You are currently browsing the tag archive for the ‘nature’ tag.
Airing Date: December 11, 1996
Way of the Dee Dee
Directors: Paul Rudish & Genndy Tartakovsky
Stars: Dexter
Rating: ★★★
Review:
In ‘The Way of the Dee Dee’ Dee Dee shows Dexter that he has become out of touch with nature, so Dexter begs her to show him ‘the way of the Dee Dee’.
With Dee Dee as his guru Dexter steps leaves not only his lab, but dares to go outside. What follows are some antics in the backyard, but for the final challenge Dee Dee takes Dexter back to the lab for some self expression…
‘The Way of the Dee Dee’ plays with the themes of gurus and enlightenment. The scene in which Dexter steps into the light, accompanied by sitar music is the episode’s highlight in that respect.
The Justice Friends: Say Uncle Sam
Director: Genndy Tartakovsky
Stars: The Justice Friends
Rating: ★★
Review:
Major Glory’s Uncle Sam will come to visit, so Major Glory teaches his friends how to behave, much to the latter’s distress.
Highlight of this otherwise dragging episode is the scene in which Major Glory calls his justice friends to assemble, accompanied by some particularly heroic music.
Tribe Called Girl
Directors: Rob Renzetti & Genndy Tartakovsky
Stars: Dexter
Rating: ★★
Review:
‘Tribe Called Girl’ is an episode like ‘Dee Dee’s Room‘ and ‘Dollhouse Drama‘, without adding much.
Once again, Dexter goes to Dee Dee’s room, this time to observe the behavior of girls. But then he’s discovered by Dee Dee and her friends Lee Lee and Mee Mee…
Dexter is presented as being completely unable to communicate with the girls, who, in one scene, treat him like a shy animal.
‘Way of the Dee Dee/The Justice Friends: Say Uncle Sam/Tribe Called Girl’ is available on the DVD ‘Dexter’s Laboratory Season One: All 13 Episodes’
Director: James Algar
Release Date: December 17, 1958
Rating: ★★½
Review:
‘Grand Canyon’ is not an animation film. I include it in my blog though, because of its obvious ties to ‘Fantasia’ (1940).
In fact, ‘Grand Canyon’ feels like an extra ‘live-action segment to Fantasia (like ‘Fantasia’ the film starts with the sounds of the orchestra preparing to play). Fantasia-veteran James Algar directed this extraordinary Cinemascope short, which was photographed and produced by Ernst A. Heiniger and set to Ferde Grofé’s ‘Grand Canyon Suite’ (1931). It’s a genuine mood piece, a visual interpretation of Ferde Grofé’s impressionistic music. Thus ‘Grand Canyon’ is not really a documentary, nor does it tell a story. It’s a combination of the music and images of the vast landscape only.
Grofé’s suite is in five parts, which all are played. Part one, ‘Sunrise’, is accompanied by panorama shots, made from a plane. In Part two, ‘Painted Desert’, we dive into the canyon, with images of a rather turbulent Colorado river. Part three,’On the trail’ is devoted to animals, with shots of a lynx, a spider, a roadrunner, a snake, a Gila monster, a Western spotted skunk, and a puma with some cubs. Part four, ‘Cloudbust’ shows us images of clouds, a thunderstorm and snow, and finally, part five, shows us miscellaneous images of a landscape in the now, an owl, a hare, and an eagle who takes us back to the plane shots, while the sun sets.
The complete film lasts almost half an hour. The result is a strange and only moderately entertaining mixture between Fantasia and the True Life Series.
Watch ‘Grand Canyon’ yourself and tell me what you think:
‘Grand Canyon’ is available as an extra on the ‘Sleeping Beauty Platinum Edition’ DVD-set
Director: Frédéric Back
Release Date: June 1993
Rating: ★★★★★ ♕
Review:
Following the extraordinary success of ‘The Man Who Planted Trees’, which inspired several tree planting projects, Frédéric Back turned his attention to Canada’s majestic St. Lawrence river in ‘The Mighty River’.
