About three years ago I posted about my top ten favorite cartoons (Part 1). I still stand by those films – but I promised a follow-up, and life sorta got in the way. So here is my Part 2. MORE of my top favorites, numbers 11 through 20.
As I stated the first time around, these are not films chosen for historical importance or great qualities of artistic expression (though I think you could find that in each). No Gertie The Dinosaur, Steamboat Willie, What’s Opera Doc? or King Size Canary in this bunch (I love all those titles – and would refer you to my books The 50 Greatest Cartoons and The 100 Greatest Looney Tunes to read about 150 more cartoon titles that I absolutely adore).
This list is subjective and its simply a list of cartoons I cherish for personal reasons, usually based on what age I was when I first saw them, how they affected me then, and how they went on to shape my point of view. This only my opinion. I don’t expect you to agree with this listing – and I’m sure you have your own personal top tens that differs greatly from mine.
These are the ones I never tire of watching. I do my best below to explain why I picked these. I also cannot put these cartoons in a numeric order. I love them all equally. There is no number 1, or number 2… here is simply another ten in alphabetic order…
IT’S A LIVING (1957)
I’m a nut for the Gene Deitch Terrytoons. Some of his films from this period are more UPA than UPA itself! He intentionally stayed away from the classic Paul Terry characters – with this one exception. Deitch was determined to shake away the Terry cobwebs and bring the CBS studio into contemporary 1957. Things were changing at the cinema, for animation and in film exhibition. Taking an old fashioned Terrytoon character, in an old fashioned situation with background art (in 1:33 ratio) and literally expanding it in front of your eyes – with Dinky leaving his world and entering the UPA terrain and the new world of Animated TV commercials. Beautiful visuals, hilarious characterizations and spot-on commercial parodies – a unique short, an overlooked gem.
My old friend Richard Collado posted a version in “Smile-box” format which gives you a better idea of the curved screen the Scope cartoons were designed for. Click here to see that. Below is my 35mm print that Steve Stanchfield graciously scanned for me a few years ago:
A HAM IN A ROLE (1949)
No question, this is my favorite Goofy Gophers cartoon – one of the top McKimson shorts in my book. Much of the credit goes to Sid Marcus’ literate scenario – using quotes from Shakespeare to confound the canine antagonist – a pretentious actor who feels mere cartoons are beneath his station. This short reminds the viewer that these cartoons were NOT aimed towards the kiddies – but to the adults who, in 1949, were well-honed in Shakespeare plays, quotations and cliches. But don’t worry, there’s plenty of slapstick, pies-in-the-face and fourth-wall breaking – laugh out loud stuff in my opinion.
McKimson’s animation crew was top-notch during this period, with Emery Hawkins, Bill Melendez and Pete Burness leading the chores. Devon Baxter did a fantastic animator breakdown column on this film – HERE.
HOLD IT! (1939)
Another one of my top choices among the Max Fleicher Color Classics. So-much-so I’ve recently allocated funds from Asifa Hollywood’s to preserve the negative at the UCLA Film Archive. I’d understand if it doesn’t rate highly with others – but I love the catchy song with the “freeze and melt” gimmick – and the wild and wacky drawings and poses that harken back to the earlier 1933-era Fleischer surrealism, the last the studio would do as Disney-ism finally takes hold (the next Color Classic after this one is Hunky & Spunky if that tells you anything). The muted colors, intentional as it all takes place at night, are especially interesting. All I can say is – its a favorite.
LITTLE MATCH GIRL (1937)
This Screen Gems/Mintz Studio tear-jerker may well be the best cartoon from Columbia’s in-house cartoon unit. A strong attempt to keep up with Disney opulence before giving up to lower budgeted mediocrity. A rare cartoon of this era without a shred of humor, played straight and bold enough to have a heart breaking ending. Death.
That said, it’s pure eye candy. Even the Academy recognized it with a nomination for Best Cartoon. Our next goal – restoring its original titles (if its still rolled up in the can at the Library of Congress).
MUSIC LAND (1935)
This one seems to be criminally overlooked, as there were so many good cartoons released in 1935. The story itself is quite simplistic… but the “world” built for this film, the musical notes motif, the music itself, the incredible effects animation, the musical language, cleverly made up of instrumental sound effects… bottom line: pure fun.
