Color Rhapsodie

A short film from Mary Ellen Bute, showcasing her trademark animations set to music.

A (barely) two minute short is that it was made specially for a Paramount newsreel segment on Bute and Nemeth making films in their teensy New York apartment. Paramount apparently never got round to including the filmmakers in any newsreel, but their own film survived in the Bute-Nemeth Archive. (weirdwildrealm.com) To the rhythm of music that sounds a bit like a Busby Berkeley tune, lines and circles appear against a black background. Then triangles, in groups. Black and white squares move in tandem. Sparkling forms turn in kaleidoscopic patterns. Then cubes appear, white against the background, bouncing; a yin and yang rotate a few times before the film ends with an quick burst of scattering light.

A pioneer of visual music and electronic art, Mary Ellen Bute produced over a dozen short abstract animations between the 1930s and the 1950s. Set to classical music by the likes of Bach, Saint-Saëns, and Shoshtakovich, and replete with rapidly mutating geometries, Bute’s filmmaking is at once formally rigorous and energetically high-spirited, like a marriage of high modernism and Merrie Melodies. In the late 1940s, Lewis Jacobs observed that Bute’s films were “composed upon mathematical formulae depicting in ever-changing lights and shadows, growing lines and forms, deepening colors and tones, the tumbling, racing impressions evoked by the musical accompaniment.” Bute herself wrote that she sought to “bring to the eyes a combination of visual forms unfolding along with the thematic development and rhythmic cadences of music.”

Synchromy No. 2, synchronized to the "Evening Star" aria from Wagner's Tannhäuser, uses a statue of Venus to represent the star.

To the toccata portion of Bach's "Toccata and fugue in D minor," we watch a play of sorts. Blue smoke forms a background; a grid of black lines is the foreground. Behind the lines, a triangle appears, then patterns of multiple triangles. Their movements reflect the music's rhythm. Behind the barrier of the black lines, the triangle moves, jumps, and takes on multiple shapes. In contrast with the blue and the black, the triangles are warm: orange, red, yellow. The black lines bend, swirl into a vortex, then disappear. The triangle pulsates and a set of many of them rises.

It's midnight in a graveyard. The principal characters are spooks, ghosts, bats, bells, and, at the end, the sun. As midnight strikes, 12 spooks appear, then two ghosts. They move to the music's rhythm. Against the black night, they are blue and yellow. Bats appear as does a xylophone of bones. Mist rises, spooks swirl. A bell tolls. The sky turns light blue, the ghosts' dance slows. Then black night returns bringing intimations of frenzy. Bones play snare drums; spooks peek out of square graves. Scary faces appear. Frenetic movement takes over. A rooster crows and all return to earth as the sun's light appears.

Based on the stage play Passages from Finnegans Wake which in itself is based on random passages from Finnegans Wake, Mary Ellen Bute's adaptation is a comical avant-garde black and white kaleidoscope about a man named Finnegan who dreams about his wake and then wakes up from his dream so the "wake" has a double meaning. Now you don't have to read 1400 pages unless you want to.

This new medium of expression is the Absolute Film. Here the artist creates a world of color, form, movement and sound in which the elements are in a state of controllable flux, the two materials (visual and aural) being subject to any conceivable interrelation and modification.

Screen titles introduce the film as a modern artist's impressions of what goes on in the mind while listening to music. Grieg's "Peer Gynt Suite" accompanies images of common objects and abstract forms photographed in soft focus and through prisms: rings, pyramids, the staff of musical notes, and floating lights are all seen in multiple images, sometimes as if through a kaleidoscope, other times as if in animation. Images appear and patterns move across the screen. Sparklers celebrate at the film's end.

Clever, sharply edited collages of effects from Mary Ellen Bute's previous films.

A (barely) two minute short is that it was made specially for a Paramount newsreel segment on Bute and Nemeth making films in their teensy New York apartment. Paramount apparently never got round to including the filmmakers in any newsreel, but their own film survived in the Bute-Nemeth Archive. (weirdwildrealm.com) To the rhythm of music that sounds a bit like a Busby Berkeley tune, lines and circles appear against a black background. Then triangles, in groups. Black and white squares move in tandem. Sparkling forms turn in kaleidoscopic patterns. Then cubes appear, white against the background, bouncing; a yin and yang rotate a few times before the film ends with an quick burst of scattering light.

A pioneer of visual music and electronic art, Mary Ellen Bute produced over a dozen short abstract animations between the 1930s and the 1950s. Set to classical music by the likes of Bach, Saint-Saëns, and Shoshtakovich, and replete with rapidly mutating geometries, Bute’s filmmaking is at once formally rigorous and energetically high-spirited, like a marriage of high modernism and Merrie Melodies. In the late 1940s, Lewis Jacobs observed that Bute’s films were “composed upon mathematical formulae depicting in ever-changing lights and shadows, growing lines and forms, deepening colors and tones, the tumbling, racing impressions evoked by the musical accompaniment.” Bute herself wrote that she sought to “bring to the eyes a combination of visual forms unfolding along with the thematic development and rhythmic cadences of music.”

Synchromy No. 2, synchronized to the "Evening Star" aria from Wagner's Tannhäuser, uses a statue of Venus to represent the star.

To the toccata portion of Bach's "Toccata and fugue in D minor," we watch a play of sorts. Blue smoke forms a background; a grid of black lines is the foreground. Behind the lines, a triangle appears, then patterns of multiple triangles. Their movements reflect the music's rhythm. Behind the barrier of the black lines, the triangle moves, jumps, and takes on multiple shapes. In contrast with the blue and the black, the triangles are warm: orange, red, yellow. The black lines bend, swirl into a vortex, then disappear. The triangle pulsates and a set of many of them rises.

It's midnight in a graveyard. The principal characters are spooks, ghosts, bats, bells, and, at the end, the sun. As midnight strikes, 12 spooks appear, then two ghosts. They move to the music's rhythm. Against the black night, they are blue and yellow. Bats appear as does a xylophone of bones. Mist rises, spooks swirl. A bell tolls. The sky turns light blue, the ghosts' dance slows. Then black night returns bringing intimations of frenzy. Bones play snare drums; spooks peek out of square graves. Scary faces appear. Frenetic movement takes over. A rooster crows and all return to earth as the sun's light appears.

This new medium of expression is the Absolute Film. Here the artist creates a world of color, form, movement and sound in which the elements are in a state of controllable flux, the two materials (visual and aural) being subject to any conceivable interrelation and modification.

Screen titles introduce the film as a modern artist's impressions of what goes on in the mind while listening to music. Grieg's "Peer Gynt Suite" accompanies images of common objects and abstract forms photographed in soft focus and through prisms: rings, pyramids, the staff of musical notes, and floating lights are all seen in multiple images, sometimes as if through a kaleidoscope, other times as if in animation. Images appear and patterns move across the screen. Sparklers celebrate at the film's end.

Clever, sharply edited collages of effects from Mary Ellen Bute's previous films.

Black and white animation from pioneer Mary Ellen Bute