I’ve been seeking out obscure films for a good long while now, and sometimes you find an obscure film that is so unbelievably bizarre that you have to compel yourself to watch it, and it was more spectacular that I was perhaps prepared for. This of course is the bizarre Czechoslovakian retelling of Alice in Wonderland, as written and directed by Jan Švankmajer. His vision of the story rejected the conventional fairytale style of previous adaptations, and instead offers an amoral, surreal adventure that defies logic at every turn, and it’s an artistic triumph.
The plot of this film loosely follows the plot of Alice’s Adventures in Wonderland, following a bored Alice narrating herself in what appears to be a series of events that she has no idea how to navigate. She chases a taxidermically stuffed rabbit that suddenly comes to life, and finds herself working her way through Wonderland and its perils. Not many of the familiar characters can be found here, but the white rabbit, Mad Hatter, and the King and Queen of Hearts are here, recreated with what appear to be common household items. It’s also worth noting that the little girl who plays the role of Alice is also voice for all other characters in the film.
There’s only one actor in the whole film, but she manages to deliver a good performance as someone genuinely baffled by her surroundings, though surprisingly clever. The entire him is in Czech (sadly, without subtitles), but I didn’t care, because I didn’t watch this film for the acting. The plot is a very bizarre rendition of the familiar story of Alice, noticeably darker than fans of the old Disney adaptation might be used to, but it’s this unvarnished, sometimes nightmarish slant that makes it superior to all other adaptations if I must be frank.
Adding to this surrealistic twist is the film’s captivating use of stop motion animation, which fluidly creates the impression of a world that is removed from ours, one that comes to life and is ready to pounce on you at any moment. I should note that Švankmajer did not use miniature models to portray the special effects, which is rare and impressive considering the dearth of stop-motion feature films during the time the film was made. The film’s overall style of presentation and production design were also brilliant. The whole film reads like somebody took the book upon which every retelling Alice and Wonderland is based, ripped up the pages and turned it into a kind of abstract art.
And art is pretty much the best word to describe it. The Disney version of Alice was basically a familiar, but almost camp fairy tale that was saccharine to the point one could argue that it’s superficial. This version, however, says “to Hell with all that”, freeing Alice from the hypnotic spell of family-friendly sweetness, taking her to new realms without necessarily deviating heavily from the source material. In summation, it’s a classic of experimental fantasy, and I personally recommend it instead of any other version of Alice in Wonderland.
- Score: 87%
- Grade: A