The Wizard of Speed and Time

Welcome to the church of Cinematology....

The story of one man's impossible dream: to create with the aid of Hollywood a feature length motion picture with a real story, with real people and special effects that mean something.

CAN it be done?

Mike Jittlov is employed by two producers to work an a special effects extravaganza for their network. Of course they make a bet whether he can do it all in time, cue: the sleaze trying to sabotage Jittlov at every turn.

Okay, babe.

It may not sound too original but the film's quirky sense of humour, staggering attention to detail, several thousand jokes and inspirational messages and cast of characters you actually CARE about set it apart from other formulaic hokey comedies.

What a way to make a living.

And as if that wasn't enough the film features some of the most amazing stop-frame work seen since Harryhausen (except less jerky and unnatural), all building towards the film's climax - Jittlov's finished piece the "Wizard Run".

Nothing can stop the creative spirit.

What more can I say? Be amazed, be happy and (you've guessed it) may all your good dream and fine wishes come true!

I finally managed to track this down at a cult-film video store, and it was worth all the effort. Do whatever you have to do to see this one! It vaguely reminded me of the low-budget inventiveness of Weird Al's "UHF," only multiplied 1000 times, and the "let's make a movie while the executives are out to lunch" zaniness of "Pee-Wee's Big Adventure."

There's a lot more to this movie (or movie-within-a-movie, or is it a movie-within-a-movie-within-a-movie?) than might appear. Subliminal messages, Hollywood major-studio politics, art vs. commerce, a startling new use for a chrome bust of Mickey Mouse, fantasy vs. reality, the horrors of dealing with unionized labor, some plugs for the Church of the Sub-genius, lots of deftly-employed stock footage, and the most terrifying "pizza with everything" you'll ever see. And there's even an intentionally-horrible musical number about the creation of the universe, which is thankfully interrupted by a ridiculous Presidential announcement.

You'll also get a fascinating look at the art of low-budget special effects production. Some of the visual treats Jittlov comes up with are astonishing, even in the post-CGI era, and particularly since he shows you how a lot of it is done.

There are some profound insights and a lot of laughs. I nearly fell on the floor laughing during the scene with the police helicopters, and why is one of the thugs Canadian? (why not?) How in the world did Jittlov film the suitcase/car chase at the end? Look for Philip Michael Thomas in a rare post-Miami Vice role. And make sure you stick around for all of the credits!

Mike Jittlov may not think of himself as a "real" actor, but he's got a lot of charm and he comes off as a genuinely likeable guy. And it was nice of him to cast his friends and family as themselves.

It might be too weird for some viewers, but if you're game, "The Wizard of Speed and Time" will put a smile on your face like few other films.

For a movie with a lot of silliness, this movie has soul. It's not Citizen Kane but that's not the intention. If you like Pee Wee's Big Adventure or UHF, you'll probably like this. The intent here is to entertain, nothing more...but also, nothing less. And it succeeds.

The one word that best describes this film is "whimsical." There is, however, obvious frustration that underlies this film. You can tell that Jittlov is both a fan of watching movies as well as making them, and it's clear that he is fairly exasperated with the things that get in the way of movie-making.

Here, he skewers the excesses of Hollywood, most of which film fans are at least passingly familiar with - unreasonable union regulations (and exclusivity), filming permits, shady film executives, and just getting someone to look at your work and give you a shot.

From the start, we're on Jittlov's side. And this is why the movie works. Some of the jokes are corny, but again, they're kind of supposed to be. But there's a lot here that's genuinely funny too.

Mostly though this is a visual treat. The film is packed with visuals - even the sets (Jittlov's room for example) are interesting to look at. From riding a suitcase through Los Angeles to running pretty much literally around the world at high speed, the uncynical love for "movie magic" shines through.

And it would be wrong not to mention the presence of J.R. "BoB" Dobbs, the one true living slackmaster, stenciled on the side of a van. And this is appropriate because this is definitely a film about the film industry as an extension of The Conspiracy, stealing the slack away from the passionate, creative people who just want to make an honest film.

