|Page 1 of 2:|| |
|Index||12 reviews in total|
This short won an Academy Award and justly so. While others have said the scripted narration is not terribly good, I disagree. There are one or two excessively florid points, but Robert Morley's marvellous reading covers those and overall, the scripted narration is good. The animation succeeds in part because of the narration. Chuck Jones and Maurice Noble have every right to be well pleased with this cartoon. Why it isn't in print, I don't understand. Highly Recommended.
I truly have to admire the works of Chuck Jones. He made a name for himself directing Bugs Bunny shorts for Warner Brothers starting in the 1940's (although he directed many other animated shorts during that era,including animated training films for the U.S. government,some of which featured scripts written by Theodore S.Geisel,later to be known & loved by generations as Dr.Suess),moving on to creating The Road Runner in the 1950's,and moving on even further to working on directing animated programs for television in the 1960's,to animated feature fare in the 1970's. Every now & again, he would surprise us with something different & left of centre. 'The Dot And The Line:A Romance In Lower Mathematics',a short he directed for M-G-M in 1965 is a shining example of this. The story (read by veteran British actor,Robert Morley)is simple:a straight line is madly in love with a dot,who only cares for an abstract squiggle line. This causes the line to re-evaluate his position on things. The concept of abstract animation is by no means a new idea, but Jones (with assistance from co-director/co-writer Maurice Noble)manage to pull it off nicely (the idea for animating abstract images actually hearkens back to silent films in the 1920's,and later augmented by classical music in the 1930's & beyond). Well worth seeking out if you're idea of animation is something that is exclusively for children.
I remember watching this as a young child. It was a real treat to be able to see it, since it wasn't like the other programs I'd watch. Although there was only one Dot and the Line, it was better than the Rugrats. The Dot and the Line will remain a part of what defined my childhood. When I told my friends about this great cartoon, they didn't understand what made it so interesting or funny. The art style alone is enough to try and find this film. The last time I saw it was back in 2000. Flash forward a few years. I'm walking through SF when I find myself at a small sidewalk sale. I take particular interest in one book. The title seems familiar. It's a reprint of Norton Juster's book. If you can find it, the book is just as good.
*** This review may contain spoilers ***
Under the guise of an educational documentary Chuck Jones here again astounds with one of his most impressive works. Here he not only breathes life into but creates a story about two geometrical figures. In a way this film reminds me of the Ludwig von Drake educational shorts by Disney with the distinction that Jones makes the "math" the center of attention and makes these shapes seem real, instead of having the narrator be overbearing. This film was nominated for Best Picture at the Cannes Film Festival. And it's no wonder it's a great and original work that is a metaphor for human relationships more than anything else. It's also worth noting that this film was unusual and unique when it came out and will continue to be so as the nature of animation has changed drastically. If you have the chance watch this master work by a master director.
Experimental animators usually commit the mistake of thinking that
experimentalism must be hermetical, non-objective, and abstract. Chuck
proves his point by making an animation film which brings characters and a
storyline, but makes it look like a wild piece of experimental
Without sound, the film would look like wild moving pieces. It's the narration and the soundtrack who do the trick. Weird non-objective mathematically abstract images who become human-like characters just with a little voice and music. Brilliant.
I'm personally impressed by this piece, since I saw it on TV as a kid, and instead of learning mathematics out of it, I decided to be an experimental animator. And I am one now :)
When I first read the book version of the Dot and the Line, I had to supply the voice and "music" in my imagination, but I thought the book was wonderful. Just a few lines on a page and some words, but it really was romance. The justification for the characters' behavior was so real! I felt for the Line from the very beginning, and hated his rival. My feelings for the Dot were mixed. I just kept wishing she would come to her senses and see the Line for the great guy that he really was! When I was able to view the animated version a few years later, I was happy to see that my own interpretation was pretty much spot-on. I did enjoy the music, and I enjoyed seeing my characters come to "life" as it were. The movie was a faithful rendering of the book, which to me is still a classic! I lent my copy to a friend over ten years ago, and have not gotten it back yet...it is still making the rounds and I hope, making many other people smile.
