

‘Les frères Boutdebois’ is available on the DVDs ‘Émile Cohl – L’agitateur aux mille images’

Director: Émile Cohl
Release Date: November 23, 1908
Rating:  ★★★★★
Review:

Le cerceau magique © Émile Cohl‘Le cerceau magique’ starts with a live action sequence taking place in a park.

There a girl brings her broken hoop to her uncle, who conjures a new one, a bigger one, and an even bigger one. The last hoop is a magical hoop, able to change the man’s and girl’s outfits into 16th century costumes.

Happily the girl runs off with the hoop, which leads to a short string of images showing life in 1908 Paris. But at one point she hangs the hoop on a wall, and here the real film starts, because inside the hoop all kinds of images form and move, like origami animals, some dice forming a word, a paper man with a wheelbarrow circling the hoop from the inside, a compass drawing a flowery figure, a moon-face, a clown balancing on his nose, etc. The film ends when the girl takes the hoop from the wall again and bows to the audience, implying that she was the conjurer of these images.

‘Le cerceau magique’ is a unique film because it features both stop-motion and drawn animation. Rarely are these techniques used together. Cohl even adds live action to the mix, leading to a quite enjoyable film, if a rather directionless one. Unfortunately, the surviving print is very bad, and quite a bit of the middle section is indistinguishable through the wearing of the film.

Watch ‘Le cerceau magique’ yourself and tell me what you think:

‘Le cerceau magique’ is available on the DVDs ‘Émile Cohl – L’agitateur aux mille images’

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Director: Émile Cohl
Release Date: 1907-1909
Rating:  ★★½
Review:

Japon de fantasie © Émile CohlSomewhere before or after his groundbreaking ‘Fantasmagorie’ Cohl explored the older animation technique of stop motion. ‘Japon de faintasie’ is an ultrashort venture into this technique, and the only reason of its existence seems to be the exploration of its possibilities.

Despite its short length of a mere one minute, the film consists of three clear sections: two Japanese figurines moving, a bee moving, and a face changing into a mask that sprouts mice. The film feels like a study, and is not as sophisticated as Cohl’s stop motion films from 1908, like ‘Le cerceau magique‘ or ‘Les frères Boutdebois’, which points to an early production date.

Watch ‘Japon de fantaisie’ yourself and tell me what you think:

‘Japon de fantaisie’ is available on the DVDs ‘Émile Cohl – L’agitateur aux mille images’

Director: Émile Cohl
Release Date: August 17, 1908
Stars: Fantoche
Rating: ★★★★★ ♕
Review:

Fantasmagorie © Émile Cohl‘Fantasmagorie’ is without doubt the very first real drawn animation film.

Like Blackton’s films the short starts with a hand drawing a figure. But where Stuart J. Blackton’s ‘Humorous Phases of Funny Faces‘ and ‘Lightning Sketches‘ were pretty static tricks, ‘Fantasmagorie’ is a dazzling series of tableaux, moving into each other through metamorphosis. There’s no plot, but a strong sense of stream-of-consciousness, making this one of the very first surreal films ever.

Apart from the mind blowing images, the film also features the world’s first animated cartoon hero, Fantoche, a clown that starts the film and ends it by riding a horse and waving goodbye. In between, Fantoche keeps appearing, disappearing and changing into things and other characters. At one point he falls and loses his head, and Cohl’s hands have to put him together again. Even though by that time we did know the clown for only a few seconds, this still comes as a rather unsettling event.

Apart from the clown’s death and resurrection, so much is happening on the screen that after a mere two minutes the film leaves the viewer almost exhausted. There’s only one elongated gag, in which a man in a cinema is hindered by the giant head of the lady in front of him. It’s interesting to note that this early experiment of cinema uses its own still fresh medium as a setting.

Cohl’s drawing style is extremely simple, almost naive, and his stick-man-like figures have a child-like charm, which adds to the surrealism of the images. The film is totally devoid of timing, and the fast but steady flow of images give the film its unique character.

