A miserly man eats the pits of some cherries he can't stand throwing out. A tree starts growing from the top of his head. He cuts it off; it grows back. After a while, he gives up and lets ... See full summary »
A rooster has his last biscuit for breakfast and goes grocery shopping. A pig prepares her breakfast (potato peelings, with the potatoes thrown in the trash) and discovers she needs more ... See full summary »
This is an abstract film in which every motion is in strict synchronization with music, so the description must be read in terms of the overall impression it gives. Within a deep blue ... See full summary »
A blond and a raven-haired beauty move with verve and style through a changing landscape. The fabric of their dresses flows and floats, adding to their allure. One loses a shoe. A young man picks it up and pursues them on his bicycle. The gals hide and lose him when he encounters bad weather. They stop to enjoy flowers and then swim in a stream. He finds their clothes; birds snatch them from him and take them to the women, who set off again. A railroad handcart takes them to a switching station; they lock themselves in the control room. He dangles the shoe, they let him in; converging trains take their attention from play. Will they ever get together? Written by
La joie de vivre is a French film made by an English artist with financial backing from America, which makes it something of a mongrel. It's an exuberant, sophisticated animation drawn in an Art Deco style that is strangely reminiscent of those cartoons of the Beatles from Yellow Submarine and similar artwork from the late 60s and early 70s. It follows a couple of sassy young girls, all coltish legs and slim litheness as they commune with nature, engage in a little skinny-dipping and play with trains. As they play they are pursued by a young man on a bicycle; although initially elusive and unattainable, they eventually succumb to his charms and accept a coggy on his bike. There's something of the free spirit about this charming little film and it highlights the different directions European and American schools of animation were taking in the early 1930s.
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