In 1959, animation legend Richard Williams debuted in the world of animated cinema with his experimental short film debut, The Little Island. Known as a half hour long philosophical argument without words, the whole film was mainly put together and financed by Williams himself and would be a gateway into him starting up his own animation studio in London, England. This film in many ways can be seen as a triumph for Williams as it would be his first time completing a genuine artistic project after initially failing to find any animation work in the UK. But how does it favor on its own merits nowadays?
The film focuses on three men who each only believe in one thing: one in Good, one in Truth, and one in Beauty. As they sit by each other on a small island, each figure expresses their own individual ideas to varying degrees and responses from one another. Although each man expresses themselves through pantomime methods, a plethora of specific sound and tempo effects carry their ideas as each member shares their own ideas. The film presents each member's disagreeing philosophies through abstract imagery and a large variety of musical accompaniment executed by Tristram Cary. Williams intentionally makes each representation of each man's values vague enough to allow the viewer to interpret what they believe in and why they think those specific ways. What makes their debates more interesting is how they lead to conflict through their passionate expressive mindsets, almost as if we're watching a genuine artistic argument unfold before us. It's easy to question what the point of the film is, but to further ask yourself what it means allows one to think like a true artist.
As stated before, compared to the highly detailed and overtly fluid character animation Williams would become known for in his career, this film is executed through limited motion yet appealing design. The three men all appear to be as basic as standard shapes are concerned, and yet their distinct opinions practically make up their personalities, with routine expressions saying more than any amount of dialogue could even come close to doing so. The film also uses a wide approach to sporadic color palettes to express a scenario, whether it be the neutralized mindscape of the truth believing man or the luscious environments from the one who believes in beauty. That being said, as limited as the actual animation is, one can see how even in his early start, Williams already had a thorough understanding of the general principles in animation. In allowing each man's breakdown and conflicting morals speak for themselves, he only uses the principles when absolutely necessary, thus allowing more to be talked about without the use of unneeded exposition.
They say a picture says a thousand words, and Richard Williams' The Little Island could not be further proof of that sentiment. Although Williams would go on to bigger and arguably better things, it's important to acknowledge where his impeccable career in animation started off. I recommend this film on the basis of it being the starting point for the late animator's life in motion pictures and for those always in favor of experimental filmmaking. Regardless of your own take on the subject matter on hand, there can definitely be a lot to take from this picture both artistically and substantially.
The film focuses on three men who each only believe in one thing: one in Good, one in Truth, and one in Beauty. As they sit by each other on a small island, each figure expresses their own individual ideas to varying degrees and responses from one another. Although each man expresses themselves through pantomime methods, a plethora of specific sound and tempo effects carry their ideas as each member shares their own ideas. The film presents each member's disagreeing philosophies through abstract imagery and a large variety of musical accompaniment executed by Tristram Cary. Williams intentionally makes each representation of each man's values vague enough to allow the viewer to interpret what they believe in and why they think those specific ways. What makes their debates more interesting is how they lead to conflict through their passionate expressive mindsets, almost as if we're watching a genuine artistic argument unfold before us. It's easy to question what the point of the film is, but to further ask yourself what it means allows one to think like a true artist.
As stated before, compared to the highly detailed and overtly fluid character animation Williams would become known for in his career, this film is executed through limited motion yet appealing design. The three men all appear to be as basic as standard shapes are concerned, and yet their distinct opinions practically make up their personalities, with routine expressions saying more than any amount of dialogue could even come close to doing so. The film also uses a wide approach to sporadic color palettes to express a scenario, whether it be the neutralized mindscape of the truth believing man or the luscious environments from the one who believes in beauty. That being said, as limited as the actual animation is, one can see how even in his early start, Williams already had a thorough understanding of the general principles in animation. In allowing each man's breakdown and conflicting morals speak for themselves, he only uses the principles when absolutely necessary, thus allowing more to be talked about without the use of unneeded exposition.
They say a picture says a thousand words, and Richard Williams' The Little Island could not be further proof of that sentiment. Although Williams would go on to bigger and arguably better things, it's important to acknowledge where his impeccable career in animation started off. I recommend this film on the basis of it being the starting point for the late animator's life in motion pictures and for those always in favor of experimental filmmaking. Regardless of your own take on the subject matter on hand, there can definitely be a lot to take from this picture both artistically and substantially.