Fascinating mix of animation and live action in line with Borowczyk's systematic motifs of observation as a metaphor for desire. Placed within an unambiguous setting administered instrumentally (the wonderful squeack of automated processes), the assembly processes waver between fatal instruments of torture and nuclear Armageddon to the age of mechanical reproduction: of sex and of the body. Funnily irreverent, too.
I feel any extended piece of surrealism can simultaneously have the highest highs and the lowest lows, and this is one such work. At its worst, it does get rather repetitive and frustratingly nonsensical. However, at its best, it's extraordinarily clever and showcases a unique vision in the animation genre. Overall, I am glad I saw this one-of-a-kind film.
Mr. and Mrs. Kabal's Theatre is an interesting animated film. As far having a story line, the film was a bit confusing to follow but recurring elements help the viewer to get a sense of what is going on. By far the best thing about this film was the animation style and the use of real images. Also the sound really helped to tie together the film.
Lovely use of mixed media with lots of character. The animation is overwhelmingly charming and awkward with lovely quirks that happen rather frequently to entertain the audience. It looks as though this not only inspired Monty Python but also Stephen Hillenburg as well. Even though the plot is semi-existent there are several reoccurring themes and objects to help tie it in together. An entertaining watch.
Like most Avant-Garde film's, Mr. and Mrs. Kabal's Theatre plays heavily on the role's of marriage in peoples lives as while as creating a sense of satire on the many realities of being human. Many scenes are open to interpretation, with color and cinematography enhancing or evading many objects the audience should and shouldn't pay attention to. Despite the outlandish narrative, there is a much more hidden meaning.
The show in a show is uniquely animated with awkward yet rhythmic editing and multi media stop motion. His work clearly extracts the deep, strange, quirkiness that human relationships can possess from reality, but the film is not grounded to any reality. The outstanding thing about Kabal’s theatre is Borowczwk’s usage of experimental structure and imagination to challenge the conventions of full length films.
(1.5 stars) Begins really awesome. An interaction between animator and the animated. Nice timing and well-staged/created. Should have ended there. Well... at the very least... within 20 minutes of the setup. It goes on interminably with the same thing over and over and over and over again. It's 80-minutes of repetitiveness that ruins its pace. This type of film should be short form. Fun, but too much of the same
I found the tactile noises immensely gratifying, but I am a conspirator of pleasure. The repeated motif of Kabal peeping at ladies through his binoculars was all a bit Benny Hill, but the same could be said of contemporaneous 'Flying Circus' (possibly because Borowczyk influenced Gilliam's animations). The obtuse vaguely sinister stubbornly silent objects reminded me of Edward Gorey, tho obviously far less a-sexual.
Borowcyzk's feature length animation was his last foray into the field as he moved deeper into carnality with his subsequent films. Though little happens in this one the animation is somewhat absurdist and keeps one entertained. Certainly must have been seen and admired by a young Terry Gilliam pre-Python.
Brilliant piece that plays with perfection with cinema, manages to be modern in the inclusion of the audience as a character, crazily creative with images while made with a few transparent films and a few bits of shoestring. It discusses what life is, what cinema is, and talks about how Mr Kabal and Ms Cabal interact in a way that must represent the directors more general feeling. Also, not so gratuitous bimbos.