Len Lye

Shorts! I have discs and discs of shorts and rarely watch them. I’m awfully excited about the new blu-ray of avant-garde shorts from Flicker Alley, but how can I justify buying it when I’ve got a hundred shorts collections just sitting around unseen? Let’s watch some, shall we?

Doodlin’: Impressions of Len Lye (1987, Keith Griffiths)

Lye was a New Zealander who could’ve inspired Colin McKenzie through innovation and ambition. When standard animation techniques were too laborious and expensive, he started scratching and drawing directly onto film stock… and when film itself was too expensive he turned to sculpture – but kinetic sculpture, truly gigantic metal works, some of which he filmed. He’s designed a twisted metal “temple” which hasn’t yet been built.

Len demonstrates one of his metal works:

Lye lived in a lighthouse – flashbacks to Brand Upon the Brain – and moved to Samoa for a couple years, concentrated on “old brain” tribal art, wanting to reject Western art styles and doodle from the subconscious (see: Tusalava). Handmade films and unconscious creativity – of course Brakhage was a fan. After WWII, Lye was a director for the March of Time news series while working on silhouette photography.

I’d previously watched Tusalava at home, Kaleidoscope and Colour Flight at a Canyon Cinema screening, and Free Radicals and Rainbow Dance within the documentary Free Radicals: A History of Experimental Film. Here are some more I’ve been able to find. Quotations are by Lye biographer Roger Horrocks.

Birth of the Robot (1936)

The documentary didn’t even go into Lye’s stop-motion work. This combines character stop-motion with an abstract sequence. I believe a female robot sends raindrops made of music to turn a man who died driving his car in a sandstorm into a male robot. At the end it’s revealed to be an ad for an oil company, but who cares. “Lye enlisted the help of avant-garde friends such as Humphrey Jennings and John Banting to make the amusing puppets.”

Trade Tattoo (1937)

Musical montage of work in factories and docks and markets, exploding in shifting patterns with wild colors. I guess it was meant to be an ad for the postal service, or maybe a PSA telling you to post letters before 2pm. Partly composed of Night Mail outtakes!

A Colour Box (1935)

Color is less brilliant now that we’re down to standard-def, but this Re:Voir DVD still looks super nice. Abstract lines and patterns run down a film strip to bouncy music. I don’t think he edits to the music, just creates fast visuals then adds something upbeat on the soundtrack. Another postal service ad at the end, meaningless numbers (6 lbs. 9d.). “Lye’s first direct film, which combines popular Cuban dance music with hand-painted abstract designs, amazed cinema audiences. Color was still a novelty, and Lye’s direct painting on celluloid creates exceptionally vibrant effects … in Venice, the Fascists disrupted screenings because they saw the film as ‘degenerate’ modern art.”

Kaleidoscope (1935)

Watched this one before, an ad for cigarettes. Although the films have titles and credits, and the bulk of them is just music and animation with the product placement coming in at the end, so it’s more fair to say they’re sponsored shorts than advertisements. More white space in this one, with clearly defined shapes.

Rainbow Dance (1936)

Boldly colored silhouette mattes as a musician/sportsman whirls through changing backgrounds, leaving psychedelic trails behind him. An ad for savings accounts, obviously. “Lye filmed dancer Rupert Doone in black and white, then colored the footage during the development and printing of the film, adding stenciled patterns.” This is all making me itch for Jeff Scher / Norman McLaren retrospectives as well.

Colour Flight (1937)

More black in this one, a disturbingly pulsating smile behind wavy-line jail bars, then an eruption of dots and lines, some outer space imagery, and a last-minute ad for Imperial Airways (which was bought by British Airways in late 1939).

Swinging the Lambeth Walk (1940)

Okay, this one is synched to the music, wonderfully, with swinging soundwave lines and jellybean dots of color. I like that he uses filmstrip perforations to create patterns. Abrupt edits in the music, as he picks from multiple versions of the song. “For this film Lye did not have to include any advertising slogans; friends at the Tourist and Industrial Development Association, shocked to learn that Lye and his family had become destitute, arranged for TIDA to sponsor the film – to the horror of government bureaucrats who could not understand why a popular dance was being treated as a tourist attraction.”

