Directors: Stephen & Timothy Quay
Release Date: 1988
Rating: ★★★★
Review:

Stille Nacht I Dramolet © Brothers Quay‘Dramolet’ is the first of four films the Brothers Quay made between 1988 and 1993 bearing the title ‘Stille Nacht’ (silent night).

This first film is by far the shortest of the four, but establishes the overall style of the series: black and white images featuring dolls and lifeless objects interacting, camera techniques from the silent era, moving in on very small details within the scene, a high level of surrealism, Jan Švankmajer-like animation, and no hint of a story.

In ‘Dramolet’ a rather rugged doll looks through a window into another room, where iron screw grows a plenty. Then he returns to his own table, where the same stuff appears in his bowl. When he tries to grab his spoon, the wall behind him sprouts several others.

This  very short film was made for MTV and is a beautiful product of the highly creative atmosphere of the time, when MTV invited artists from the whole world to create short films for them.

Watch ‘Stille Nacht I: Dramolet’ yourself and tell me what you think:

 

‘Stille Nacht I: Dramolet’ is available on the DVD-set ‘The Brothers Quay – The Short Films 1979-2003’

Director: Faith Hubley
Release Date: 1993
Rating: ★★★★
Review:

Cloudland © Faith HubleyIn ‘Tall Time Tales’ Hubley had illustrated ‘dream time’, a concept from aboriginal mythology.

In ‘Cloudland’ she returns to the aboriginal mythology, illustrating three more concepts: 1. a creation myth, in which the sun woman wakes up the earth, 2. the story of hunger at the land of plenty, and 3. Gifts from the ancestors. Like in ‘Upside down‘ and ‘Tall Time Tales‘ the episodes are announced by a voice over (this time her daughter Emily’s) telling their titles.

Hubley’s style is particularly fit for mythology, and this film doesn’t disappoint. Especially, the creation myth is wonderfully done, yet the best part is the story of hunger, with its remarkably straightforward story. This part also features the most elaborate animation, on a bird, a kangaroo and a turtle. Most of the film, however, is filled with Faith Hubley’s characteristic primitive-looking things and beings, which vibrate, move, morph and dance in short and simple animation cycles.

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

 

‘Cloudland’ is available on the DVD ‘The Hubley Collection Volume 1’

Director: Faith Hubley
Release Date: 1992
Rating: ★★★★
Review:

Tall Time Tales © Faith Hubley‘Tall Time Tales’ is a meditation on time.

Like ‘Upside Down‘ the film consists of several parts, divided by a voice over. ‘Tall Time Tales’ consists of five parts: 1. Time waits for no one, 2. Tick Tock Clock, in which Hubley illustrates the grind of daily work routines, 3. The twin paradox (a concept from the relativity theory), 4. Dreamtime (a concept from aboriginal mythology) and the vague ‘Arrows or circles’, probably musing whether time is linear or circular. The film ends with a great finale of beautiful, if utterly incomprehensible images moving to Don Christensen’s percussive dance music.

‘Tall Time Tales’ is one of Faith Hubley’s more successful films, blending inspired music with ditto images. Its philosophy me be light, this is still one of those films that make you stop and wonder.

Watch ‘Tall Time Tales’ yourself and tell me what you think:

‘Tall Time Tales’ is available on the DVD ‘The Hubley Collection Volume 1’

Director: Faith Hubley
Release Date: 1991
Rating: ★★½
Review:

Upside Down © Faith HubleyAccording to the titles this film is inspired by ‘upside down poetry’ by 15th century Indian poet Kabir.

The film shows several ‘upside down’ situations, all introduced by a voice over, like ‘a sheep eats a wolf’, ‘a corpse eats death’, and ‘a fish jumps out of the ocean’. Most interesting is ‘an elephant is tied to an ant’s leg’, which features remarkably classic animation on the elephant, a standout between the circular and flat animation that dominates Hubley’s films.

As always, ‘Upside down’ features Hubley’s gorgeous Miró-like ritualistic designs, but the film is hampered by the trite voice over titles, and Don Christensen’s rather disjointed score. Moreover, the stream-of-consciousness-like scenes are little more than illustrations of the poet’s ideas, and there’s no story whatsoever.

