Iko Iko Poetry in animation, so I would call this film, each image is emotion, images are repeated, emotions are repeated, a curse and a blessing. Music, shadows, movements, everything points to the state of the human soul. The wolf is the witness, the spirit of nature in us, it becomes Dante traveling through hell or paradise, shattered moments of human souls. Participating curiosity in each of our state, we are the wolf, life grows, we are the wolf, lives are destroyed. The moments of happiness, the elusive happiness, a reality that stitching dreams, sadness, soul leaking through every scene, quietly and toxic. The wolf is the narrator, he survives, he is witness in stories of our souls, in our lost mirror, by which we look at our misted life.Excellent film, my first meeting with Yuriy Norshteyn work. And what a movie. I'm really deeply touched by this masterpiece.

tieman64 Declared the "best animated film of all time" in 1984 by the Academy of Motion Picture Arts and Sciences, the "greatest animated film of all time" at the 2002 Zagreb Festival, and "the second best animated film of all time" at the 2003 Laputah Animation Festival, Yuriy Norshteyn's "Tale of Tales" nevertheless, like most of the director's work, remains virtually unknown outside of Russia. Norshteyn's an "animator's animator", cherished mostly by those who share his profession."Tale of tales" revolves around a little grey wolf. The character's based on the wolf in "The Little Grey Wolf Will Come", a popular Russian lullaby. There the wolf was a figure of mischief who kidnaps babies. Here he is presented warmly (and even protects babies). Hugely symbolic, the film watches as the wolf bounces from one odd situation to the next, scenes arranged like a series of hazy dreams, memories or half-recollections, in which sequences seem to trigger successive memory sequences. In this regard the film heavily resembles Tarkovsky's "The Mirror". Its plot contains three overlapping sections, one of which focuses on memories, the other upon the "contemporary" world, and the other upon a happy, idealised dream world. The film shifts fluidly between these three worlds, and presents a symbolic portrait of Russia, spanning from the 19th century, through to the Civil Wars of the 1920s, to the post war period of Norshteyn's youth and finally to the 1970s.Most of what the film depicts will fly over the heads of those unfamiliar with Russian history. One must remember that Stalinist socialist realism severely restricted the space in which creative intellectuals could operate. Symbolism, with its emphasis on the metaphysical, the irrational and the mystical, was then seized upon by many Russian artists, who sought to free themselves from socialist realism's straightforward, pragmatic purpose of disseminating the Communist message. For this reason the state sought to ban even showings of "Tale of Tales", but public protests and strategic editing by Norshteyn prevented this from happening. Still, much of the film deals with national inferiority complexes, the effects of social and technological changes and the various freedoms which Russia, still ruled by autocracy, lacked. While the West was typically painted, in Russia, as an ageing and degenerate place, mired in materialism and an overdeveloped sense of rationalism unanchored to any higher truth, Norshteyn's film, while not celebrating the West, questions whether Russia is destined to deliver itself or even others from various debilitations. The film's final point is fairly simple: the belief that eternal happiness is not found in state ideology but in family life, and that fulfilment comes from within and not from the involvement in the building of communal societies. In the way he celebrates the everyday, the mundane, promotes an individualistic approach to locating happiness, Norshteyn is openly defiant of the collectivist spirit of socialist realism. As the Soviet Union crumbled, Norshteyn would later question the position he takes in this film.Of course unless one reads the film's barrage of very abstract images - old wooden chairs, rejected sewing machines, Napoleon hats on adults and kids (tyranny seeding the future), crumbling communal apartment buildings, lines of cars speeding away from old Russia and into new Russia, flaming apartments etc – this message flies over the heads of most who see the film. What one chiefly appreciates is therefore the film's unusual mood, with its primitive shapes and shadows, its Bunraku doll-theatre visuals, its rough-hewn style, its hand-made charm, its aura of ink, oils and card, its unique lighting and "depth effects" and its powerful, mysterious and creepy quality. You've never seen anything quite like this, thanks largely to a fairly unique process used by Norshteyn. Unlike most animators, he utilises a technique in which cards are lit with practical lights and in which different segments of each animated "cell" are "stuck" to different, independently moving planes of glass. This lends his films a fairly sophisticated sense of three dimensional depth, and of flickering, tangible light, both of which bely Norshteyn's primitive shapes.9/10 – Worth two viewings.

Howard Schumann Grand Prize winner at the Zagreb World Festival of Animated Films Russian director Yuri Norstein's Tale of Tales (alternately titled The Little Grey Wolf Will Come) was named by the 1984 Animation Olympiad jury at the L.A. Olympics as the greatest animated film of all time. Written by Ludmilla Petrushevskaya and Norstein, like Tarkovsky's Zerkalo (The Mirror), it consists of fleeting images, snippets of memory from the director's life. According to Norstein, the film was inspired by the poem Tale of Tales by Nazim Hikmet:"We stand above the water - sun, cat, plane tree, me and our destiny. The water is cool, The plane tree is tall, The sun is shining, The cat is dozing, I write verses. Thank God, we live!"The film opens with a grey wolf singing a Russian lullaby to a baby in a cradle:"Baby baby rock-a-bye On the edge you mustn't lie Or the little grey wolf will come And will nip you on the tum Tug you off into the wood Underneath the willow-root."Backed by an original score by Mikhail Meerovich and the music of Bach and Mozart, images roll by, some repeated during the film, without any apparent connection: a sad eyed grey wolf nurturing a little baby, a boy eating a green apple, then feeding it to the crows, a passive bull skipping rope with a small girl, men and women's dancing interrupted by soldiers, a woman sitting on a bench with her drunk husband, a man and his son wearing Napoleon hats ostensibly going off to war, women mourning the death of loved ones in the war, apples falling in the snow, among others. Norstein describes the film as being "about simple concepts that give you the strength to live."Claire Kitson, former Commissioning Editor of Animation for the UK's Channel 4, in her book about the film: Yuri Norstein and Tale of Tales – An Animator's Journey by Clare Kitson. London, U.K., & Bloomington, IN: John Libbey & Indiana University Press, 2005), says that the images are not metaphors but actual events in the director's life. For instance, the woman sitting in a bench with a drunk husband comes from a couple casually spotted by co-writer Lyudmila Petrushevskaya, the apple from a happy and tasty experience of Norstein eating an apple while walking in the street during the winter, and the old house from the actual house that he dwelled in during his childhood. But she warns that "the film is about memory and ...is also constructed like a memory" and adds: "this is achieved by the construction of a set of parallel worlds: the old house with, nearby, an old streetlight and the setting for wartime scenes; the poet's world, where a fisherman's family also lives and a bull and a walker come to visit; the snowbound winter world of the boy and the crows; and the forest next to a highway, where the Little Wolf makes his home under the brittle willow bush. In short, we must appreciate bull, poet, wolf, house, snow and so on not like metaphors of something else, but like bricks in a palace, notes in a symphony."Selecting it as one of the fifteen greatest "seeking" films of all time, directors Gregory and Maria Pears described it on their website www.cinemaseekers.com as follows: "Through its philosophical depths, its visionary language and its use of sound and music, it raises animation to the level of the very best art cinema. Norstein is a consummate artist, who insists on painting every frame himself. The result is the totally unique evocation of his spiritual world that could only have been rendered through animation - no other cinematic form would have sufficed." Enigmatic, magically beautiful, and very moving, Tale of Tales is a work of art that you cannot figure out but can only experience just by letting it roll over you like a warm breeze.The 27-minute film is available on You Tube with English subtitles.http://www.youtube.com/watch?v=b_q3WoYawNI

lixinovich Great film. The scene of child with birds remind me the almost same scenes form Andrei Tarkovsky's "the Mirror". I see this film on DVD(the collection of Russian Animation films), the effect is marvelous! The total film like a dream, sometimes make you feel bitter, sometimes smile with tears. I like the prelude and fuge by Bach in this film, and the tango music is also used in Nikita Mikhalkov's film " Burnt by the Sun". The Great film(not only the animation film) I have ever seen.