Hedgehog in the fog

A master of Soviet animation

Hedgehog in the Fog | Directed by Yuri Norstein | 1975 | 10 minutes

By Lucy Schwindt

Hedgehog in the Fog (1975) is a Russian short film directed by Yuri Norstein. This film, made mid cold-war, is a short film that speaks to the censorship and fear of daily life during the late 20th century. The focus of the film is oriented around the main character, Hedgehog (as voiced by Maria Vinogradova), and his travels through a dense fog. Hedgehog desperately tries to find his friend Bear (voiced by Vyacheslav Nevinny), but along the way encounters seemingly dangerous and terrifying situations. Using beautiful layered visuals, made from intricate cutout animation, Norstein tells a charming, yet thoughtful, tale with his skillful use of paper. 

Something particularly interesting about this work is Norstein’s direct commentary of the Cold War and the preceding events which led to it. Illustrating the clear conscience of the general Russian population before the war, just as Hedgehog’s journey starts out clear of fog. However as time went on, just as the fog clouds Hedgehog’s way, the ever intensifying conflicting goals, propaganda, and tension began to clutter the mind of the people. Norstein's particularly efficient in his use of the metaphor of the fog, in a time of confusion and fear, the fog takes similar effect on the characters of his story. Its goal is to conceal the truth and keep the population afraid. This is a direct parallel to the dangers that hedgehog seems to endure on the journey, though nothing ever truly hurts him, he is left to find a way to keep going, often without support. 
Something this film speaks to very well is interpersonal relationships of Soviet Russia. There is an undeniable emotion of comradery, and support among strangers.  In the storm of propaganda many found solace with others, and took on the role of an anchor. Although the horse stands as an eerie symbol of something heavier over the tone of the film.

The meticulous nature of this animation has a quiet and sort of haunting presence. On the technical side, the cinematography and animation style chosen by Norstein speaks to an era of censorship. The film is composed of cutout paper, which is stop motion animated. This is to add a childlike perception to the film. Young children’s media was not very heavily restricted and regulated in the Soviet Union, so by adding that sense of a storybook for a toddler, Norstein is able to have a more direct outlet to share his views. The cutouts are highly alluring, as many look nearly real and others perfectly stylized to fit the theme of the film. The main character, Hedgehog, is especially wonderfully done. Hedgehog’s design truly speaks to the love put into this work, as every frame had to be hand drawn and cut perfectly. This labour intensive production would be nothing short of gruelling to complete. The atmosphere is perfectly created, the shadowy figures in the mist create fear and doubt within us, only to have that fear quelled by the reveal of mystical glowing insects. However this moment is quite quick, as the fog quickly rolls back in to diminish our hopes and create doubts within our minds, it is a moment of catharsis and hope for the viewer. Every part of this story is taken to a level of perfection which is rarely seen, the story is moving and we fear for the character and all the while you can relish in the beautiful moments that quickly evaporate as though they never existed. This complete mix of fear and beauty is something which often is done incorrectly or completely ignored. Norstein is able to take each aspect given, and provide it with new life. 
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As the film comes to an end, the viewer, much like Hedgehog, is left wondering and contemplating the events that Hedgehog just experienced. Hedgehog in the Fog is a skillful demonstration of the power film, as well as animation, as an art form can hold. It is an important show of what influence our voices hold, and the creativity that is achievable when trying to state a point.