By all means ‘Fantasmagorie’ is not only a milestone of animated cinema, it still is a strong film in its own right, perfectly able to mesmerize even after more than a century since its completion.

‘Fantasmagorie’ was most probably Émile Cohl’s first film. He made the short inspired by Blackton’s influential stop-motion film ‘The Haunted Hotel’. Cohl was already 51 when he made this film, yet he would become one of the most prolific animators of all time, completing more than 250 films (not all of them animated) over a span of 13 years. Unfortunately, by the 1930s he was largely forgotten, and in 1938 he died as a poor man, never enjoying a rediscovery like the one that happened to his compatriot and fellow film pioneer Georges Méliès.

Watch ‘Fantasmagorie’ yourself and tell me what you think:

‘Fantasmagorie’ is available on the DVDs ‘Émile Cohl – L’agitateur aux mille images’ and ‘Before Walt’

Director: J. Stuart Blackton
Release Date: July 15, 1907
Rating: ★★½
Review:

Lightning Sketches © Vitagraph‘Lightning Sketches’ is the third surviving film by J. Stuart Blackton in which he used drawn animation.

Unfortunately the film has less in common with his ground-breaking film ‘Humorous Phases of Funny Faces‘ (1906), and much more with his first trick film ‘The Enchanted Drawing’ from 1900: Once again Blackton himself appears on screen, and not only his hand. As in the earliest film, he now draws with a brush on paper, replacing the chalk and chalkboard.

Compared to ‘Humorous Phases of Funny Faces’ ‘Lightning Sketches’ is by all means the lesser product: there is less animation or movement (the best is of a bottle of champagne and a bottle of soda water filling a glass). Worse, Blackton’s first gag involves a stereotype ‘coon’ and Jew, but no animation at all.

In no sense ‘Lightning Sketches’ did propel the medium of animation forward, and it was up to others pioneers, like Émile Cohl, Winsor McCay and J.R. Bray to advance upon the new technique.

Watch ‘Lightning Sketches’ yourself and tell me what you think:

‘Lightning Sketches’ is available on the DVD/Blu-Ray ‘Cartoon Roots’

Director: J. Stuart Blackton
Release Date: April 6, 1906
Rating: ★★★½
Review:

Humorous Phases of Funny Faces © Vitagraph‘Humorous Phases of Funny Faces’ is arguably the first drawn animation film. Like Blackton’s first film, ‘The Enchanted Drawing’ from 1900, the short combines the tradition of live sketching with that of trick filming to a novelty effect. Made for Thomas A. Edison, the film is an important step forward, however, because, unlike ‘The Enchanted Drawing’ there now is animated movement.

The film starts with a live action hand drawing the face of a man on a chalkboard. Next to the man a woman is drawn, now without the hand. The two faces alter, and at one point the man grows a cigar and a top hat. This ‘scene’ ends when the man’s smoke covers the whole woman, and the hand erases the drawing.

Next come two other faces. Little is happening here, so soon we cut to an old man with an umbrella. This part shows a little arm movement, done with cut-out. Blackton used the cut-out technique more extensively in the last shot, that of a clown, toying with his hat, a hoop and a poodle. The film ends with the hand erasing again. The whole experience lasts less than three minutes.

Overall, the image is pretty static, and it’s clear that the whole film is made pure for the novelty of its tricks. Of course, ‘Humorous Phases of Funny Faces’ is historically important, yet, it’s difficult to call this first hand-drawn animation film (and probably the first one to use cut-out) an instant classic, as apart from the movement hardly anything is happening, and only the smoke gag comes somewhere near being funny. Moreover, Blackton’s arm can be seen a few times, which hampers the trick.

Watch ‘Humorous Phases of Funny Faces’ yourself and tell me what you think:

 

‘Humorous Phases of Funny Faces’ is available on the DVD ‘Before Walt’

Director: Sanae Yamamoto
Release Date: 1942
Rating:  ★★½
Review:

The Animal Village in Trouble © Sanae Yamamoto‘The Animal Village in Trouble’ tells the tale of three families: the monkeys, the bears and the raccoon dogs.

