Showing posts with label Hedgehog in the Fog. Show all posts
Showing posts with label Hedgehog in the Fog. Show all posts

Friday, February 13, 2015

Thomas Merton and a Hedgehog on the Hero's Journey


Trappist Blogging
in Honor of Thomas Merton's
100th Birthday:
Essay 5 of 6 on
"Fire Watch, July 4, 1952,"
the epilogue of 
The Sign of Jonas




Part One:  Fear of the Dark
In Yuri Norstein's enchanting animated short
Hedgehog in the Fog (1975), our hero ventures
into the fog drawn by a beautiful vision.  It is
a classic hero story, where the hero embarks
on a quest that leads to deeper self-knowledge.
Hedgehog in the Fog shares much in common
with Thomas Merton's "Fire Watch," where
Merton's solitary trek through the monastery
 leads to revelation.

Defying traditional expectations, Thomas Merton depicts the dark as spiritually good.  This is in the nature of a paradigm shift—and it’s not easy to cause a shift in anything as hidebound as a 2,000- year-old religion anchored to a set of ancient sacred texts.

In the very first paragraph of “Fire Watch, July 4, 1952,” Merton writes:

“You (God) have seen the morning and the night, and the night was better.”

Merton’s God blesses the darkness.  This is a concept that would seem to fly in the face of much scripture:

The hero's journey continues.
Top frame: The hedgehog sees a beautiful
vision of a white horse in the fog.  Middle
frame:  Unseen by the hedgehog, the horse
sniffs a leaf that that the hedgehog has
dropped.  Bottom frame:  Safely home, the
hedgehog is haunted by the vision of
the horse.  In "Fire Watch," Merton
pursues an unattainable intimacy,
yearning to receive answers from God
to his existential questions.
“And God said, ‘Let there be light’; and there was light.  And God saw that the light was good; and God separated the light from the darkness.”  (Note:  Light good, dark bad.)
Genesis 1:3-4

“So Moses stretched out his hand toward heaven, and there was thick darkness in all the land of Egypt three days… but all the people of Israel had light where they dwelt.”  (Note:  Light good, dark bad.)
Exodus 10:22-23

“The people who walked in darkness have seen a great light; those who dwelt in a land of deep darkness, on them has light shined.”  (Note:  Light good, dark bad.)
Isaiah 9:2

“The light shines in the darkness, and the darkness has not overcome it.”  (Note:  Light good, dark bad.)
John 1:5

“Let us then cast off the works of darkness and put on the armor of light.”  (Note:  Light good, dark bad.)
Romans 13:12

While positive passages about darkness exist in the Bible, they are few and far between.  Negative views of darkness overwhelmingly predominate.

The hero's journey continues.
Wandering lost in the fog, hoping to see the
horse again, the hedgehog is frightened by
mysterious beasts of the night:  an owl, a
bat, and an elephant, dimly seen.  As he
wanders through the monastery at night,
Merton evokes a haunted house:  "Shadows
move everywhere... There are faint sounds
in the darkness, the empty choirstalls creak
and hidden boards mysteriously sigh."
But Merton saw through this darkness surrounding darkness to realize that the light-dark dichotomy was always intended as metaphor, and that sometimes metaphors must change with the times.  Darkness served as a favorite image in ancient times because it was universally known and feared.  Our contemporary fears of darkness are much milder by comparison.  If fear begins to seize us, we can simply flick on a light switch, performing our own, “Let there be light.”

When the books of the Bible were written, intense anxieties about the night, the darkness, and the wilderness were very real and reasonable. Communities banded close together to protect themselves from the dangers that lurked outside.  Assurances of safety dissolved when the sun sank below the horizon. The civilized space contracted.  People gathered together within known, familiar spaces... and they barred the doors.  The wilderness outside the city walls, home to dangerous animals and bandits, advanced closer in the darkness.  Any venture out into the dark carried considerable risk.  Better to wait inside for the night to pass and a new day to dawn.

A twentieth century man living in the first full century of electric illumination, Thomas Merton was open to finding new metaphors to express the old truths.  For him, the night was simply an unexplored space—like the terra incognita at the edge of an old map.  With less to fear, he was more aware that God was fully present in the dark, blessing the night just as he blessed the day.

At the close of “Fire Watch,” Merton prophetically speaks for God:

The Voice of God is heard in Paradise:
“What was vile has become precious.  What is now precious was never vile.  I have always known the vile as precious for what is vile I know not at all.”
“Fire Watch, July 4, 1952”
Thomas Merton

In the new metaphor, there’s nothing to fear in the dark.  The night assumes a new dignity, now recognized as precious before God.

