Within the world of animation, most experimentation occurs within short-format productions, whether they are high-budgeted commercials, low-budgeted independent shorts or something in-between. The growing number of short film festivals around the world attests to the vitality of these works, but there are few other venues for exhibition of them, nor are they often reviewed. As a result, distribution tends to be difficult and irregular. On a regular basis, Animation World Magazine will highlight some of the most interesting of these films.

Isabelle au bois dormant (Sleeping Betty) (2007), 9 min., directed by Claude Cloutier (Canada). Contact: Johanne St-Arnauld, NFB [T] 514.283.2703 [F] 514.496.1895 [E] international@nfb.ca, [W] www.nfb.ca/betty

Jeu (2006), 4 min., directed by Georges Schwizgebel (Canada). Contact: Johanne St-Arnauld, NFB [T] 514.283.2703; [F] 514.496.1895 [E] international@nfb.ca [W] www.nfb.ca/betty

Madame Tutli-Putli (2007), 17 min., directed by Chris Lavis and Maciek Szczerbowski (Canada). Contact: Pat Dillon, NFB [T] 514.283.9411; David Magdeal (U.S.PR) [T] 213.624.7827

Même les pigeons vont au paradis (Even pigeons go to heaven) (2007), 9 min., directed by Samuel Tourneux (France). Contact: Samuel Tourneux [W] www.samueltourneux.com; Pierre Buffin, Buf Compagnie, [T] +33 142681828 [W] www.buf.com

The Pearce Sisters (2007), 9 min.,directed by Luis Cook [U.K.]. Contact: Maggie O’Connor, Aardman Animations, Gas Ferry Road, Bristol BS1 6UN, U.K. [T] 44 117 9848485 [F] 44 117 9848486 [E] Maggie.oconnor@aardman.com [W] www.aardman.com/pearcesisters

Isabelle au bois dormant (Sleeping Betty) uses a familiar plot as its starting point, but then cuts loose with a fast, frenetic comedy reminiscent of classic Tex Avery. © 2007 National Film Board of Canada.

Isabelle au bois dormant (Sleeping Betty)
The most recent Looney Tunes Golden Collection features an entire disc devoted to Warner Bros. Studio’s adaptations of classic fairy tales. The same handful of stories turned up over and over again in the classic Looney Tunes, and practically every single studio that produced shorts went back to the well time and time again. What is it about these fables that makes them so appealing to animators? Sure, there are complex, thought-provoking, deep-seated psychological reasons that these stories provoke a reaction in every human soul as they have for countless centuries, but the actual reason is much simpler -- everyone in the world already knows these stories, and when you’re creating an entire universe in the space of less than ten minutes, the less time the animators have to spend explaining backstory, the better.

Which brings us to Claude Cloutier’s recent fairy tale interpretation, Isabelle au bois dormant (or Sleeping Betty, for those of us who ne pas parle francais). Cloutier jumps right into this classic story with all of the key tropes in place from the start. Isabelle lies in bed oblivious to the world around her as her parents, the king and queen of an unnamed medieval-yet-modern land, wail and bemoan her fate. Can anything wake this poor, pitiable princess?

Using such a familiar plot as his starting point, Cloutier and his animators are free to take the story and run with it, and they cut loose with a fast, frenetic comedy reminiscent of classic Tex Avery. The sight gags in this dialogue-free dustup begin with the motley crew that has gathered by Isabelle’s bedside (including a jester, an extra queen, an oversized Henry the VIII and some sort of multi-eyed alien creature) and they keep coming fast and furious throughout the film. A number of also-ran would-be rescuers try and fail to revive the princess as the steadfast and unshakeable Prince Charming (looking very much like the current Mister Camilla Parker-Bowles) braves obstacles ranging from malfunctioning drawbridges and impassable terrain, to eerily accurate road signs and ferocious moose-dragons, as he prepares to meet his destiny.

The humor in this short would shine through in any style, but Cloutier’s beautiful and detailed penwork adds a level of comedy to the proceedings that feels like a mash-up of 1790s William Hogarth, 1950s Chuck Jones and 1980s Kyle Baker. The seriousness and dramatic heft of the artwork, paired with the utter mania of the animation, makes for a powerful and winning combination.