Norman McLaren’s eight‑minute anti‑war shocker Neighbours (1952) carried a far darker original climax than most viewers ever saw. In McLaren’s initial cut the quarrel over a single flower escalates not only to the on‑screen deaths of the two combatants but to the murder of each man’s wife and children — a brutal moral punch intended to underline the film’s anti‑militarist thesis. When the National Film Board sought to position the short for international audiences and awards, studio overseers demanded the excision of that sequence to make the picture more 'palatable' to American and European sensibilities. The neutered version was the one submitted to the 25th Academy Awards (1953 ceremony), where Neighbours won the Oscar for Best Documentary, Short Subject. The decision is a classic mid‑century example of institutional self‑censoring: artistic intent trimmed to suit perceived market and moral climates, with a prize that validated the compromise even as it altered the work’s original political fury.
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