Le joueur de flûte

Jiri Barta's 1986 Pied Piper is a quintessentially dyspeptic, adult piece of Eastern Euro animation whose take on the classic morality fable is even more misanthropic than Jacques Demy's version. Here, a medieval town of avaricious, gluttonous bourgeoise is overrun by rats (the only live-action element, adding an extra grotesque dimension). Instead of a mischevious minstrel, the Piper who rids them of those pesky vermin is more like a cruel avenging angel-when betrayed, his bitterly ironic redress departs considerably from the tale's usual ending. Complete with stop-motion puppet rape and murder, these stunningly visualized 55 minutes are not quite apt for children.

An amazing Czech adult stop-motion animation film, loosely based on the German folk tale the Pipe Piper of Hamelin, directed by Jiri Barta. A real art-house piece of animation that has a mix of Renaissance and Medieval elements.

There are many original elements about this film. The first one is the story, which deviates from the original mostly in the fact that is socially allegorical and there are not children on view, but one at the end. The Hamelin of Barta is a greedy, glutton and lusty society dominated by males, which could perfectly mimic our modern world. The piper is the punisher and redemptor, and the catalyst necessary for human renewal in this sort of Sodom and Gomorrah.

The second element of originality is its language... which is... International language... that is, onomatopoeic sounds, grunts, mumblings and gibbering, perfectly understandable by any viewer in the world. I found it hilarious! The third element of originality is the visual style of the movie, which are traditional and innovative at the same time, very odd actually, but very artistic. There are two elements in the animation: 1/ carved backgrounds with wood puppets, in very dark colors, and 2/ colorful paintings on wood. Hamelin's backgrounds, architecture and building interiors are made of carved wood, as the one you could find for example in some Renaissance choir chairs in some churches and cathedrals, but German expressionist in its design, with oppressive spaces, diagonal and curved lines that seem to collapse, with unbalanced proportions and oniric elements. The atmosphere is very dark and oppressive. On the contrary, the paintings are bucolic and very artistic and match the sort of countryside painting that you could find in Books of Hours of the late Middle Ages (Gothic period), and they are beautiful and colorful, light and human, a total counterpoint to the rest of the visuals, especially because they are associated to the most human characters of the story. The truth is that I found in the movie very Bergman's, in a way, with elements that you could find in movies like The Seventh Seal or the Virgin Spring.

The third element of originality is the design of the characters. Most of them are wood puppets, with mobile parts and fabric clothing. They are angular-faced but tall and thing. Also wooden but with a complete different style is the character of the piper, who looks like a mix of walking skeleton, a Goth rock band member, and an apocalyptic angel. Finally, the two good characters in the city are the little lady living in the outskirts of the city and the fisherman, who are made of wood, but very refined, human-like, and very sweet and delicate (a reflection of their soul). The rest of the characters are, of course, the rats, real ones (although they looked more mice than rats to me), the size of the human characters, naughty monsters as greedy as the humans, which move rapidly and awkwardly, giving them a grotesque aspect that goes perfectly with the whole style of the film.

Finally, the music is terrific - a mix of dark classic pieces and rock sounds with the ethereal sound of the flute as only breaker.

The end is great, and has nothing to do with the traditional story. It couldn't be otherwise as the movie is an allegorical reflection on society and humanity. The title in Czech means rat trapper, which works not only literally, as the Hamelin dwellers are as much as pest as the rats are.

The only thing I did not like is that some general scenes were repeated over and over, like some of the movement in the cities or some landscape shots.

The film is not for small kids because there are too many hard things to explain: lust, rape, killing of animals, stealing, death, and the general nastiness of the dwellers of the city.

Fantastic.

KRYSAR is a wonderfully dark, adult version of THE PIED PIPER, brought to life through stark, expressionistic, stop-motion animation.

In keeping with the original tale, the gluttonous, greed-driven townsfolk have a bit of a rat problem. These rodents are presented as dog-sized beasts, scurrying about, stealing anything they can snatch.

Director Jiri Barta has created a macabre, surreal world that is striking and bleak. Its jagged structures are gothic (check out those gargoyles!) and labyrinthine, providing plenty of places for the rats to hide. The people are very angular, somewhat robotic forms, that range from comical to frightening. The rats are the true stars, and are given ample opportunity to show what they can do to cause mayhem. It's obvious that a lot of time and effort went into this masterpiece!

The titular Piper is a mysterious, cloaked figure who arrives like a great wizard or an avenging specter.

Special mention must be made of the bizarre musical soundtrack, especially toward the end. As odd as it is, it fits the action perfectly.

This works because it's a fantasy that plays like a horror film. Highly recommended...

Krysar (The Pied Piper) is a 55-minute film, almost all of it stop-motion animation. That's a total of 3,300 seconds, or 79,200 frames of film, each one a little different than the one before to give the illusion of motion. I've no idea how many person-hours of work went into this little gem, but it shows. The story line follows the fairy tale pretty much, except for the denouement. The sets look like they were made by the folks who did The Cabinet of Caligari and the people puppets have rather angular faces. A rather well-done film, although I found myself wondering if Czechoslovakia had a Society for the Prevention of Cruelty to Animals - some of the rats in the moat didn't look too happy.

Probably Jiří Barta's most famous movie, "Krysař" is his own, very twisted (but fully relevant) version of "The Pied Piper". And it's like no version that you've ever seen.

We all know that Hamelin is overrun with rats, but this requires further explanation in Barta's interpretation. You see, the people are no better than the rodents: greedy, lusty, and often violent towards each other, the inhabitants of Hamelin are absolutely vile (except for the lone woman and a fisherman). But the actual rats present an impressive scenario. Far from the killing machines that the story often makes them out to be, these rats appear to be really clever, always figuring out ways to steal the humans' belongings.

As for the piper himself, he comes across as a sort of otherworldly presence, especially because of what he does at the end. But it's the only thing that he can do. Hamelin, meanwhile, looks like something out of a 1920s German movie.

Another movie version of the story that I've seen is one in which Donovan plays the piper. That version pertains more to the Bubonic Plague, which is probably what the original story centered on. This one is an analogy for a morally bankrupt society. The repulsive decadence that has taken over Hamelin is beyond redemption.

So this is truly one that I recommend.