Walerian Borowczyk, Chris Marker, “Les Astronautes” (1959)
An entertaining little film short, “Les Astronautes” is a stop-motion animation collage of photographs copied, cut and pasted onto coloured or still-photograph backgrounds combined with some live action. An amateur scientist (Michel Boschet) builds his own space rocket in his garage and with his pet owl goes for a ride in the craft around his home city Paris, ogling at a scantily clad woman (Ligia Borowczyk) through a window and buzzing a big-shot businessman (Philippe Lifchitz) in his open sedan, before zooming into space and meeting a bigger space rocket which engages him in a dog-fight. The scientist saves a smaller red craft from the big space rocket but he is in for an unpleasant surprise when he tries to contact the pilot of the little ship.
At once rough and raw in appearance and apparent execution, yet witty and cutting in its plot, the film zings along with energy and creativity to spare. I’ll hazard that Borowczyk took care of the animation and Marker might have been responsible for the photography and the narrative technique used in which the particular sequencing of pictures alone suggests the story-line but does it really matter who did which? The whole film is inventive and brims with the film-makers’ eccentric creativity. The scientist grins foolishly at the young woman through a double periscope whose lens show his blinking eyes and his little rocket resembles a crude newspaper origami figure that flits about gaily over photographs of Paris and paintings of outer space and alien landscapes.
The whimiscal soundtrack is a major highlight and could stand on its own as a major piece of musique concrete: light little metalloid melodies jostle for attention with sparse spoken word monologues from the young woman and the pet owl, and various sound effects such as firing bullets where appropriate in the plot.
I wish the film had been longer and developed its story more, particularly near the end where the identity of the pilot of the red spaceship is never identified, nor is the reason for the red ship’s battle with the large space rocket explained. The film’s ending is dark and ambiguous, the owl turning out to be an avian psychopompos, and though the finale is as light-hearted and droll as the rest of the film, viewers can’t help but shed tears at all the other wannabe but ultimately failed scientist-heroes our man joins. This may say something about the irrepressible and curious nature of the human spirit, that despite its often vain attempts to go beyond dull conformist or even oppressive society, people will continue to strive to reach for the heavens – and some day, someone will succeed in breaking away.