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1-9 of 9
- Drawn in pastels, and scored with jazzy music, fantastical plant-like things "grow" from the ground, launching five spheres in to space to create even more fantastical scenes.
- Betty's campaign tries to appeal to everyone. Real candidates are parodied, but campaign promises are a bit bizarre.
- Perhaps the only film whose content is totally based on the musical form known as canon. The first sequence is a simple demonstration of the canon "Frere Jacques" where four cubes dance and combine with one another on a checkerboard. The second sequence show four little human-like figures dancing in space. The third and most elaborate sequence shows a human going through several strange gesticulations. Through multiple printing we realize that the man, as in the previous sequences, is part of a visual canon and is making the gestures to himself. As we hear variations on the canonic theme so too do we witness visual variations: a woman and cat enters the canon. To show the musical technique of inversion, the image of the man is printed upside down.
- Mr. Prentiss is an appraiser at his firm, the House of Prentiss. He is about to go to Florida to appraise a vast collection of a recently deceased collector, Van der Locken, when he receives an unwanted visit from Ivor Hager, who informs him of "The Left Fist of David," a valuable but mysterious art object that was stolen from a Mexican church. Hager offers a bribe but Prentiss firmly rejects it and heads to Florida. In Florida, Prentiss meets up with his cohorts, Mr. Munsey and his secretary, and they set about to appraise the collection. However, Hager shows up again, since he is a neighbor, with a teasing shot of a bow and arrow. It appears all are interested in the "Left Fist of David." After a mistaken poisoning of a cat, Prentiss and Munsey become concerned, and fabricate a sculpture of a fist. Thinking the sculpture is real, Hager enters with a gun, ready to steal the object, but then discovers it's a fake. In a fight-out with Prentiss and Munsey, Hager fires his gun at the ceiling, where it hits a chandelier...
- 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 environment, one red cube slowly drifts on a reflecting floor. Suddenly there are multiple red cubes drifting and dancing in various formations. Over the course of the film the angularity of square shapes are transformed into circular and cylindrical shapes. The climax of the film features a multitude of these shapes in Busby Berkeley-like formation, as various circular figures grow and disappear among a simulated sky, with the blue colors giving way to red.
- The film is a documentary portraying a struggle as man tries to subdue nature. To prevent flooding and for purposes of land reclamation, the people of the Netherlands struggle and succeed in building a breaker, thereby eliminating the wild inland body of water once known as the Zuider Zee (now called Ijsselmeer).
- The film was made by colorful printing of footage combined with drawing directly on film. The bouncy music drives home the message heard at the end of the film, promoting the GPO (General Post Office): "The Post Office Savings Bank puts a pot of gold at the end of the rainbow for you. No deposit too small for the Post Office Savings Bank."
- The film's soundtrack is an original musical composition produced with synthetic sound - through photographing unusual geometric shapes and running them through an optical sound head. The images are an artistic rendering of this soundtrack.
- The film begins with a sun materializing out of the emptiness of space. In the first of three sequences we see various images from nature against music: the sky, trees, leaves, a bird, water, sand, a beach. A little boy (Herbert Matter's son, Alex Matter) wanders along the beach observing the natural world around him. He walks and presently comes to a house and peers inside. The second sequence has no music. The narrator speaks of sculptor Alexander Calder and his work, as we see Calder in his workshop, cutting and creating unusual shapes, and seeing the resultant artworks. The last sequence has music as we view images of Calder's work. However, now they are intercut with images from nature so that we understand that Calder's inspiration is the natural world around him. The film ends as it began, with an image of the sun, now fading into the sky.