Colour Cry (1952)

Something different, even more abstract and fuzzy, shadow images with bright, distorted colors, soundtracked by harmonica and yowling vocals. The doc says he used Man Ray’s techniques for this one, “using fabrics as stencils”.

Rhythm (1957)

Footage of an auto manufacturing plant, spastically edited to fit a musical rhythm. The doc mentioned that Lye had trouble with U.S. advertising companies. Chrysler paid for this short but wouldn’t use it because they apparently weren’t fond of the tribal drumming on the soundtrack.

Free Radicals (1958)

More African drumming. Scratched twisted lines rotating in 3D space. Funny that after all the colors and manic patterns he came back to simple white figures on a black background. “The film won second prize in the International Experimental Film Competition, which was judged by Man Ray, Norman McLaren, Alexander Alexeiff and others at the 1958 World’s Fair in Brussels.” Seen this a bunch of times on my laptop, and I’ll bet it’s awesome on a big screen. Hey Anthology Film Archives, ever think of opening a Nebraska location?

Particles in Space (1966)

Brakhage’s favorite. Plays like a sequel to Free Radicals, bringing some of the high-energy musical movement and complex patterns into its general design. Spots of white against an inky black, glistening like the ocean in moonlight. I think some of my listed release years are wrong – IMDB cannot be trusted.

Tal Farlow (1958)

Upbeat jazz guitar with synchronized white scratch lines which are definitely meant to evoke guitar strings. Finished by his assistant after Lye’s death in 1980.

I couldn’t find his “live-action film about the need to be careful in addressing letters,” or his first puppet film Peanut Vendor, or his war propaganda films. The new blu-ray mentioned at the top of this post includes Bells of Atlantis by Ian Hugo, which Lye worked on, so I’ll be watching that soon.

November 2015 Shorts

The Benaki Museum (2013, Athina Tsangari)

Lovely seven-minute advertisement for a Greek museum narrated by Willem Dafoe, children acting as curators, interacting with ancient artworks.

The Boy Who Saw the Iceberg (2000, Paul Driessen)

Crazy… split-screen with a boy’s ordinary day on the left and his imagination (which usually involves being captured and making a daring escape on the right. Then he and his family die when travelling on a boat that hits an iceberg. The imagination side takes another minute to adjust to this ending. Animation is fluid, doodly and wonderful. Driessen is Dutch, has a long career of award-winning shorts.

The Lost Thing (2010, Tan & Ruhemann)

Dude is collecting bottlecaps when he finds a Lost Thing (sort of an armored contraption with mechanical parts, jingle bells and tentacles), seeks its origins, finally returns it to a secret area in the city where crazy mecha-organic beasts all live. Won the oscar, same year as Day & Night. Tan created the source book, Ruhemann lately produced something called Chuck Norris vs. Communism.

Zerox and Mylar (1995, Joel Brinkerhoff)

Wicked one-minute claymation thing. Cat wants to lure mouse, paints his hand like a lady mouse, but mouse traps the lady-mouse-hand and has his way with it/her. Brinkerhoff is obviously a madman, apparently worked on Marvin the Martian in the Third Dimension, which is on one of the Looney Tunes blu-rays.

The Temptation of Mr. Prokouk (1947, Karel Zeman)

Mr. Prokouk is building his own house when he’s tempted by the evils of alcohol. After going on a massive bender and literally losing his head, he recovers, murders the ghostly barrel-shaped liquor salesman who got Prokouk hooked on the stuff, and continues with the house building. I dig the little birds who build a nest on his sign.

Mr. Schwarzwald’s and Mr. Edgar’s Last Trick (1964, Jan Svankmajer)

Svankmajer’s first short! Stop-motion, live actors, painting and puppetry, all very well blended, with extreme close-ups, frequent zooms and super fast edits. So JS was accomplished at making great-looking, creepy films from the very start. Two wooden-mask-faced magicians take turns performing elabotate tricks, aggressively shaking hands after each one, until the handshake turns lethal and they tear each other apart.

