The Wild Swans (Russian: Дикие лебеди, Dikiye lebedi) is a 1962 Soviet traditionally-animated feature film directed by the husband-and-wife team of Mikhail Tsekhanovsky and Vera Tsekhanovskaya. Unusual for Soviet films of this period, and especially for animated films, it was filmed in widescreen. It was produced at the Soyuzmultfilm studio in Moscow.
(The Crow explains to Lisa that there is a way to reverse her brother's "swan" curse.)
Directed by Vera Tsekhanovskaya and Mikhail Tsekhanovsky
Written by Yevgeniy Ryss, Leonid Trauberg, Mikhail Volpin (lyrics)
Music by Aleksandr Varlamov
Editing by V. Tutubiner
Release date(s)1962 (USSR)
Running time 60 minutes
* Note: There are no English subtitles, but the film is based on the story of the same name by Hans Christian Andersen. See English plot summary following.
In a faraway kingdom, there lives a widowed King with his twelve children: eleven princes and one princess. One day, he decides to remarry. He marries a wicked queen who was a witch. Out of spite, the queen turns her eleven stepsons into swans (they are allowed to become human by night) and forces them to fly away. The queen then tries to bewitch their 15-year old sister Elisa, but Elisa's goodness is too strong for this, so she has Elisa banished. The brothers carry Elisa to safety in a foreign land where she is out of harm's way of her stepmother.
There, Elisa is guided by the queen of the fairies to gather nettles in graveyards; she knits these into shirts that will eventually help her brothers regain their human shapes. Elisa endures painfully blistered hands from nettle stings, and she must also take a vow of silence for the duration of her task, for speaking one word will kill her brothers. The king of another faraway land happens to come across the mute Elise and falls in love with her. He grants her a room in the castle where she continues her knitting. Eventually he proposes to crown her as his queen and wife, and she accepts.
However, the Archbishop is chagrined because he thinks Elisa is herself a witch, but the king will not believe him. One night Elisa runs out of nettles and is forced to collect more in a nearby church graveyard where the Archbishop is watching. He reports the incident to the king as proof of witchcraft. The statues of the saints shake their heads in protest, but the Archbishop misinterprets this sign as confirmation of Elisa's guilt. The Archbishop orders to put Elisa on trial for witchcraft. She can speak no word in her defence and is sentenced to death by burning at the stake.
The brothers discover Elisa's plight and try to speak to the king, but fail. Even as the tumbril bears Elise away to execution, she continues knitting, determined to keep it up to the last moment of her life. This enrages the people, who are on the brink of snatching and destroying the shirts when the swans descend and rescue Elise. The people (correctly) interpret this as a sign from Heaven that Elise is innocent, but the executioner still makes ready for the burning. Then Elise throws the shirts over the swans, and the brothers return to their human forms. The youngest brother retains one swan's wing because Elise did not have time to finish the last sleeve. Elise is now free to speak and tell the truth, but she faints from exhaustion, so her brothers explain. As they do so, the firewood around Elise's stake miraculously take root and burst into flowers. The king plucks the topmost flower and presents it to Elise and they are married.
Widely regarded as a masterpiece of Spanish cinema, this allegorical tale is set in a remote village in the 1940s. The life in the village is calm and uneventful -- an allegory of Spanish life after General Franco's victory in the Spanish Civil War. While their father (Fernando Fernán Gómez) studies bees in his beehive and their mother (Teresa Gimpera) writes letters to a non-existent correspondent, two young girls, Ana (Ana Torrent) and Isabel (Isabel Telleria), go to see James Whale's Frankenstein at a local cinema. Though they can hardly understand the concept, both girls are deeply impressed with the moment when a little girl gives a flower to the monster. Isabel, the older sister, tells Ana that the monster actually exists as a spirit that you can't see unless you know how to approach him. Ana starts wandering around the countryside in search of the kind creature. The film received critical accolades for its subtle and masterful use of cinematic language and the expressive performance of the young Ana Torrent. ~ Yuri German, Rovi (Rotten Tomatoes)
The Spirit of the Beehive (1973)
El espíritu de la colmena (original title)
Ana: [unable to sleep] Isabel?
Isabel: [opening her eyes] What?
Ana: [whispering] Tell me what you were going to tell me.
Isabel: [whispering] About what?
Ana: The movie.
Isabel: Not now... Tomorrow.
Ana: Now... You promised. Why did he kill the girl, and why did they kill him after that?... You don't know - you're a liar.
Isabel: They didn't kill him, and he didn't kill the girl.
Ana: How do you know? How do you know they didn't die?
Isabel: Everything in the movies is fake. It's all a trick. Besides, I've seen him alive.
Isabel: In a place I know near the village. People can't see him. He only comes out at night.
Ana: Is he a ghost?
Isabel: No, he's a spirit.
Isabel: Like the spirit Dona Lucia talks about?
Isabel: Yes, but spirits have no bodies. That's why you can't kill thenm.
Ana: But he had one in the movie. He had arms and feet. He had everything.
Isabel: It's a disguise they put on when they go outside...
Ana: If he only comes out at night, how can you talk to him?
Isabel: I told you he was a spirit. If you're his friend, you can talk to him whenever you want. Just close your eyes and call him... It's me, Ana... It's me Ana...
[they hear what sounds like ominous footsteps and are silent]