The monkeys’ family is very large, and hard to feed. But when a storm breaks out, it’s the only family that manages to protect its home. Moreover, the monkeys save the other two families from drowning. Is this a message to the audience to produce more offspring in times of war?

This film is essentially silent, with a voice over. The designs are quite elegant, and more clearly Japanese than usual in pre-war/wartime anime. The animation is mostly fair, with the storm scene in particular being quite spectacular. Also interesting is the occurrence of metamorphosis, a rarity in prewar/wartime Japanese animation: one raccoon dog transforms itself into an alarm clock, while another changes into a bridge at one point.

Sanae Yamamoto (1898-1981) came into prominence as an animator in the 1920s. In the 1950s he would join the Tōei animation studio, where he became supervising animator until his retirement in 1967.

Watch ‘The Animal Village in Trouble’ yourself and tell me what you think:

https://www.senscritique.com/film/Doubutsu_Mura_no_Daisodou/21070972

‘The Animal Village in Trouble’ is available on the DVD-box set ‘Japanese Anime Classic Collection’

Director: Yoshitaro Kataoka
Release Date: 1942
Rating:  ★★½
Review:

Sankichi the Monkey The Air Combat © Yoshitaro KataokaWith ‘Sankichi the Monkey: The Air Combat’ we’re clearly in propaganda area. The film’s motto says it all: “Protect our sky! The best defense is offense!”.

In the film the monkeys (Japan) are attacked by an air squadron of bears (Soviet Union). The monkeys shoot the bears out of the sky by the dozen, and win the day. But the film warns the audience: ‘There still are other enemies. We must protect our sky!”.

The film’s message, as if Japan were threatened by other nations and had to be aggressive out of defense, is sickening. When the film was released, in 1942, Japan was already the cruel occupier of most of South East Asia, an aggressor on a scale only matched by Nazi Germany.

‘Sankichi the Monkey: The Air Combat’ is a silent film, and the animation is poor and old-fashioned. In fact, the film looks like as if it had been made in 1929, not 1942. At least the short sheds a light on how the military government sold its actions to the Japanese public: with lies and seeds of fear. And while in 1945 the Soviet Union did declare war on Japan (on August 9, after the U.S. had dropped the atomic bomb on Hiroshima and Japan was on the brink of collapse), the Soviet air attack never materialized.

Watch ‘Sankichi the Monkey: The Air Combat’ yourself and tell me what you think:

‘Sankichi the Monkey: The Air Combat’ is available on the DVD-box set ‘Japanese Anime Classic Collection’

Director: unknown
Release Date: 1940
Rating:  ★★★½
Review:

Baby Kangaroo's Birthday Surprise‘Baby Kangaroo’s Birthday Surprise’ tells about the birthday of Kan-Chan, the youngest kangaroo in a family of five.

All goes well, until a hungry wolf arrives. The wolf eats all the food, and kidnaps Kan-Chan to eat him as well. The family comes to the rescue, aided by a troupe of moles, who dig a bunch of holes into the wolf’s hut. They taunt and finally bind him, so the family of kangaroos can reunite.

‘Baby Kangaroo’s Birthday Surprise’ is a silent film, but the animation is more advanced than in contemporary Japanese films, incorporating various lessons from Disney animation (squash and stretch, follow-through etc.). The wolf is clearly modeled on Disney’s wolf from ‘Three Little Pigs‘, and he’s animated best, probably because of the more sophisticated source material.

Watch ‘Baby Kangaroo’s Birthday Surprise’ yourself and tell me what you think:

‘Baby Kangaroo’s Birthday Surprise’ is available on the DVD-box set ‘Japanese Anime Classic Collection’

Director: Ikuo Ōishi
Release Date: 1939
Rating:  ★★
Review:

Swim, Monkey, Swim © Ikuo Ōishi‘Swim, Monkey, Swim’ tells about monkey, who learns to swim, and immediately joins a swimming contest.

The monkey wins by cheating, riding a ‘water imp’. In the end he succeeds in “cheating the others, but not his heart”.

