mena as publicity arid the press? They consider them selves to be necessary in their present form. They are part of the sum total of an epoch which governs them by its general rhythm. And then, who knows but one day there will emerge from all this a poetry which, up to now, has been hardly noticed or defined? In the final reckoning there is no phenomenon which does not con tain some element of worth, but it is an element which is not apparent until the outer surface begins to crumble. There is, therefore, no reason whatever why the humour of publicity should not, one day, be considered as a particular form of expression equal in interest to some one of the recognised literary or artistic types. In this domain of humour, a young French designer, Paul Grimault has conceived, and sometimes brought into being, designs which have already placed him among those who are destined to reanimate publicity by giving it a new outlook. The presentation of any product is, for him, a pretext for a design in which his wit approaches that of the finest humorists. He frequently uses the trick described above, of certain publicity films in which a surprise ending is provided. A design of this type, published in "Publicity 26" (Arts et Metier Graphiques), which is reproduced here ap pears to us to be a complete success. The idea of a fisherman who catches fish with the simple promise that they shall be fried in Lesieur Oil shows a rare combination of simplicity and ingenuity. It combines the primary qualities of humourkeen ness and the absence of complications. An advertise ment of this kind has also the advantage of being com prehensible in any language because it does away with the need for words. The same is true of the Razvite advertisement whose meaning is, however, less direct. The series of advertisements, already ancient history, for Jerome and for Woodmilne, are also full of savour. Here Paul Grimault likewise uses a surprise effect which allows him to concentrate the interest on the final element, which is the most important point. This trick is, all the same, extremely difficult. To do it, one has to aim straight and pull the trigger without hesita tion. Jean Cocteau, who at one time magnificently illustrated Kayser stockings, has excelled in this type of work. But what is particularly attractive in Grimault is that you never see any trace of effort in his work. Humour is as natural to him as eloquence is to another. "He thinks. He feels. And the expression follows." His design has the richness and fantasy of a popular number. The Zitane cigarette becomes in turn a stick, the telescope of an astronomer, the funnel of a steamer, or the bolster on a bed. In fact, the elements of his advertising creations com- pose the framework of a veritable film of animated car toons. For comparison we have reproduced on page 230 I "Coffinal." Z The scenario is as follows At the edge of the sea under a blazing sun, a man is sitting in the bottom of a fishing boat, sleepily trailing his line in the water. All at once he is shaken out of his somnolence by a sudden blow. He pulls in his line and finds it is attached to an enormous whale. This takes fright and makes for the open sea, while the fisherman, unwilling to lose his catch, is dragged in his boat after it. Hardly has the man recovered from his surprise when he is seized with a violent nausea. It is seasickness. A particularly violent attack breaks his line and the wretched fellow is left alone. He has an idea for escaping from the seasickness. He tremblingly takes off his shoes, then one of his socks, and blows despairingly into it. It swells out and turns into a balloon. It rises into the air, and the disappointed sharks below cannot hide their fury. The man, feeling better, rises steadily from the mo ment when his sock begins to fill. With great speed he is carried into the middle of a cloud where he entirely disappears. When he emerges he is perched on an aeroplane. The attacks of seasickness start again, and as a conse quence rock the aeroplane, much to the horror of the pilot. He, in order to get rid of him, begins a terrible series of acrobatics made more dangerous by the move ments of the agony-racked sufferer. The machine plunges into the sea and emerges a few metres farther on, rid this time of the intruder, and the plane flies rapidly away. The man is discovered again, walking on the bottom of the sea. He enters a wreck, and comes out immediately chewing something. The seasickness is conquered. He leads a ballet of sirens and fish. There are many artists who keep a keen watch on the ideas of Paul Grimault, but, without the slightest ill will in the world, he disposes of these plagiarists whom he cannot shake off. Indeed it is to be hoped that he will have numerous imitators, and that, thanks to him and to many others, humour which is opposed to old-fashionedness and even to the less polished forms of wit, will bring new aspects I to publicity. J. a few fragments from a publicity film in course of preparation, for a product against seasickness am H

Industrial Arts en | 1936 | | page 72