Clocking almost half an hour, this is Back’s last and most impressive film. Told by Donald Sutherland, the film is both an ode to this impressive river, showing nature’s grandeur and spectacular sights, and a tale of the river’s sad history, which with the arriving of the Europeans turns a dark page. Soon, the story is one of slaughter, exploitation, destruction, pollution, and greed.
The film’s pessimistic and environmentalist message at times contrasts greatly with the extraordinarily beautiful and highly virtuoso images, not only of the river itself, or of the abundance of creatures the river inhabits, but also of mankind living around the stream.
Back’s style ranges from highly naturalistic to impressionistic, pointillistic, and even Van Gogh-like. His animation style is in constant motion, taking the spectator from one image to another in an organic string of continuity, as if the film itself flows like a river. Metamorphosis and swooping camera movements add to the flowing nature of the film.
Despite the extraordinary beauty of the more peaceful images, Back shows us many pictures of death and destruction: images of the slaughtering of once abundant species, of decimation of the surrounding forests and of the emptying of life in the nearby Ocean bay. These images give the film a sad and disturbing outlook, and there’s makes no mistake that Black blames sheer greed for these atrocities.
Yet, by altering the images of woe with images of wonder, Back keeps his film from becoming a depressing work of agitprop. Still, his message is crystal clear: man has exploited this mighty river long enough, and now it’s time to give its nature rest and time to heal. And even then the once countless flocks of great auk and passenger pigeons will never return, as man has driven them to extinction.
In all, ‘The Mighty River’ is an impressive piece of work, a film that will leave no viewer unmoved, and a crowning achievement on Back’s already impressive oeuvre.
Watch ‘Le fleuve aux grandes eaux’ yourself and tell me what you think:
‘Le fleuve aux grandes eaux’ is available on the DVD-box ‘L’intégrale de Frédéric Back’
Director: Dick Lundy
Release Date: October 24, 1941
Stars: Donald Duck
Rating: ★★
Review:
‘Donald’s Camera’ opens with Donald reading a sign saying ‘Shoot nature with a camera instead of a gun’.
Donald immediately becomes anti-hunting, eschewing the sight of a gun and deploring the fate of some stuffed animals in a hunting shop’s window. In the next scene Donald is on his way in the forest, trying to photograph some wild animals. He fails to take a picture of a chipmunk, and is laughed at by a whole bunch of cute animals, who seem to have entered the cartoon straight from ‘Snow White and the Seven Dwarfs’ (1937).
After three-and-a-half minutes Donald meets the main adversary of the cartoon, the obnoxious woodpecker from ‘Self Control‘ (1938). The angry bird doesn’t want to get photographed and gives Donald a hard time. Thus in the end, we watch Donald wandering the forest, carrying two guns and dragging a miniature canon with him in search of the pesky little bird.
‘Donald’s Camera’ is a genuine gag cartoon, and contains some very fast animation, but the short is hampered by Lundy’s gentle approach to directing. The silliest gag is when Donald puts the woodpecker into two ridiculous poses.
Watch ‘Donald’s Camera’ yourself and tell me what you think:
This is Donald Duck cartoon No. 28
To the previous Donald Duck cartoon: Old MacDonald Duck
To the next Donald Duck cartoon: Chef Donald
‘Donald’s Camera’ is available on the DVD-set ‘The Chronological Donald Volume 1’
Director: Jack King
Release Date: August 9, 1940
Stars: Donald Duck
Rating: ★★★★
Review:
‘Donald’s Vacation’ is a delightful entry in the Donald Duck series. The cartoon opens idyllically enough, with Donald humming and strumming his ukelele, while canoeing through a beautiful landscape – the bacground artwork in this scene is absolutely stunning.
When a waterfall accidentally lands him on the perfect spot, his canoe turns out to be an inventive marvel, outdoing Mickey’s trailer in the cartoon of the same name (1938): not only can the canoe change into a tent instantly, it’s also capable of storing endless supplies.
But before Donald can relax, he first has to battle a collapsible vacation chair. Like the outboard motor in the previous cartoon ‘Put-put Troubles‘, the chair provides excellent comedy, showing that Donald was at his best when struggling with everyday objects.
