SANTA: THE FASCIST YEARS

Disney's new animated film, Zootopia 2, is a marvel of computer animation.  Bright, colorful and imaginative, it took more than two years and cost over $150 million to make.  If you last all the way through the credits at the end, you'll see names of thousands of contributors performing tasks that didn't exist a few years ago.  It's difficult to identify the fingerprints of any individual contributor on the finished product.

Zootopia 2 represented a massive gamble of shareholder capital.  It required review and approval by dozens of check points along the way, from the bankers and lawyers to the accounting department and the marketing department.  The gamble paid off; the movie is a Christmas season smash hit, already rocketing past a box office gross of a billion dollars. 

If a creator had approached management with a proposal for a movie called "Santa: The Fascist Years," the bankers would've thrown him into the Sarlacc pit.  

That's why, when it came time for Bill Plympton to create Santa: The Fascist Years it was just Plympton and a pencil.

The 2008 movie reveals the secret files regarding Santa's stint with fascism in the 1930s and 40s.  It's weird, clever, funny and a good demonstration of why Plympton turned down a lucrative offer to work for Disney many years ago.  

The number of pencil drawings Plympton makes for his hand drawn movies is nothing short of  astonishing.  But what's even more impressive is that Plympton's affection for drawing seems to remain undiminished.  You can tell from his originals that he still enjoys drawing each individual picture.  

Santa's attack was called the "Blitzenkrieg"

I think these are really nice.  Each one has character.

A repentant Santa at the Nuremberg trials

From another movie, Cheatin'

From another movie, Idiots and Angels

If Plympton hadn't come up with the idea of Santa's fascist period, nobody else would've thought of it.  And if Plympton hadn't picked up a pencil, nobody would've ever seen it.

ARTHUR SZYK EXHIBITION IN NEW YORK

A rare exhibition of the pictures of Arthur Szyk has opened at the Museum of Jewish Heritage in New York.  Szyk's jewel-like miniatures must be seen in person to be fully appreciated, and the opportunity doesn't come along very often.  It's worth a trip.

I've previously written about my great admiration for Szyk, who was an extraordinary artist and person in so many ways.  I know of no other artist who more passionately and persistently applied his gifts in the service of his social conscience.

Szyk's despairing painting of the Antichrist (detail) is
reminiscent of Bruegel's 1562 painting, The Triumph of Death 

I try to see Szyk exhibitions whenever they arise.  (The last one was years ago at the Library of Congress in Washington DC.)  The current one is unique in my experience because it includes early, preliminary and unfinished work.

A draft of a young Jewish boy threatened by a Nazi luger

Detail from an early work 

Here is a substantially enlarged drawing, blown up so you can see Szyk's details:

In an era when many artists are struggling with the relationship between art and politics, trying to understand the dividing line between art and propaganda, and most of all trying to put their art in the service of their morality, Szyk is an important precedent, more relevant today than ever.