Your Acquaintance aka The Journalist (1927, Lev Kuleshov)

A 15-minute excerpt from a feature. Possibly Kuleshov’s follow-up to the great Dura Lex – IMDB isn’t so clear on Russian cinema. Aleksandra Khokhlova (Kuleshov’s wife, crazy Edith from Dura Lex) is a newspaper columnist who gets fired for turning in an article late while she was distracted by a handsome rich man. That’s about all I got from this fragment, plot-wise.

Edition Filmmuseum:

She is a modern woman, in-your-face and interesting in both the way she dresses and the way she handles the men who surround her in her everyday working life: she writes almost all of them off as wimps but the one she loves, a functionary, proves to be a conformist: disappointment ensues … The mise-en-scène is unique, with razor-sharp contours and extreme lighting provided on the one hand by Aleksandr Rodchenko with his constructivist design of the materialistic world, and on the other hand by cameraman Konstantin Kuznecov with his “svetotvorchestvo” (light-making) already known from [Dura Lex].

The Tony Longo Trilogy (2014, Thom Andersen)

A found-footage piece, Andersen taking three films and isolating only the scenes with imposing character actor Tony Longo in them. Tony is an ineffective doorman in The Takeover, is seeking Justin Theroux in Mulholland Dr., and fights with Rob Lowe before being murdered by Jim Belushi in Living in Peril. Why was Thom Andersen watching Tony Longo movies? Tony died soon after this came out, unrelated to the fact that IMDB says he was once struck in the mouth by lightning.

Cinema Scope:

What makes the videos in The Tony Longo Trilogy both exciting and frivolous is that it’s not terribly difficult to imagine Andersen repeating the operation for Tony Longo’s other hundred-odd screen credits, or, to push the idea to its limit, for anyone who’s ever appeared in a motion picture.

Riot (2015, Nathan Silver)

Home movies of 9-year-old Nathan reenacting the LA riots in his back yard wearing a Ren & Stimpy shirt

Uncle (1959, Jaromil Jires)

Kid in crib makes friends with the thief breaking into his house. Jires’s second short, still in film school. Uncle Vlastimil Brodsky was already an established actor, would later star in many Jiri Menzel films and Autumn Spring.

Tramwaj (1966, Krzysztof Kieslowski)
Silent… guy is miserable at a party, so leaves and gets on a dismal night train where he tries to impress a sleepy girl. One of Kieslowski’s first shorts, made in film school.

Logorama (2009, Alaux & Houplain & de Crecy)

Fantastic concept, a world made only of corporate logos. The writing and voice acting could’ve been better though. After creating this graphic-design logo monstrosity, they fill it with some sub-Tarantino cops-and-robbers shootout stuff, Michelin cops fighting a rogue Ronald McDonald. Logorama beat A Matter of Loaf and Death at the oscars, also won awards at Cannes and the Cesars. Two of the directors went on to make a tie-in short to a Tom Clancy video game series. David Fincher did a voice, along with the writer of Se7en and a guy with small roles in half of Fincher’s movies.

Sniffer (2006, Bobbie Peers)

Sniffer works as a deodorant tester in a world where people wear metal boots to keep from floating off. One day after seeing a pigeon crash into a window, Sniffer decides it’d be nice to float off, and unstraps his boots. Norwegian, I think.

The Foundry (2007, Aki Kaurismaki)

Seen this before in an anthology but now it’s available in HD so I watched again.

The ABCs of Death 2 (2014)

More consistently great than part one, with higher high points (Robert Morgan!). I’m tempted to make a playlist of ABCs highlights and edit myself a super-anthology but I’ll wait until part three comes out next year.


Amateur
Imagined scenario of cool, efficient sniper in the air vents taking out his target, then reality of tight insect-infested ducts full of nails. Great ending. Director EL Katz also made Cheap Thrills.


Badger
Directed by and starring Julian “Howard Moon” Barratt. Asshole nature-doc spokesman (Barratt) is abusive to his crew, gets eaten by badgers.


Capital Punishment
Local gang of vigilantes take a dude suspected of killing a girl out to the woods and clumsily behead him. Meanwhile the girl turns out to have run away, is fine. Director Julian Gilbey made A Lonely Place To Die, which is probably better than Wingard’s A Horrible Way To Die.


Deloused
I probably would’ve skipped ABCs of Death 2 had I not heard that Robert Morgan was involved. This was… inexplicable… and amazing, and ultimately makes the entire anthology worthwhile. Involves insects and beheadings and knife-arms.

