The Man Who Planted Trees

Animation is not a favorite genre of mine but this film took my breath away. I believe I first saw it at a film festival. The animation is done with the light, breathy movements of an impressionist painter. The narration of Christopher Plummer in the English version is so fitting in tone and style to the story, I became totally engrossed in every word. The story itself is beautiful; a soft, warm story, with just a touch of something timeless and magical to bring a tear to one's eye. It touches the soul. I pray that this film will once again become available for purchase; I was fortunate to purchase one copy of the English version in VHS but it has since become unavailable.

I can't remember the last time I was so moved by an animated film. It is truly a work of art, lyrical, and inspired. The story is a very nice parable, but the way it was told by the artist here is incredibly moving. Many years of work (eight?)by the team of animators headed by Frederick Back created this 30-minute film. Only the loving product of the heart and of the right brain could yield art like this. Christopher Plummer's voice evokes the wise elder of the film's subject, and the music provides a background that blends well with the gentle crayon and charcoal drawings that form this work, but it is the drawings that are the centerpiece, in my opinion, although some might say it was the story. The work moved me to tears without any of the manipulation of most modern films. I could imagine children and teenagers being inspired and moved by this, also, and I think it should be shown to all children. I echo other viewers' recommendation that this would make a wonderful gift for someone you love, at any age.

Possibly the most beautiful story ever written. Utter perfection in it's simplicity. Sheer poetry to rival the greatest of all bards. The author should receive a special oscar for giving this peaceful, wonderful tale to the world. If it were out on video I would purchase it in French and English. No ecological group could argue any better for what mankind can be capable of, but so often finds itself lacking.

Frédéric Back's 'The Man Who Planted Trees (1987)' is the one short film that has been fervently recommended to me above all others, and I'm surprised that it took me so very long to get around to it {fortunately, my stubbornness proved beneficial, since I was able to hold out for a high-quality copy}. My only previous experience with Back was his first Oscar-nominated effort 'All Nothing (1980)' in May 2007, and I enjoyed its artistry, even if the basis in Creationism kept me distanced from its central themes. This effort, arguably Back's most celebrated, tells the story of Elezeard Bouffier, an old shepherd who singlehandedly created a forest through decades of planting seeds. Though I initially assumed that Bouffier was a real-life figure, he was, in fact, a fictional creation of author Jean Giono, who apparently perpetuated the misconception. Either way, this shepherd's story is powerful and inspirational, Back's animation giving life to Giono's uplifting tale.

When I recall Frédéric Back's work, the first contemporary animator who comes to mind is Aleksandr Petrov, whose paint-on-glass animation allows similar dream-like visuals that morph from one image to another like a shifting desert landscape. 'The Man Who Planted Trees' doesn't resemble a moving oil painting, as does Petrov's work, but instead bears a slightly more minimalistic pastel-sketching style. Even so, the attention-to-detail is simply staggering. For the film's opening half, the colour palette is largely sepia-toned, emphasising the sheer barrenness of the desert, with bare rocks and coarse weeds lashed by a dry, bitter wind. As Bouffier plants his trees, Back gradually introduces colour into his work, symbolising the physical and spiritual rebirth of the region. My single slight criticism with the film is that the narration should probably have been used more sparingly. As warm as I found Christopher Plummer's voice, I think that some scenes would have proved more powerful had the viewer been left to his own accord, to absorb for himself the breathtaking beauty of Back's animation.

'The Man Who Planted Trees' serves, I think, as a fine counterpoint to Back's previous short film, 'All Nothing.' In the latter, a dissatisfied Mankind rapes and pillages the life that his Creator has placed upon the planet. In this film, Mankind gives back to nature; rather than destroying life, Bouffier creates it himself, even as two World Wars rage overhead. On at least two occasions, the narrator {Christopher Plummer in the English-language version, Philippe Noiret in the French} remarks that what Bouffier accomplished makes him something akin to God. Indeed, the government officials who arrive to observe his forest can think of no other explanation for the miraculous rebirth, declaring it an astonishing natural phenomenon. Nobody can believe that all this joy could have been created by the hand of a single man. I interpreted this as a touchingly humanist statement. After all, if an old shepherd like Elezeard Bouffier can give rise to such life, why, indeed, do we need a God at all?

Frédéric Back's 30 minutes long Oscar winning animated film "The Man Who Planted Trees" is astounding work of art with its beautiful story and the images that equal it. The story written by the French writer Jean Giono that tells about Elzeard Bouffier, a quiet shepherd, and later bee keeper who never talked much but over 35 years of hard work singlehandedly cultivated a magnificent forest in a desolate area of Provence, France and made it a peaceful and happy home for over 10, 000 people, is highly moving, inspirational, and life-affirming. It makes a viewer proud of what a man can achieve if he is determined to create, not to destroy. Every frame looks and feels not like a flat drawing but like a beloved painting of a celebrated impressionist painter (Monet, Sisley, Morisot, and Pissarro, the "purest" impressionists come first to mind). To achieve this effect, Back worked on unpolished acetates using crayons and modulating the colors. During the film, the colors change dramatically from barren and lifeless desert like palette in the beginning to the tender glowing delicate colors of blossoming eternal Spring in the final scenes. I was absolutely mesmerized by Back's visual style and his ability to beautifully translate such a literally story to the screen and not to lose any of its appeal but on the contrary to enrich it with incredible taste and unique exquisite beauty and tenderness of his images. For the first time, I came across the work of animation that reminded me so much of my all time favorite animated film "Tale of Tales" by Yuri Norstein, artistically and spiritually. It was not surprising for me to find out that Norstein and Back have met, respect and admire each other work and that Norstein studied Back's techniques and took with him to Moscow Back's acetates and coloring pencils that he was going to use while working on his ambitious project, full feature animation "Overcoat".

There is one question that pops up from time to time on the different IMDb boards, "Is there any movie that all viewers would love and cherish"? I am always skeptical and up until tonight used to believe that the universally loved movie simply does not exist. I am happy to admit that I was wrong. I don't think that anyone who saw this little marvel may not be affected by its clear message, its kindness, beauty, and artistry.