‘Upside Down’ is available on the DVD ‘The Hubley Collection Volume 1’

Director: Faith Hubley
Release Date: 1990
Rating: ★★★½
Review:

Amazonia © Faith HubleyWith Amazonia Faith Hubley returns to her favorite subject, mythology, telling three myths from this area.

The first is a creation myth in which the moon goddess creates life, but is envied by two other god-like creatures. Unfortunately, it’s far from clear what’s happening during this part.

Much clearer is the second part, which tells about a clever and hungry tortoise, who defeats a jaguar, a fox and a deer by outsmarting them, and then devouring them… This is a surprisingly funny sequence for a Faith Hubley film, whose style normally is more poetic than anything else.

The last myth is the only one to use a piece of dialogue: we hear Dizzy Gillespie say “One day, when there are no trees left, the heavens will fall and the people will be destroyed.” This part is clearly against deforestation, but also shows that nature will doubtless survive mankind.

Hubley’s magical animation style enhances the mythical atmosphere, as does Don Christensen’s music. The complete film is very beautiful and poetic.

‘Amazonia’ is available on the DVD ‘The Hubley Collection Volume 1’

Director: Gil Alkabetz
Release Date: October 1992
Rating: ★★★★★
Review:

Swamp © Gil AlkabetzWith ‘Swamp’ Gil Alkabetz showed to be a strong new voice in the animation world.

Made at the Akademie der Bildenden Künste Stuttgart in Germany, Alkabetz uses a deceptively simple setting of only two dimensions, with no background whatsoever. In this world two armies of knights on horses, armed with giant balloons and giant scissors are fighting a senseless war over a swamp.

The film is a strong allegory on the folly of war. The film’s power is greatly enhanced by its simple yet very clear designs (all knights are drawn in black ink, the balloons in bright ecoline reds and blues) and by its great sound design. But most of all, the short shows Alkabetz’s strong sense of comic timing. ‘Swamp’ is one of the best student films of all time, and deserves to be shown over and over again.

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

 

‘Swamp’ is available on the DVD box set ‘The Animation Show of Shows Box Set 2’

Director: Gosce Vaskov
Release Date: 1996
Rating:
Review:

Misa u A-Molu (Mass in A Minor) © Zagreb Film‘Mass in A minor’ is the first computer animated film made in Croatia.

This single fact must be the sole reason to watch the film. Otherwise, ‘Mass in A minor’ is utterly forgettable. The short is an unremarkable mood piece with flames as its main theme. The motion is perfectly set to Marijan Brkić’s new age music, but this cannot save the film, which has a cheap, ugly and utterly primitive look.

 

‘Mass in A Minor is available on the DVD ‘The Best of Zagreb Film: Be Careful What You Wish For and The Classic Collection’

Director: Darko Kreč
Release Date: 1995
Rating:
Review:

Posljednji valcer u starom mlinu (Last Waltz in the Old Mill) © Zagreb FilmIn this latter-day Zagreb Film studio short two grains change into a prince and princess who waltz around a remote water mill.

This film combines live action footage of the water mill with cell animation of the prince and princess. Unfortunately, the film is hampered by its poor story, its mediocre designs, and unremarkable music by Ozren Depolo. If anything this film makes clear that in the post-communist era the Zagreb Film studio was severely struggling. With films like these one can feel the Zagreb school dying.

Watch ‘Last Waltz in the Old Mill’ yourself and tell me what you think:

‘Last Waltz in the Old Mill’ is available on the DVD ‘The Best of Zagreb Film: Be Careful What You Wish For and The Classic Collection’

Director: Goran Sudžuka
Release Date:  1992
Rating: ★★
Review:

Paranoia © Zagreb Film‘Paranoia’ is a short film (lasting only four minutes) about a young man who thinks he’s followed on the street.

The film is set in monochromes, with strong black and white contrasts. Sudžuka indeed includes in his images a reference to Corto Maltese, a comic hero by Hugo Pratt, an artist with a similar palette. Sudžuka’s own style is much more angular than Pratt’s, however, and more confined to the 1980s. The film looks well, but is hampered by its trite ending.

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

 

‘Paranoia’ is available on the DVD ‘The Best of Zagreb Film: Be Careful What You Wish For and The Classic Collection’

Director: Milan Trenc
Release Date:  1990
Rating: ★★★½
Review:

Veliki provod (The Big Time) © Zagreb FilmWhen a spoiled, rich brat is about to smash his piggy bank to pieces with a large hammer, the piggy bank flees. While the boy and his family are looking for him, the piggy bank has a good time at the fair.

