Animated Propaganda: The Millionaire 1963
Some cartoons despite the limited artistic merit could serve as a perfect case study for the zeitgeist of a certain era. The Millionaire produced in 1963 is one of those rather crude propaganda pieces that involves the main subjects of the Soviet official satire of the 1960s: the American politics and society, capitalism, contemporary Western art, and pop-culture.
The Millionaire, 1963 Soyuzmultfilm
Aesthetically, the 1960s in the Soviet Union began soon after the death of Stalin, and Khrushchev’s rise to power. In a few years, totalitarian Soviet baroque was replaced by the modern minimalist style in the architecture and visual arts. In the Soviet animation, this style was pioneered by Fyodor Khitruk. The Millionaire by Vitold Bordzilovsky is one of the examples of the new approach of the early 1960s. This cell animated film is executed in the sharp contrast with the Disney-like Soviet animation of the 1940-1950s. While the Stalinist aesthetics was replaced with more Western-like, Soviet art continued to be highly ideological. The Millionaire is a perfect example of the Soviet political animation of the 1960s.
Example of the Soviet rotoscope technique from the 1950s – Kashtanka, 1952
The minimalist aesthetics of the 1960s – Story of a Crime, 1962
The base of this animation short is ideologically correct doggerel by one of the most cynical Soviet authors, Sergey Mikhalkov. When it was necessary Mikhalkov condemned enemies of the people, Nazis, American imperialists, Zionists and cosmopolitans (a euphemism for Soviet Jews), Soviet intelligentsia “kowtowing to the rotten West”, and so on depending on the demands of the Communist Party. The Millionaire was part of the satirical newsreel Fitil’ (Fuse), an important element of the Soviet visual agitation machine. The cartoon’s plot tells a story that must have seemed hilarious to the Soviet audience: a rich lady bequeaths all her money to her beloved bulldog. The Bulldog is transformed into a rich and powerful capitalist who attends lavish parties and becomes a Member of Congress thanks to his riches.
The Millionaire book cover
This animation should be discussed according to not only its technical and artistic qualities. In the totalitarian state, visual media played an essential role as a social engineer shaping public opinion. The Millionaire conveys a certain social and cultural message presented by means of animation. Obviously, it’s not a purely entertaining piece. It criticizes the American elite, the “dollar cult”, and contemporary Western culture. Every small detail of the cartoon is used to enforce the message. Take for example interior backgrounds with abstract paintings and sculptures. Similarly to Nazi Germany where modern art was labeled “degenerate”, in the USSR it was called “formalist art” and was sharply criticized by the Communist Party. Any work of art that did not fit into the rigid ideological system of Social Realism was condemned, and independent artists were often persecuted.
A Soviet cartoon satirizing abstract art titled “Pure art”
Khrushchev condemned abstract artists in 1962
The cartoon shows a combination of stereotypical images, such as big cars, skyscrapers, logos, and forbidden entertainment. Logotypes that frame the nightclub sequence at the beginning and the end play an especially important role in both cinema and animation. Logos play the same role as geographical landmarks helping viewers understand that this cartoon is about the US.
The nightclub sequence is of particular interest as it sarcastically portrays the American entertainment and popular culture. The Bulldog, as a stereotypical American nouveau riche, enjoys his status and indulges with good food, night bars, a personal limo, and a luxurious household with a butler. The comical effect is achieved by the fact that such luxury, unthinkable in Soviet Russia for anybody except the highest rank leaders, is inherited by the dog. In the 1950s, a significant part of the Soviet citizens lived in wretched conditions of communal apartments, dormitories, and temporary houses. The dancing scene was used not only to satirically depict the soulless American style of entertainment but also was aimed at the youth subculture of stilyagi, (the stylish ones) often considered a pro-Western “fifth column” within the Soviet society. Stilyagi were Soviet youngsters fascinated with American music, dance, and art. They listened to jazz and adopted Western fashion trends.
Stilyagi were often ridiculed by the official Soviet media
The attitude towards jazz changed radically in Soviet Russia since the 1920s when it was positively viewed a folk music of the oppressed African-Americans. As jazz became a part of the mainstream American culture, the Soviet propaganda labeled it “music for the rich”. During the anti-Semitic anti-Western campaign of the 1940-1950s anyone listening jazz was proclaimed a potential traitor:
“Today he plays jazz, tomorrow he will betray his Motherland!”
In The Millionaire, jazz is treated according to this trend of the Soviet propaganda. The saxophone depicted in the first shot of the nightclub impersonates the evil of jazz for the Soviet leaders and the most wonderful music instrument for the Western-oriented youth of the 60s. Jazz is shown as an extremely vulgar type of music.
Patrons of the nightclub continue a long line of the evil capitalists portrayed by the Soviet propaganda. The cigar-smoking men are dressed in the black tuxedos with bow ties that looked extremely comical and outdated in the USSR. The frivolous women in bright, open dresses are eager to dance with anyone who is rich and famous, even if it’s a dog.
The rich Bulldog is chauffeured to the “luxury bar” with a jazz band and frivolous dancers. The anthropomorphic Bulldog joins the dance circling on all four paws like an actual dog. Excited patrons of the nightclub follow the example and adopt his dance manner losing human appearance and literally transforming into beastly creatures participating in some kind of black sabbath. Even skyscrapers join the dance transforming into menacing giants with bright patches of logos and ads. The streams of bright artificial light create an atmosphere of anxiety. The idea of the “moral degradation” is visually represented by the transformation of the nightclub guests into the leaping four-legged animals. In the country where people dance like dogs, why shouldn’t dogs become rulers?
Human turning into animals in The Millionaire
Visual and audio sequences together with crude verses ridiculed American capitalism. This animated propaganda was supposed to enforce anti-Western sentiments in the minds of the audience. However, excessive anti-Western propaganda led to the opposite results by the late 1960s, and more and more Soviets became interested in American popular culture.
I’m not sure if you do requested reviews or not, but I have two Soviet animated sci-fi shorts in mind. They are ”He Came Flying Only Once” (1978) and ”On Your Marks!” (1979) both directed by Lev Shukalyukov. While studios like Soyuzmultfilm and Ekran produced most of the animated sci-fi films during the Soviet period (and after) these were the only two produced by Belarusfilm. They have a lot of artistic and thematic value and would be worth reviewing if you ever consider it. The links for both films are https://www.youtube.com/watch?v=X1Y7hFFgOf0 and https://www.youtube.com/watch?v=NcU-I6FtnPk and have English subtitles. They haven’t been reviewed in English by anyone else yet and would be worth doing so. Thanking you in advance.
Thank you, I will take a look at both!
By the way, I should have posted my comment under your review for the sci-fi animated short ”Miracle” (1973) where it would have been more appropriate. Sorry about that.
No problem, thanks for your interest.
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