Friday Video: Lunch
It’s important to show a little appreciation every once in awhile.
Writer, Story Consultant, and Editor for film, television, print and internet
It’s important to show a little appreciation every once in awhile.
Bruno Bozetto’s kitty does a sad waltz through memories.
This Friday’s video is a exquisite segment from 1976’s ALLEGRO NON TROPPO, written, directed, and produced by the great Italian director, Bruno Bozzetto.
The film is a surreal and irreverent parody of Disney’s FANTASIA and, like the Disney classic, is an anthology of short films that matches moving images with classical music to tell a tight story or evoke a mood in the course of a few minutes. The colorful animated segments are framed by black and white live action behind-the-scenes interludes featuring an enslaved “animator”(played by Italian comic actor, Maurizio Nichetti), the “orchestra,” comprised of octogenarian women, most of whom are one high note away from the grave, a bullying conductor, and a slick, glib announcer who has never heard of this “Prisney” fellow.
When this film was initially released wide in the U.S., I was immediately smitten and saw it seven times during its original run, often dragging friends and family to see it. In a just world, this film would have launched Bozetto’s feature film career, but it flopped. He returned to doing animated shorts and continues to animate. Ah, but what could have been.
While some ALLEGRO NON TROPPO segments go for a laugh, others tackled deeper ideas and commentary or matched the emotions of the music with animated imagery. That’s exactly what this video does with the Sad Waltz by Jean Sibelius.
Eddie Cantor likes the sheikh, he likes his daughter, but he prefers her…
Here’s a bit of popular entertainment from nearly eighty-eight years ago. This is Eddie Cantor singing and dancing the “Okay, Toots” number in KID MILLIONS (1934).
The movie is a trifle, a musical about a Brooklyn ne’er-do-well who inherits 77 million in depression era dollars and must travel to Egypt to claim. On the way, he encounters a sheikh and his amorous daughter. In the number, Cantor resists temptation from the sheikh’s neglected wives, exalts his Brooklyn and the steadfast nature of his love for her, and puts the sheikh’s daughter in her place.
It’s hokey as hell, culturally insensitive, and firmly embraces a more patriarchal view of women. Still, thanks to the clever wordplay of the song (by Gus Kahn and Walter Donaldson) and Eddie Cantor’s charisma and energy as a performer, I can’t help but love it. A relic of an earlier time, but an enjoyable one, nonetheless.
One of the greatest New Yorker cartoonist of all time.
I’m going to leap feet first into deep unknown chasm known as 2022 by launching a new weekly feature where I post an inspiring or interesting video.
Today’s video is THE DRAWING LIFE WITH GEORGE BOOTH, a New Yorker documentary directed by Nathan Fitch that profiles the prolific George Booth, w who, at 95 years old, is the oldest living cartoonist to contribute actively to The New Yorker magazine. As noteworthy as that might be, what’s truly phenomenal about this film is the glimpse into Booth’s creative process. You would be hard-pressed to find a better model for your own creativity than George Booth.