This is a rather lightweight film, based on a story by Milan Milšić. Trenc uses a lot of different designs in this film, with the piggy bank itself being the most conventional. Like many other Zagreb films from this later period, the film is hampered by limited animation and an ugly electronic score, this time by Davon Rocco.

Watch ‘The Big Time’ yourself and tell me what you think:

‘The Big Time’ is available on the DVD ‘The Best of Zagreb Film: Be Careful What You Wish For and The Classic Collection’

Director: Krešimir Zimonić
Release Date:  1988
Rating: ★★★½
Review:

Leptiri (Butterflies) © Zagreb Film‘Butterflies’ is a film from the Zagreb Film studio, when the once famous studio was already in its decline.

‘Butterflies’ is about a young woman who imagines the different lives she can lead with some very different men. This film uses strong, angular 1980s designs and colors by co-writer Magda Dulčić, and has a rather stream-of-consciousness-like structure, with a lot of metamorphosis and designs that verge on the abstract. The animation ranges from very limited to full, and from serious to cartoony. Unfortunately, Igor Savin’s ugly electronic score and Dulčić designs make the film feel dated, and more a product of its time than a timeless classic.

‘Butterflies’ is available on the DVD ‘The Best of Zagreb Film: Be Careful What You Wish For and The Classic Collection’

Director: Michel Ocelot
Broadcast Date:  1992
Rating: ★★★★
Review:

Les Contes de la nuit’ (Tales of the Night) are three fairy tale films French animation master Michel Ocelot made for television, not to be confused with his feature film of the same name from 2011.

The three fairy tales are entirely original and are done in very elegant Lotte Reiniger-like cut-out animation, using black silhouettes only against handsomely colored backgrounds. Both the design and the animation are top notch throughout, making this mini-series a delight to watch.

La belle fille et le sorcier © Michel Ocelot‘La belle fille et le sorcier’ (Beauty and the Sorcerer) is first and shortest fairy tale of ‘ Les Contes de la nuit’ and features a fat ugly girl rescuing a wizard. Soon she’s turned into a handsome young lady… The film is more comical than the other two, and hard to take seriously.

 

 

La bergère qui danse © Michel Ocelot‘La bergère qui danse’ (The Dancing Shepherdess) is the second story of ‘Les Contes de la nuit’. This fairy tale features a powerful fairy queen in love with a young handsome shepherd. He, however, prefers his shepherdess. But then the fairy queen takes the shepherd to ‘the tower of sleep’, to sleep for a hundred years, and it’s up to the shepherdess to rescue him… This is a particularly attractive fairy tale, showing the power of hope and love.

 

Le prince des joyaux © Michel Ocelot‘Le prince des joyaux’ (The Jewel Prince) is the third and last tale of ‘Les Contes de la nuit’. This fairy tale again is entirely original, but looks like a story from 1,001 Arabian Nights. The plot is rather Aladdin-like, and features a boy in love with a princess, whom he wins by defeating an evil old man, who cheats on him. Like the other two this is a delightful little film, even if it is a little heavy on dialogue.

 

‘Les Contes de la nuit’ are available on the French DVD ‘Les trésors cachés de Michel Ocelot’

Director: Ralph Bakshi
Release Date:  July 10, 1992
Rating: ★★
Review:

Cool World © Paramount‘Cool World’ looks like a poor man’s version of ‘Who Framed Roger Rabbit‘.

Sure, the film boasts Brad Pitt and Kim Basinger as leading actors, and it even features a title song by David Bowie, but Ralph Bakshi’s product feels half-baked and derivative compared to Touchstone’s milestone film from 1988.

The film’s main problem is its story: it features a weird and obligate prologue to explain (unconvincingly) why Frank Harris (Brad Pitt) even wanders in the ‘doodle world’. Only half way we can extract this world’s core problem: ‘doodles’ and ‘noids’ (real people) cannot have sex together, because this will distort the universe. But sexy doodle ‘Holli Would’ (yes, that’s her name) would. And she does, with her own creator Jack Deebs (Gabriel Byrne).

This idea is preposterous to start with, but the execution is worse. Frank Harris, who apparently has become a cop, wanders through cardboard sets most of the time, aimless and clueless. All dialogues feel wooden and disjointed, and in several key dialogue scenes the actors clearly aren’t even together in the same room (!) with Bakshi falling back to a very unconvincing technique of suggestion of continuity of space that goes all the way back to the Keystone Comedy films of the early 1910s.