When he finally comes to rest, a multitude of chipmunks, antecedents of Chip ‘n Dale, steal all his food. This leads to an encounter with a bear, which elaborates on the comedy of the Mickey Mouse cartoon ‘The Pointer’ (1939), adding countless new and original gags, like the bear stripping a tree from its bark, and Donald cutting holes into some waterfalls.
‘Donald’s Vacation’ is a gag cartoon throughout, but in this finale the gags come fast and plenty, and lead to an excellent closing, in which Donald flees into the distance, only a couple of minutes after his unfortunate camping adventure had started.
Watch ‘Donald’s Vacation’ yourself and tell me what you think:
This is Donald Duck cartoon No. 19
To the previous Donald Duck cartoon: Put-Put Troubles
To the next Donald Duck cartoon: Window Cleaners
‘Donald’s Vacation’ is available on the DVD set ‘The Chronological Donald Volume 1’
Director: Mark Baker
Release Date: 1988
Rating: ★★★★★
Review:
‘The Hill Farm’ is a long animation film exploring man’s relation to nature.
First we watch the inhabitants of the hill farm themselves: simple farmers, who know the dangers and hardships of nature, and who treat their livestock without romanticism (as exemplified by the farmer’s wife killing chicken without ado).
At one point the hill farm is visited by tourists, who are completely alienated from nature. One of them faints at the sight of the farmer’s wife killing a chicken. When confronted by nature’s dangers (as embodied by a gigantic bear-like beast) they don’t recognize the danger at all. To them nature is something to visit, something to make snapshots from. The third party is a group of huntsmen, who (try to) kill everything in sight, including even the farmer’s bees.
The whole film takes place at a leisurely speed, without dialogue. Mark Baker’s visual style is simple, but very effective. His angular designs and graphic backgrounds are beautiful, and his animation has a unique timing, which is as comical as it is to the point. The narration is very open, leaving the interpretation to the viewer. The end result is one of the most beautiful animation films of the 1980’s.
Watch ‘The Hill Farm’ yourself and tell me what you think:
‘The Hill Farm’ is available on the DVD Box Set ‘Annecy – Le coffret du 50e Anniversaire’
Director: Hu Jinqing
Release Date: 1983
Rating: ★★½
Review:
‘The Snipe and the Clam’* is one of many Chinese films based on ancient tales.
And like many other Chines films it has a look based on ancient Chinese paintings, it’s set in nature, and it deals with a fisherman.
In this film, a fisherman, a kingfisher and a snipe try to open a giant clam. When the snipe gets stuck, it’s the fisherman who wins the day. The film is based on an ancient Chinese proverb, which can be translated into “two dogs fight for a bone, and a third one runs away with it”.
In ”The Snipe and the Clam’ Hu Jinqing excels in gorgeous watercolor backgrounds, beautiful designs, great silent acting and remarkably naturalistic cut out-animation of the animals. In comparison, the animation of the fisherman is simple and rather crude. The film unfolds at an unhurried, almost meditative speed, which can make it difficult to enjoy.
Watch ‘The Snipe and the Clam’ yourself and tell me what you think:
‘The Snipe and the Clam’ is available on the French DVD ‘Impression de montagne et d’eau’
* this film is also known as ‘Snipe-Clam Grapple’, and by its French title: ‘l’aigrette et j’huitre’
Director: Hayao Miyazaki
Release Date: March 11, 1984
Rating: ★★★★★
Review:
Although the titles say ‘based on the graphic novel’, the manga of the same name was actually created to be able to make the picture.
Based on his own original story, ‘Nausicaä of the Valley of Wind’ is Miyazaki’s first mature film. It’s already a typical Miyazaki film, with its strong environmental message, strong female characters, the absence of clear villains, and the setting of an alien, yet totally convincing world.
The film tells of Nausicaä, princess of a small medieval-like state in a green valley, which is threatened not only by the strange, hostile and poisonous insect world nearby, but also by other human states, especially the militaristic state of Tolmekia. The humans are more preoccupied with destruction than with comprehension. Because of this shortsighted and drastic behavior, the humans almost destroy their entire environment. It is Nausicaä, with her unique understanding of animals and her pacifistic nature, who saves the day.