Equilibrium
Funny and well put-together, with single long takes simulating time passing. Couple of idiots stranded on a beach are unexpectedly joined by a pretty girl. Jealousy ensues, then they return to bliss by killing the girl. Alejandro Brugués made the Cuban Juan of the Dead.

Falling
Israel/Palestine, woman whose parachute is stuck in a tree convinces a rifle-toting kid to cut her down, he accidentally shoots himself in the head. Nicely shot, anyway. Directors Keshales and Papushado made Israeli horrors Rabies and Big Bad Wolves (a Tarantino fave).


Grandad
Grandad is tired of his disrespectful grandson living with him. Jim Hosking is working on something called The Greasy Strangler next. Grandad Nicholas Amer has been around, worked with Peter Greenaway, Jacques Demy and Terence Davies.


Head Games
During a makeout session, a couple’s facial features go to war with each other in classic Plympton style. One of two Bill Plympton anthology segments from this year – we missed The Prophet.


Invincible
Old woman will not die, siblings want her inheritance and try everything to kill her. Stylishly shot (as are most of these, so it’s maybe not worth writing that anymore). Erik Matti (Philippines) got awards for crime flick On The Job last year.


Jesus
I think it’s supposed to be payback on a couple of dudes who torture and murder homosexuals, but when the kidnapped gay guy displays his demonic powers I’m not sure what’s going on anymore. Dennison Ramalho wrote latter-day Coffin Joe sequel Embodiment of Evil and actor Francisco Barreiro is showing up everywhere this month.


Knell
Initial scene where girl witnesses supernatural globe over the building across the street followed by people in every apartment turning violent was like Rear Window meets The Screwfly Solution, then it continues in the direction of total doom. Directors Buozyte and Samper are apparently Lithuanian, also made a surreal sci-fi thing called Vanishing Waves.


Legacy
Guy to be sacrificed is being set free and is arguing with this decision, and I lose the plot after that, but there are groovy, cheap Metalocalypse-looking gore effects. Lancelot Oduwa Imasuen is Nigerian, has made a million movies so far since 2003.


Masticate
Drugged-out flesh-eating fat man goes on rampage before he’s killed by cop, all in slow-motion and set to a jangly pop song. Robert Boocheck made a short that apparently played in an anthology called Seven Hells.


Nexus
Cleverly timed and editing, goes for tension instead of twist ending since we figure out early on that the distracted cabbie is gonna hit the guy dressed as Frankenstein. Larry Fessenden made Habit and Wendigo and The Last Winter, all of which have been on my to-watch list forever and just came out on blu-ray.


Ohlocracy (mob rule)
After the cure for zombiesm is found, human zombie-killers are sentenced to death by a kangaroo court. Hajime Ohata made the non-Kafka movie called Metamorphosis.


P-P-P-P Scary!
Poppy, Kirby and Bart look like escaped convicts, have big noses, meet a face-morphing guy who does a jig, blows out their candles and murders them inexplicably. Todd Rohal made The Catechism Cataclysm, and I might’ve guessed this was him.


Questionnaire
While a guy correctly answers questions on an intelligence test, we see flash-forwards to the “career opportunities” the interviewer has in mind for him (brain transplant with gorilla). I watched Rodney Ascher’s The Nightmare just last week.


Roulette
German game of Russian Roulette ends with the sixth-chamber guy shooting his beloved instead of himself, as some unknown evil approaches. Marvin Kren made Rammbock and Blood Glacier.


Split
Like a remake of Suspense but with more baby murdering. Hammer-wielding intruder destroys family of cheating husband(s) during a phone call.
Juan Martinez Moreno made horror-comedy Game of Werewolves.


Torture Porn
Girl in porn audition turns out to be Cthulhu, I guess. Jen and Sylvia Soska are identical twins who made American Mary and Dead Hooker in a Trunk.


Utopia
Self-driving incineration machines deal with non-beautiful people. Vincenzo Natali made Cube and Splice.


Vacation
Dude is on phone with girlfriend when dude’s friend reveals they’ve been doing drugs and prostitutes while on vacation. The friend is disrespectful, and one prostitute stabs him many times with a screwdriver. Jerome Sable made last year’s Meat Loaf-starring Stage Fright.


