Begone Dull Care

A masterpiece of hand-drawn & experimental cinema! McLaren & Lambert pulled out all the stops for the wonderful viewing experience that would become BEGONE DULL CARE, a film made directly by hand through painting, etching, drawing, and pattern- rolling onto clear 35 mm film stock. The phantasmagoria of colours, patterns, images and surreal optical trickery of perceived depth of field are blended together PERFECTLY with the rollicking Jazz soundtrack provided by Canadian Jazz-pianist extraordinaire, Oscar Peterson, and his band. Although this style of animation has been attempted many times, by countless others, both before and since, NONE have come close to Norman McLaren & Evelyn Lambert's stunning accomplishment: BEGONE DULL CARE!

10/10. A resounding visual triumph.........and just so much fun to watch!

Backed by a lively score from the Oscar Peterson trio, Evelyn Lambert and Norman McLaren draw a series of random images directly on to the film. Some of these images look recognisable - I'm sure I saw a shovel, castle and an amoeba in there. Others appear more like your are unsuccessfully trying to tune in your television set. Whilst mostly haphazard sequence, there are some symmetries to be seen, too. The piece is split into three sections, each scored to a different tempo and illustrated accordingly at the same pace. There's less going on in the middle one, but the third is an inspired marriage of syncopation and artistry. Definitely one of their better offerings.

Well, this certainly was different. I doubt most people would like this, but being a fan of abstract art as well as someone who has dabbled in the genre, I thought this was pretty interesting.

It's almost three animated shorts in one, each played to a short piano piece by jazz great Oscar Peterson. The first and third numbers are upbeat and so are the graphics: one colorful image after after nothing bombarded at you as if you were looking through a kaleidoscope.

The middle segment gives us a breather with more just black-and-white and lines moving to the music. It gives the whole animated piece a welcome respite for a couple of minutes.

This is just pure abstract images drawn directly onto the film. This was done long before computers and I can't imagine the number of hours it took Norman McLaren and Evelyn Lambert to produce this.

This short was part of the DVD "Leonard Maltin's Animation Favorites From The National Film Board Of Canada.

This is a very important Canadian animated short in that many love it for its artistic style as well as all the tedious work that went into making it. Classical music is set to movement of scratches on film. None of the animation is anthropomorphic--instead all shapes and colors and scratches. Because of this, the film looks like something that you'd see in a modern art museum. However, it should also be pointed out that this is a very, very, very difficult film to watch nor is it particularly fun. Watching minute after minute of this is just a chore.

Overall verdict: An interesting experiment that has little, if any, commercial appeal. Not particularly pleasant but I sure can respect the time that went into making it.

This is a somewhat experimental animated short film that is quite reminiscent of the opening sequence of "Fantasia" in which abstract visuals sync with instrumental background music. This film can be described as somewhat more dull than "Fantasia" in nature, particularly in the middle, but it is still a whole lot of fun to watch (for the most part) nonetheless. Similarly to Stan Brakhage, the great Canadian animator/avant garde filmmaker Norman McLaren (the man behind the brilliant classic short film "Neighbors", which is, in m opinion, one of the greatest works ever put to celluloid) directly painted on film in order to craft the fine, stunningly colorful visuals expressed in this brief musical trip. If this doesn't sound too abstract to you, I would recommend it highly; after all, it's only seven minutes of your time!