REASON AND EMOTION (1943)
A very strong wartime psychological “cartoon” that should be more widely seen today – the message is still valid. It somewhat explains our present day political situation. Beyond the message, its incredibly imaginative and entertaining. Feature quality animation from Tytla, Kahl, Johnston, Moore and Kimball.
(oh – and it was clearly the inspiration for Pixar’s Inside Out in case you couldn’t tell).
ROOM RUNNERS (1932)
I show this one in my classes because it represents a great pure pre-code Iwerks’ Flip The Frog. Voyeurism, nudity, cuss words, spittoons, diaphanous gowns – all in a day’s work for Flip as he tries to skip out on his hotel rent. The short is well paced and filled with those wonky Iwerks backgrounds. One of the best. And get ready for a beautifully restored version of this film – coming out on blu-ray via Thunderbean Animation, any minute now!
ROOTY TOOT TOOT (1952)
A classic cartoon – and Hubley’s last at UPA. Everything John Hubley did before led to this film – a great example of both a commercial short and a true work of art. He attained a filmmaking status with this film that perfectly leads into the commercials and independent films he would make from this point on. As he would in years to come, Hubley continually experiments with the medium. White characters against white backgrounds, Red characters against red… you don’t do that. But Hubley does it here – and it works. Combining jazz, ballet and stylized characters in a clever retelling of Frankie and Johnny. And this lost the Oscar to Tom & Jerry’s Two Mouseketeers??
THE SUNSHINE MAKERS (1935)
You’ve heard the stories – this cartoon was revived in the late 1960s as an audience warm-up at the Fillmore East and at psychedelic rock shows across the country; taking on new meanings for the hippie generation (the peace loving younger people – the Joys – versus the establishment over 30 crowd – the Glooms). The stoned crowds embraced the insanity of this Ted Eshbaugh classic. I should know – I ran this cartoon frequently (usually a worn out black & white TV print) at New York Comic Cons in the 1970s and the audience reaction was loud and the laughter was long. It holds a special place among my childhood memories and teenage inspirations – and Steve Stanchfield’s relatively recent restoration of this title will insure it will be around to blow minds for decades to come.
TOOT WHISTLE PLUNK AND BOOM and MELODY (both 1953)
Had to count these two as one. Both released the same year in completely different formats: Melody was released in 3D and Toot Whistle came out in CinemaScope (and won an Oscar). Developed in the 1940s for a proposed (and abandoned) History of Music compilation feature – resurrected by Ward Kimball (under Walt’s insistence) as an attempt to keep pace with UPA, 3-D and wide screen. The film succeeds on so many levels. Perfect Disney edutainment – a template for future educational media the studio would produce. The use of 3D in Melody and the wide screen in Toot Whistle is masterful (I think I need to write about that in a future post).
These are my second best Top Ten films… What are yours?
Jerry Beck is a writer, animation producer, college professor and author of more than 15 books on animation history. He is a former studio exec with Nickelodeon Movies and Disney, and has written for The Hollywood Reporter and Variety. He has curated cartoons for DVD and Blu-ray compilations and has lent his expertise to dozens of bonus documentaries and audio commentaries on such. Beck is currently on the faculty of CalArts in Valencia, UCLA in Westwood and Woodbury University in Burbank – teaching animation history. More about Jerry Beck [
While I like Toot Whistle Plunk And Boom, I think the main reason that I think it deserves extra attention is the soundtrack.
Watch it muted, and it comes across more as an average “limited animation” cartoon – and definitely below average Disney.
The “limited animation” on Truth About Mother Goose.is a vast improvement.
Music Land however can be watched muted, and still look terrific.
I’d disagree as Ward’s cartoon still had comical gags that were good with or without sound.
I’ve never seen “Music Land” in the cinema, and I doubt that I’ll ever have the chance, but that’s really how it needs to be seen. Even on a big screen TV, it’s easy to overlook all the rich detail in that film. Never mind watching it on your phone.
I’m reminded that the Top Ten list I put on your original post consisted entirely of Bugs Bunny cartoons directed by Robert McKimson, so I’ll broaden the sample a bit this time. Chronologically, again:
Betty Boop, “Red Hot Mamma” (1934). The pinnacle of the series. It was all downhill after that.
Iwerks, “The Three Bears” (1935). Everyone says the ComiColor cartoons aren’t funny, but I think this one is a scream.