The hero's journey continues.
Despite his fears, the hedgehog ultimately finds only kindness and
compassion in the fog.  Left: A dog (with very scary jaws) returns the
hedgehog's lost bag to him.  Right: When the hedgehog falls into a
stream, a fish offers him a ride back to safety.  In "Fire Watch,"
Merton writes that the animals in the wilderness outside the monastery
are misunderstood.  "That is why some people act as if the night and the
forest and the heat and the animals had in them something of contagion,
whereas the heat is holy and the animals are the children of God..."

The hero's journey at its most sublime.
Perhaps the most beautiful of all the images in Hedgehog in the Fog,
the hedgehog uses a firefly to light his way as he moves forward
through a cathedral of trees.  The world appears sacred.  In "Fire Watch,"
Thomas Merton writes:  "Now the huge chorus of living beings rises up
out of the world beneath my feet:  life singing in the watercourses,
throbbing in the creeks and the fields and the trees, choirs of millions
and millions of jumping and flying and creeping things.  And far above
me the cool sky opens upon the frozen distance of the stars."





Watch Hedgehog in the Fog...
Purchase the The Complete Works of Yuri Norstein DVD at Amazon or other vendor.
Purchase Masters of Russian Animation 2 DVD at Amazon or Barnes & Noble.
Rent Masters of Russian Animation 2 at Netflix or other rental service.

Reference Source
The Sign of Jonas by Thomas Merton

Click here for the entire six-part Fire Watch series.

© 2015 Lee Price

Wednesday, September 26, 2012

Animating the Quest


Cartoon-blogging, essay 7 of 21 blog entries on
250 great animated short films


Hedgehog in the Fog (1975), directed by Yuriy Norshteyn.

A deliberate movement from Point A to Point B.  That’s the quest in a nutshell.  Point B is the goal — the purpose of the movement is ostensibly to achieve the goal.  And did I mention there may be monsters between Points A and B?  In fact, there’s a very good chance of it.

In the immortal quest-promising words of Carl Denham in King Kong (1933), “It’s money and adventure and fame.  It’s the thrill of a lifetime and a long sea voyage that starts at six o’clock tomorrow morning.” 

One more thing about Point B…  The object achieved at Point B may not be the real point of the quest.  Even though the hero or heroine may remain unaware of this, the real goal is personal transformation.  If the hero completes the journey by returning to Point A, the hero returns a changed person.

The quest goes way back in time.  Composed nearly 3,000 years ago, Homer’s Odyssey is a classic quest.  Way before that, there’s even a chance that long-forgotten quest stories lurk behind the beautiful cave paintings left by our prehistoric ancestors.  The quest is in our blood — it’s part of our DNA.  So naturally, as the age of movies dawned, the first generation of filmmakers turned to the quest for inspiration.

The epic nature of quests may fit better with the feature film than the short.  Many animated features are quest stories.  Lotte Reiniger’s amazing animated feature film The Adventures of Prince Achmed (1927) is centered on the quest for a magic lamp.  Disney’s Pinocchio (1940) follows the title character as he searches for transformation.  Pinocchio is on a rite-of-passage quest — the wooden puppet equivalent of the Native American vision quest that transforms a boy into a man.  The oeuvres of Disney, Pixar, and Studio Ghibli are filled with similar quests.

But short animated films aren’t entirely out of the picture.  There’s a lot that a skilled animator can achieve with a quest theme in a very short period of time.

Captain Grogg’s Wonderful Journey / Kapten Groggs underbara resa (1916):  Technically, Captain Grogg’s Wonderful Journey is more of a parody of a quest than a quest proper.  The hard-drinking and cantankerous Captain Grogg sets off on a picaresque adventure where anything can happen.  He flirts with a mermaid at sea, has his ship marooned by a whale, gets chased by a lion, joins up with the island natives, and romances a native princess on the island shore by the light of the full moon.

Victor Bergdahl’s animation is extraordinarily fluid and detailed for 1916.  This was the first of 13 popular Captain Grogg shorts that he made between 1916 and 1922.  This first one sets the tone for the rest.  The adventures are all in fun and nothing is really at stake, even when Grogg finds himself devoured by a lion.  The visual treatment of the natives is exaggerated in a racist manner, but the film has no qualms with a fairy-tale happy ending uniting the Swedish Grogg and the black island native.  It’s a quest in the footsteps of the real-life quest of impressionist artist Paul Gauguin, whose Point B turned out to be Tahiti.  Fade out on Gauguin under a full moon with a Polynesian beauty.



