Crac

Le Rêve Du Diable, the folk group, was expertly chosen to reawaken the feeling of those times of early French Canadian settlers....pioneers who lived WITH, not in spite of, the New Land. The music interlocks and enhances the film like a puzzle piece, joining the art with the activism...and especially with the proud traditions of the Québécois! The swirling of memories was appropriately used as a powerful metaphor to conjure the long-gone past...still very much alive in the Hearts of those who understand the need to keep the flame burning. I recall the first time I saw this film in a smallish theater where a compilation of award-winning short films and animations was presented. It brought a tear to my eye...it was so full of sentiment and love for the natural primeval beauty of the land. I have experienced the "before and after" of overpopulation and excessive, unnecessary pressure on habitats. In my case it was practically like the Joni Mitchell song "...they paved Paradise, put up a parking lot"!

Very interesting short film by Frédéric Back, the same that gave us «L'Homme qui plantait des arbres» in 1988. In this short film (15 minutes), we see the cycles and the seasons of life through the eyes of a rocking chair. A look back at the traditions and folklore of French-Canada.

Again in this one, the animation is fantastic. Traditional french-canadian music was carefully selected for the film.

Out of 100, I gave it 82.

Crac is a beautiful 1981 animated film that touches the heart with its heart-warming story and stunning animation.

Set in 1930s Montreal, Crac follows the story of an old wooden rocking chair that has been passed down from generation to generation. As the chair finds its way into the hands of a young boy, we are taken on an incredible journey through time and space, as the chair becomes a witness to the history of Montreal and the lives that have come and gone around it.

What truly sets Crac apart from many other animated films is its breathtaking animation. The visuals are perfect for the tone, with each frame a work of art that showcases the beauty and complexity of the world around us.

But beyond its visual beauty, Crac also tells a heart-warming story that is sure to leave audiences feeling uplifted and inspired. The film's exploration of the passing of time and the enduring nature of family traditions is both poignant and touching, reminding us of the importance of the things that connect us to our past and our loved ones.

Moving images evoke emotions in a manner still frames don't, at least for me. Paintings have always eluded my sense of appreciation because I don't receive signals that would take me into their world. In moving images do I get solace because they visibly attempt at delivering their message. It is the lustrous moving images in Crac that made me cry and fall in love with the beautiful and enchanting world it depicts.

The story is about a craftsman who makes a rocking chair for his love, and after they get married keeps the rocking chair at home while the couple becomes a family with the arrival of children (and plenty of them). The chair is a mute witness to their lives, as it changes from growing green to ripening red and finally fading yellow.

If you look at the Storyline section in IMDb, it says Crac is about the industrialization of Montreal as seen from the view of a rocking chair. This description seems too literal and banal and would discourage youngsters from watching the short. To me, Crac is the celebration of human life in the wonderful, advancing world symbolized in the form of a swaying rocking chair. More than the event, it is the human experience that counts; if we disregard the human aspect that concomitantly progresses in order to adapt to changing circumstances, than we remain narrow-minded. Frederick Back, like the literary stalwart Leo Tolstoy, has enmeshed history and humanity with more poignancy but using hand drawn Impressionistic strokes instead of words, than most modern Pixar films can do with spectacular life-like animation.

Frederic Back's mind works like Walt Disney's as both visualize the world in a profoundly imaginative way. Watch a Walt Disney short and you may find a living train panting and tugging the rail tracks to reach the destination. Similarly, in Crac, the crib inside which a child is play acting turns into the car he imagines. Also, minimalistic paintings come alive and dance surreally in the art gallery. Only a childlike mind could show the images so beautifully without making the action seem corny or saccharine. There are delightful and ingenious moments in Crac, for example, the dance sequence during the marriage where at first, only the craftsman and his wife begin after which a third character magically appears from behind and then the entire space is filled with happy couples. Also wonderful is the dreamy sequence of sheep in the sky when the mother is putting her kids to sleep. And the spectacular moment at the art gallery after the curator leaves. Or even the tiny bit in the beginning where the craftsman proposes to the lady and she blushes, and her upper body looks like a heart. But the most striking part is Back's observation of children. In the art gallery, while the adults in their expensive clothes try to make sense out of abstract works, the children are lured by this simple rocking chair, and a ride on it puts a big smile on their faces. Also commendable is the use of music and sounds, which mainly consist of folk music, the echoing sound of a child's laughter, the switch, the bursting bubble gum etc.

I'm borrowing Robert Christgau's words to describe Crac in a nutshell: 'Frederic Back's Crac evinces a remarkable resemblance to care- that is to care, that is to caring in the best, broadest, most emotional sense.' Tell whoever you know to watch it.

My Rating: 5 out of 5

In the days of high-tech screen wizardry, this delightful French-Canadian film is a joy of gentle, simple animation. It depicts a slice of the history of Quebec, or Acadia or just about anywhere in frontier North America, in a touching and somewhat sentimental fashion, through the tale of the life and times of a lowly, hand-crafted rocking chair. Only small details, such as the rich background of traditional Quebecois folk music and the attire of certain figures, shows this story to be that of French Canada; the story is otherwise seemingly universal, expressed with no dialog. The animation is a rich palette of pastels and illustration seemingly from the children's literature genre, which works marvelously for the story at hand. It's not a perfect film--a brief flit with contemporary political commentary disrupts the story flow momentarily--but I have seen people moved to tears by the film's darker moments and then tears of joy at the conclusion.