Wish
Kids go inside their off-brand Masters of the Universe playset, discover it’s horrible in there. Steven Kostanski made Manborg, which looks similarly wonderful.


Xylophone
Kid won’t stop playing her damned toy xylophone while babysitter Beatrice Dalle (of Inside, the first actor I’ve recognized since Julian Barratt in letter B) is trying to listen to opera records. Julien Maury and Alexandre Bustillo made Inside, of course. Credits say Beatrice is the grandmother not the babysitter, which makes sense since babysitters should leave antique record players alone.


Youth
Miyuki hates her mom and stepdad, imagines them dying in tremendous ways. Soichi Umezawa is a longtime makeup artist who worked on Bright Future and Dr. Akagi.


Zygote
Dad abandons pregnant mom with a 13-year supply of a root that delays labor. Horribleness ensues. Chris Nash has made a bunch of shorts.

Shaun the Sheep (2015, Burton & Starzak)

Don’t think there was any dialogue. Tired of the daily grind, Shaun encourages a revolt on the farm, but when the farmer ends up in the nearby city with memory loss, accidentally becoming a fashionable hairstylist, the sheep try to rescue him with help from a stray dog. The second movie I’ve seen this year with the animal control dept. as the villain. Great animation, slick and fast-paced and full of gags. Starzak directed the Creature Comforts series and much of the Shaun the Sheep series, and Burton cowrote Curse of the Were-Rabbit and Madagascar.

The Boxtrolls (2014, Laika)

Another delight from Laika. Think we both enjoyed this even more than Coraline. Insect-eating Boxtrolls live beneath the city, taking scraps and bits of shop signage from the above world and transforming them into machinery. Also they have a human boy who thinks he’s a boxtroll until, while fleeing from the town’s obsessive boxtroll exterminator Archibald Snatcher (whose reward for total extermination will be admittance to high-society cheese tastings), he bumps into a macabre little girl who helps him discover that he’s the long-lost son of a missing inventor.

I particularly liked the armatures.

Stop motion inventors with an obsession for cheese obviously brought to mind Wallace & Gromit, so we watched The Wrong Trousers a few nights later.

Animated Shorts watched Nov-Dec 2013

Ruka/The Hand (1965, Jiri Trnka)

Potter just wants to make pots and keep his little plant alive, but a fascist hand keeps intruding wanting him to sculpt fascist hands instead. Potter is kidnapped by the hand and forced to create hand progaganda but escapes only to die back at home. Banned in his home country of Czechoslovakia, naturally. Trnka’s final film – I will have to find more.

Johann Mouse (1952, Hanna & Barbera)

Jerry is a mouse in Strauss’s house who waltzes uncontrollably when the master is playing. The cat learns to play in order to set a trap, but the two are discovered and are invited to perform for the king. Cute enough, but I don’t know about oscar-winning. It beat a not-too-great Tex Avery, two from UPA and one from Canada, the same year McLaren’s Neighbours won best documentary (!?) short. Hans Conreid narrated.

Magoo’s Puddle Jumper (1956, Pete Burness)

Blind Magoo buys an electric car (!) and drives it into the ocean. Somehow his idiot son Waldo survived the bear short and tags along. People must’ve thought Jim Backus was hilarious. All three oscar nominees were UPA productions, so producer Stephen Bosustow could not have lost.

The Nightmare of Melies (1988, Pierre Etaix)

A fun Melies tribute incorporating the earliest cinema techniques, scenes from King Kong, an alka-seltzer commercial and late-80’s computer animation.

D. Cairns for The Forgotten:

Etaix additions to the source script make Méliès a prophet of the whole history of film, from the greatest special effects film of golden age Hollywood, up to the computerized visions of the present day (1988), and taking in the true nightmare of the television commercial. I love how the ad breaks in, hideously colorful and cheery, disrupting what is already a rather stylistically disparate piece .. almost to the point of disintegration.

Bimbo’s Initiation (1931, Dave Fleischer)

Bimbo is kidnapped by a cult that keeps attacking him with sharp things and spanking instruments then asking if he wants to be a member. He always answers no until confronted with dog-eared Betty Boop who dribbles her ass like a basketball. Maltin called it Fleischer’s darkest work, and Jim Woodring reveres it, naturally.