Kim Basinger acts more like a caricature of a sexy woman than being one, and the role of Jack Deebs remains vague and unclear to the very end: if he’s the creator, why did Cool World already exist in 1945, if he’s not, why is he the only one depicting it? Frank Harris somewhere suggests that more visitors are coming to this world, why then is Harris the only one allowed to stay? It just makes no sense.

The film’s main attraction, of course, is the animation. Supervised by Bruce Woodside, most of the animation is in fact is quite good (the crew even boosts a veteran animator like Bill Melendez), if completely arbitrary most of the time. Many scenes are filled with random animated scenes, mostly rather violent, sometimes grotesque, sometimes harking back to Max Fleischer, Warner Bros. or Tex Avery, at other times spoofing Disney (a cute rabbit, a hippo from Fantasia emerging from cigarette smoke, Gepetto and Pinocchio depicted in the inside of one of Holli’s ‘goons’). Being a Bakshi film, ‘Cool World’ also features a fair deal of rotoscope, most clearly so on Holli Would and Brad Pitt’s flat doodle girl friend Lorette.

Despite the high quality of the full animation, the animated scenes are mostly insane, not funny. The best attempt at humor is the finale, in which Deebs inexplicably changes into a rather pompous superhero, completely losing his former character.

Unfortunately, the scenes in which animated characters interact with humans have nothing of the sophistication of ‘Who Framed Roger Rabbit’. Instead, Bakshi only deploys static scenes, a technique in existence since ‘The Three Caballeros‘, and in no scene in which ‘doodles’ and humans touch each other, one has the feeling that this is really happening.

Sadly, we must conclude that a lot of animation talent has been wasted on a meandering, clueless, badly written and badly directed film, with an immature focus on sex. The film did bad at the box office, and I’m afraid I must judge rightly so.

Watch the trailer for ‘Cool World’ yourself and tell me what you think:

‘Cool World’ is available on DVD

Director: Hayao Miyazaki
Release Date:  July 1, 1992
Rating: ★★★★
Review:

Porco Rosso © Studio Ghibli‘Porco Rosso’ is the strangest movie in Hayao Miyazaki’s filmography. The film eschews most laws of animated film story telling, seemingly just starting and ending in the middle of a bigger story.

Like ‘Laputa: island in the sky’ (1986) and the later ‘The Wind Rises’ (2013) the film is clearly born out of Miyazaki’s love for planes. Like ‘Laputa’ ‘Porco Rosso’ is set in an alternative history Europe (this time the Adriatic sea ca. 1930), and features flying pirates.

The title character is an ex-war pilot with the face of a pig (why this is so is never really revealed). Porco Rosso now is a bounty hunter, battling a federation of air pirates, and their leader, the American Curtis in particular, and secretly loving Gina, the owner of a hotel on an island.

Halfway the movie Porco has to take his injured plane to Milano to get it fixed. There he meets Fio, the young granddaughter of his old mecanic. There’s a vague sense of a Nazi threat, but this is hardly played out. The story evolves around Porco’s return to the Adriatic and final battle with Curtis.

The overal atmosphere is light and comical, but there are a few touching moments, especially between Porco and Fio. Typically for Miyazaki, the film features strong women, and women and children working (Porco’s plane is set together by a crew of women, only).

The animation is outstanding throughout, although it seems the animators didn’t do their best to lip-synch. Most interesting are the scenes of Porco’s take off and flight back to the Adriatic, which feature some spectacular animated backgrounds.

Watch the trailer for ‘Porco Rosso’ yourself and tell me what you think:

‘Porco Rosso’ is available on DVD

Director: Bill Kroyer
Release Date:  April 10, 1992
Rating: ★★
Review:

FernGully - The Last Rainforest © 20th Century FoxUp until the rise of computer animation in the late 1990s, with powerful players entering the field (first Pixar, then Dreamworks, followed by BlueSky, Sony Animation and Illumination) the Walt Disney studio was the virtual monopolist of the animated feature.

In the 1980s their only challenge had come from former Disney-animator Don Bluth, who made three successful animated features during that decade, before going downhill with ‘All Dogs Go to Heaven’ (1989) and ‘Rock-a-Doodle’ (1991).

