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Films & Broadcast


Compiled by L. & D. Noack since 1999. Last updated: July 23, 2014


click here for YOUTUBE






"Honoré Daumier-Witness to a Century." Documentary 1988, 8 minutes. This video uses the drawings and animated sequences of Honoré Daumier to chronicle the history of France around the period of the French Revolution.


BBC Production

Daumier and his Robert Macaire (1972)


The political context of Daumier's work and the lavish illustrations which demonstrate his great artistic skill and brilliant characterisation. Concentrates of the series of lithographs known as the '101 prints of Robert Macaire', first published in Charivari during the years 1836 and 1838.



Eine Lithographie Daumiers entsteht. "Der Kampf der Schulen" wird auf dem Stein gestaltet. Kurzfilm 4'



Daumiers Paris. Bildcollage, 8'. 2008



Daumier: Politics and Art in Nineteenth-Century France. Video publication, Cameron Univ. Media Services. Nov. 1986. Lawton, OK



Daumier vu par "Le Journal du Temps / Zeit im Wandel"

vidéo sur Daumier, présentée par Bruno Gaudenzi dans Le Journal du Temps de l'émission 28 minutes sur Arte.



Les Aventures de Robert Macaire (France, 1925)

Writer: Charles Vayre

Color: Black and White



Jean Angelo: Robert Macaire

Alex Allin: Bertrand

Suzanne Bianchetti: Louise de Sermèze

Lou Dovoyna: Victoire (as Dovoyna)

Jean-Pierre Stock: Vicomte de la Ferté

Marquisette Bosky: Jeanne

François Viguier: (as Viguier)

Niblia: (as Mme. Niblia)



Un artiste republicain en colère, Honoré Daumier [videorecording] / SFP,Princeton, NJ: Films for the Humanities, 1986



Things to remember about Daumier. Short videofilm (4'10") presented at 20th Videofilm Festival Locarno, 1999.



Daumier. 16mm noir et blanc, 14' , 1958, France. Prix de Qualité 1959



Soundtrack to the animated featurette "Daumier's Law" to recreate the drawings of Daumier. Premiered at Cannes in 1992.

His first production, "Daumier's Law", won the top prize in 1992 at the British Academy of Film and Television Arts awards.(See comments below)



Honoré Daumier, from the Metropolitan Museum exhibition, English, (28’), 1993, produced, directed and edited, aired by QPTV, channel 35 and 56.



VHS Video on Daumier at Metropolitan Exhibition 1993, New York.



Daumier: Politics and Art in Nineteenth-Century France. Video publication, Cameron Univ. Media Services. Nov. 1986 / 1987



Honoré Daumier: a portrait of French painter and caricaturist Honoré Daumier (1808-1879). With an introduction to 19th century France, its times, its people, and its politics. 1 hour video cassette, color. 1986



Hommage an Honoré Daumier (1808 - 1879), in Würdigung seiner Juristenkarikaturen. Vertontes Gedicht Musett-Walzer, 1979



Kleine Geschichte der Modernen Malerei von Daumier bis Chagall. 10 Radio-Vorträge.



Videocassette: Daumier. La peinture dans les années 1850 - Daumier et Courbet. Macalaster College, St. Paul, MN, USA



26.2.1983 Rückblende. (H. Daumier). Uni Dortmund 1983



"Honoré Daumier: One Must Be of One’s Time" 1999. France/USA, film 52 min. Moma. French version: "Honoré Daumier: Il Faut être de son temps" distributed by The Reunion des Musées Nationaux, France


WECHSLER, Judith and EAMES, Ch.

"Daumier, Paris, and the Spectator" 1977, distributed by Pyramid Films.


top of page


About Paul McCartney's "Daumier's Law"

See the full video at:

YOUTUBE (parts 1, 2, and 3) and YOUTUBE (parts 4, 5, and 6)




Brian Peterson Nov 26 1993


This article was written by Mark Lewisohn for Club Sandwich in the Summer of

1992. In order to save myself some typing I will excerpt and paraphrase a

little bit. Any mistakes are mine.


Paul McCartney is about to surprise us all once again. Over the last 4 years

he's been putting together a short film animating the work of 19th Century

artist Honore Daumier, and recording what the public will perceive as some

very unMcCartney like music for it.