Tord and Tord (2010, Niki Lindroth Von Bahr)

“I felt my need for coffee becoming more and more apparent.”

Clearly somebody watched Fantastic Mr. Fox and David Lynch’s Rabbits then imagined a meeting of these two worlds. Sort of a less-violent stop-motion Fight Club, as a fox named Tord finds out his next-door neighbor is also named Tord, so they start hanging out and exchanging coded messages, until rabbit-Tord disappears and may not have ever existed.

The Mysterious Geographic Explorations of Jasper Morello (2005, Anthony Lucas)

Cool silhouette animation, watched with Katy. Narrator/Jasper (Joel Edgerton, villain of Gatsby) is a disgraced navigator in an airship-steampunk future, whose ship stumbles across deadly creatures whose blood can cure the plague affecting Jasper’s home planet (and more specifically, his wife). Sort of an Alien meets Little Shop of Horrors, with an unresolved ending.

Director Lucas followed this up with a 3-minute rabbit short and worked on new anthology film The Turning. Writer Mark Shirrefs does lots of Australian sci-fi television. The Australians gave this a best-short award, but Oscars picked The Moon and the Son and Baftas the great Fallen Art.

Bobby Yeah (2011, Robert Morgan)

The story of a murderous kidnapper with a predilection for pushing red buttons. Possibly the most grotesque stop-motion movie ever – kudos to Morgan! Reminds of Symbol at times, with a confused-looking guy in a room pushing mysterious buttons with varying consequences, but this one also has elements of murder-spree crime drama, with much sexual imagery.

Sileni (2005, Jan Svankmajer)

“Ladies and gentleman, what you’re about to see is a horror film… it is not a work of art.” I’ll bet that line was much quoted in reviews when this came out, but I don’t feel like doing much research on this one. Because I wasn’t heavily invested in the question of whether it would be art – I find all of Svankmajer’s features to be fun (with some tedious stretches) entertainments with some signature shots (the dead-on close-ups) and stop-motion.

Ah, the stop-motion – if not for that, Svank would be Borowczyk with better subject matter. In this one it’s used to create disturbing little vignettes between live-action scenes, which will sometimes (nearly) overlap. It’s all meat. Meat in motion, set to grating, rickety carnival music.

The story itself isn’t bad. Svank’s got a decent lead actor in Pavel Liska, the Czech Keanu Reeves, and a good back-and-forth plot when Pavel is invited to stay with a Marquis, who alternately seems like a benevolent uncle and a total madman. In the end, as befitting its title and carnival music, everyone in the film is mad, and Pavel seems the sanest. He has wicked night terrors, but at least he’s self-conscious enough to be embarrassed about them and realize where they come from. Everybody else is either exercising their crazy whims openly or biding their time until they can do so. But I’m glad there was more to it than the whole “everyone is mad” premise, which was apparent from the title. It’s also about the treatment of madness – we see all kinds, none of them any good.

Pavel was visiting his mother in an asylum – was he staying there too? Anyway, he takes up with the Marquis, who self-treats his fear of being buried alive by faking death regularly and being buried alive (with the tools to escape). He also holds sacreligious orgies in the basement, and all of this makes Pavel nervous. The Marquis takes him to Dr. Murlloppe, who runs an asylum where the patients are allowed to do whatever they please (feathers fly, a nude woman is a paint-therapy canvas). Pavel doesn’t fit in, vows to save Murlloppe’s “daughter” (Marquis warns that she’s a lying hysteric nympho). He frees the “real” doctors, tarred and feathered and imprisoned in the cellar, and they take charge using their methods of cure-via-torture, holding Pavel as a patient.

DCairns:

For the first time Svankmajer makes real use of his actors as actors, not merely as self-operating meat puppets. In particular, Jan Triska as the Marquis (de Sade) brings a malevolence, a twinkle, and a vulnerable humanity to this film which hasn’t been seen in the Czech alchemist’s movies before. . . unlike the previous features which had used actors largely to occupy screen space where puppets would have been too expensive and time-consuming, Lunacy revels in the possibilities of unpredictable humanity let loose in an artist’s cinematic canvas.

