Jan Svankmajer-Neco z Alenky ('Alice') (1988)

When Alice follows the White Rabbit into Wonderland, so begins this dream expedition into the astonishing landscape of childhood, through many dangerous adventures, and ultimately to Alice's trial before the King and Queen of Hearts. Czech animator Jan Svankmajer has created a masterpiece of cinema, a strikingly original interpretation of Lewis Carroll's classic tale. Svankmajer's Alice remains true to the absurdity of Carroll's original, but bears the stamp of his own distinctive style and obsessions. Combining techniques of animation and live action, he gives a new and fascinating dimension to the classic tale of childhood fantasies. First Run Features




A memorably bizarre screen version of Lewis Carroll's novel 'Alice in Wonderland', mixing one live actor (Alice) with a huge variety of sinister animated puppets, ranging from the complex (the White Rabbit) to the incredibly simple (the Caterpillar, consisting of a sock, a couple of glass eyes and a pair of false teeth). The original story is followed reasonably faithfully, though those familiar with this director's other films won't be the least bit surprised by the numerous digressions into Svankmajer territory, living slabs of meat and all. As the opening narration says, it's a film made for children... perhaps? (http://imdb.com/title/tt0095715/plotsummary)




This adaptation of Lewis Carroll's Alice in Wonderland mixes animation and live action to create a dreamlike world, but don't let that fool you into thinking it's simply a kid's film. Young Alice (Kristyna Kohoutová, spoken by Camilla Power) watches a stuffed and mounted rabbit come to life in her playroom and follows it through a magical drawer into a strange world that resembles a 19th-century toy store come to life, with a few specimens from a natural history museum thrown in. Czech animator Jan Svankmajer retains the familiar story elements but tweaks them with bizarre imagery brought to herky-jerky life with his spasmodic style of stop-motion animation. The caterpillar becomes a sock puppet with dentures, while other crazy creatures materialize as creepy skull-headed beings that bleed sawdust. Throughout the tale Svankmajer returns to punctuating close-ups of Alice's lips telling the story, just to remind us that this is a tale told. In the best surrealist tradition Svankmajer uses familiar objects in unfamiliar ways, giving a fantasy quality to the banal (and the not so banal) while tipping the dream logic to the edge of nightmare. While the imagery remains more unsettling than genuinely disturbing, younger children will certainly be happier with Disney's brightly colored animated classic Alice in Wonderland. Older children and adults will better appreciate Svankmajer's sly visual wit and unusual animation style. (--Sean Axmaker - Editorial Reviews - Amazon.com)




"Svankmajer's film explores Alice in Wonderland's dark undercurrents: it unearths the fears that animate dreams and nightmares." (-New York Times)
"An extraordinary piece of work: brilliantly inventive… a piercing , original vision." -Terrence Rafferty, The New Yorker




"A surrealist dream universe as created by one of the few true masters of contemporary animation. " (-Film Comment)




"Disney + Bunuel = Svankmajer's Alice." (-Milos Forman)