DIRECTED BY: ,
FEATURING: Feliks Stawinsky
PLOT: After being brought to life by a spit-and-blood activated machine, a gaunt puppet explores a dreary landscape of smeared windowpanes, cryptic machines, and wraith-like tailors, simultaneously observing and observed by a young boy.
WHY IT MIGHT MAKE THE LIST: Not content simply to be staggeringly creepy, the Quay brothers imbue this masterpiece of decayed memory with a great deal of pathos and philosophy. From any given screen-capture, it’s easy to see why this movie would be considered weird—watching this cloud of nightmare in motion is simultaneously unnerving, moving, and awe-inspiring.
COMMENTS: This stop-motion film opens with the unlikely use of a lecture hall and an actor counting ceiling lights before activating an apparatus. Drawing up a globule of spit, he lets the liquid drop inside the machine, setting off the first of the unsettling devices found throughout Street of Crocodiles. The film’s protagonist, a shabbily well-dressed man, begins bound by the wrist to a cord attached to a bell before the actor uses a pair of scissors installed in the converted kinetoscope. Once loosed from the ties that bind him, the suited puppet begins navigating his dark surroundings.
Like a reticent explorer, he warily observes machines, gated pathways, and windows to bizarre figures. Behind one is a barely humanoid figure that emits one of the few bright lights in the movie. Judged by his design and actions, this automaton seems to be an inventor of some sort, and he labors away. As the man continues to explore, his environment slowly starts dismantling itself. Screws come undone from the paneling and begin moving across the floor. A young boy, perhaps representing the man’s childhood, merrily travels around the dank cityscape, harnessing the inventor’s light with a pocket mirror, bringing objects to life with its beam. Things come to a muted crescendo when the man comes across a tailor’s shop along the dim street below a crocodile skeleton.
The Quay brothers capture so much in this tiny but unlimited world. The viewer sees things in frame, only to find a moment later that what he is seeing is a reflection (in some cases, a reflection of a reflection). The micro-cosmos created here is both stifling and vast, as if no matter how far the man may explore, he is still trapped, unable to break free and get a larger picture of the mystery around him. Eventually he discovers where his life went sideways after a literally transformative encounter with the tailors, the only entities who seem at home in this murky subconscious. Through them, we see the allure of a commercial world and the high price paid for succumbing to it.
Stephen and Timothy Quay interpret Bruno Schulz’s gritty memoir “Street of Crocodiles” with a combination of smeared perspective and macro-lensed attention to detail. Schulz’s source material is filtered through the Quay’s vision of pervasive but fungible memory. Much is explored during the scant 21-minute run-time, but its brevity is wholly counter-balanced by its depth, both literally and metaphorically. As the man’s world in the movie is folded uncomfortably on itself, Street of Crocodiles explores its subject matter with a compact precision that belies its length. After watching this, I felt that the twenty minutes may well have been hours. So goes time in the dream world. This film must be seen to be believed: my words are almost utterly incapable of parlaying the direct line the Quay brothers have with the subconscious world.
WHAT THE CRITICS SAY: