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Street of Crocodiles (1986)

 |  Animation, Short  |  1986 (UK)
7.8
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Ratings: 7.8/10 from 1,556 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 Point Five (2003) See more »

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User Reviews

 
A Deeply Imagined Example of Pure Cinema
15 August 2008 | by (Cincinnati, OH, United States) – See all my reviews

This visually amazing achievement in clay animation begins with a live action man closing up a lecture hall and reaching into a box in which he snips the string holding a scrawny, almost skeletal puppet. Unconstrained, the puppet cautiously wanders the darkened rooms in the world of the box. The dismal vibes and infectious musical score suggest a tone of seclusion and senselessness, constraining us into direct empathy with the puppet as he deals with a domain of his reality, which is full of simple machines and mechanisms and man-made amusements. As he seeks to conform, or is coerced, of which we are never quite sure, the film little by little bares how fruitless the environment essentially is. Soul and strength are slowly reduced to expose the phase of life as a macrocosm.

The idea of a puppet being cut loose from its string inside of a box of dark rooms to wander about without aid is fascinating, but lots of people could make a movie that basically revolves around the idea of a wasteland where nothing ends, nothing concludes. It's quite easy. It's basically an excuse to trail off on a stream of consciousness. However the Quay brothers have done something organic and beautiful by telling a story with images. The understanding of cinema intrinsic in Street of Crocodiles is important and exceptionally valuable. Its concept is in truth a very deeply imagined allegory for a mind-shiftingly objective philosophical, perhaps existential, perception, taking life as a whole and putting it in the context of another impression of it, a smaller sort of spin-off of human life, causing us to rethink our existence.


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