Steamboat Willie/ L'Atalante

Films do something to the viewer. They suck them in to their magic and wonderment. They allow them to forget their troubles for a few minutes to a few hours and soak in the retelling of old stories or broadening their horizons with completely inventive and creative stories. The two I have chosen for our viewing pleasure are both very simple and mundane, and yet they both do just that: suck us in.

Steamboat Willie a Disney classic from 1928. Full of music and diegetic sound, which presents itself as music or sound effects that mimic the voices of the various characters and animals. This was revolutionary at the time as no cartoon had done that and Disney, being influenced by the Jazz Singer, was eve more determined to have this cartoon become a sensation. This short presents the first time that Minnie Mouse makes an appearance. If you have never seen this film, you have, no doubt, witnessed several homages of this very recognizable short. What sparked my curiosity was the insane amount of animal cruelty that presents itself, as well as the misogynistic imagery. And I wonder if it was for a point. I wonder if it was a subtle allegory of  Disney's supposed prejudice against black people and/or Jews. The music is fun, and the images are fun, but the full-length fully technicolor films of the 30's would get the world going and set Disney on a trajectory that would make him the most winningest Oscar winner in the award's history. The flaws notwithstanding, this film is of great importance to animation history.

** 1/2

L'Atalante by the innovator Jean Vigo who was taken too soon by tuberculosis, creates a very magical, dreamlike film. No doubt the surrealist movement influenced several of the scenes in the films. As the main character toward the beginning walks along the top of L'Atalante walking against the current direction of the hull is breathtaking a surreal, like the actor was superimposed on a model. The overall feeling of the film is magical. It does dreamlike better than Jean Cocteau. It's ethreal and enthralling. The acting is realistic and not overly dramatized save for a few spots by the husband, and Pere Jules is the type of guffawed French paysan that endears me to French cinema of this epoque (Jean Renoir comes to mind). You don't really mind that there's no real story. Just a man, his new bride, his modest crew sailing down the rivers of France in a honeymoon/work/living quotidian that makes you realize that life isn't mundane at all, but magical. Full of wonder, jealously, occasional strife, love, music, dance, and joy. Truly one of the great gems of 1930's cinema.

****