‘Nausicaä of the Valley of Wind’ is an epic science fiction film, made on a grand scale, with layered characters, beautiful designs, and excellent animation. Its production led to the foundation of the Ghibli studios, which high quality standards it already meets. In no sense it feels like a first-born or a dated film. Even though it’s from 1984, it is remarkably fresh and its message still viable. In other words, ‘Nausicaä of the Valley of Wind’ is the first of a long series of Ghibli studio classics.
Miyazaki would revisit the theme of a sick and angered nature in the similar and equally impressive ‘Princess Mononoke’ (1997). Once again it’s a princess who saves the day…
Watch the trailer for ‘Nausicaä of the Valley of Wind’ yourself and tell me what you think:
Director: David Hand
Release Date: August 13, 1942
Rating: ★★★★★ ♕
Review:
Although it was released after ‘Dumbo‘, ‘Bambi’ is essentially Disney’s fourth feature, and it was also the last in which the studio really pushed the envelope.
‘Bambi’ had been long in the making, with initial work already starting in 1937. In fact, it was initially planned as Disney’s second feature, but soon pushed back in favor of ‘Pinocchio’.
After having made such great and diverse efforts as ‘Snow White’, ‘Pinocchio‘ and ‘Fantasia’, Disney set the stakes even higher in Bambi, reaching a zenith in naturalism. But the film is way more than that: it’s a symphony of nature, utterly romantic in its depiction of forest life. It’s also a coming of age story and a depiction of the circle of life.
‘Bambi’ is full of great scenes, starting with the stunning opening scene, a long and complicated shot, which shows the vastness and depth of the forest using a multiplane camera, and which leads us straight into the story, when we come to follow friend owl in his flight.
The storytelling is very lean, it uses little dialogue and it consists of only a few distinct parts, which all concentrate on Bambi’s experiences. Most of the story is told by images and music only, and there are three pure mood pieces very reminiscent of a Silly Symphony like ‘The Old Mill‘ (1937) and parts of ‘Fantasia’: the April Shower sequence, the autumn sequence and Bambi’s love scene. In these sequences especially, it’s clear that atmosphere prevails above character development, and the studio indulges in beautiful imagery that is still impressive and enchanting today.
The film can be divided into eight sections (the titles are all mine):
1) Birth: which also introduces the lovable little rabbit Thumper;
2) Discovery of the world: including the introduction of the little skunk Flower and a rain scene, set to the beautiful song ‘April shower’;
3) The meadow: where both danger and other deer are introduced, including Bambi’s father and his later love interest, Feline;
4) Autumn: a short transitional mood piece;
5) Winter: which includes the famous skating scene, inspired by Pluto’s difficulties on ice in ‘On ice‘ (1935) and which ends with that harrowing, yet off screen death of Bambi’s mother;
6) Spring: where all our characters have become adolescents and discover the power of love;
7) Man: where man, who never is seen on screen, but whose threatening presence is so much more felt, once again brings danger into the forest, shooting animals (including Bambi) and causing a forest fire, which leads to great dramatic and apocalyptic shots of the burning forest;
and finally
8) Birth again: in which the cycle is completed.
The first five sections take almost two-thirds of the film and are responsible for Bambi’s reputation of being a childish film full of cute animals. This may be partly true, but is does no justice to the complete film, for the last three sections, starting with the death of Bambi’s mother (which essentially ends his childhood) are more artistic, more expressionistic and more dramatic. These scenes belong to the most powerful animated images ever brought to the screen.
But throughout the complete picture the artwork is stunning: the backgrounds, based on designs by Tyrus Wong, are lush and suggestive, the use of color is very clever and often amazing, and the music, which is very important to the narrative and which uses off-screen songs to evoke moods, is rich and effective. Indeed, Bambi’s soundtrack, by composers Frank Churchill and Edward Plumb, ranks among the best scores of any animation film. Backgrounds, design, color, music – all these make the film a mood piece of an astonishing quality.
