Odds & Ends (1959)

ALL 01/01/1959 (en) 4 Min
  • Release
    01/01/1959
  • Production
  • Rotten tomato
    75%
  • Original title
    Odds & Ends
  • Original language
    en
  • Production Cost
  • 0.00
    -

Overview

Odds & Ends is a sly comment on the collage film and Beat culture. To discarded travel and advertising footage found at a local film laboratory, Belson Shimane added a mélange of animation—assemblages, cutouts, color fields, and line drawings—and faux hipster narration by Jacobs (credited via the anagram Rheny Bojacs) punctuated by a bongo backing. Strung together with doublespeak and non sequiturs, the monologue skirts the edge of nonsense as Jacobs waxes on about poetry, jazz, “reaching the public,” “having a good time,” and—although “money doesn’t count”—the “possibility of subsidy” through grants. Footage of champagne, tropical beaches, and exotic peoples intermingle with rhythmic drawings and stop-motion flights of fancy. The visuals race on through dazzling transformations, both amplifying and undercutting the patter. —National Film Preservation Foundation. Preserved by the Academy Film Archive in partnership with Iota Center Collection in 2006.

  1. Story

  2. Editor

  3. Producer



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Casts

  1. Henry Jacobs

    Himself - Narrator

Full Cast & Crew

Casts : 1 , Crews : 1

Keyword

Odds & Ends (1959) 4 Min

ALL 01/01/1959 (en)
  • Release 01/01/1959
  • Production
  • Original title Odds & Ends
  • en
  • Revenue0.00

Overview

Odds & Ends is a sly comment on the collage film and Beat culture. To discarded travel and advertising footage found at a local film laboratory, Belson Shimane added a mélange of animation—assemblages, cutouts, color fields, and line drawings—and faux hipster narration by Jacobs (credited via the anagram Rheny Bojacs) punctuated by a bongo backing. Strung together with doublespeak and non sequiturs, the monologue skirts the edge of nonsense as Jacobs waxes on about poetry, jazz, “reaching the public,” “having a good time,” and—although “money doesn’t count”—the “possibility of subsidy” through grants. Footage of champagne, tropical beaches, and exotic peoples intermingle with rhythmic drawings and stop-motion flights of fancy. The visuals race on through dazzling transformations, both amplifying and undercutting the patter. —National Film Preservation Foundation. Preserved by the Academy Film Archive in partnership with Iota Center Collection in 2006.

  1. Jane Conger Belson Shimané

    Director

  2. Story

  3. Editor

  4. Producer