All the more surprising to find the young animation studio Kroyer Films (only founded in 1986) to make a brave attempt to beat Disney at its own game with ‘FernGully: The Last Rain Forest’. The film is extraordinarily Disney-like, starring a heroin, with a rather bland male love interest, Disney-like designs and animation, and a plethora of songs, changing the film into one of the obligate musicals, which animated features up to 1996 were expected to be.

What makes the film unique is its Australian setting and its ecological message, which quite fits the time, but which falls into the trap of over-romanticizing nature severely: why did the animators consider it necessary to add elves and an evil spirit? Why couldn’t the forest animals themselves be the heroes, and the humans the only villains? Why showing surprising healing powers at the end of the movie, while its scientifically known that it takes several centuries for primary forest to recover, if ever?

Despite its Australian setting, the film is very American (using voice artists like Robin Williams, Tone Lōc, and Cheech and Chong, and film music by Alan Silvestri for example), and as said, very Disney-like. Unfortunately, the film hardly lives up to its high ambition: the animation never reaches Disney’s height – there’s in fact quite some superfluous movement, revealing the use of rotoscope. Moreover, the designs remain generic to downright ugly. For example, the film’s heroin, Crysta, is not half as appealing as Disney’s Ariel (The Little Mermaid, 1989) or Belle from ‘Beauty and the Beast (1991). Worse, Crysta and Zak are surprisingly devoid of character, and comedy duo Cheech and Chong are wasted on side characters of no interest.

The music is by Alan Silvestri, of ‘Back to the Future’ and ‘Who Framed Roger Rabbit‘ fame, but his romantic themes get to the nerves. Besides, there are way too many songs, most of which stop the action, instead of pushing it forward. The best song, sung by rapper Tone Lōc, is also the most superfluous. The character who sings it, a goanna (or monitor lizard, as it is known outside Australia) enters the film to sing this song, only to disappear again.

On the positive side: the opening sequence, done in aboriginal style, is beautiful; Robin Williams does his best as the comic relief Batty Koda, a laboratory bat; the animation on the amorphous villain Hexxus is quite impressive, making him into a remarkably scary character; and the healing sequence is simply beautiful, with its bold Fantasia-like colors and abstract designs.

‘FernGully’ did moderately well at the box office, but remains Kroyer Films’ only feature. Later in the nineties, distributor 20th Century Fox teamed up with Don Bluth to make two more animated features, the successful, and again very Disney-like ‘Anastasia’ (1997), and the flopped science-fiction feature ‘Titan A.E.’ (2000). It was only after 20th Century Fox purchased the animation studio ‘Blue Sky’ (1997) and released ‘Ice Age’ (2002) that the company became a major player in the animation feature field.

In hindsight, ‘FernGully’ is most interesting for being a forerunner of ‘Avatar’ (2009), which features a surprisingly similar tale. Like most of the Don Bluth films, the movie mostly manages to demonstrate how Disney’s ideas on animated features had become the gospel on how to make one. And even though some of these dogmas were to be seriously challenged from 1996 on (the idea that all animated features have to be musicals, for example), most of these unwritten rules remain to this day, making most American animated features, and many of their European imitations, awfully generic.

Watch the trailer for ‘FernGully: The Last Rain Forest’ yourself and tell me what you think:

 

‘FernGully: The Last Rain Forest’ is available on DVD

Director: Émile Cohl
Release Date:  July 27, 1913
Rating:
Review:

He Poses for his Portrait © Éclair New York‘He Poses for his Portrait’ is the second of only two surviving Newlyweds cartoons Émile Cohl made in the United States.

Like ‘Zozor ruine la réputation de sa famille‘ the film is based on the comic strip by George McManus, and the film is essentially an animated comic strip, with text balloons playing the most important part in telling the story.

In ‘He Poses for his Portrait’ a couple wants to have a picture painted of their little baby. Unfortunately, the brat drives the painter mad. As in ‘Zozor ruine la réputation de sa famille’ there’s hardly any animation, resulting in a pretty static and remarkably boring film. By all means, Cohl’s animated comic strips should be regarded as a failure, and belong to the weakest films in his enormous output, despite their success at the time. If anything, the series demonstrated that one needed little animation to please an audience, a message which several studios would take at heart in the decades afterwards.

