正在屋外玩耍的小女孩，从妈妈那里得到了一份礼物，原来是一盒漂亮帅气的玩具士兵。在动画的世界里，玩具士兵仿佛有了生命一般，他们有的放哨，有的巡逻，有的劳作，有的在军官的指挥下认真训练。训练结束后，所有的士兵都回到盒子里休息。然而有一个士兵却被落在了外面，他乘着小船随波漂流，越过江河湖海，最终来到非洲大陆。一个小女孩捡到了飘洋过海而来的玩具士兵，意外却由此发生了…… 本片拷贝已遭到较大损坏，所幸尚且完整，现由法国电影艺术馆（Archives Francaises du Film du CNC）收藏。
The same mysterious ring of Émile Cohl's THE MAGIC HOOP reappears here to bring to life a case of toy soldiers (ninety years ahead of TOY STORY). When one is left behind, a strange course of events leads him to a distant tribe. THE LITTLE SOLDIER WHO BECAME A GOD is easily one of the most surreal of Cohl's live action/stop motion hybrids. This film features actors performing in blackface. Fandor does not condone racist stereotyping, but blackface is nonetheless a significant aspect of American history in general and film history specifically. Early cinema was deeply rooted in vaudeville, where blackface was a popular staple. As film critic Ty Burr wrote in a recent assessment of Al Jolson's THE JAZZ SINGER, "Minstrelsy was the then-accepted cultural mechanism by which the governing white culture could appropriate and tame various representations of black people." The history of blackface is complex (even African American performers donned burnt cork to appear onstage in the early ...
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