QUASI AT THE QUACKADERO (1975)
I can't say for certain whether or not I first encountered the work of Sally Cruikshank in general (or Quasi at the Quackadero in particular) on the USA Network's 1980s stoner staple Night Flight, but either way, I'm pretty sure I wasn't entirely in a legal frame of mind at the time. Not that psychedelic substances are required to appreciate Quasi's dreamy, stream-of-consciousness groove: Cruikshank's anarchic style is a mind-altering substance all by itself, a subterranean version of the (relatively) clean, orderly mainstream Disney/Looney Tune style of animation with all the color, personality, wisecracking animals and fairy tale fancy reflected in a funhouse mirror of surrealistic Id.
NEIGHBOURS (1952)
You wouldn’t get very far in a discussion of great animated shorts without mentioning the National Film Board of Canada. Since 1941, the NFB has supported and funded important and groundbreaking works from some of Canada’s most important animators, beginning with the great Norman McLaren. McLaren experimented with a number of animation techniques throughout his career including pixellation and even scratching and painting on the film stock itself. But today, his most famous work is Neighbours, a hybrid of stop motion animation and live action photography. The film -- an allegory for the Cold War -- finds McLaren using his human subjects not as actors, but as mannequins to be literally manipulated in the service of his story (somewhere, Robert Bresson must have swooned). Stylistically playful yet thematically serious, Neighbours became one of the most feted animated shorts of its day, yet it’s a testament to its topicality that it ended up taking home not the Best Animated Short Oscar, but rather the Academy Award for Best Documentary Short Subject.
MIRACLE OF FLIGHT (1974)
Terry Gilliam made this five minute film after the original Monty Python's Flying Circus TV series had completed its final season but before Python caught on in the United States, a development that, along with the success of Monty Python and the Holy Grail, made it clear that the troupe would remain a going concern for years to come. Gilliam would later develop his own voice as a live-action filmmaker, but this cartoon is basically a stray Python skit that's developed at greater length than most of the animated bits that Gilliam contributed to the TV shows. Not that there's a goddamn thing wrong with that.
CREATURE COMFORTS (1989)
Nick Park, the co-founder of Aardman Animation (and the creator of Wallace and Gromit) had a weirdly accomplished triumph with this award-winning short, which attaches the thoughts expressed by man-on-the-street interview subjects to animals doing time in a zoo. The success of the film led to a series of TV commercials in a similar style and then, in 2003, to a brilliant TV series that ran for two seasons in Britain. (CBS commissioned an American version for a summer series last year but pulled the plug after broadcasting three of seven completed episodes.)
THE CRITIC (1963)
Pauline Kael once wrote that "the best way" that Mel Brooks "could be employed on any movie" would be for him to "hang around on a cloud" during shooting, "with permission to replace any actor at any point." Nice image, Pauline, but Ernest Pintoff trumped you when he made this parody of an arty animated short, and then put the icing on the gravy by asking Brooks to assume the persona of an old Jewish man -- this was back when Brooks was still a young Jewish man -- and record this worthy's baffled responses to what the hell his eyeballs were being subjected to as punishment for having dared to venture into a movie theater with an expectation of being entertained. It's too bad that Brooks doesn't still have a way of getting in touch with that cranky old guy; we'd love to sit next to him at Young Frankenstein on Broadway.
FRANK FILM (1973)
Frank Mouris wrote, directed, edited, and narrates this autobiographical collage, which aims to sum up the artist's life as best he can through nine minutes of words and images. Mouris talks about his experiences and impressions on the soundtrack while pictures of things important or just pleasing to him crowd onto the frame. The total effect is of an amazingly cool, elegant fever dream.
Click Here for Part One, Part Two, Part Four & Part Five
Contributors: Andrew Osborne, Paul Clark, Phil Nugent