Watch ‘He Poses for his Portrait’ yourself and tell me what you think:

‘He Poses for his Portrait’ is available on the DVDs ‘Émile Cohl – L’agitateur aux mille images’

Director: Émile Cohl
Release Date:  1912
Rating:
Review:

Zozor ruine la réputation de sa famille © Éclair New YorkAfter his move to the United States in 1912 Émile Cohl starting experimenting with putting the idiom of comic strips to the animated screen, being the first person to do so.

Cohl used ‘The Newlyweds’ my comic artist George McManus as the source for his new series, and the resulting films form not only the first animated series, but also the first pictures that could be titled animated cartoons.

This could have been a milestone in animated cinema, but unfortunately, the result is appalling: apart from the metamorphosis with which Cohl bridges scenes, there’s no animation at all, resulting in extremely static images. The text balloons fill the whole screen, more often than not obscuring complete personages.

Without the text balloons, there’s no story to follow. The result is that this is probably the first film suffering from too much dialogue, despite being silent!

Despite all its flaws, the Newlyweds films were a success, and Cohl made several of these pictures, of which only two survive: this one, ‘Zozor ruine la réputation de sa famille’, and ‘He Poses for his Portrait‘ (also known as ‘Le Portrait de Zozor’).

Watch ‘Zozor ruine la réputation de sa famille’ yourself and tell me what you think:

 

‘Zozor ruine la réputation de sa famille’ is available on the DVDs ‘Émile Cohl – L’agitateur aux mille images’

Director: Émile Cohl
Release Date:  May 4, 1913
Rating: ★★
Review:

Bewitched Matches © Éclair New YorkAfter short stints at Pathé and Eclipse Cohl sailed to the United States to join Éclair New York.

‘Bewitched Matches’ is one of the few films Cohl made in the United States before sailing back again to France in 1914.

‘Bewitched Matches’ has a rather zany fairy tale plot of a witch visiting three daughters. When their father chases the witch out of his house, the witch bewitches the matches. This leads to a long animation sequence in which the matches form images of a horse, crosses, a windmill, the American flag, a pipe smoking man, a radiant sun, an acrobat on the tightrope and a skeleton.

Neither the framing story nor the animated part is too interesting, and ‘Bewitched Matches’ should be regarded as one of Cohl’s lesser inspired films.

‘Bewitched Matches’ is available on the DVDs ‘Émile Cohl – L’agitateur aux mille images’

 

Director: Émile Cohl
Release Date:  1912
Rating: ★★★★★
Review:

es métamorphoses comiques © Émile CohlMany of Émile Cohl’s films contain metamorphosis, but this is Cohl’s only film with the word ‘metamorphosis’ in its title.

‘Les métamorphoses comiques’ is arguably Cohl’s most avant-garde film. the short features live action images changing into animation and back again. Metamorphosis indeed runs galore, with Cohl’s typical stream-of-consciousness-like flow. Many of the images are pretty abstract, anticipating the work of Norman McLaren. Nevertheless, despite all the avant-garde frenzy, the most disturbing picture is a live action shot of a young boy smoking…

Watch ‘Les métamorphoses comiques’ yourself and tell me what you think:

 

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

Director: Émile Cohl
Release Date:  1911
Rating: ★★½
Review:

Les exploits de Feu Follet © Émile Cohl‘Les exploits de Feu Follet’ is the first of only two surviving films Émile Cohl made for French film company Eclipse, the other being ‘Les métamorphoses comiques’.

With this film Cohl returned to the looks of his first films ‘Fantasmagorie‘ (1908) and ‘Le cauchemar de Fantoche‘ (1908): the film is shot in white on black and features a stickman. This stickman flies with a balloon to the moon and falls down into the ocean, where he is swallowed by a whale. Curiously, the whale, moon, and an eagle are drawn much more classically than the stickman, making ‘Les exploits de Feu Follet’ less consistent in its looks than either ‘Fantasmagorie’ or ‘Le cauchemar de Fantoche’.

Cohl’s timing is very sloppy in this film, and unfortunately there’s is little metamorphosis, with Cohl relying much on cut-out shortcuts. There’s practically no story, only a string of events. So, this film is not among Cohl’s best.

Watch ‘Les exploits de Feu Follet’ yourself and tell me what you think:

 

‘Les exploits de Feu Follet’ is available on the DVDs ‘Émile Cohl – L’agitateur aux mille images’

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