The film is Daumier's Law. Brought to you by the team behind Rupert

and The Frog Song. Paul, Linda, and director of animation Geoff Dunbar. For

too long Honore Daumier has been an unsung hero, a clear but usually

overlooked influence over artists such as Van Gogh, Toulouse-Lautrec and

Picasso. Daumier's Law will ensure that his work finally receives the

attention it merits.

Linda was the first to be enthused by Daumier - back in her school

days. "I went through all periods of different painters and along the way

there were several that grabbed me including Daumier. He was very satirical

about the different classes and fantastic at capturing people's characters."

In 1988 Paul found himself with the time, while preparing for the

Tour, to record some experimental music. It wasn't meant for the film, that

come only after the music was completed. "I wanted to get into some

minimalist music so I came to the studio and started trying to think of very

simple pieces, based around the theme of injustice. .. I got intrigued by

the idea of thinking 'how few notes couls I use, then?' You start off

thinking of just one note and then you embellish it a bit, trying to keep in

the back of your mind to be as minimal as possible. And in the end I think I

abondoned the idea of minimalism and just got into this slightly

experimental music."

Soon the two projects came together. "I went through every drawing

he ever did and really got involved," Linda says, "I got every book on

Daumier and read all about his life and thought that it would be incredible

to do a visual thing for Paul's music. Daumier worked for a newspaper as a

satirical cartoonist and went to prison a few times for his Art. A lot of

his work was about injustice and it's a theme that is so right for our


"I did about 20 minutes of music." adds Paul, "then Linda and I were

looking at some Daumier drawings, so we hooked up the idea of injustice with

my musical pieces, came up with the idea for the film and called Geoff."

"Paul and Linda called and asked if I would like to make a film on

Daumier and I said yes," recalls Geoff Dunbar, "Before Rupert came along I

had made a film on Toulouse-Lautrec so the Daumier idea was very exciting."

"Paul did six pieces of music and they each had a title - Right,

Wrong, Justice, Punishment, Payment, and Release. Then we pored through the

works of Daumier, got everything that was available, and structured the

story from the material. And where we had to link it we invented 'in the

style of'. We hung the story on one character, a man from one drawing by


The injustice theme is skillfully put across during the 15 minute

film, with our Mr. Average wrongfully accussed, wrongfully arrested,

wrongfully convicted in a particularly powerful courtroom scene(Act 3:

Justice), cruelly punished, forced to pay dues and then, at last, expelledby

the tyrannical system, free to rediscover artistic beauty in his midst. "It'

s all topical stuff ," comments Dunbar, "It's a heroic tale I suppose. He

goes through the system and comes out in rags, he's lost all his wordly

possessions and his dignity but regains them at the end by finding beauty

and music."

The most visually stunning section occurs in Act 5 (Payment), when

Daumier's remarkable Gargantua, drawn in 1832, is brought to life. Depicting

the great pear-head of Louis XIV [should read: Louis-Philippe] and his swallowing up of ordinary people

and their riches, it was a drawing for which Daumier was fined and

imprisoned by the French government.

The sheer enormity of work in making Daumier's Law is best explained

by some vital statistics: Production began in mid-1989 and the animation

took two years to complete. With between 12 and 24 drawings per second the

film runs up to 21,000 drawings. Before that they are all done in pencil

too, so that make's 42,000. THe celluloids also have to be shaded or painted

before being photographed, plus all the prepatory photos and layouts of the

scenes, another 35,000 drawings. "The sequence of the mandolin player (Act

6, Release) along took one artist three months," comments Geoff, "plus there

were scenes, only natural in a film project, that wouldn't fit in, which

were heaved out and confined to the bin."

It's a mark of the team's achievement that no difference between the

original work and theirsis discernable to the naked eye. "Doing a film like

this has it's bonuses," remarks Dunbar, "and one learns so much more than if

you just studied it. You're actually in it, you've got to make it move, to

create new scenes which will dovetail with the original."

Paul supplied 20 minutes of instrumental music, of which 15 is used.

It may not be minimalist in the true sense of the word, but certainly, in

places, it is pretty minimal. And it changes dramatically depending on the

Act, from subtle tinkling percussion effects to more strident piano and

electric guitar passages and some lovely acoustic work. "The great thing in

animation is that they need the music before the film," comments Paul' "In

animation they follow what you lay down."

