Kenneth Anger, “Rabbit’s Moon” (started 1950: long version 1972, short version 1979)
Based on a Japanese myth about a rabbit on the moon, this film comes in two versions: a longer 15-minute version released in 1972 with a soundtrack of love songs laid over the action and a short 6-minute version with just one song “It Came in the Night” by a group called A Raincoat playing twice. The short edited version is quite cute with the bouncy song but I prefer the longer version as the songs seem more appropriate to the story-line and their mood aligns readily with the emotions of the main character Pierrot. The film is done in shades of almost neon blue and purple-blue in the long version and in a narrower range of blues in the short version.
The story is fairly basic: Pierrot (Andre Soubéyran) is enraptured by the full moon and tries to capture it. A friend, Harlequin (Claude Revenant), tries to dissuade him by dancing, juggling and somersaulting and then by bringing over a delectable fairy, Columbina (Nadine Valence), onto the scene to distract the clown. At this point the two versions diverge: in the long version, Harlequin claims Columbina for himself and Pierrot resumes his quest, only to be thwarted violently; in the second version, Pierrot is shocked to discover the object of his desire has been mutilated. Both versions are completely without sound save for the music soundrrack.
As with his other films, there is a lot of symbolism especially in the long version in which mediaeval illustrations of the moon and an eye are inserted into the film as though to convey an esoteric message. The characters possibly represent archetypes that demonstrate some aspect or aspects of Aleister Crowley’s Thelema philosophy, possibly a lesson in the use of magic to achieve certain goals. The use of blue filters puts the film into dreamland territory which suits the actors’ miming and lifts it into the experimental film realm for adults to watch without feeling they are watching a film for children. Characters are borrowed from Italian Commedia dell’arte and conform to that genre’s stock roles of master (Harlequin), servant (Pierrot) and lover (Columbina). The drama that plays out is stagey but very beautiful to watch.
The short version is a light-hearted piece with rapid action and the looping soundtrack and might be considered a family-friendly copy; the long version is darker in tone and message with Pierrot undergoing a major soul-changing transformation. Elements of horror and possibly sadomasochistic homoeroticism can be found in both films, particularly in the longer film where Harlequin assumes a demonic appearance at times. That the same material is used for two very different films in spite of their superficial similarities demonstrates Anger’s skill as a story-teller and educator of sorts as well as his technical abilities in telling a story visually.