Ladislas Starevich

Polish-Russian stop-motion animator

Ladislas Starevich began his pioneering career in stop-motion animation by attempting to film a battle between two stag beetles in 1910. When the live insects failed to perform under hot studio lights, he replaced their limbs with wire and wax, creating the short film Lucanus Cervus and establishing a new technique for Russian cinema.

Early Career and Move to Moscow

Before turning to animation, Starevich served as Director of the Museum of Natural History in Kaunas, where he produced live-action documentaries. In 1911, he relocated to Moscow to join the Khanzhonkov Company. During this period, he produced two dozen films, often utilizing dead animals as puppets. His 1912 work, The Beautiful Leukanida, earned international recognition, while The Cameraman's Revenge offered a cynical depiction of insect life. He also directed the 41-minute adaptation of Nikolai Gogol’s The Night Before Christmas in 1913.

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Transition to France

Following the October Revolution of 1917, Starevich and his family moved to Yalta before eventually settling in Paris to escape the Red Army. He adopted the name Ladislas Starevich to better suit the French language. He established his home in Joinville-le-Pont, collaborating closely with his wife, Anna Zimermann, who created puppet costumes, and his daughter, Irène, who became an integral creative partner in his subsequent productions throughout the 1920s.

Production in Fontenay-sous-Bois

In 1924, the family moved to Fontenay-sous-Bois, which remained the base for his film production until his death. During this decade, he produced films such as The Eyes of the Dragon and The Magical Clock. His work often showcased intricate set designs and innovative trick photography. In 1933, Starevich began the Fétiche series under a contract with Marc Gelbart, producing five episodes of the planned twelve between 1934 and 1937.

Le Roman de Renard

The Tale of the Fox, or Le Roman de Renard, represented Starevich's first animated feature film. Produced in Fontenay-sous-Bois between 1929 and 1930 with his daughter Irène, the film faced initial delays due to failed sound systems. It eventually premiered in Berlin in 1937 with a German soundtrack and was later released in a French version produced by Roger Richebé in 1941.

Fast facts

Questions readers ask

What materials did Starevich use for his early animations?

He used dead insects and articulated puppets constructed from insect bodies reinforced with wire and sealing wax.

Who collaborated with Starevich on his films in France?

His wife, Anna Zimermann, produced the costumes, and his daughter, Irène, assisted in the direction and production of his projects.

Achievements

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