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Street of Crocodiles (1986)

 |  Animation, Short  |  1986 (UK)
7.8
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Ratings: 7.8/10 from 1,543 users  
Reviews: 20 user | 4 critic

A man closes up a lecture hall; he reaches into a box and snips the string holding a gaunt puppet. Released, the puppet warily explores the darkened rooms about him. Screws twist out of ... See full summary »

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Title: Street of Crocodiles (1986)

Street of Crocodiles (1986) on IMDb 7.8/10

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Cast

Complete credited cast:
Feliks Stawinski ...
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Storyline

A man closes up a lecture hall; he reaches into a box and snips the string holding a gaunt puppet. Released, the puppet warily explores the darkened rooms about him. Screws twist out of objects and move about. A boy doll catches light with a mirror, shining it around: he spotlights the gaunt explorer. An adult female doll stands with breasts exposed. Mechanical spools and wheels turn. The gaunt man investigates. Four doll men surround him, dress him in colorful clothes, invite him to look inside displays that include drawings of penile skeletons. Female dolls awkwardly rotate their arms from broken shoulders. The gaunt man watches. Bruno Schultz is quoted. Written by <jhailey@hotmail.com>

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Genres:

Animation | Short

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Release Date:

1986 (UK)  »

Also Known As:

A krokodilusok utcája  »

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Referenced in The Cell (2000) See more »

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10/10
11 November 2004 | by (Canada) – See all my reviews

We feel as if we're in a completely different world watching this -- and not necessarily just because of the animation, which is spectacular. It has more to do with the architecture of the images, and the way the camera investigates the space -- you feel as if you're in a shoebox, tinted with brown-gold sepia tones of rot. The way the camera moves is really very striking. For the comparisons to Kafka, I think it's specifically in the dislocation of the image that the Quays bring out his influence. This film is as if Jack Skellington went down the wrong tree. (The eyeless dolls must have influenced "Toy Story"'s horror sequence.) We're in this strange, unfamiliar place, and the camera slides around in very smooth yet jittery movements as if our eyes. We see objects like screws move around on their own, and objects drop calmly as if the sky is falling; our vision is distorted as images of our hero are stretched. I haven't read the Bruno Schulz, so I'm pretty much limited strictly to experiencing this visually. 10/10


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