Color Classics, “An Elephant Never Forgets” (1935). I love old illustrated storybooks about animals, and this is like one of them come to life.
Silly Symphonies, “Elmer Elephant” (1936). Ditto.
Fleischer, “Popeye the Sailor Meets Sindbad the Sailor” (1936). A most remarkable, extraordinary cartoon.
Terrytoons, “Club Life in the Stone Age” (1940). Narrowly edges out the similar “Farmer Al Falfa’s Ape Girl” of 1932 for its superior production values and Carlo Vinci animation.
Lantz, “Scrub Me Mama with a Boogie Beat” (1941). Yeah, I know. But I’ve seen it more times than I can count, and I think there’s a lot we can learn from it today.
Terrytoons, “Mighty Mouse and the Wolf” (1945). Maybe an odd choice, but I find myself watching it again and again. I like it that Mighty Mouse is active throughout the cartoon, not just at the end — and that long pan shot of the bathing beauties on the beach at Atlantic City is completely out of the blue!
MGM, “Rock-A-Bye Bear” (1952). Cracks me up every time.
Warner Bros., “What’s Opera, Doc?” (1957). Still #1 in my book.
Here are a few of mine from my two favorite studios:
Warner Bros.:
Anything from Arthur Davis (especially Two Gophers from Texas, What Makes Daffy Duck, A Hick A Slick and a Chick, and Bye Bye Bluebeard)
MGM:
Every Tom and Jerry cartoon with the four main animators (Barge, Muse, Patterson, and Spence)
Top Ten is a cinch; 11 through 20 somehow gets tricky. I’d have to think a good long while, and consult lists, and I know you’re not about to stand around waiting for that.
Off the top of my head:
“The Pointer” (1939)
“Mouse Trouble” (1944)
“Duck! Rabbit! Duck!” (1953)
“Gee-Whiz-z-z-z-z-z-z” (1955)
“Cookie Carnival” (1935)
“Smile, Darn Ya, Smile!” (1931)
“King-Sized Canary” (1949)
“Goofy’s Glider” (1940)
“Abu Ben Boogie” (1944)
“Robin Hood Daffy” (1958)
I posted my top 10 favorite cartoons in the first post. Here are my second best top 10 favorite cartoons:
“Popeye the Sailor Meets Sinbad the Sailor” (1936) – One of the all-time best Popeyes and the only Popeye cartoon to be nominated for an Oscar. Gus Wickie gives one of his best performances as Bluto. Just a great cartoon from start to finish.
“Popeye the Sailor Meets Ali Baba’s Forty Thieves” (1937) – Another classic Popeye cartoon. The colors and the 3D backgrounds are beautiful!
“The Cobweb Hotel” (1936) – Another one of my favorite Color Classic cartoons. It’s creepy, exciting and funny. I love Jack Mercer’s voice for the spider.
“Susie the Little Blue Coupe” (1952) – One of my all-time favorite Disney cartoons, beautifully written by Bill Peet and narrated by Sterling Holloway (Winnie the Pooh). This cartoon was a big influence on my all-time favorite Pixar movie “Cars.”
“Hockey Homicide” (1950) – One of the best and funniest Goofy cartoons! This is probably the wildest and funniest cartoon the Disney Studio ever made during Walt’s life.
“Motor Mania” (1950) – Another one of my favorite Goofy cartoons. This is another wild entry that has Goofy having a Jekyll and Hyde personality whenever he drives a car.
“You Ought To Be in Pictures” (1940) – This is my all-time favorite black and white Looney Tune. It was based on Friz Freleng’s unhappy experience at the MGM cartoon studio. This was the first cartoon he directed when he returned to Warner Bros., and it was his way of thanking them for letting him come back.
“The Arctic Giant” (1942) -This my favorite of all the Fleischer Superman cartoons. Everything about this cartoon works: the story, the animation, the drama and the music.
“Little Rural Riding Hood” (1949) – One of my all-time favorite Tex Avery cartoons and definitely my favorite of his fairy tale spoofs. The part that always kills me is when the country wolf (voiced by Pinto Colvig) kisses the cow by mistake and says “Kissed a cow.”
“Little Tinker” (1948) – Another one of my all-time favorite Tex Avery cartoons. It’s very funny, cute and has heart (something very rare in an Avery cartoon). It’s a shame that Avery later dismissed this cartoon as being “cutesy-cutesy.”