The Immaculate Conception of Little Dizzle (2009, David Russo)

This came recommended by my Sundance-attending coworkers, and I would have eventually sought it out myself once I realized that the great Russo (Pan With Us + Populi, two of my favorite short films) had made a feature.

Ethyl:

Once it started (actually, as early as when I saw the “sponsored by credit card company” DVD menu) I realized I was in for a Sundancey indie toilet-humor quirkfest, not my favorite kind of thing, but it was hopefully to be more Donnie Darko than Waydowntown. First half was entertaining as all hell, with fabulous editing, surprisingly good music (by “Awesome”) and some of that chaos-reining stop-motion from Russo’s shorts. After a while it gets quieter and slower, becomes a slave to plot and its characters’ emotional arcs and gives me more time to wonder at the allegory, if any. Wouldn’t call it a hidden masterpiece, but it surely lived up to potential. Make more movies, Mr. Russo.

Little Dory and buddy O.C.:

Dory quits his datameister gig in a huff, and goes religion-hopping while working as a janitor with punk artists Ethyl and Methyl (fake Stanley Kubrick in Trapped Ashes) and O.C. (of Clay Pigeons) and Weird William. Natasha Lyonne (Slums of Beverly Hills) gives them test batches of experimental self-warming cookies, to which they all become addicted, and which cause the men to give birth to fluorescent blue fish, which makes them quite emotional and gives Dory new religious meaning to ponder. Finally he decides not to shut down the evil corporation that’s sneaking awful chemicals into junk foods, but to let the cookies into the world, to allow other snack-craving men with meaningless lives to experience the pain and joy of creating new aquatic life.

Late Shorts

Another entry for…

Initiated by Shadowplay

It’s rare for late-career shorts to even exist. Filmmakers tend to “graduate” from shorts to features, never looking back, unless called to work on some anthology film (like that one called “8” which Altman was scheduled to make after A Prairie Home Companion). Animators may be the exception, so half of the late shorts I rounded up were handmade.


Self Portrait (1988, Osamu Tezuka)
The few animations I’ve seen of Tezuka’s are among the most inventive I’ve seen from anybody. I’m not sure if the ten-second runtime of this short, made when he was 60, was imposed by the producer of this Animated Self-Portraits series or if that’s simply how much time Tezuka needed to make his point. Left/right/center portions of faces spin like a slot machine, and after four or five mismatches, the proper self-portrait alignment is reached – jackpot!


Is That All There Is? (1993, Lindsay Anderson)
Another self-portrait – the artist at age 70. Lindsay wakes up, takes a bunch of pills, puts on the news, watches some TV, has a bath, gazes at posters of his own films on the bathroom walls, goes shopping then back home, entertains writer Bernard Kops who talks about getting paid for his work, chats with some more visitors, moans about transportation with the cleaning lady, gets in a fight with his disgruntled nephew, complains about Michael Caine’s hair, discusses John Ford with a BBC producer, photocopies a newspaper review of Michael Powell’s Life in Movies that Lindsay wrote, goes through his scrapbook of past film writing, watches Ron Howard on Oprah (“I always wanted to make a movie … most importantly, I didn’t want it to be boring”), reviews his history of theater productions and film projects (he claims to have written If… 2), goes to the acupuncturist and the doctor, checks out sets and music for a new theater production, talks with his brother about gravitas, then holds a memorial service for two actresses who had appeared in his TV movie The Old Crowd fourteen years earlier. A full day. I don’t know much about Anderson – seen his bizarre Malcolm McDowell trilogy, but I only enjoyed two of them and probably understood none. This was downright enjoyable, especially considering my lack of enthusiasm for the day-in-the-life documentary format. Though I’m not saying this was a documentary – Anderson gets a writing credit, and the scene construction is subtly more intricate than could be expected from a single camera recording in real time.



Narcissus (1983, Norman McLaren)
McLaren’s final released film, made when he was seventy. A ballet version of the Narcissus tale, in which our hero dances against a black background with a girl, then with a guy, finally shunning them both in favor of his own reflection. Beautifully shot and danced. I didn’t notice much in the way of McLaren’s signature styles in the ballet until Narc began dancing with his own disappearing self accompanied by nintendo computer blips on the soundtrack. Probably won more awards than any other McLaren film, in part because by the 80’s there were more award shows and festivals than ever before.

