Before The Triplets of Belleville (2003) and The Illusionist (2010), Sylvain Chomet made the award-winning The Old Lady and the Pigeons (La Vieille Dame et les pigeons, 1997). The animated short features an impoverished and starving gendarme who dresses up like a giant pigeon in order to be fed by an old woman (and that barely scratches the surface of how hilariously bizarre the short gets). Chomet was inspired to make a film of his own after seeing Nick Park’s Creature Comforts (1989) and set upon his production after pitching the concept to Didier Brunner of the French animation studio Les Armateurs. Backgrounds were designed by Chomet’s comic book collaborator Nicolas de Crécy, although the two would later fall out over Crécy’s view that Chomet improperly copped his style for the designs of The Triplets of Belleville. The Old Lady and the Pigeons is silently comic and strangely surreal and establishes many of Chomet’s characteristic styles and themes, making it an easy access point to Chomet’s limited filmography. It is also a quick 24-minute scratch for those of us still itching to see his next film, The Thousand Miles, a Fellini-inspired story about the world’s most beautiful road race, Italy’s Mille Miglia.
Spring is here, Easter is this weekend, MMC!’s next imagined release is taking typically longer than expected, and it’s been some time since a post have gone up, so now seems like the perfect opportunity to offer something cute, furry, and vaguely off-centre. With that in mind, let’s take a moment to appreciate Fyodor Khitruk’s trilogy of short films adapting A. A. Milne’s beloved tales of Winnie-the-Pooh for Soviet audiences!
Khitruk’s trio of Vinni-Pukh films — Winnie-the-Pooh (1969), Winnie-the-Pooh Pays a Visit (1971), and Winnie-the-Pooh and a Busy Day (1972) — were made out of Soyuzmultfilm studios and without the director having seen Disney’s theatrical short Winnie the Pooh and the Honey Tree (Wolfgang Reitherman, 1966). Khitruk’s initial interest in the character came from English editions of Milne’s stories and he was only exposed to Boris Zakhoder’s Russian translations later. Zakhoder served as screenwriter to the Trilogy and he frequently clashed with Khitruk as Zakhoder promoted an approach faithful to the original stories while Khitruk sought to transform the material. The films reflect Khitruk’s vision, doing away with the authority-figure of Christopher Robin and presenting Milne’s characters living forest creatures, not stuffed toys brought to life. Pooh remains rather dim, but he is far more assertive and boisterous than Disney’s bear. The animation is wonderful, merging the primitiveness of children’s drawings with the clean abstraction of mid-century modernism and the earth-toned colour palettes of the ’60s and ’70s. The films adapt three stories from Milne’s original 1926 book, avoiding stories from Milne’s 1928 sequel, The House at Pooh Corner, which introduced the Tigger character. If these adaptations are new to you, congrats! You are now free from the adorable hegemony of the Disney films!
“One of the most…
TRAUMATIZING AND SADISITIC ‘FAMILY MOVIES’ EVER MADE.”
The San Francisco Bay Guardian
The Most Amazing Adventure A Boy Ever Lived Through
Now On Blu-Ray For The First Time Ever!
Filmmaker Jamie Uys (THE GODS MUST BE CRAZY) cast his own son as a sickly eight year-old boy stranded with his pet dog in the Kalahari Desert, “one of the most rugged and desolate regions on the face of the earth.” The result is a children’s feature so punishing and merciless that it has been nicknamed “The Passion of the Dirkie.” Severin Films proudly presents the “sadistic yet hilarious” (Ilovehotdogs.net) South African survival movie about a boy menaced by plain crashes, infernos, hungry hyenas, angry elephants, spitting cobras, stinging scorpions, dwindling cough medicine, dehydration, and a grueling landscape. Beautifully rendered in Techniscope and Technicolor despite nightmarish shooting conditions that took the film’s crew almost 7,000 miles through the wilderness of Namibia, DIRKIE: LOST IN THE DESERT set South African box office records on its release and traumatized select children all around the world.
“We’re all the better for receiving…
THIS ODDBALL ALL-AGES TRIP INTO AN ARID APOCALYPSE.”
Birth. Movies. Death
- English and Afrikaans Theatrical Release Versions
- New Commentary with Star Wynand Uys and Film Scholar Ernest Mathijs
- … And Your Little Dog Too – An Interview with Producer Boet Troskie
- Poster Gallery
- BONUS FILM: Papam Pasivadu, a Telegu-language re-make from India
The banner event for Day 4 of the Saskatoon Fantastic Film Festival was the Drunken Cinema screening of Wes Craven’s A Nightmare on Elm Street (1984), described by Drunken Cinema‘s attending creator Serena Whitney as “the scary one.” Audience members had rules to follow, glow sticks to shake, and themed cards with personalized drinking rules to enhance their interaction and to get soused in the process. The event seemed an ironic success considering that nearly all the screenings at the SFFF are licensed and the Broadway Theatre’s concession stand was ready to make every screening drunken if patrons were so inclined. Still, the appeal of endorsed booze and rowdiness cannot be underestimated and Saskatoon movie fans can expect to seen more Drunken Cinema events between now and the next SFFF.
An inspiration to the Nelvana animation studio’s first feature, Rock & Rule (Clive A. Smith, 1983), The Devil and Daniel Mouse (Clive A. Smith, 1978) was the Canadian animator’s second television special. Following 1977’s A Cosmic Christmas (Clive A. Smith, 1977), this Halloween program takes its inspiration from Stephen Vincent Benét’s classic short story “The Devil and Daniel Webster” and mines Canadian artistic anxieties over American cultural imperialism and selling out. Struggling folk duo Jan and Daniel Mouse are fired from their last gig and Jan sells her soul to the demonic record producer B.L. Zebub, transforming her into the hit sensation Funky Jan. Success is bittersweet for Jan as she misses Daniel but when B.L. claims his payment under the contract, it’s Daniel who stands up for her in a trial of the damned that culminates in a musical final statement that carries the day. The short features some solid tracks by John Sebastian of The Lovin’ Spoonful and singer-songwriter Valerie Carter, as well as some stunning animation for the infernal B.L. Zebub.
Those looking for more on The Devil and Daniel Mouse, Rock & Rule, and the failed early efforts of Nelvana to achieve its own commercial and artistic independence should consult Keir-La Janisse’s excellent essay “A Song from the Heart Beats the Devil Every Time: The Fear of Selling Out in Nelvana’s The Devil and Daniel Mouse and Rock and Rule” in Gina Freitag and André Loiselle’s The Canadian Horror Film: Terror of the Soul.
The Buried Alive Film Festival’s program for Saturday, November 17, is STACKED with three new feature films, one rep-pick, two supporting features, the Eyeslicer short film program, nine more short films in the “It’s Never Too Early to Start Digging Graves” block, and one burlesque show compliments of Blast Off Burlesque. Now that’s a full day of entertainment!
Overwhelmed with a bounty of goodness, MMC!‘s previews can only be more important, pointing the path from mere goodness and toward greatness. Here, dear readers, are five MMC!-approved reasons (that are actually nine reasons) to BAFF this Saturday: