The Loon's Necklace | |
---|---|
Directed by | F. R. Crawley |
Written by | Douglas Leechman Judith Crawley |
Produced by | F. R. Crawley |
Starring | F. R. Crawley |
Narrated by | George Gorman François Bertrand |
Cinematography | Grant Crabtree |
Edited by | Judith Crawley |
Music by | Marius Barbeau |
Production company | Crawley Films |
Distributed by | Canadian Education Network Encyclopedia Britannica Films National Film Board of Canada |
Release date |
|
Running time | 12 min. |
Country | Canada |
Language | English |
Budget | $7,000-10,000 |
Box office | $1.5 million |
The Loon's Necklace (Le Collier magique) is a 1948 Canadian film, produced and directed by F. R. Crawley. [1] [2] It recounts the Tsimshian legend of how the loon received the distinctive band of white markings on its neck.
The Loon's Necklace is based on a folk tale known across Alaska, Northern Canada, and Greenland, The Blind Man and the Loon. The variant of the tale used by Crawley, and with the advice of ethnographer Marius Barbeau, was recorded during the early 1930s in British Columbia by National Museum of Canada anthropologist Douglas Leechman. [3]
The film centers around Kelora, a blind Tsimshian medicine man who lived in the British Columbia village of Shalus and spent his time at the river, with the Loon, who he believed was his father. One year, a bad winter left the village close to famine and it was decided that the village would travel to a neighbouring village to trade for food. Kelora warned that this would leave the village, and the Loon, unprotected against wolves, but his warning was ignored. He put on his sacred dentalium shell necklace and chanted sacred songs; this caused magic arrows to appear and kill the wolves. In the spring, Kelora went in search of the Loon and asked that his sight be restored. The Loon had Kelora climb onto his back and swam four times beneath the water's surface. After the fourth swim, Kelora could once again see. In gratitude, he tossed his necklace of shells at the Loon; the collar wrapped itself the bird's neck and a few shells broke off and landed on its back. [2] [4]
Crawley shot the film in Quebec, with a local naturalist as his guide. He filmed the loons in their natural habitat, and used a combination of photography, cell animation and unusual colour and lighting arrangements to achieve the film's mysterious atmosphere. [2]
The film is narrated by George Gorman and François Bertrand, and performed by actors in traditional West Coast First Nations masks in front of a backdrop of brightly coloured oil paintings. [5] The masks, which represent emotion, are the original masks, 100 years old at the time, which were loaned to Crawley by Leechman. They are from the Bering Sea Eskimos, and the Haida, Nootka, Kwakiutl and Iroquois peoples. [2]
The Loon's Necklace was produced by Crawley Films with a budget of between $7,000 (equivalent to $84,000in 2021) and $10,000 (equivalent to $120,000in 2021). It was made for the National Film Board of Canada (NFB), which rejected it, [5] so Crawley sold the Canadian rights for $5,000. to another of his long-standing clients, Imperial Oil.
When the NFB rejected the film, Crawley considered it a failure, but it soon garnered critical praise. By 1949, 100 prints were in distribution in Canada, Imperial Oil distributed another 125 prints to the Canadian Education Network, and Encyclopedia Britannica Films was distributing it in the U.S. It was screened at the 1949 Edinburgh Film Festival, the Salzburg Festival, and the International Exhibition of Short Films in Buenos Aires. In 1950, the Canadian Library Association put it on its list of Best Canadian Films 1935-1950; in 1953, William Chapman and Stanley Kuniz, professors at New York's The New School, introduced the film in a 10-week course titled Art in Motion. By 1952, 1.5 million Canadians had seen The Loon's Necklace; [2] over the next 30 years, when the NFB became its distributor, it earned $1.5 million. [6] [7]
William Norman McLaren, LL. D. was a Scottish Canadian animator, director and producer known for his work for the National Film Board of Canada (NFB). He was a pioneer in a number of areas of animation and filmmaking, including hand-drawn animation, drawn-on-film animation, visual music, abstract film, pixilation and graphical sound. McLaren was also an artist and printmaker, and explored his interest in dance in his films.
Cinema in Canada dates back to the earliest known display of film in Saint-Laurent, Quebec, in 1896. The film industry in Canada has been dominated by the United States, which has utilized Canada as a shooting location and to bypass British film quota laws, throughout its history. Canadian filmmakers, English and French, have been active in the development of cinema in the United States.
Frank Radford "Budge" Crawley, was a Canadian film producer, cinematographer and director. Along with his wife Judith Crawley, he co-founded the production company Crawley Films in 1939.
Nobody Waved Good-bye is a 1964 National Film Board of Canada production directed by Don Owen, starring Peter Kastner, Julie Biggs and Claude Rae. A sequel, Unfinished Business, was released in 1984.
Colin Archibald Low was a Canadian animation and documentary filmmaker with the National Film Board of Canada (NFB). He was known as a pioneer, one of Canada's most important filmmakers, and was regularly referred to as "the gentleman genius". His numerous honors include five BAFTA awards, eight Cannes Film Festival awards, and six Academy Award nominations.
Pas de deux is a 1968 short dance film by Norman McLaren, produced by the National Film Board of Canada.
Yorkton Film Festival (YFF) is an annual film festival held in late May in Yorkton, Saskatchewan, Canada.
Walking is a 1968 Canadian animated short film directed and produced by Ryan Larkin for the National Film Board of Canada, composed of animated vignettes of how different people walk.
The Street is a 1976 animated short film by Caroline Leaf for the National Film Board of Canada.
Blake is a 1969 Canadian short documentary film produced by the National Film Board of Canada (NFB). The film was directed by Bill Mason, and his fellow filmmaker Blake James, who pilots his own aircraft and lives by a unique code. Blake is Mason's cinematic testimonial to his friend and his "hobo of the skies" lifestyle.
James Beveridge (1917–1993) was a Canadian filmmaker, author and educator. Beveridge was a pioneering filmmaker at the National Film Board of Canada (NFB) and became Head of Production at the NFB in the post-war years.
Evelyn Lambart was a Canadian animator and film director with the National Film Board of Canada, known for her independent work, and for her collaborations with Norman McLaren.
Grant Holland Crabtree was a Canadian cinematographer, director, and photographer who worked during the early years of the Canadian film industry, first for Crawley Films, then for the National Film Board and the National Research Council. His work includes the highly touted The Loon's Necklace, The Chairmaker and the Boys, Morning on the Lièvre, and Song of Seasons.
Thomas Cullen Daly was a Canadian film producer, film editor and film director, who was the head of Studio B at the National Film Board of Canada (NFB).
Judith Rosemary (Sparks) Crawley was a Canadian film producer, cinematographer, director, and screenwriter. She and her husband Frank Radford "Budge" Crawley co-founded the production company Crawley Films in 1939.
Alethea Arnaquq-Baril is an Inuk filmmaker, known for her work on Inuit life and culture. She is the owner of Unikkaat Studios, a production company in Iqaluit, which produces Inuktitut films. She was awarded the Canadian Meritorious Service Cross, in 2017 in recognition of her work as an activist and filmmaker. She currently works part-time at the Qanak Collective, a social project which supports Inuit empowerment initiatives.
The 4th Canadian Film Awards were presented on April 27, 1952 to honour achievements in Canadian film.
The 1st Canadian Film Awards were presented on April 27, 1949 to honour achievements in Canadian film.
Morten Parker was a Canadian director, producer and writer.
Don Mulholland (1910-1960) was a film producer and director with the National Film Board of Canada (NFB). He was the NFB's first Director of Production, and the founding producer of the series Eye Witness. He was the first director to blend fiction and documentary, and is credited with shaping the course of Canadian film in the 1950s.