‘Swim Monkey Swim’ is a primitive film, with the designs and animation looking like an Aesop Fable from the 1920s. Indeed, Ōishi was a Japanese animation pioneer, already making films in the 1910s. But if this film really was made 1939, it seems he had little learned since. The designs are nice and readable, but the film’s timing is too slow, rendering endless footage of the race. With its ten minutes the film is overlong and overstays its welcome.

Watch ‘Swim, Monkey, Swim’ yourself and tell me what you think:

‘Swim, Monkey, Swim’ is available on the DVD-box set ‘Japanese Anime Classic Collection’

Director: Yasuji Murata
Release Date: January 31, 1933
Rating: ★★★★
Review:

The Larks' Moving Day © Yokohama Cinema ShokaiIn ‘The Larks’ Moving Day’ we follow a family of anthropomorphized larks who live in a cornfield.

The owner of the cornfield plans to harvest, but first asks his neighbors, then his relatives to help him. Father lark isn’t impressed: as long as the farmer keeps asking others, he will not harvest, and thus their home will not be in peril. Only when the farmer exclaims ‘we’ll do it ourselves’, the lark family moves from the field to a safer area. Thus father lark’s moral to the audience is ‘You can’t do a job, until you stop relying on others and do it yourself’.

This silent film is one of Murata’s more enjoyable films, as his elegant drawing style is on full display. The animation, too, is superb, even if it’s limited. The short shows once again that Murata was the undisputed leader in the field.

Watch ‘The Larks’ Moving Day’ yourself and tell me what you think:

‘The Larks’ Moving Day’ is available on the DVD-box set ‘Japanese Anime Classic Collection’

Director: Yasuji Murata
Stars: Norakuro
Release Date: June 14, 1933
Rating: ★★★
Review:

Private 2nd Class Norakuro © Yasuji MurataNorakuro is a black dog who has joined an army of white dogs.

But like Donald Duck in his later World War II army films, Norakuro is far from a good soldier. When he has to clean an officer’s office, he starts wearing the officer’s sabre, and smoking his cigarettes. Later, Norakuro follows marching orders without thinking, and walks blindly into a stable, where he’s kicked out. In the second episode Norakuro manages to capture a tank, only to find out that it’s manned by his own supervising colonel…

‘Private 2nd Class Norakuro: The Drill’ is a silent film with a strong 1920s design. Norakuro had been a manga star first, making his debut in 1931. Norakuro is drawn sympatherically, and is a relative of silent stars Bonzo and Felix the Cat. In this film, Norakuro’s first, his antics are pure for fun, lacking any moral or military subtext, even though it’s a film about the army during the militaristic Shōwa period. Norakuro would star four more films (1934-1938), which would become increasingly propagandistic. The comic strip lasted until 1941.Unfortunately, Murata’s drawing style is less impressive than in other films, and the film a little too long and mildly amusing at best.

Watch ‘Private 2nd Class Norakuro: The Drill’ yourself and tell me what you think:

‘Private 2nd Class Norakuro: The Drill’ is available on the DVD-box set ‘Japanese Anime Classic Collection’

Director: Teizô Katô
Release Date: October 22, 1932
Rating:
Review:

The Plane Cabby's Lucky Day © Kyoryoku Eigasha-Marvel GraphSurprisingly, the story of ‘The Plane Cabby’s Lucky Day’ takes place in the far future of 1980. By then the animals have inherited the earth, as people have taken the skies. Thus the film first takes place in an urban landscape of endless skyscrapers.

Unfortunately, the aimless story of a young flying cab driver soon hits more traditional settings, when the cab driver crashes on an island with talking animals etc. Moreover, Cabby’s behavior is shown to be very traditional, as he takes good care of his mother and helps a wounded bird. The story’s moral is that charity is a good investment.

Director-animator Teizo Kato was a newcomer in Japanese animation and it shows. His animation is incredibly primitive, and akin to American studio films from the 1910s. His animation lacks all hints of weight or personality, and is tiresome to watch. The long and boring story doesn’t help either, resulting in one of the worst products of early Japanese animated cinema.