I think I made a long list of favorites a few years ago. My guess is that my tastes haven’t changed that much – as far as favorite cartoons go – all that much since then. Jerry … roughly when did you post your “Top Ten”? Then, I can probably find my list and go from there! Like “Hans” says, it might take SOME time for me to do this!
As mentioned in (and linked to) in the first sentence of this post, above – I posted my first Top Ten list in 2020. Here’s the link: CLICK HERE.
Thanks, Jerry! I’ll do so, very soon!
I guess I anticipated you would have a part two as I included 10 honorable mentions after my top 10. Here they are again: Duck Pimples, Great Piggy Bank Robbery, Goonland, High Diving Hare, Moonbird, Mickey’s Trailer, A-Lad-in his Lamp, Porky Pig’s Feat, The Bulleteers, Baloonland.
About Kimball’s two Adventures in Music cartoons, when you say “(under Walt’s insistence)” I’m not sure I understand the use of the word “under”. When I interviewed Kimball he told me that Walt didn’t like the limited animation style, so Kimball pushed the cartoons through in secret, and when the boss found out, they were too far along and he was too pragmatic to kill them. Then when TWP&B won the Oscar, Walt was only too willing to overlook his distaste for the style and accept the award.
I may not have worded that correctly – but what I meant is that Walt, steeped in work on traditional looking Disney features as Peter Pan and Lady and The Tramp at the time, wanted to show his relevance to the animation community by commissioning these two stylized shorts. Like the style or not, there’s no doubt UPA was changing the landscape (and winning Oscars). Walt needed story material for a 3D short and a CinemaScope short pronto – the “History of Music” boards were sitting there, unused and ready-to-go. Kimball was probably brought in (from the feature unit) to add the modern “UPA” sensibility (which Walt knew Kimball had).
That sounds plausible. Kimball may have embellished his story to make it more dramatic, something he was good at.
“Now here’s a fresh personality!” is hilarious, as Dinky had almost no personality through much of his career. Any fresher and he’d be Farmer Al Falfa (and don’t you wish Gene Deitch had tried a Farmer Al cartoon?).
Music Land would have been a top 10 title somewhere in the 6-10 zone I think, the rest I can totally see being topflight second shelf titles to be sure. Some titles that I would include in a similar list, which resonate with me mostly for their visual and musical merits would be
1) Boogie Woogie Sioux (1942) Walter Lantz, familiar gag material reminiscent of Porky the Rainmaker, but with some great swing vibes. Not seen often, due to indian stereotyping, but the spirt in it is highly infectious, Love the dancing clouds around the mountain tops and raindrops on the clap symbals.
2) Honeyland (1935) Rudy Ising , Fantastic reworking of an earlier B/W Merrie Melody this sets the simplistic boy loses girl to villain but prevails anyway theme in a gorgeous and magical world that never fails to put a smile on anyone who watches it. The Scottt Bradley musical scoring is perfect. Character designs used for the bee’s along with the personality flourishes always please.
3) Page Miss Glory (1936) (Avery WB) Astonishingly different film compared to the art design of other MM releases from this era. Excellent comedic pacing and gag material, have to think Freleng helped Avery out with the musical timing in this masterpiece. Should be designated a National film treasure.
4) Merry Mannequins (1937) (Iwerks – Columbia) Art deco backgrounds set to a variant of the toys come to life theme, that backdrops the surprisingly endearing :”Chummy with a dummy” musical number.
5) Simple Simon (1934) (Iwerks-Comicolor) My favorite of this unique series, Carl Stalling score here aligns so well with the various moods and atmosphere following a simple guy kluitzing around in a circus. Very attractive and lively cartoon, even the bright blue beards on the fair judges make you laugh.
6) Africa (1930) Lantz-Oswald. The 1930-31 season of Oswald cartoons has probably the finest incarnation of the character in the sound era. First use of the Lucky Rabbit theme song, this title is possibly the slickest in design and execution.
7) You Ought To Be In Pictures (1940) (Freleng -WB) NO description needed – total charmer and fun to watch
8) The Lonesome Stranger (1940) Hugh Harman – “Yoo Hoo Sliver !” For me the funniest cartoon Harman ever made. Total nuts parody on the Lone Ranger, with 3 bandido’s that aren’t exactly intellectual giants either. Now know where C. Schultz got his idea for his ‘PigPen’ character.
