Neighbours

This eight minutes film is the most know work of animation and experimentation wizzard Norman McLaren. It is as fresh as it was en the early fifties, and also as much disturbing. But the message is (sadly) still OK today. The story is about two friendly neighbourgs taking some fresh air near their fence. Suddenly a flower grows. And the two men kill each other for knowing which side of the land belongs the flower. All this without words, but with experimental music that McLaren had draw on the movie tape.

This film is amazing. Truly amazing.

The knack for animation seems to be one of Canada's greatest gifts, so I guess that would make Norm McLaren the most generous man at the party. This piece is visually stunning; watching the characters cascade across the screen with the help of stop-motion techniques is a thing of beauty. The awkward, electronique-esque soundtrack conjures up, and speaks for, every single emotion that McLaren is trying to get across visually. In eight minutes, McLaren develops the two male characters, and their emotions, better than a feature length Hollywood production could in two hours. Could he have made it longer? Sure...but he said all he needed to say in the few minutes he worked with...namely, "Love Thy Neighbour". If you can't find this Oscar winner (for Best Animation Short oh so long ago) you are really missing out on something magical. A thing of beauty, and a Canadian gem. Thanks, Mr. McLaren.

...and a war. after 66 years late, it remains surprising, fresh and fascinating. not only for the mix of stop-motion and live-actin but for a sort of magic who escape from explanations. it is the film who reminds the feelings at the circus show from childhood. and that does it more than amusing. but a trip in time, discovering a real usefull lesson about friendship and the meanings of war. so, a flowe. and two men.

This is a rather heavy-handed but well made animated short about war. While the message is presented through "sledgehammer symbolism" (i.e., it wasn't exactly subtle), the film's stop-motion cinematography was very nice and well done. It certainly is interesting.

The movie begins with two normal looking 1950s era guy sitting outside their cutout homes. Both are sitting in lounge chairs reading their newspapers (which, in a not so subtle move, have headlines about war). Then, suddenly, a flower appears on the border of their yards and both think it's the most wonderful flower in the world. However, because they both love it so much, they begin fighting over it--almost like in a Tom & Jerry movie! At first, it's kind of funny, but when it degenerates to attacking their wives and babies, the joke is over. Ultimately, it ends on a very fitting note.

In January 2007 I went to London expressly to attend part of a two-month long Luis Bunuel retrospective held at the National Film Theatre where I caught up with all but one of the remainder of his films. During that same period, a concurrent season of movies featuring Humphrey Bogart (on the 50th anniversary of his death) and Lauren Bacall and another one dedicated to Canadian animator Norman McLaren were also held. Although I am a fan of Animation in general, I was a bit wary of McLaren's work falling in the abstract branch of it but had always been interested in checking it out regardless since the late British film critic Leslie Halliwell deemed his best-known piece BEGONE DULL CARE (1949) worthy of his full **** rating. While the latter was indeed one of several shorts I managed to catch during that one particular evening, I cannot say I was sufficiently impressed to follow it up on my own time, as it were. Still, learning that 3 more films of his were nominated for the Best Short Subject Academy Award, I decided it was high time to reacquaint myself with McLaren's oeuvre given my ongoing Oscar marathon.

The 8-minute short under review is the only one of the three to emerge victorious and deservedly so; bafflingly, this won in the Best Documentary Short category while also being nominated for Best Short Subject. The simple plot deals with two neighbors who spend a lazy afternoon basking in the sun and reclining on a chair reading newspapers in front of their respective house but, tellingly, the headlines of one newspaper is completely belied by the other's. Suddenly a flower spurts out from a seed sown right beneath their feet and, after their initial mutual admiration for it, each one lets greed get the better of him and both start claiming it as their own private property. This sets off a battle of wills that soon turns increasingly physical, irrationally violent and ultimately fatal for all three parties; the scene where one erects a barricade between the two houses enclosing the flower on his side of the fence while the other relocates the latter to his advantage or having the flower use its petals to, as it were, take cover from its battling masters adds a nice touch of Surrealism.

However, the film's real coup comes at the end when, having trampled on the flower during their struggle, both men are overtaken by a feverish bloodlust that sees them enter each other's home and murder the occupants (a wife and a baby in both cases) through vicious kicking or throwing about! By this time, the violent men have adopted Indian warpaint on their faces and, when they eventually expire, the once-important white fence is transformed into crosses on each respective grave that have been dug where the houses used to stand. With time, more flowers bloom both on the graves themselves and on the earth surrounding them. The end titles, then, is an animated collage of the phrase "Love Thy Neighbor" in various languages. Although the film was originally issued sporting a monotone electronic score by McLaren himself (also available on "You Tube"), I elected to watch it accompanied by a score (recorded in 2010) by an obscure outfit named Versa that very effectively counterpoints the on screen action.