Hedgehog in the Fog / Yozhik v tumane (1975):  Yuriy Norshteyn’s Hedgehog in the Fog is a miniature (hedgehog-sized) masterpiece.  The imagery is haunting and the animation is dazzling.  The story is a quest, reduced to its most basic ingredients.  Following a vision of a white horse, our hedgehog hero descends into the fog.  A series of adventurous encounters ultimately leads him home, but with a transformed view of himself and the world.  The hedgehog has returned from a vision quest.

While Hedgehog in the Fog closely follows the structure of a classic quest narrative, the adventures themselves remain wonderfully elusive.  We never learn what the creature is that carries the hedgehog on its back through the water.  Animals like elephants, dogs, and bats mysteriously appear and then sink back into the fog.  The white horse functions as a symbol — and it is an inspired quest goal — but the meaning of the horse remains unexplained.  The hedgehog’s search for understanding takes place in a fog.

The ending is surpassingly beautiful.  The hedgehog returns home for a joyful reunion with his bear cub friend, yet the film closes with the hedgehog alone with his thoughts, forever changed by his quest.  Although small in scope and muted in tone, Hedgehog in the Fog is one of the most authentic portrayals of the quest ever captured on film.


Support the artists and the art of the animated short film! Hedgehog in the Fog is available for purchase on The Complete Works of Yuri Norstein.


Death and the Mother (1988):  Ruth Lingford’s Death and the Mother is a classic quest tale adapted from Hans Christian Andersen’s “The Story of a Mother.”  After a personified Death takes a sick child from its home, the mother sets off on a quest to retrieve her child.  Along the way, the mother undergoes a series of terrible and wound-inflicting adventures.  A thorn bush tears her skin and her eyes fall into the water as she cries by the side of a river, leaving her sightless.  Reduced to a ragged blind beggar by the time she catches up with Death, she courageously makes her demand.  The end of her quest turns out to be a sad wisdom.

Lingford’s treatment of the story is based on traditional woodcuts.  Everything is conveyed visually, with no dialogue to break the mood — we do not hear the mother’s cries and sobs.  Partly because of this approach, the film avoids falling into the extreme sentimentality that would be natural to the story.  Instead, we get to marvel at the artistry of this primal world and appreciate the classic elements of the quest, as they fall into place one by one.


Support the artists and the art of the animated short film! Death and the Mother is available for purchase on The Best of British Animation Awards, Vol. 2.


Here’s a sampling of a few other films with quest elements from our list of 250 great animated short films.  These are some of the greatest tales of adventure on our list, but the quest narrative always suggests there is deeper meaning behind the chases, battles, and rescues.  Ultimately, wisdom must emerge from the experience.  From the safety of the campfire, the hedgehog will peer into the darkness beyond, haunted by his vision of the white horse.  “How is she, there… in the fog?”

What’s Opera, Doc? (Chuck Jones, USA, 1957) 
Little Tadpoles Search for Mama / Xiao ke dou zhao ma ma (Wei Te, China, 1960) 
The Ash-Lad and the Good Helpers / Askeladden og de gode hjelperne (Ivo Caprino, Norway, 1961) 
Dojoji Temple (Kihachiro Kawamoto, Japan, 1976) 
There Once Was a Dog / Zhil-byl pyos (Eduard Nazarov, USSR, 1982) 
The Monk and the Fish / Le moine et le poisson (Michael Dudok de Wit, France, 1994) 
The Old Man and the Sea (Aleksandr Petrov, Russia, 1999) 
Brothers Bearhearts / Vennad Karusüdamed (Riho Unt, Estonia, 2005) 
The Mysterious Geographic Explorations of Jasper Morello (Anthony Lucas, Australia, 2005) 
The Danish Poet (Torill Kove, Norway/Canada, 2006) 
The Legend of Shangri-La (Chen Ming, China, 2006) 
Peter & the Wolf (Suzie Templeton, UK, 2006) 
The Tale of How (The Blackheart Gang: Ree Treweek, Jannes Hendrikz & Markus Wormstorm, South Africa, 2006) 
My Childhood Mystery Tree (Natalia Mirzoyan, Russia, 2008) 

© 2012 Lee Price