9) The Mechanical Monsters (1941) – Fleischer My favorite cartoon in the landmark series, the robot story was made into a fun retro movie 63 years later, (Sky Captain…)
10) Olio for Jasper (1946) Pal-Puppetoon – Very funny realization of the scarecrow characters’ living out a “sob story” of rags to riches to rags again. Some of the “economics” humor is still as relevant today as it was then. Almost like Avery directed this one, fast and furious…
Love your picks – some of those would be on a Part 3 list if I were to do it. You Ought To Be in Pictures, Africa, Merry Mannequins, Miss Glory and yeah maybe Mechanical Monsters would be half of my next list for sure.
oh my dear GAWRD….whotta question. (And such a great subject, too!) Ok….here goes: “Smile, Darn Ya, Smile!”; “A Dream Walkin'”; “Mother Goose Goes Hollywood,’ “Paul Bunyun,” “Shanty,” “Skeleton Dance,” “Gerald Mc B”; “Hot Cross Bunny,” “Rebel Rabbit,” “Mickey & the Beanstalk”
Hold everything, HOLD IT! ?! So I am not crazy for liking this one so much after all!
Hold It! was the film that, at the start of the pandemic, made me realize how much I was missing, and how much I enjoyed, the wider world of classic animation beyond the Looney Tunes and Tom and Jerry that played after school, and the Disney shorts (and movies) on Sunday nights.
Since I saw Hold It!, I realized I need to see everything, and keep track of what I like well enough to revisit, and eventually own. So glad to hear that the negative will be preserved! I am not alone in my Hold It! fandom, imagine that.
Well now, that’s odd! I could have SWORN I did a “top ten” list to supplement your picks, Jerry! Maybe I posted it somewhere else? “Senior Moment?” May… beee! Just for laughs, I’ll pick ten “off the top of me head”! In no particular order of preference … Uhhh, for now. I sort of cheated and put some favorites of the same series into ONE category …
FEED THE KITTY
POPEYE CARTOONS: THE MAN ON THE FLYING TRAPEZE, GOONLAND, A DREAM WALKING, A CLEAN SHAVEN MAN, ALADDIN AND HIS WONDERFUL LAMP and WE’RE ON OUR WAY TO RIO
ELMER, BUGS AND DAFFY HUNTING TRILOGY: RABBIT FIRE, DUCK, RABBIT, DUCK and … Dooooahhh!
YOU OUGHT TO BE IN PICTURES
SUPERMAN CARTOONS: SUPERMAN, THE MECHANICAL MONSTERS and BILLON DOLLAR LIMITED
B. BUNNY CLASSICS: A WILD HARE, BUGS BUNNY RIDES AGAIN and THE RABBIT OF SEVILLE
MOUSE IN MANHATTAN
MICKEY MOUSE: THE BAND CONCERT, MICKEY’S TRAILER and LONESOME GHOSTS
THE BARBER OF SEVILLE (Woody Woodpecker)
DANCING ON THE MOON
No doubt, I’ll be adding to this list!
RABBIT SEASONING is the cartoon I’m thinking of! (For the Bugs, Daffy, Elmer Hunting Trilogy)
For Volume Two: I’d add:
WATER, WATER EVERY HARE
FAST AND FURRY-OUS
THE WEARIN’ OF THE GRIN
SNOW WHITE (Betty Boop)
THE SUNSHINE MAKERS (I had forgotten how much fun it is to watch that!)
JACK FROST
More POPEYE cartoons: P. MEETS ALI BABA’S 40 THIEVES, P. MEETS SINDBAD THE SAILOR
The BUGS BUNNY-CECIL TURTLE trilogy (I THINK there were three?) – I’ll get the titles later!
THE OLD MILL
SUPER-RABBIT
I may add – or subtract – titles in the near future!
When you did the previous article you mentioned likening what I presume was Romeo in Rhythm. I’ve just discovered this cartoon and have to agree. The pace and energy to it is fantastic. It’s clearly intended as a celebration of swing and it’s clever done with the Romeo and Juliet theme. Hopefully one day we’ll see more of the MGM library on Blu-ray so films like this one can be appreciated by a wider audience.
