Mest kinematograficheskogo operatora

For animation buffs it's a must, but you don't have to be a specialist to enjoy The Cameraman's Revenge, a very early example of 'pixilation' by the hard-working pioneer Wladyslaw Starewicz. Starewicz and his helpers painstakingly manipulated a cast of flexible insect figures to tell this story, paving the way for the likes of Willis O'Brien, George Pal, Ray Harryhausen, and legions of modern digital effect creators.

The Cameraman's Revenge is only about 10 minutes long, but offers lots of amusing detail as the story follows the amorous adventures of two beetles from their home to a nightclub, a hotel, a cinema, and, eventually, a prison cell. There are two brief dance numbers at the nightclub performed by a frog and a dragonfly, a scuffle between a beetle and a grasshopper, and, for the finale, a large-scale donnybrook at the cinema, which ends with the projector bursting into flames. Pretty elaborate goings-on for 1912, when even John Bray and Winsor MacCay were just getting started, and Walt Disney was still in grade school!

This film, which is silent of course, also provides an interesting example of the impact title cards can have on the story being told. I've seen two versions of this film offered by two video companies, and watched them back-to-back, and although the image content itself is almost identical the title cards tell two very different stories. (And the plot outline someone provided on this film's IMDb page tells a third version of the tale, which suggests that there's another version out there somewhere.) The British Film Institute's print, which has rhyming title cards, tells the story of two sibling beetles, each secretly married, who hide this information from one another in order to inherit their late father's fortune. The Russian version tells a simpler story of a pair of beetles married to each other who are both guilty of infidelity. In the Russian version Mr. Beetle visits his girlfriend at the "Gay Dragonfly" nightclub, while in the English version brother Bill Beetle visits his wife at the music-hall. Personally, I prefer the straightforward-- and spicier --Russian story; the BFI version tries to cram too much plot into what should be a simple tale, and some of the rhymes are a bit awkward.

In any case The Cameraman's Revenge is a delightful and imagination film in whatever version you happen to find, and it would make an ideal lead-in to that other great animated work featuring beetles, Yellow Submarine.

The Cameraman's Revenge is an unusual short not because of the subject matter (adultery) or because it's animated (Winsor McCay had introduced Little Nemo on film by this time) but because it depicts bugs to tell the story! Ladislaw Starewicz had originally wanted to film actual bugs fighting but couldn't get them to do it on camera because of the hot lights they suffered through so he took dead ones and started using stop-motion techniques to manipulate movements to his satisfaction. This short does a good job of putting human characteristics on little creatures such as riding motorcycles, painting, filming, kissing, and dancing. Starewicz would also make Frogland (1922) and The Mascot (1933) but his first notable work would be this one. If you're interested in this and the other shorts mentioned, check your local library to borrow the DVD The Cameraman't Revenge and Other Fantastic Tales from Image Entertainment.

Decades before David Lynch or Gary Larson were even born, Wladyslaw Starewicz was creating surreal animated films featuring insects living in houses, driving cars and committing adulterous affairs. Yes, this short feature is way ahead of its time and remains to this day quite extraordinary. The very idea of depicting a domestic love triangle with insect characters is bizarre to say the least. The fact that the subject matter is clearly one aimed at adults not children shows that at this very early stage in the development of animation it wasn't necessarily obvious that this new form was perfect for children's features. No, this is more like a surrealist film, except of course, surrealism hadn't actually been invented yet! Yes, it has to be said that The Cameraman's Revenge is a highly original bit of work, and one that without question should be far better known.

The story is about a jealous grasshopper cameraman who films an illicit affair between Mr. Beetle and an exotic dragonfly dancer from the 'Gay Dragonfly' nightclub. Mr. Beetle's wife, Mrs. Beetle is simultaneously conducting a secret friendship with a floppy hat wearing artist insect. Mr. Beetle catches them in in a compromising situation and angrily drives him away. The Beetles then make up and go to the cinema but lo and behold the projectionist is our grasshopper friend and he splices in footage of the adulterous Mr. Beetle in action. Mrs. Beetle goes crazy and batters him over the head with an umbrella. The fight escalates and ends up in the projection booth catching fire and the Beetles are imprisoned for their actions. In jail they start to make up with one and other.

I don't usually bother to write synopsis in my reviews, or if I do I make it very brief. But I have made an exception for this film, as recounting this madness is a bit of a strange pleasure actually. This really is a one off as far as I can tell, I am unaware of any other insect-based love triangle films. The animation itself is excellent and is a clear precursor for the stop-motion work of the more famous Willis O'Brien and Ray Harryhausen. But for sheer originality and general weirdness, Cameraman's Revenge is the one. I would recommend this to anyone with a wish to see something a bit different to the norm.

Ladislas Starewicz's curiosity with insects and cinema melds into a short film about a love triangle between Mr. Beetle, an artistic grasshopper, and Mrs. Beetle. The rather simple story of an adulterous beetle couple that both seek stimulation outside their marriage is similar to a Biograph or Vitagraph short of the time. Starewicz's twist on the story is to use embalmed beetles with wires straightening the legs in frame-by-frame animation. The story builds as Mr. Beetle is unknowingly caught on camera with a dragonfly from the local nightclub by a jealous grasshopper. When Mr. Beetle comes home to find his wife in the arms of her artistic friend, he chases her around angrily, but eventually forgives her and takes her out to see a movie. However, Mrs. Beetle soon learns of her husband's infidelities as the movie they watch is the jealous grasshopper's footage of Mr. Beetle and the dragonfly together. Mrs. Beetle thrashes Mr. Beetle with her umbrella, Mr. Beetle jumps through the screen, and they both end up in jail after the projector they wreck catches on fire. The insects are placed in humanized settings such as a house or a nightclub, and are given human characteristics of jealousy, anger, lust, and revenge. The insect characters carry briefcases, drive motorcars, and even wear shoes yet they also twitch their antennae and open and close their mandibles as real insects would. The novelty of the story doesn't wear itself out, even after multiple viewings, but as fluid as the movements are, the film moves slowly. Action happens with intricate detail, but rapidity and a quicker pace of filming is lost in the process. Despite its pace, the film is an excellent example of Starewicz's early puppetry and is highly recommended.

In this 1912 film, the main characters are insects (except for a vaudeville frog). Using, I assume, stop-action animation, we are told the story of two beetles who have a turbulent marriage. Mr. Beetle goes off to a nightclub where he cavorts with a beautiful dragonfly. In the process, he anger a grasshopper who is a filmmaker. The guy gets upset and films Mr. Beetle's dalliance. Mrs. Beetle also has an affair with an artist bug who comes to her house and is discovered by the cheating husband. There is indeed revenge. Had the story been told with regular actors, it would not have been much. What was done with early century technology is striking.