Watch ‘The Plane Cabby’s Lucky Day’ yourself and tell me what you think:

http://cy.cyworld.com/home/22635133/post/4C403230C5957824B7388401

‘The Plane Cabby’s Lucky Day’ is available on the DVD-box set ‘Japanese Anime Classic Collection’

Directors: Yasuji Murata & Chuzo Aoji
Release Date: 1932
Rating:
★★
Review:

Sports Day at Animal Village © Yasuji Murata & Chuzo Aoji‘Sports Day at Animal Village’ is one of several sports cartoons Aoji and Murata made together (earlier examples are ‘Our Baseball Match’ and ‘Animal Sumo’ from 1931).

In this film we watch several sports events: monkeys turning, a judo match between a tiger and a lion, several polar bears and a hippo diving, a boxing match between a pig and a kangaroo, and finally, a tug-of-war between an elephant and numerous other animals.

There’s pretty little to enjoy in this lighthearted film, but it contains one nicely staged scene of a polar bear diving from a ridiculously high platform. However, the best animation is found in the tug-of-war scene, in which Murata manages to put a real sense of weight and muscle tension.

Watch ‘Sports Day at Animal Village’ yourself and tell me what you think:

‘Sports Day at Animal Village’ is available on the Japanese DVD Box Set ‘Japanese Anime Classic Collection’.

Directors: Yasuji Murata & Chuzo Aoji
Release Date:
 1932
Stars: Momotaro
Rating:
Review:

Momotaro's Underwater Adventure © Chuzo AojiAfter ‘Momotaro’s Sky Adventure‘ Aoji and Murata send Japan’s folk hero off in a military submarine to fight a large shark.

Like in his earlier film Momotaro is asked by others to do that, and the film vaguely seems to glorify the navy, even though it’s much less successful in doing so than Momotaro’s earlier nationalist film was for the air force: the film runs rather short, Murata’s 1920s style animation is not particularly exciting or convincing, and for today’s audiences it’s quite unsettling to watch the hero fighting a large fish with a surplus of warfare, including numerous torpedoes. The Japanese clearly had less difficulties with this slaughter. In any case, the hero, and his friends Monkey and Dog (Crane couldn’t join them as he can’t swim) are awarded as heroes at the end of the cartoon.

Watch ‘Momotaro’s Underwater Adventure’ yourself and tell me what you think:

‘Momotaro’s Underwater Adventure’ is available on the Japanese DVD Box Set ‘Japanese Anime Classic Collection’.

Directors: Harry Bailey, John Foster, Frank Moser & Jerry Shields
Release Date:
 June 2, 1929
Rating: ★★★
Review:

Polo Match © Van Beuren.jpgLong before ‘Mickey’s Polo Team’ (1936) or Walt Disney took on playing polo himself, the Van Beuren studio visited the game in the silent short ‘Polo Match’.

The cartoon stars a couple of mice, with the hero being indistinguishable from the others. The mouse plays a polo game with the others on mechanical horses, and most of the gags (even the final one) stem from the horses falling apart. Meanwhile the hero’s sweetheart is harassed and later kidnapped by a mean old cat. Our hero pursuits the cat and saves his sweetheart.

The cartoon is pretty fast and full of action, but none of the gags are interesting enough to keep the viewer’s attention. Nevertheless, the short was re-released in 1932 as ‘Happy Polo’, with an added soundtrack.

It’s pretty likely that the inspiration for the mechanical horses stems from the Oswald the Lucky Rabbit cartoon ‘Ozzie of the Mounted‘ (1928) in which Oswald rides a mechanical horse himself. In any case, mechanical horses were clearly much easier to animate than real ones, and one was reused in ‘Hot Tamale’ (1930).

