Cinema Canada (Nov-Dec 1978)

Ottawa 78, the International Animated Film Festival, returned to the National Arts Centre in Ottawa, Ontario, with an enticing program both in the competition and retrospectives. As in Ottawa 76, the animation techniques were impressive. There was, however an added treat; some of the concepts were equally impressive. One of the recurring communication weaknesses in animated films is the development of an appropriate idea that will lend itself to animated treatment. Perhaps there should be more concentration on creative thinking and story-telling in the education or apprenticeship of the animator. This might help alleviate a recent trend toward self-indulgence in the art of animation. To paraphrase Pablo Picasso on the nature of art and the artist, “The modern artist should be aware of the principles of the artistic tradition and incorporate them into his philosophy so that his art will not become merely self-indulgent, but new artistic speech will be created.” Some of the “new artistic speech” was present in Labyrinth, the winner in the First Film category. In this cleverly conceived film the remark “It’s a dog’s life?,” takes on new meaning. The dog’s life seems like heaven in contrast to the’ hell that man has made in his preoccupation with his own neurotic reaching after the meaning of existence and happiness. A masterful use of geometrics and perspective creates the illusion of the labyrinth in this exquisite film, produced independently by Shelly McIntosh of Vancouver. When I’m Rich, a film from Great Britain, deals with a dream that everyone has had about what one would do if he suddenly won a fortune. The character in the film lives in a modest apartment and tries to make his dull life more glamorous by day-dreaming about how he would react to his new-found largesse. He dreams about buying the apartment building in which he lives and forcing out his neighbor, whom he dislikes. The tables are turned on him when his neighbor suddenly becomes rich and begins to force him out. A clever idea combined with superb technique makes this a witty and meaningful film. Another significant film Why Me?, is concerned with how a person reacts to news of his imminent death. Janet Perlman and Derek Lamb of the National Film Board approach this delicate subject in satiric fashion, but with the aim to educate us about the value of life. A man is informed by his doctor that he has a few minutes to live. We see him go through the phases of shock, utter disbelief and finally resignation. After he plays out these phases in the office, the doctor indicates that he has a few precious moments left. Both Lamb and Perlman are to be commended for being daring enough to deal with a difficult subject in a unique and memorable style. Janet Perlman’s delicious film, Lady Fishbourne’s Complete Guide to Better Table Manners, the first prize winner in the Instructional Film category, is a delightfully disarming film. Lady Fishbourne is an authority on table etiquette and, as she comments on the subject, her talk is illustrated by a group of most unmannerly table guests. They show the “how-notto” aspect of fine dining. This film is both humorous and educational, combining concept and technique to communicate creatively and clearly. Robert Hookey is a film professor at Sheridan College and a frequent free-lance contributor on film. 40/Cinema Canada Some films failed to achieve this happy artistic marriage between concept and technique. Although an international jury chose to honor a film by Kathy Rose called Pencil Booklings, with first prize in category A, Films Longer than Three Minutes, the film is self-indulgent. Even though Kathy Rose is a competent animator, the concept of the film is weakly developed; it becomes rambling and boring. If her purpose was to show the symbiotic relationship between the animator and her animated characters, that goal was achieved very early in the film. She animated herself creating her characters. A French film entitled La traversee de |’Atlantique 4 la rame, by Jean Francois Laquionie, won the Grand Prix Award. This captivating film that takes newlyweds on a treacherous journey by rowboat across the Atlantic Ocean, is a parable about the need for love as a binding force in marriage’s sometimes turbulent sea. Laquionie’s skillful use of his colored cut-out technique, using pastels to create a romantic setting and mood, is a fine example of the artistic marriage between concept and technique. One hopes this film points to a trend in animation that considers the importance of the relationship between concept and technique and discourages a trend towards self-indulgence. An exercise in might from Richard Williams’s Jovan: The Power The informative and interesting retrospectives were a highlight of the festival. They honored Segundo de Chomon, Otto Messmer, George Dunning and Walt Disney, all masters in the field of animation. Segundo de Chomon, a Spanish animator born in 1871, contributed the one turn, one picture technique to the art of film. One day, while Segundo was sub-titling a film, a fly crossed the sub-title unbeknownst to him. When he viewed the film, he saw this fly moving across the screen in a bizarre but entertaining fashion making abrupt and sometimes jumping moves. This experience revealed to Segundo the possibility of animating objects filmically. His most witty and entertaining film is called El Hotel Electrico. The owner of a hotel has replaced his staff with an electrical system that fulfills the services offered to his guests. One of his guests is seen getting a shave with the brush lathering and the razor shaving without the assistance of a barber. One of the world’s most familiar and charming animated characters is Felix the Cat. His creator, Otto Messmer, has just recently received credit for the creation of Felix, in