Delving into the extraordinary world of surreal and innovative stop-motion cinematography, Jan Svankmajer, a recognized Czech Republic filmmaker, comes into focus. Generating a portfolio of twenty-six short films and seven full-length productions, Svankmajer bid the film scene farewell in 2018. However, his intriguing journey started in 1964 with the directing debut of the short film The Last Trick.

Six decades ago, lucky participants at select European film festivals were captivated by his creation – two magicians, on an otherwise empty theatre stage, trying to outperform each other with the use of surreal and strange magical tricks. Their rivalry ultimately culminating in pieces. Utilizing a blend of black theatre techniques, stop-motion animation, and puppetry, this short paved the path for an illustrious career. Svankmajer gained global recognition, provided growth opportunities for others, and left an indelible imprint on many eminent filmmakers.

So, what influenced Svankmajer prior to this remarkable film? How did he hone his dynamic artistic style within the animation realm? And why, even after six decades, is the short film considered pivotal in his repertoire?

Filmmaker Adam Olha with Jan Daňhel, Czech Republic Slovakia 2020
(Cast include Jan Švankmajer, Jaromír Kallista) (Source: Czech Centre London)

Before directing his first scene for The Last Trick, Svankmajer pursued Puppet Set Design and Production at The School of Supplied Arts in Prague from 1950 to 1954. This led him to the puppetry department of the Academy of Performing Arts. He held multiple roles in different theatre communities and was notably, the leader of the Czech Surrealist Commune and founder of the Theatre of Masks. His passion for puppetry and Czech marionette theatre acted as a launch pad for his eminent career as an artist, eventually translating into his first foray into film.

Svankmajer’s tryst with the film industry began with a role as a puppet actor in a short film named Johannes Dr. Faust, under the guidance of Emil Radok. Radok sought to explore puppetry in a short film recounting the life of the renowned German alchemist and astrologer Johann Georg Faust. Leveraging his professional puppetry expertise, Svankmajer gained foundational insight into film production and encountered inspiring artists, thereby paving the way for his eventual transition into the director’s chair.

The Last Trick made its debut at numerous film festivals in 1964, such as the Gran Premio Bergamo in Italy, the Mannheim-Heidelberg International Film Festival in Germany, and the Tours Short Film Festival in France. This marked the beginning of a successful journey in the realm of filmmaking. Svankmajer notably became synonymous with stop-motion animation.

Still from “The Last Trick”

The visual artistry exhibited in The Last Trick, combined with influences from Svankmajer’s theatrical background and the creative minds he mingled with, had a profound impact. It reshaped him as an artist following the film’s festival circuit release.

Svankmajer, who doesn’t necessarily consider himself an animator, undoubtedly ignited a spark with the minimalistic use of stop-motion in The Last Trick. This found him compelling imagery that transcended the possibilities of his puppetry experience and live-action performances. A Game With Stones, his first fully animated short film released in 1965, showcased animations brought to life using various stone minerals and brass items. Svankmajer’s passion for experimenting with disparate objects in animation only grew, with films like Picnic of Weissman (1968), Jabberwocky (1971), and Dimensions of Dialogue (1982) featuring an array of mediums like dolls, clothes, paper, and clay to create surreal imagery and convey complex themes. This unique and captivating approach garnered attention at film and animation festivals worldwide.

After a series of short films, he attempted to adapt Lewis Carroll’s beloved Alice in Wonderland into his first feature film, which premiered in 1988. Unlike previous adaptations, Svankmajer’s interpretation, though heavily influenced by the globally acknowledged Walt Disney Animation, was distinctly his own. With a unique filmmaking style that blended live action and animation, this rendition of Alice in Wonderland offered an ethereal and dream-like experience. It won the award for Best Feature Film at the 1989 Annecy International Animated Film Festival.

His journey continued with various feature films and a few shorts until 2018, culminating with the final film, Insects. The themes and filmmaking strategies employed in The Last Trick were revived in this ultimate production, offering a perfect closure to his illustrious directorial journey. This journey continues to inspire and be discovered by generations of film aficionados and filmmakers.

Alice: An adaptation by Jan Švankmajer

The Last Trick, beyond solidifying Svankmajer’s directorial career and defining his artistic style, also fostered lifelong professional relationships with his collaborators, who later carved out legendary paths within the Czech art scene.

Vlasta Pospislova (1935 to 2022), a key figure in Czech animation, honed her puppet animation skills at the prestigious Jiri Trnka Studio, and went on to work with Svankmajer on The Last Trick. Her animation skills flourished further through collaborations on Jabberwocky and Dimensions of Dialogue. She later directed About Mary and the Wolf Castle and established a prominent presence in European animation.

Svatopluk Maly (1923 to 2018), acted as Svankmajer’s director of photography for several short films and features, the last being Faust – an exceptionally surreal venture and one of Svankmajer’s most celebrated productions. Maly’s collaborations with Svankmajer solidified his reputation as a distinguished cinematographer within the Czech film industry.

Interestingly, The Last Trick also introduced Svankmajer to his future life partner, Eva Svankmajerova (1940 to 2005). She started as the film’s production assistant and ascended to become the art director for many of Svankmajer’s films until her last film, Sileni. Beyond her cinematic contributions, Eva created surrealistic art pieces spanning paintings and ceramics, which continue to be celebrated in multiple exhibitions in the Czech Republic.

Eva Svankmajerova and Jan Svankmajer. Photo credit: Gene Deitch, www.mchabocka.com

Svankmajer’s skill as a seasoned director, distinguishing him as an auteur, garnered attention and admiration from multiple film festivals. With numerous acclaimed awards from these festivals, his work began influencing a new generation of filmmakers worldwide.

Filmmaker Henry Selick, renowned for his unique stop-motion animated American films like The Nightmare Before Christmas, Coraline, and Wendell & Wild, mentioned how Jabberwocky inspired his student days at Cal Arts. An interview with Cartoon Brew revealed Selick’s keen interest in making independent films akin to Svankmajer’s.

Other directors, like Terry Gilliam and Tim Burton have taken inspiration from Svankmajer. The Quay Brothers exhibit their admiration for Svankmajer’s work in their 1984 short film The Cabinet of Jan Svankmajer, a tribute packed with visual references to his unique artistry.

A tribute: The Cabinet of Jan Švankmajer (1984)

Six decades later, Jan Svankmajer’s debut short film The Last Trick remains as one of his most pivotal works. It not only established him as an important artistic film director but also influenced the entire sphere of animation and live-action film production. This piece was the genesis of a plethora of surreal and artistic European animation and the subsequent inspiration for filmmakers worldwide.