As of this month, we have lost animation legend Gene Deitch, known for embracing abstract animation and design from the 60s onward that heavily utilized minimalism and stylization to their finest. From his charming early television series Tom Terrific, to his disastrously fascinating Tom & Jerry cartoons and his own illustrative adaptations of children's books, the man helped carry on the legacy of minimal animation that UPA left on the world. One such example would be with his Oscar winning short film Munro, written by cartoonist Jules Feiffer and inspired by his time in the U.S. army, albeit exaggerated.
The main synopsis is that a young boy named Munro never did anything he was told, and then he got drafted in the U.S. army despite only being 4 years old. Much of the short revolves around Munro's time in the army, constantly wandering from post to post baring the brunt of military hardships and always having to tell the people above him that he's only four years old. They never even bother to listen though and instead tell the solider to go about his business. In a way, the film cleverly mocks the supposed higher authority can become ignorant to whatever they choose for dangerous positions like the army or even adults. In regards to such depicting higher ranking individuals this way, Jules Feiffer himself stated that, "the best way is to go in the other direction and feign innocence...and particularly when you see the film, you feel your stomach knot up because of the obvious abuse and ignorance of authority." To think that a little boy could be drafted is ridiculous enough, but when not even the ones who did said mistake acknowledge that factor, you know that's when innocence is taken for granted.
As for other key factors, the animation is presented in a simplified and crude abstract style that fits the tone for the story of a little boy in the army, even if this short is made for an adult audience. In fact, because this short is told from the perspective of a child (in spite of narration), the minimally rough character designs and movements feel appropriate for a world where this shy little boy is just thrusted into somewhere he's never seen before, so even the training grounds are indistinguishable in an intentionally vague manner. There are even some shots were Munro is fully colored but others are either completely outlined or have one specific color all around, subtly emphasizing the contrast of the innocent child clashing into the mundane world of adults. On a side note, with the exception of Munro being voiced by one of Gene Deitch's sons at a very young age (which helps the audience sympathize with the little lad more), comic actor Howard Morris does most of the other voices, and the man really knew how to make his range go from whiny and nasally to gruff and haughty.
Is it no wonder this short had the privilege of playing before Breakfast at Tiffany's in theaters in addition to winning an Oscar? Needless to say, not only is Munro an adorably charming and bittersweet short in its own right, but its a fascinating look into where you can take such bizarre concepts in animation. The beauty of the medium is that you can tell stories you could never film in live-action due to the very strange scenarios they may have, like a little kid in the army. No matter how weird of an idea you might have, just remember that the alternative to live filmmaking is often the better road to take.
The main synopsis is that a young boy named Munro never did anything he was told, and then he got drafted in the U.S. army despite only being 4 years old. Much of the short revolves around Munro's time in the army, constantly wandering from post to post baring the brunt of military hardships and always having to tell the people above him that he's only four years old. They never even bother to listen though and instead tell the solider to go about his business. In a way, the film cleverly mocks the supposed higher authority can become ignorant to whatever they choose for dangerous positions like the army or even adults. In regards to such depicting higher ranking individuals this way, Jules Feiffer himself stated that, "the best way is to go in the other direction and feign innocence...and particularly when you see the film, you feel your stomach knot up because of the obvious abuse and ignorance of authority." To think that a little boy could be drafted is ridiculous enough, but when not even the ones who did said mistake acknowledge that factor, you know that's when innocence is taken for granted.
As for other key factors, the animation is presented in a simplified and crude abstract style that fits the tone for the story of a little boy in the army, even if this short is made for an adult audience. In fact, because this short is told from the perspective of a child (in spite of narration), the minimally rough character designs and movements feel appropriate for a world where this shy little boy is just thrusted into somewhere he's never seen before, so even the training grounds are indistinguishable in an intentionally vague manner. There are even some shots were Munro is fully colored but others are either completely outlined or have one specific color all around, subtly emphasizing the contrast of the innocent child clashing into the mundane world of adults. On a side note, with the exception of Munro being voiced by one of Gene Deitch's sons at a very young age (which helps the audience sympathize with the little lad more), comic actor Howard Morris does most of the other voices, and the man really knew how to make his range go from whiny and nasally to gruff and haughty.
Is it no wonder this short had the privilege of playing before Breakfast at Tiffany's in theaters in addition to winning an Oscar? Needless to say, not only is Munro an adorably charming and bittersweet short in its own right, but its a fascinating look into where you can take such bizarre concepts in animation. The beauty of the medium is that you can tell stories you could never film in live-action due to the very strange scenarios they may have, like a little kid in the army. No matter how weird of an idea you might have, just remember that the alternative to live filmmaking is often the better road to take.