The Hand

a little potter. and his plant. a huge hand. and a statue. one of the most impressive animation. for the simplicity of great art. and for its status of warning. against totalitarian regime. about the resistance against it. about forms of freedom. and its price. so, more than a film. a document. and a testimony. about art as form of free speech in dark ages. this detail does "Ruka " special. a film about fragility. and about its delicate force. as inspired support. for reflection.

Jiøí Trnka made his last animated short an indictment of totalitarism, which caused him trouble in his native Czechoslovakia. The elements are few, the symbolisms simple, and his trademark ornaments almost absent here, allowing the viewer to concentrate on the fable. A man in his room dedicates to pottery and to take care of his only plant. But suddenly a huge hand enters the room and orders him to make a statue of itself. The man refuses and he's persecuted by the ominous gloved hand. In these days, where the impression of reality factor seems to be erased from most animations that try to replace the real world, it is refreshing to watch a film, which makes its technique part of the enjoyment.

One of the few truly captivating short films that conveys every plot point or social message as articulately as if spoken but entirely through images and sound.

The animation is slick, eerie and beautiful, the juxtaposition with live action is vivid but still seamless.

A haunting, pertinent and very poignant experience.

Jiri Trnka had/has a very good reputation in his field for very good reason. He did some amazing work, such as 'Bajaja', 'A Midsummer Night's Dream', 'The Song of the Prairie' and 'Story of the Bass Cello'. And even lesser efforts such as 'The Merry Circus' and (for me) 'The Emperor's Nightingale' were still pretty impressive in many areas. 'The Hand', his last film, is a very atypical film for him and some may argue if familiar with his style that it doesn't feel like Trnka.

Which is what makes 'The Hand' so fascinating, often "it doesn't feel like" is associated as a criticism but actually it was an interest point. While other efforts of his are more accessible, especially all of the above, 'The Hand' gets my vote as his best (as well as his most personal, boldest and darkest) and what a film to go out on. It is very understandable as to why it caused a stir at the time, with the subject being so daring and ahead of the time and its shockingly pull no punches approach to it.

'The Hand' boasts truly beautiful and creepy visuals, have not seen such a vividly scary depiction of oppression for anything on film and certainly in any form of animation. The stop motion is simple but very atmospheric and never cheap, especially for the omnipresent hand. It is also very hauntingly scored and the live action is seamless.

Admittedly the messaging may not be subtle (inevitable though considering the subject), but it does bring out a lot of tension in a way that had never been seen before in anything else by Trnka and is presented very articulately. Not beating one around the head while effectively giving a sense of unease and dread.

In terms of atmosphere, 'The Hand' is a triumph. The depiction of oppression and totalitarialism (a subject that has always been topical and relevant) is quite terrifying and uncompromising, the subject was very daring back then and the execution of it is too. No wonder people felt uncomfortable watching it.

Heavy in symbolism 'The Hand' may be, but it is symbolism that has a lot of unsettling and thought-provoking meaning and is not simplistic, too confusing or ham-handed. Things that can be the case with symbolism. Still cannot believe that something without any dialogue was made in a way that is this powerful (a prime example of atmosphere speaking a lot louder than words). Never has a hand, a glove or any inanimate object been this unsettling or sinister.

The hannequin puppet may be one-dimensional in personality, but the emotions in the animation are more varied and nuanced than one would think.

Overall, brilliant and what a swansong for Trnka or for anybody. 10/10.

The Czechs have long been famed for their animation, its deceptive cuteness making them palatable to most Westerners who will discern in them a critique of life under totalitarianism, although the staff at Disney doubtless found Uncle Walt just as intrusive a backseat driver.

In his final film Jiri Trnka plainly had plenty of baggage to get off his chest. The symbolism in employing a hand is vividly conveyed as it offers the frustrated hero a variety of blandishments - naturally including a television set - as it switches from fussily overbearing to seductive, complete with garter belts and nail varnish.