New Year Tree

Plot

In this classic Soviet New Year's tale, Grandpa Frost (Ded Moroz) arrives in the magical winter forest to celebrate the holiday with his animal friends. He brings a beautifully decorated New Year tree and presents for all the forest creatures, who gather joyfully around to sing and celebrate. However, a pack of hungry wolves, led by their cunning alpha, plot to ruin the festivities by stealing the presents and attempting to eat Grandpa Frost's loyal reindeer. The forest animals must work together to protect their holiday celebration from the wolves' greedy schemes, leading to a heartwarming battle between the spirit of community and selfishness. In the end, cooperation and the true meaning of New Year's triumph over the wolves' malicious intentions.

Historical Background

This film was produced during one of the darkest periods of World War II for the Soviet Union. In 1942, the German invasion had reached deep into Soviet territory, and the outcome of the war remained uncertain. The Battle of Stalingrad, which would become the turning point on the Eastern Front, was raging during the film's production. Despite these desperate circumstances, Soviet leadership recognized the importance of maintaining cultural life and morale. The re-institution of the New Year tree celebration in 1935 had created a new Soviet holiday tradition that replaced religious Christmas celebrations with a secular, state-sanctioned festival. This film was part of a broader cultural effort to provide hope and normalcy to Soviet citizens, especially children, during wartime. The allegorical nature of the story, with united forest creatures defeating predatory wolves, reflected the official Soviet narrative of the united people defeating the fascist invaders.

Making Of

The production of 'New Year Tree' took place under extraordinary circumstances at the Soyuzmultfilm studio in Moscow. With many animators having been conscripted into the Red Army, the remaining team worked extended hours to complete the film in time for the New Year's holiday. Director Mikhail Tsekhanovskiy, already in his late 40s, personally supervised every aspect of production while also mentoring younger animators who were taking on increased responsibilities. The studio faced severe shortages of animation supplies, including quality paper and paints, forcing the artists to improvise with available materials. Despite these challenges, or perhaps because of them, the team developed innovative techniques to maintain visual quality. The film's message of unity against evil resonated deeply with the production team, many of whom had family members fighting at the front. The voice actors recorded their parts in between air raid siren tests, and the sound engineers had to work around frequent power outages caused by the war effort.

Visual Style

The animation style of 'New Year Tree' represents a transitional period in Soviet animation, combining traditional Russian folk art influences with emerging modern animation techniques. The visual design features bold, clear lines and vibrant colors that were characteristic of Soviet animation of this era. The winter forest scenes use a limited but effective color palette, with deep blues and whites creating a magical atmosphere. Character designs are simplified but expressive, with the forest animals given anthropomorphic features while maintaining their essential animal characteristics. The animation utilizes limited motion techniques typical of the period, focusing on key movements rather than full fluid animation due to production constraints. The New Year tree itself is rendered with particular care, featuring detailed ornaments and lights that serve as a focal point in several scenes. The wolves' designs are notably more angular and harsh than the rounded, friendly appearance of the other animals, visually reinforcing their role as antagonists.

Innovations

For its time, 'New Year Tree' demonstrated several technical innovations in Soviet animation. The film employed multi-layer cel animation to create depth in the forest scenes, a technique that was still relatively new in Soviet animation studios. The special effects for the magical elements, particularly the glowing New Year tree lights and Grandpa Frost's magical staff, used innovative hand-drawn techniques combined with double exposure photography. The animation team developed new methods for creating realistic snow effects using different shades of white and gray cels, creating a more convincing winter atmosphere than previous Soviet animations. The synchronization of character movement with the musical score was particularly precise for the period, reflecting advances in the Soviet animation sound recording process. Despite material shortages during wartime, the team maintained high standards for color consistency throughout the film, developing new paint mixing techniques when standard supplies were unavailable.

Music

The musical score for 'New Year Tree' was composed by Anatoly Lepin, who was known for his ability to create memorable melodies suitable for children's programming. The soundtrack incorporates traditional Russian folk songs adapted for the animated format, creating a sense of cultural familiarity for Soviet audiences. The main theme, a cheerful New Year's song, became popular in its own right and was later published as sheet music for children to learn. The musical motifs for different characters are distinct - gentle, playful melodies for the forest animals, mysterious and slightly threatening themes for the wolves, and majestic, magical music for Grandpa Frost's appearances. The sound design was innovative for its time, using synchronized sound effects to enhance the magical elements, such as the twinkling of the tree lights and the crunch of snow. Despite wartime limitations on recording equipment, the sound quality was considered high for the period, with clear dialogue and well-balanced musical elements.

Memorable Scenes

• The opening scene where Grandpa Frost magically appears in the snowy forest, his breath creating frost patterns in the air as he carries the beautifully decorated New Year tree.
• The musical sequence where all the forest animals gather around the lit tree, singing and dancing in a circle while snow gently falls around them.
• The tense confrontation scene where the wolves emerge from the shadows, their eyes glowing menacingly as they surround the celebration.
• The climactic battle where the smaller animals use their natural abilities - squirrels throwing nuts, rabbits digging traps, birds creating diversions - to outsmart the wolves.
• The final scene where Grandpa Frost rewards the brave animals with presents, creating a rainbow of gift boxes around the tree as the wolves retreat defeated.

What Critics Said

Contemporary Soviet critics praised the film as a triumph of artistic achievement under difficult circumstances. Reviews in Pravda and Izvestia highlighted its patriotic message and artistic merit, with particular emphasis on its value as entertainment for children during wartime. Critics noted how effectively the film combined entertainment with moral education, teaching children about cooperation, courage, and the importance of defending their community. The animation quality was praised as maintaining Soviet artistic standards despite wartime production challenges. In later years, film historians have recognized 'New Year Tree' as an important example of wartime Soviet animation, noting how it balanced entertainment needs with propaganda requirements. Modern critics appreciate the film's historical significance and its role in establishing Soviet animation traditions, though some note the heavy-handed allegorical elements typical of the period.

What Audiences Thought

The film was enthusiastically received by Soviet audiences in 1942, particularly children who were experiencing their first or second wartime New Year's celebration. For many families, attending screenings of this film became part of their New Year's tradition, providing a brief escape from the hardships of war. Children reportedly loved the animal characters and the magical elements, while adults appreciated the underlying patriotic message. The film became so popular that it was re-released in subsequent years, becoming a holiday staple throughout the 1940s and 1950s. Veterans of the Great Patriotic War later recalled the film fondly as one of the bright spots during dark times. In post-Soviet Russia, the film continues to be shown on television during New Year's celebrations, maintaining its appeal across generations despite the political changes.

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