One of the first Tajik animated films. I think that the art style here is remarkable. Despite the high stylization, it is very clear what is going on, though this is helped a lot by the story being very simple. It kind of reminds me of Jirtdan (1969), the earliest surviving Azeri animated film, but I think this one is more polished. It's a shame that it's not available in higher quality.

Unfortunately, the director moved to work at Soyuzmultfilm in Moscow immediately after, and had to abandon this technique that she had developed. It may have had some fans at Tajikfilm, though, because most of their films ended up being made with cutout animation (though not with stained glass).

There is not much dialogue, so the translation was not overly hard.

Another one of those films that we are only able to see because of the volunteers of the RuTracker animation scanning project who've been buying up and scanning many old Soviet 35mm reels and Betacam cassettes, searching for rare animation. This one is a well (if a bit drily) told romantic fairy tale about the virtues of patience, kindness and purpose (on the male side), and faithfulness, devotion and competence (on the female side). I guess this might be based on certain Tajik or Persian folklore, but I haven't found what specifically, and the title card makes no mention of that, so who knows...

It's the fourth film by Masurhojaev on the site, and probably the one with the most "realistic" (dare I say, "socialist realistic"?) art style. It wouldn't be out of place in the early 1950s, except that of course the Soviet Union didn't use cutout animation in the 1950s, nor was there any animation being produced in Tajikistan then. The art is well-done, but I do think that it shows that cutout animation isn't ideal for certain scenes, as the film often resorts to fading in and out between successive frames to "hide" just how few frames per second there really are.

For the translation, the Russian word "shchastye" has been alternately translated as "happiness", or "(good) fortune". A few Tajik-language words have been translated into their closest English equivalents: "Kishlak" (a highland village used as a summer mountain pasture) has been translated as simply "village". "Tubeteika" (a Tajik skullcap) has been translated as "cap".

The date on animator.ru is 1985, but the film itself says 1984.

Another Tajik animated film by Munavar Mansurhojaev, once again based on Persian folklore. This one doesn't use only cutout animation. I like it less than the films he directed both the year before and the year after (especially "How the Cat Fought the Mice"), mainly because the screenplay seems weak and doesn't quite make sense. The boy seems to go from easily frightened to brave almost instantly, and the reason is never really explained or examined.

I'm happy to finally translate another animated film from Tajikfilm here, only the second on the site! I think this one is quite good. Great art direction (the central Asian SSRs really seemed to like this style of cutout animation... it was also a big thing in Uzbekfilm) and screenplay, and a memorable "Central Asian" flavour to the whole thing.

It bears only a rough resemblance to the original story. Both the ancient tale and the film have the cat pretending to turn over a new leaf (originally, he pretends to be religiously pious and repentant, but in the cartoon he instead pretends to be vegetarian), the mouse king declaring war, there being a big, bloody battle, and the mice triumphing only for the cat to then escape. But many other details differ.

Unique to the film are the little hero mouse (in the original story, there is a mouse who gets drunk and brags, not an actual hero), the cat's "ladies" (two more-or-less loyal, one very much not), the cat being in a castle, and the cat saving his skin at the end through trickery (in the original story, he rips the ropes tying him through sheer strength). One of the biggest differences is that the mice in the original story lose at the last minute despite apparently having won. In the film, it's more of a draw - the cat escapes, but loses his castle. Yet he remains in one piece, has his females about him and seems relatively happy. The worst off is actually the Siamese cat, who (as a result of her betrayal) ends up being disliked by both sides, and gets her tail cut off and told to "fish for her own food". So the moral of the film (as I read it) ends up being something like "being a traitor is the worst thing you can be (even if it's an unjust cause that you're betraying)".

I'll add that, despite all of his murder and treachery, I find it hard to really dislike the cat. He has a roguish charm and his tricks are so obvious that the mice almost deserve what comes to them. Besides, the mice's failure is in large part because the only mouse that seems able to outsmart the cat has not been made their leader. Despite the other plot differences, that is very much in the spirit of the original story: though many of the mice are courageous and brave, and they may win a battle or two, and even be on top for a while, their innate traits mean that cats always have the advantage and eventually regain their standing.

Not exactly a fable that is "communist" in spirit, but perhaps it was a little prophetic...

In the 80's she made 13 excellent puppet animation, I translated a few of them, thus far I only published Grandfather Mazai and the hares (ДЕДУШКА МАЗАЙ И ЗАЙЦЫ) the 3 Romka, Fomka & Artos are planned for August. On the DVD Romka, Fomka & Artos are 10 of them in excellent condition. She really is an overlooked and forgotten animation director, who turned to animation later in her life (1915-2002)

This is one of those nice cartoons that just kind of fell through the cracks. Made by a regional studio in the Ural mountains, lacking even an entry on animator.ru... it is a good geometry introduction for kids, and I think the character design and animation are very polished. Though the ending promises a continuation, it does not seem like the director ever made one. Someone else at the studio directed a 1976 sequel, but it is not as good.

It was unusually difficult to find who the director was - it seems that the Sverdlovsk Film Studio in this period often just listed everyone as "film crew" in the credits without differentiating their roles. Some film databases list it as being directed by Nina Pavlovskaya... but she only started directing in 1976 (that aforementioned "sequel" was her first film...), and was not even in the credits here, so I figured it could not have been her. Eventually, I found an off-hand mention in an article on the studio's website confirming that it was directed by Galina Turgeneva. She began to direct films at the Sverdlovsk Film Studio in 1957, but this apparently included educational/documentary films as well, so I have no idea when she directed her first fully-animated film. Maybe this was it. She has been described as "the founder of Sverdlovsk animation", and she set up the studio's (non-educational) animation division in 1973, just after finishing this film.

The translation presented no special difficulties, although I will note that the Russian word for "angle" and "corner" is the same, so that part of the lesson is just a little more obvious.

The Georgians began making animated films pretty early, their studio was well-funded (due no doubt to Stalin's Georgian background), and for a while it was the only place where animation was being produced outside of Moscow (in 1939, Leningrad was still making a few as well, but not for long...). But the quality of their animation was subpar for a long time. This film is a good example of their earlier work. The motion is smooth (it's animated on ones, as far as I can tell) but there are many elementary mistakes in animation character consistency and timing. Even in later decades, it seems to me like they had more trouble keeping the animation quality high than any of the other Soviet studios.

I wonder if the screenplay was written because someone in charge knew that a big war was not far off, and wanted to encourage young boys to learn to shoot their rifles well, since they would soon need it...

Like many of the ones directed by Nosyrev, I find this cartoon to be very charming. Although I think that once upon a time, I would have been a bit bothered by all of the kids being naked at the beach at the beginning. :) This is a different boy than his famous Antoshka, but not really. Though apparently aimed at very young viewers, I think he succeeds in making it fun to watch for adults as well. For me, it has some of the same charm as many scenes from Hayao Miyazaki's "Ponyo" - in that it follows a young child through the world as he navigates it on his own terms, in a way that feels true to life.

This was Amanov's final film, and his longest to date. I think there's something very calming and soothing about the recurring images in it, which have clearly been crafted with such care, even though the topic itself is a grim one.

Amanov's filmography on this site is now complete except for his 2002 film, which I have been unable to find Amanov's anywhere, nor even any images from it.

Agamurad Amanov's first film. I suppose he got the animation bug after being the originator, art director, voice actor and screenwriter of Mihail Aldashin's The Other Side (1993), so perhaps this should be viewed as his first solo film. I can't say I find it as interesting, though (nor as good as his later ones). I think it's trying to hint at something more profound (like "The Other Side"), but I just find it too simple, and the deeper meaning maybe a little forced.