The animation itself, too, is a highlight. It was supervised by four of the later so-called ‘nine old men’: Eric Larson, Milt Kahl, Frank Thomas and Ollie Johnston, and it’s the first testimony of their legendary status. The animation is amazingly well-done both in its naturalism as in its sense of character. It ranks from pure naturalism in Bambi’s mother exploring the meadow and Bambi preparing to fight to pure character animation. A highlight of the latter is Bambi having to say hello to Feline. Bambi’s behavior in this scene is perfect that of a young bashful boy.
The only deviation from believability is during the Twitterpated sequence: Eric Larson’s animation on friend Owl is zany and cartoony, as is the animation of the lovestruck Flower. The whole sequence is a little bit ridiculous, and out of place with the rest of the film. Luckily as soon as Bambi falls in love with Feline, the last part starts, which in its drama, powerful imagery and stunning effects is the undisputed highlight of the whole movie.
Bambi never ceases to amaze: it is simply beautiful.
Watch the skating scene from ‘Bambi’ yourself and tell me what you think:
Director: Ub Iwerks
Release Date: October 4, 1929
Rating: ★★★
Review:
‘Springtime’, the third entry in the Silly Symphony series, is also the first of four Silly Symphonies devoted to the seasons.
Animated by Ub Iwerks, Les Clark and Wilfred Jackson, it sets the tone for many Silly Symphonies to come: the atmosphere is fairy-tale-like, there is no story whatsoever, but only one long dance routine. One had to wait two years, until ‘The Ugly Duckling‘, to watch a Silly Symphony escaping this rather limited format.
In this particular short we watch flowers dancing to Edvard Grieg’s ‘Morning’ from ‘Peer Gynt’. The flowers are very similar to the ones in ‘Flowers and Trees‘ from 1932. There are also several dancing animals: bugs, a caterpillar, crows, grasshoppers, frogs, a spider and a heron. The latter three dance to Amilcare Ponchielli’s ‘Dance of the hours’, which would be reused in the much more famous ‘Fantasia’ (1940). Besides the dancing there’s a remarkable portion of devouring: the crow eats the caterpillar, the heron eats the four frogs. The most extraordinary scene is the short rain storm scene, in which we watch a tree bathing in the rain.
However, one other scene particularly deserves our attention: in it we watch a rippled reflection of a dancing frog in the water, an early and interesting attempt of realism. Many of these attempts were soon to follow, and the Silly Symphonies became Disney’s laboratories for experimentation towards better animation.
In ‘One Hundred and One Dalmatians‘ (1961) ‘Springtime’ is shown on television during a scene at the old De Vil mansion: we can watch the dancing flowers and frogs, and the short’s score provides the background music for a large part of the scene.
Watch ‘Springtime’ yourself and tell me what you think:
This is Silly Symphony No. 3
To the previous Silly Symphony: El Terrible Toreador
To the next Silly Symphony: Hell’s Bells
Director: Wilfred Jackson
Release Date: November 5, 1937
Rating: ★★★★½
Review:
‘The Old Mill’ is a milestone in effect animation.
From the first scene on special effects seem to be the sole raison d’être of the film. The cartoon is literally stuffed with them: dew on a cobweb, ripples in the water, light beams, fireflies, wind, rain and a thunderstorm.
Disney’s famous multiplane camera, with which the feeling of depth could be realized, makes its debut here. Together these effects create an astonishing level of realism, necessary for the upcoming first animated feature, ‘Snow White and the Seven Dwarfs’. In ‘The Old Mill’ even the animal characters are more or less realistic, a rare feat in Disney cartoons until then.
All this realism leads to awe-inspiring images, based on concept art by Danish illustrator Gustaf Tenggren, who had joined the studio in 1936. Unfortunately, the images do not lead to much of a story. The film is more of a series of moods from dusk to dawn. Despite its clever pacing, reaching a climax in the thunderstorm sequence, ‘The Old Mill’ is an overly romantic depiction of nature, and less enjoyable as a cartoon than as a showcase of Disney animation.
Watch ‘The Old Mill’ yourself and tell me what you think:
This is Silly Symphony No. 68
To the previous Silly Symphony: Little Hiawatha
To the next Silly Symphony: Moth and the Flame
Dr. Grob's Animation Review 