Narcissus meets himself:

Dances with himself:


I consider “late” Buster Keaton to be the 70-ish movies he appeared in since the 1920’s, shortly after the arrival of sound when his career went to hell. So these are very late Keaton, made in the last couple years of his life when he was around seventy years old (see also: the Twilight Zone episode he did a few years earlier).

The Railrodder (1965, Gerald Potterton)
A wordless journey through desolate Canada, which must have been trying to attract humans to its empty factories, forests, harbors, fields and cities, all seen as Buster whizzes by on a motorized rail car. Not as good as a classic Keaton short, but not as bad as most state-sponsored promo pieces either, just a light amusement with some minor Keaton antics and major Canadian scenery, with possible references to The General and The Cameraman. I like when he turns the car into a duck blind, but the gag’s payoff is lame – it’s not the most well-planned or well-timed little picture. Director Gerald Potterton moved into animation, making the legendary Heavy Metal.

Buster Keaton Rides Again (1965, John Spotton)
A “making of The Railrodder” that runs almost triple the length of the feature. In fact it’s over-long, in love with its subject, providing nice quick summaries of Keaton’s past films and life story, then rambling on with the present-day footage. A coughing, gruff-voiced Keaton smokes whenever not on camera for Railrodder (he died of lung cancer the following year). He’s a stubborn bastard regarding the gags and filmmaking – it’s clear from this doc that the IMDB’s listing Buster as uncredited cowriter/director on Railrodder is accurate. My favorite gag was in the documentary, not the feature, Keaton pretending to pull a train that comes in while he’s standing near the tracks. It closes with Keaton singing “Casey Jones” in his trailer, more emotional of a picture than the fluffy promo piece it accompanies.

Film (1965, Alan Schneider)
Close-up of an eye. Protagonist, always shot from behind, staggers to his apartment, horrifying all who look upon him. Alternate blurry shots from his POV. In the apartment, he covers a mirror and removes or destroys everything that has eyes. Feels for his own pulse. Finally, Buster’s face is revealed, wearing an eyepatch and his signature hat. Close-up of an eye. I don’t understand Samuel Beckett. Could someone explain him to me?


Stop-motion pioneer Charley Bowers made these couple films over a decade after all his other work, and according to his IMDB bio, “no one is quite sure what he did” during that in-between decade. They’re his final films, completed the year before he became sick at age 64, unable to work until his death a few years later.

A Sleepless Night (1940, Charley Bowers)
No sound at all (who watched silent shorts in 1940?) so the DVD producer unconscionably included an audio track of projector noise. I listened to LCD Soundsystem instead, greatly improving the movie, which was otherwise slack-paced and plotless. We’ve got a stop-motion mouse family who defeats the dog of the house, drinks a bottle of milk, then eats soap and floats away on the resulting bubbles.

Wild Oysters (1941, Charley Bowers)
More technically accomplished (featuring much more camera movement) and snappier than the last one, and with the same models for the mouse family, makes me think A Sleepless Night was a test run for what he’d planned as a series of mouse adventures. Although, spoken dialogue and a song with lyrics that comment on the action aren’t the major improvement. The mouse torments a different dog and also a cat, drilling holes in the floor and pulling their tails through. Weirder is when he runs across some oysters, which link together as a chain and chase him about. Why oysters? Even Tom and Jerry never ran so low on ideas that they introduced a string of oysters. Anyway, weird movie but enjoyable.


The Karateguard (2005, Joseph Barbera & Spike Brandt)
The final Tom & Jerry short released to theaters, and the only one made by Barbera, aged 94 at the time, after the passing of partner William Hanna in 2001. It was a passing of the torch to Brandt, who is still making T&J cartoons. I was never a wildly enthusiastic T&J fan, so I can’t share the outrage of the IMDB reviewer who calls it “unbearably mediocre.” Jerry isn’t great at his karate lessons, so his translucent sensei encourages him to quit, instead gives him a magical gong that summons a stone-faced samurai dog, who proceeds to pummel Tom for six minutes. A good time is had by all.