“The Censored Eleven” are the unofficial eleven animated shorts that have been banned, censored, or edited from public consumption and haven’t been seen by most in America. While some of the shorts have been released with a commentary about its social and political context, most are strictly taboo. In this limited series, we’ll review the censored eleven and figure out why these titles are still very volatile.
Clean Pastures (1937)
I. Freleng
Merrie Melodies
Neither a Man nor Incredible. He’s barely a “The,” director William Sachs’ science fiction horror doubles also as a melodrama featuring characters you really don’t care about. How many times can character Ted Nelson mention his wife having a baby, or his efforts to have a baby, or his aspirations to father a baby? What importance does it have to the overall premise of “The Incredible Melting Man”? Nothing, really. It’s an effort to garner sympathy for a series of lifeless characters.
Yolanda Ramke and Ben Howling’s short zombie film is a masterpiece. It’s mature, beautifully told, and I was teary eyed by the final scenes. “Cargo” is set during a zombie apocalypse, and both directors only garner eight minutes to tell a story teeming with epic potential. It could be a feature film, but as a short glimpse at a world of the undead, it’s a slice of humanity set amidst monsters in a rapidly decaying land.
Things didn’t quite turn out well for Peggy Sue. She spent most of her teen years alienating her parents, and running around with Francis Ford Coppola’s creepy nephew, and grew up to be a very bitter divorcee whose only good friendship is with her daughter. Now appearing at a high school reunion, she has to face her old friends and her ex-husband who is now a creepy business man. After collapsing at the reunion, Peggy Sue awakens to find herself a teenager once again.
Part of the “Withered World” web short series, director Jon Davis offers his own harrowing tale of humanity and horror with “Vows.” A short that pictures two people trying to gain a year’s worth of marriage in only a day, director Davis sets down on a young couple anxious to seal their vows. Only because someday soon it won’t mean much.
Director Matt Mamula’s “Die Like an Egyptian” is a bittersweet and gripping short documentary about our attempts to control our own death’s in a manner that allows us the illusion of control in the after life. For us, old age and mortality can be horrifying and harrowing a prospect, and director Mamula spotlights an older man who is racing against time to build himself a prominent memorial that will not only give him relevance after death, but perhaps help him garner a sense of control.
Ah the season of “The Twilight Zone” where every episode were extended in to one hour without any of the pacing and punch of the first three seasons. It’s a shame that “The Twilight Zone” adopted this format for a while because the hour long episodes of the series are admittedly weaker and demand much more attention than their shorter counterparts. They’re still pretty good television all things considered, but they’re still not as good as what we’ve seen on the show and what the writers are capable of.