Visitors to the David Livingstone Centre in Lanarkshire, Scotland will have had trouble failing to notice the large bronze sculpture of the famous explorer being chomped on by a lion. This was based on an actual incident in 1844 where Livingstone shot a lion that had just killed a woman in the village of Mabotsa, in what is now South Africa, where he had been serving as a missionary. Before it keeled over and died the enraged cat managed to leave some serious, permanent teethmarks in the shooter’s arm, which was never the same again. What we don’t see is the African teacher who distracted the lion away its meal and himself suffered severe injuries, saving Livingstone’s life in the process. This dramatic scene, enshrining the explorer’s courageous credentials (see how the natives fall helplessly to the ground!), was designed by none other than Ray Harryhausen, a fond favourite here at Spectacular Attractions, creator of stop-motion animation sequences for films like The Beast from 20,000 Fathoms, It Came from Beneath the Sea, Earth vs the Flying Saucers, Jason and the Argonauts, The Golden Voyage of Sinbad, Clash of the Titans… In partnership with his wife Diana, who is Livingstone’s great-granddaughter, Harryhausen funded the statue and crafted a miniature version to be built by sculptor Gareth Knowles, who worked on it for four years before it was unveiled in 2004.
If you’ve ever seen any of Harryhausen’s miniature model figures on display, you’ll have noticed that most of them are sustained on dynamic poses, about to attack or be attacked. His mythical beasts are, more often than not, built for combat, and their physical properties are best displayed when grappling with other creatures or when precisely composited with human co-stars, some of whom are bound to get picked up and chewed at some point.
The Livingstone statue has much of the old-fashioned adventurism of his earlier work, celebrating dangerous encounters by staging them as pitched battles of strained sinew and flesh-tearing weaponry. But at least it shows, long after he retired (following Clash of the Titans, in 1983), that he still has an animator’s eye for a static scene that could at any moment be brought to life – every element is caught in mid-motion: not about to pounce, fall or claw, but pouncing, falling, clawing.