Ladislas Starevich (Russian: Владислав Александрович Старевич; Polish: Władysław Starewicz; August 8, 1882 – February 26, 1965) was a Polish-Russian stop-motion animator notable as the author of the first puppet-animated film The Beautiful Leukanida (1912). He also used dead insects and other animals as protagonists of his films. Following the Russian Revolution, Starevich settled in France.
Władysław Starewicz was born in Moscow to ethnic Polish parents from present-day Lithuania. His father, Aleksander Starewicz, was from Surviliškis near Kėdainiai and his mother, Antonina Legęcka, from Kaunas. Both belonged to lesser nobility and were in hiding after the failed January Uprising against the Tsarist Russian domination. Due to his mother's death, he was raised by his grandmother in Kaunas, then the capital of Kaunas Governorate within the Russian Empire. He attended Gymnasium in Dorpat (today Tartu, Estonia), where he worked painting postcards and illustrations for local magazines. Starewicz pursued an artistic career despite the protest of his family, and enrolled in a painting school.
Starewicz had interests in a number of different areas; by 1910 he had been named Director of the Museum of Natural History in Kaunas, Kovno Governorate (now Lithuania). There he made four short live-action documentaries for the museum. For the fifth film, Starewicz wished to record the battle of two stag beetles, but was stymied by the fact that the nocturnal creatures stopped moving or died due to the heat whenever the stage lighting was turned on. Inspired by a viewing of Les allumettes animées [Animated Matches] (1908) by Arthur Melbourne Cooper, Starewicz decided to re-create the fight through stop-motion animation: by replacing the beetles' legs with wire, attached with sealing wax to their thorax, he is able to create articulated insect puppets. The result was the short film Lucanus Cervus (1910), apparently the first animated puppet film and the natal hour of Russian animation.
In 1911, Starewicz moved to Moscow and began work with the film company of Aleksandr Khanzhonkov. There he made two dozen films, most of them puppet animations using dead animals. Of these, The Beautiful Leukanida (1912; the first puppet film with a plot), inspired in the story of Agamemnon and Menelaus, earned international acclaim (one British reviewer thought the stars were live trained insects), while The Grasshopper and the Ant (1913) got Starewicz decorated by the czar. But the best-known film of this period was The Cameraman's Revenge (1912), a cynical work about infidelity and jealousy among the insects. Some of the films made for Khanzhonkov feature live-action/animation interaction. In some cases, the live action consisted of footage of Starewicz's daughter Irina. Particularly worthy of note is Starevich's 41-minute 1913 film The Night Before Christmas, an adaptation of the Nikolai Gogol story of the same name. The 1913 film Terrible Vengeance won the Gold Medal at an international festival in Milan in 1914, being just one of five films which won awards among 1005 contestants.
During World War I, Starewicz worked for several film companies, directing 60 live-action features, some of which were fairly successful. After the October Revolution of 1917, the film community largely sided with the White Army and moved from Moscow to Yalta on the Black Sea. After a brief stay, Starewicz and his family fled before the Red Army could capture the Crimea, stopping in Italy for a while before joining other émigrés in Paris.
At this time, Władysław Starewicz changed his name to Ladislas Starevich, as it was easier to pronounce in French. He first established his family in Joinville-le-Pont, while he worked as a cameraman there. He rapidly returned to make puppet films. He made Le mariage de Babylas (Midnight Wedding), L'épouvantail (The Scarecrow, 1921 ), Les grenouilles qui demandent un roi (alternately called Frogland and The Frogs Who Wanted a King, 1922), Amour noir et blanc (Love in Black and White, 1923), La voix du rossignol (The Voice of the Nightingale, 1923) and La petite chateuse des rues (The Little Street Singer, 1924). His family worked with him to produce these films. These were his daughter Irina (who had changed her name to Irène) who collaborated in all his films and defended his rights, his wife Anna Zimermann, who made the costumes for the puppets and Jeanne Starewitch (aka Nina Star) who acted in some of the films (The Little Street Singer, The Queen of the Butterflies, The Voice of the Nightingale, The Magical clock, and others)
In 1924, Starevich moved to Fontenay-sous-Bois, where he lived until his death in 1965. There he made the rest of his films. Among the most notable are The Eyes of the Dragon (1925), a Chinese tale with complex and wonderful sets and character design, in which Starevich shows his talent as an artist and in set decoration as well as ingenious trick photography, The Town Rat and the Country Rat (1927), a parody of American slapstick films, The Magical Clock (1928), a fairy tale with amazing middle-age puppets and sets, starring Nina Star with music by Paul Dessau, The Little Parade, from Hans Christian Andersen's tale The Steadfast Tin Soldier. Six weeks after the premiere of The Little Parade, sound was added by Louis Nalpas' company. Starevich started a collaboration with him, wishing to make a feature full-length film: Le Roman de Renard. All his 1920s films are available on DVD.
Often mentioned as being among his best work, The Tale of the Fox (French: Le Roman de Renard; German: Reinicke Fuchs) was also his first animated feature. It was entirely made by Starevich and his daughter, Irène. Production took place in Fontenay-sous-Bois from 1929 to 1930. When the film was ready, the producer, Louis Nalpas, decided to add sound using disc support but this system failed and the film was not released. The German film studio UFA became interested in showing the film in two parts. Sound was added in German and it premiered in Berlin in 1937. Later, in 1941, Roger Richebé (Paris Cinéma Location) produced a French sound version, which premiered in April 1941. It was the third animated feature film to have sound, after Quirino Cristiani's Peludópolis (1931) and The New Gulliver (1935) from the Soviet Union.
In 1933 Ladislas and Irene Starevich produced and directed a film of about 1000 meters, initially titled LS 18. Under pressure from distributors, the length was greatly reduced. It became the film Fétiche Mascotte (The Mascot), about 600 meters, distributed in 1934. Starevich had a contract with Marc Gelbart (Gelma Films) to make a series with this character. Twelve episodes were planned, but for economic reasons, only five were made between 1934 and 1937 and distributed worldwide. These are Fétiche prestidigitateur (The Ringmaster, 1934), Fétiche se marie (The Mascot's Wedding, 1935), Fétiche en voyage de noces (The Navigator, 1936) and Fétiche et les sirènes (The Mascot and the Mermaids, 1937) which was not released because sound could not be added. There is an unfinished film, Fétiche père de famille (The Mascot and His Family, 1938). In 1954, L. Starevich conceived The Hangover, using images not included in The Mascot. A reconstruction of the original LS 18 was produced by 2012.
During this period (1937–1946), Starevich ceased producing films. He had expressed some intent to make commercial films, but none are known to have been produced during the war.
In 1946 he tried to make A Midsummer Night's Dream but abandoned the project due to financial problems. The following year, he made Zanzabelle a Paris adapted from a story by Sonika Bo. The script and direction of this film are credited to Irène. In 1949, he met Alexandre Kamenka (Alkam Films), an old Russian friend, who produced Starevich's first colour film Fleur de fougère (Fern Flower). It was based on an Eastern European story, in which a child goes to the forest to collect a fern flower, which grows during the night of Saint-Jean, and makes wishes come true. In 1950, Fern Flower won the first prize as an animated film in the 11th International Children Film Festival in Venice Biennale. Then he started a collaboration with Sonika Bo to adapt another of her stories, Gazouilly petit oiseau, followed by Un dimanche de Gazouillis (Gazouillis's Sunday picnic).