Mike Jittlov - I know you must look at the comments here and I want you to know, I'm on your side. Thanks for making this movie. It was a lot of fun. Sorry about the suits. Sorry about the soul-sucking "Con." And I hope you get an opportunity to make something else for us soon! This movie is a pure-hearted anthem for every independent film maker or effects guy ever who just wanted to do it for the love of it. And it's a hoot. If you're looking for something light but entertaining and visually interesting, this would be a good pick.

What began as a three minute student film has become a cult classic that seems to snowball with the years. Mike Jittlov, film-maker/animator/writer/director/editor/co-producer/calligrapher/cult figure and iconoclast, created this cultural cul-de-sac as almost a love story to film-making. The sequence where he applies for various Union memberships to complete his film is probably too close to the truth, and the hyper-kinetically edited sequence near the end of the film is a wonder to behold.

Bootleg copies of the (now long out-of-print) SGE release have been passed around fandom like pieces of the true cross, and the popularity of the film, as well as it's creator, only grows stronger.

This film should be required viewing for all film students, as well as those who want to know how to make a film on a low budget (and how there are many sharks in the waters of Hollywood, which this film so clearly points out).

Hunt down this film (copies can be had in one form or another, check the related websites), watch it, and cherish it. You may end up wearing out the pause and slow-scan buttons on your VCR trying to figure out how he did these special effects without a computer!

Some years ago, the USA cable network carried a late-night program called "Night Flight" which featured an assortment of entertainment, including rock videos and short films. Although I wasn't a regular viewer, I stumbled across "Night Flight" when it aired a live-action animated short called "The Wizard of Speed and Time." I was blown away by the film's ingenious use of stop-motion photography and other camera trickery as it told the story of a green-robed wizard who possesses the ability to run around the world in just a matter of minutes.

"The Wizard of Speed and Time," it turned out, began as a short subject made in 1979 by filmmaker Mike Jittlov. Some years after making the original film, Jittlov took his idea and expanded it into a low-budget feature, also called "The Wizard of Speed and Time," which tells the story of a young filmmaker named Mike Jittlov and his struggle to make a special-effects-laden short film for a TV special despite having few resources (i.e., money) while battling the Hollywood bureaucracy.

The five minutes or so of "Wizard" material in the feature are a triumph of shoestring ingenuity. We see a one-minute "work in progress" featuring marching tripods, dancing light stands and flying film cans as well as an infectiously catchy title tune (this was part of Jittlov's original short, with new music added). The film's climax is the finished product mentioned above (a remake and elaboration of the first part of the 1979 short - I think the remake is what I saw on USA). I marvel at Jittlov's ability to visualize in advance the dazzling images he's reaching for and his skill in achieving those images through frame-by-frame animation and undercranking. And notice how the camera refuses to stand still for the animations - other stop-motion films may seem rooted to the floor one set-up at a time, but Jittlov refuses to let his camera be tied down.

I just wish I could praise the rest of the movie as highly. It's friendly, it's likable, but when the Wizard isn't conjuring up his magic, the feature turns into what is, at best, only a mildly funny takeoff on Hollywood. I was hoping the ingenuity that Jittlov displayed in the Wizard sequences would also transform the surrounding story, which supposedly is based on his real-life experiences, but what we get is pretty thin stuff.

Jittlov's love of movie-making is much in evidence; there's at least one visual homage to the Walt Disney Company, and one of Disney's original "nine old men," animator Ward Kimball, makes a brief appearance as an examiner for the "Infernal Revenue Service." That's right, "infernal," and I'm afraid that's an indicator of the general level of verbal wit in "Wizard." We also get a studio head with a supposedly comic Jewish accent.

Still, Jittlov comes across as such an engagingly eccentric fellow - an animated character in his own right - that I wanted to believe in him and his house chock full of film-related gadgets and toys. Former Miss Virginia Paige Moore makes for a charming leading lady, both in the movie and the movie-within-the-movie. Philip Michael Thomas, the biggest name in the cast, plays a cop far removed from Miami. Fans of "Get Smart" may remember Angelique Pettyjohn, who was undercover agent Charlie Watkins in the 60s TV spy spoof; fans of the original "Star Trek" series will remember her from "The Gamesters of Triskelion."