No longer working at Warner Bros., Chuck Jones made this mystifying
short about a drab delineation in love with a dot. He can't catch her
attention until he realizes that he can make angles and all sorts of
Now that I've seen "The Dot and the Line: A Romance in Lower Mathematics", I would say that it's the sort of movie which I wish that I had seen in math classes. Directed by Jones, it's certainly a clever one. However, I wouldn't call it the greatest cartoon. All the stuff about the scruffy squiggle sounds a little bit like they were chastising young people for being independent; ironically, the whole cartoon seems kind of psychedelic! So, it may not be Chuck's masterpiece - in my view, "What's Opera, Doc?" easily gets that distinction - but still worth seeing. Narrator Robert Morley also starred in "The African Queen" and "Theater of Blood".
Following the closing down of "Termite Terrace" the true home of the
beloved Looney Tunes/Merrie Melodies cartoons in 1963 and after
completing a few more Wile E. Coyote/Road Runner shorts, animation
legend Chuck Jones left Warner Brothers for an unfruitful stint at
revamping Tom and Jerry at MGM. To counter this perhaps, he also turned
his attention to some highbrow stuff on the side of which, the Oscar-
winning short under review is one example and the feature-length
fantasy THE PHANTOM TOLLBOOTH (1969) would be the culmination.
What we have here is a series of colourful lines, one of which falls for a red dot, which in turn is infatuated with a doodle (here called "squiggle")! Despite the good counsel of its ilk, the line still mopes after the dot and literally bends itself out of shape to impress it. Before long, the 'jazzy' uncouthness of the squiggle dawns on the latter and it recognizes and starts admiring the 'square' qualities of the line. It must be said that rotund character actor Robert Morley's narration adds invaluable gravitas to the thin plot line. Apart from perhaps wishing kids to love their maths lessons, one could also take this as Jones' denigrating commentary on contemporaneous European abstract animators not to mention the emerging hippie community!!
In order to lure a cute dot away from a swingin' squiggle, a very
conservative straight line learns to turn himself into exciting polygons and
This cartoon unfortunately is more impressive than it is entertaining. The overwrought narration by Norton Juster is read by Robert Morley. This is the first collaboration between Juster and Jones who later worked together on "The Phantom Tollbooth" in 1969.
In some ways, "The Dot and the Line" resembles a prototype for that later film since they are both less than the sums of their parts and are both better described than seen. In both cases, Jones is let down by Juster.
This 1965 effort however is shorter, better, and less cute than their 1969 feature, and has sufficient charm and originality to be well worth your time.
Yes: Amazing coincidence
(and shades of the Blair Witch coincidence)
Mr. Richard Wiley Jerome and I, Mr. Raymond Kenneth Petry, both of
Sacramento CA USA at that time in Arden Junior High School, did Norton
Juster's, The Dot And The Line, on his family's home movie camera - we
called it, Planar-Vision - the camera had a single-frame feature, and with
their tripod looking down on our display board, we pinned variously cloth
cuttings of the Dot, velvet hemming for the Line (except when he looked
and drawn and on-edge, we drew him, on-the-edge) and Squiggle was mohair
yarn ... we shot the whole story. For voice we added his little sister,
Jeanie, and for hours we re-recorded over our giggles and laughter, till
had it just right and well-timed: then we single-shot each scene
straight-through by timings.
In 1965-69, we went to Rio Americano High School, and showed our mathematics class, eventually: We were both scholars: Rich went on to be Salutatorian for Rio Americano in 1969, and matriculated at Stanford, and I took 1st Place in the Central Valleys Math Quiz (against the MAA perfect-top-scorer) in 1969, and matriculated at UCSD, for my BA in mathematics.
The Dot and The Line is a most memorable story done in fun: We're delighted that Hollywood thought enough of it, too.
|Page 1 of 2:|| |
|External reviews||Plot keywords||Main details|
|Your user reviews||Your vote history|