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An anecdote is quickly told and therefore there will be no summary of content in this critique for the indolent consumer. Billy (the tape) can stand on his own two feet. In the best tradition of melodrama - or its modern variation, the family sitcom - everybody can easily predict the outcome of this visual love song, especially when they have seen it. The pleasure of the story is adequately amplified by the form of the presentation: the decors appear to come from the old fashioned living room theatres which were put together with much cutting and pasting, the characters are cut out drawings and the sound track recalls memories of radio plays from the time when there was no television. Billy's iris-out, blissfully smiling on his swing, works like a drum beat from a little blackamoor on top of a barrel organ after a folk tune fervently played. The blood creeps where it's not allowed; something about the contents must be leaked, if necessary, cryptically, via a saying like: the owl thinks her young fairest! The naive lad Billy actually turns out to be a cuckoo chick.
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Erik Daams
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Production-assistant: Bernard Jongstra, Editing: Arie Hali, Music, sound: Bernard Bart, Sets, drawings: Bart Dijkman, Voices: Michelle Adringa, Steve Wilkinson, Barbara Moore-Kuller, Bernard Jongstra, Rolf Schoeben, Arno Arts, Production: Stichting Kapstok/Bart Dijkman
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