My top 10:
“Duck Amuck” from Warner Bros.; “Brotherhood of Man” from UPA; “Minnie the Moocher” from Max Fleischer; “G. I. Pink” from DePatie-Freleng; “Three Little Woodpeckers” from Walter Lantz; “Marvin Digs” from Paramount; “Russian Rhapsody” from Leon Schlesinger; “Donald’s Diary” from Walt Disney; “Crazy Mixed-Up Pup” from Walter Lantz; “Little Rural Riding Hood” from MGM.
One of my favorites that I’ve not seen mentioned is “Falling Hare” (1943). I love Bugs Bunny, but watching the gremlin get the best of him throughout is priceless. Enough gags and humor, but also relevant for WW2 audiences to appreciate.
Jerry, it’s always great to read about your all time faves. I’m a bit late to the party, but I’ll throw my hat in the iris-out. Don’t think I ever mentioned my first top ten, so I’ll start with those.
Kitty Kornered (1946)
Pretty much the perfect Klampett Kartoon. Elastic, warped, this one has it all and is probably my favorite Warners cartoon.
Porky Pig’s Feat (1943)
This one floored me when I first saw it. Tashlin’s meticulous attention to film theory really allows this cartoon to soar. My favorite Warners black and white ‘toon.
Pretty much the entire Fleischer Popeye filmography from 1935-1838
This one is a total cheat, but it’s SO tough to single out the best ones. The first two color features are masterful favorites, and as for the black and whites… maybe Organ Grinder’s Swing? Love that gritty urban setting, fleischer monkey, and the brutal climax.
Moving Day (1936)
My personal favorite of an amazing series, the Mickey-Donald-Goofy trio shorts. I’ve always adored the piano sequence.
Tie between Music Land (1935) and The Old Mill (1937)
Either one of these films could stake a claim as the ultimate Silly Symphony. Glorious feats of animation, some of Disney’s very best, and some of my very favorites.
Solid Serenade (1946)
The H-B directorial team on the top of their game. Moonlight sonatas 1940s style, irons in pies, windows crashing down on necks, “Killer”. What more could a cartoon fan ask for?
Northwest Hounded Police (1946)
I think Tex Avery, Chuck Jones, and Bob Clampett were the only directors of the golden age that had more than five true magnum opeses. This is one of them.
Rabbit of Seville (1950)
Speaking of magnum opeses, even when I was younger it was easy to tell this was a special cartoon… and that was BEFORE I knew it was highly esteemed. A common favorite, but still a personal favorite.
Baseball Bugs (1946)
What, more Bugs!? Yeah, this one has all, and I hold it dear to my heart. Freleng was a genius (hey, maybe he had more than five masterpieces as well). 1-2-3 strikes you’re out!
Swing You Sinners (1930)
What do I even say about this one? A Flesicher surrealist pre-code malevolently musical MASTERPIECE.
I think it’s far more likely that INSIDE OUT was “inspired” (that’s the polite term) by “Herman’s Head,” a sitcom that ran on Fox for three years that was the Exact. Same. Plot….except that Herman was an adult.
Michael… I’ve talked to people at Pixar about it and REASON AND EMOTION was often cited as its inspiration. I used to watch HERMAN’S HEAD and yes, that must have been an influence – but no one admitted it to me. Now that Disney owns FOX perhaps they will be more open about that.
A “top 10” without thinking too much:
Goonland(Fleischer)
Tire Trouble(Disney)
The Beach Nut(Lantz)
Rooty Toot Toot (UPA)
Solid Serenade(MGM)
Book Revue(WB)
Magical Maestro(MGM)
Pig Is Pigs(Disney)
Mouse Mazurka(WB)
The Rabbit Of Seville(WB)
But if I think a little bit I’ll put other 10
I’m so glad I got to see many of these on the screen at the Thalia back in the cartoon fest days!
The WB Three Bears cartoons and the Cecil Turtles always got a big reaction, as did Feed the Kitty.
Every Out of the Inkwell had bizarre 4th wall – or ink and paper equivalent – breaking gags, that never seemed to repeat. The freshness of the all the Fleisher scripts, paired with excellent jazz, was great to see in a large, loud format. The Puppetoons also had great music and clearly massive amount of manual labor and wood chips in someone’s workshop.
I always go back to Jiri Trnkas The Hand to see great work and a sad fable, nearly impossible to understand how it could have been made at all!