Watch ‘Polo Match’ (or ‘Happy Polo’) yourself and tell me what you think:

‘Polo Match/Happy Polo’ is available on the DVD ‘Aesop’s Fables – Cartoon Classics from the Van Beuren Studio’

Director: Chuzo Aoji
Release Date:
 1931
Stars: Momotaro
Rating: ★★★½
Review:

Momotaro's Sky Adventure © Chuzo AojiIn ‘Momotaro’s Sky Adventure’ (also known as ‘Aerial Momotaro’) Japanese animation pioneers Aoji and Yasuji Murata tell a tale about that great and friendly warrior from Japanese folklore, Momotaro, who had been brought to the animated screen by Takamasa Eigasha in ‘Momotaro the Undefeated’ (1928).

Surprisingly, Aoji and Murata move our hero into the present. Momotaro is visited by a couple of Antarctic island birds who call for help against an evil (American?) eagle. Together with his loyal friends, monkey, dog and pheasant, he flies to the remote island in a propeller plane, being fueled twice by birds on the way. When the quartet arrives, they battle the eagle in the air in an overlong fighting sequence, which at times is strangely reminiscent of a modern computer game. Momotaro finally decides to capture the fiend alive, and he’s celebrated as a hero by the grateful birds.

‘Momotaro’s Sky Adventure’ is Japan’s very first propaganda cartoon. It shows an early form of nationalism and anti-Americanism. Momotaro would grow very popular during World War II, representing Japan in many wartime films, and starring Japan’s very first animated feature, ‘Momotaro’s Divine Sea Warriors’ (1945), commissioned by the Japanese navy. This transformation of the folk hero into a nationalistic figure begins with this cartoon from 1931. Indeed, ultra-nationalism and militarism overtook Japan in the early 1930s, which e.g. resulted in the annexation of Manchuria in the summer of 1931.

Importantly, ‘Momotaro’s Sky Adventure’ shows Japan’s national hero as the military strong friend of its weaker neighbors. This portrait of Japan as a benevolent big brother to all other Asian nations was played out throughout Japan’s militaristic period, and this propaganda story indeed managed to delude people like for example those Malay who, when Japan invaded their country in 1941, at first welcomed the Japanese as liberators from colonial Britain, only to find them far worse oppressors than the British had ever been…

‘Momotaro’s Sky Adventure’ is available on the Japanese DVD Box Set ‘Japanese Anime Classic Collection’.

Director: Svend Noldan
Release Date:
 1930
Rating: ★★★★
Review:

Hein Priembacke in Afrika © Svend NoldanHein Priembacke was a cartoon character conceived and animated by Svend Noldan. Noldan had his origins in the German dadaist avant-garde scene, something that is not visible in this cartoon.

‘Hein Priembacke in Afrika’ is a silent film and uses German title cards in rhyme. Hein Priembacke is a sailor who’s washed ashore an African desert. Being hungry he first tries to retrieve a coconut, which turns out to be a wallaby. Later he goes to a settlement (which was visible in the background all the time), where he pulls two turnips, which turn out to be Negroes (forgive me the word – it’s used as such in the film itself). The angered cannibals soon chase our hero (“Jetzt wird’s bedenklich, lieber Christ. Der Neger ist kein Pazifist” reads the title card, which translates as “Now it becomes questionable, dear Christ, for the negro is no pacifist“), but he manages to escape to his homeland, hanging on the legs of a stork.

The animation is surprisingly well done, although the action is at times ridiculously slow. The film’s highlight are the animation of the waves and of the landscape on Priembacke’s flight back home. Done with cut outs, the landscape moves stunningly realistically under our hero, creating a great sense of depth, predating Disney’s multi-plane camera by seven years.

Indeed, special effects turned out to be Noldan’s expertise. His star rose when the National Socialists came to power in 1933, and many film makers left Germany. He later provided special effects for German propaganda films, like Leni Riefenstahl’s ‘Triumf des Willens’ (1935), and ‘Der ewige Jude’ (1939). During World War II he worked for the German war industry. Although his role in Nazi Germany is dubious to say the least, he survived the war unscathed, and returned to making films, which he kept on doing until the end of the 1960s.

Watch ‘Hein Priembacke in Afrika’ yourself and tell me what you think:

‘Hein Priembacke in Afrika’ is available on the DVD ‘Uncensored Animation 2: Cannibals!’

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