"Paul was inspired by Daumier and I was inspired by the music'"

comments Geoff, "And we do have a good sense of what we're both thinking and

saying. With the Daumier music it's so much a departure for Paul ,such a

brave direction to go in, that I had to sit down and listen to it many times


"What was especially thrilling was when we did the sound mix and

Paul and I are sitting at the bakc of the theatre. There it was again - the

strength of the music was still there. WE had been listening to it every

day, sections of it repeated again and again, and it had become an object of

work. So for the strength to still be there two years later was remarkable."

Delighted to be "probably the only animator in the world who has a

gold disk", pointing to his award for 'We All Stand Together', Dunbar is

usually occupied making animated TV commercials and is presently engaged in

bringing to the screen another beloved British children's character, Beatrix

Potter's Peter Rabbit.

As for the musical element, Paul comments, "I've also got two other

pieces of the same sort of theme and of similar length, so the idea at some

point may be to release everything together on record, We'll see."




Some comments collected from the Internet.


Soundtrack to the animated featurette "Daumier's Law" to recreate the drawings of Daumier. Premiered at Cannes in 1992.

His first production, "Daumier's Law," won the top prize in 1992 at the British Academy of Film and Television Arts awards.




The commercial 80s kicked off with the promising, eccentric McCartney II (a queer fish abundant with idiosyncratic vocals) and produced lots more hits. Late in 1989 Paul repaired to his studio with the intention, for his own pleasure, of laying down some minimalist music. What transpired was full-blown experimentation, uncontaminated by melody or vocals, fifteen minutes of which was later soundtracked to the animated featurette Daumier's Law, produced by Paul's company in a bid to recreate the drawings of French artist Honoré Daumier. With its six atypical McCartney pieces the film premiered at Cannes in 1992. Text copyright © Chris Fox, 2000

First published by Rubberneck, November 2000



Cannes 92: Best short nominee




Paul is named the world's first recipient of the Swedish Polar Music Award, a Nobel-prize for music. Paul reveals Daumier's Law, an animated short film entered for the Cannes Film Festival, which he co-produced and composed the score. Paul, Linda and the band - with new drummer Blair Cunningham replacing Chris Whitten - record his first studio album for three years, Off The Ground. Daumier's Law wins the BAFTA prize for the best short animated film at the British Academy of Film and Television Arts awards.


But a most successful partnership has flourished on the back of Macca's efforts.

In 1989 McCartney laid down a musical score for a new film project, 'Daumier's Law'.

Dunbar was commissioned to direct and produce the 15min short which brought the

drawings of French artist Honoré Daumier into animated life. It premiered at the

Cannes Film Festival in 1992 and, like Frog Song eight years earlier, collected a

BAFTA for Best Animated Short. In 1998 Macca and Dunbar teamed again on the

video to 'Tropical Island Hum'. And then, last year they premiered their acclaimed

new short film 'Tuesday'. Adapted from the book by David Weisner, this is another

amphibian-filled fantasy about frogs on Lilly pads who, on one particular Tuesday

evening take a twilight flight into town. The film is narrated by actor Dustin Hoffman

and is dedicated to Paul's late wife Linda. It was shown at the Venice Film Festival

and went on to give the Macca/Dunbar partnership their third BAFTA Nomination.

Whilst promoting the project in Italy Macca was very vocal about his passion for

animation and commitment to making a full-length feature soon - even giving a hint

that it might again feature frogs... Frogs are good, but little bears would be

better still, eh?




Nicolette van Gendt (1955) got a solid training in fine art drawing and painting, graphic design, initially working as an illustrator and portrait painter. Living and working in the UK since 1978, she became involved in animation in 1985. After doing storyboards, lay outs and backgrounds, she evolved from trainee inbetweener to assistant animator on Who Framed Roger Rabbit. She was further introduced to the art of animation by Gill Brooks, a well known British art director.


In 1991 she did character design, layouts and animation on Geoff Dunbar's Daumier's Law, which in 1992 received a BAFTA award for best animated film. Since she has worked as an animator for various British commercial studio's, and as lead animator on different large productions.



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