Very early in the days of film, certain highly creative, perhaps you could even say weird, filmmakers, saw an opportunity to show the world just what sort of oddities had bouncing around in their brains. Welcome to the world of the surreal, a new reality that expanded the bounds of what you could believe. Call it surreality, brought to life through the magic of film.
Without a doubt, the brains behind the film you can watch just beyond the jump, was one of the pioneers of surreality. Charley Bowers was a filmmaker and film actor during that transition time between silent film and talkies, after getting his start as a tightrope walker in the circus at the age of 6. He started as a cartoonist around 1912, making mostly Mutt and Jeff toons, but by the late 1920s he had perfected his self-proclaimed “Bowers Process”, his way of combining live action and stop-motion animation. There seems to be little detail on how exactly this process worked, but the stop-motion it’s impressive, even in today’s CGI world, perhaps even more so, and his films have a certain feel, a style of a dream come to life.
““It’s a Bird” is a strange little stop-motion animated short directed by film pioneer Harold L. Muller in 1930 that features a shoe-wearing, metal-eating bird (that actually looks a fair bit like a pterodactyl) that devours a car, piece by piece. Slapstick comedian Charles R. Bowers plays an explorer who encounters both the bird and a gruff-voiced talking worm on his travels to Africa.” (laughingsquid) As a note, Bowers and Muller collaborated on several films, but the stop-motion effects that really set this apart were created by Bowers.