animation

50 posts

Coming of Age

Film Film Reviews

Persepolis (Marjane Satrapi & Vincent Paronnaud, 2007)

Even those who love animation are prone to dark speculation about its shortcomings as a medium. The lack of live actors and the associated hindrance to truly subtle performances, in particular, is often cited as limiting the potential for serious dramatic work in animated films. The fear is that the relative paucity of full length, adult-oriented dramatic features might not only be due to a lack of courage and imagination on the part of directors and studio executives, but might also reflect actual limitations of animation itself. Thank goodness, then, for Marjane Satrapi’s Persepolis.

The film is an adaptation of Satrapi’s autobiographical graphic novel of the same name, and tells the story of her childhood, adolescence and early adulthood in Iran and Europe, set against the background of Iran’s turbulent politics. It’s difficult material, requiring sensitivity not just to the personal coming-of-age story, but also to the story of Iran through this period. The film is triumphant on both counts. Along the way it demonstrates that the medium of animation not only can overcome its limitations, but actually has some crucial advantages over live action in telling this story.

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Guided MIFFile

Film

(Can I pass off my appalling MIFF puns as a tribute to the bad puns of old cartoon titles? No? Oh.)

Well, I’ve finished MIFF with three films back-to-back this afternoon; all good (or at least enjoyable), thankfully. I also saw two on Friday. So I might as well wrap them up briefly while the thoughts are fresh.

Persepolis (Marjana Satrapi, 2007)

I’ll do a fuller review of this in the next week or so (hopefully), so more on this later. But suffice to say it’s brilliant, and you absolutely should see it when it comes out.

Encounters at the End of the World (Werner Herzog, 2007)

I didn’t dislike this to the same extent Mark Lavercombe at Hoopla did, but it was disappointing. Sharing more than a little in common with Herzog’s earlier science-fiction / documentary / head-scratcher The Wild Blue Yonder (which I covered at a previous MIFF, see here), it sees Herzog travel to Antarctica to talk to various research scientists. Herzog is, of course, an eccentric of long standing, and sometimes (most recently in Grizzly Man) his off-kilter perspective can be strangely brilliant. Here, though, he generally comes across as foolish. He has some interesting interview subjects, and certainly gets some great footage in the scenes of diving under ice (it’s here the film resembles Wild Blue Yonder – it may even reuse some of the same footage). But he consistently seems the least intelligent person in the room: his narration ruminates on humanity’s relationship with the environment, but his interview subjects are vastly more informed than he is on the topic. Funny, often beautiful, and Herzog is never a waste of time; but there’s a sense that Herzog is resting on his laurels as one of the great documentarians, rather than really chasing down a great story as he did back in Grizzly Man.

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Can’t Wait for the Sequel: Kung Pow Chicken

Film Film Reviews

Kung Fu Panda (Mark Osborne & John Stevenson, 2008)

Sometimes a title is its own review. Certainly Kung Fu Panda is about what you’d expect. There’s a panda. He likes kung fu. Everyone doubts the panda can do kung fu. The panda triumphs by doing kung fu. And at the end, they play “kung fu fighting” over pictures of pandas. So if you like kung fu, and like pandas, there’s a fair bit going on here for you.


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Avery, Jones, Clampett

Film

A really interesting bit of animation history appeared over at Thad Komorowski’s blog: the infamous “Jones-Avery letter.” It is an open letter written by Chuck Jones (and annotated by Tex Avery) angrily denouncing Clampett’s attempts to “claim” the history of Warner Bros. cartoons. Michael Barrier adds his commentary from an old essay on the letter here; the letter also provides interesting background to this essay by Milton Gray here.

In happier times: L to R, Tex Avery, Chuck Jones and Bob Clampett, circa 1935

It’s one of the great stories of animation: the three best directors at Warner Bros., and I think arguably the three greatest figures – outside of Disney – of animation’s Golden Age, start as collaborators and finish in their twilight years bickering over their legacy. Jones, in particular, would barely acknowledge Clampett’s existence when he talked about the studio.

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Simplicity and Clutter

Film Film Reviews

Horton Hears a Who! (Jimmy Hayward & Steve Martino, 2008)

We’ve entered the second decade of computer-animated movies (Toy Story having come out way back in 1995), and we are now starting to see the really interesting things that can be done visually with the medium. When I wrote about Ratatouille, I remarked upon the fantastic look it had, which seemed to me a leap ahead of other such films I’d seen; now the new film from animation studio Blue Sky, Horton Hears a Who!, pushes the medium in a different way by adapting the distinctive visual look of Dr Seuss to computer animation. They do a good job: the film has some really exciting visual moments. Yet it’s hamstrung by the accumulated bad habits of a decade of these kinds of films.

The success of the Blue Sky studios’ visual translation of Seuss’ art isn’t apparent until a little way into the film. The opening sequences, set in the jungle and featuring the Jim Carrey voiced Horton, show only a light Seuss influence in the visuals and character design. Only the distinct Seussian rhyming in the narration (and the story itself) point to the Seuss source. However, once Horton hears the Who – a tiny being on a speck of dust that floats past Horton – and we enter the world of Whoville, the visuals pick up considerably. One of the opening shots of Whoville is a giddy flying shot over the town, and its great to see the world of Dr Seuss brought to life like this, complete with its rounded architecture and elaborate stairs and ramps. It’s a really good moment, and is at least a part pay-off of the admirable ambition of Blue Sky in adapting such classic material. For all the fuss about Pixar – whose work generally remains far superior to Blue Sky’s – they haven’t attempted to take on a source so well loved, or so distinctive.

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Self Parody

Film Film Reviews

Enchanted (Kevin Lima, 2007)

Enchanted is the Disney corporation’s lavish tribute to the kind of films it has decided to stop making. Having assumed there was no longer a market for animated fairytales along the lines of its previous films Snow White, Cinderella, Sleeping Beauty and Beauty and the Beast, it has instead filled the market void it created with an affectionate live-action retread of those films.

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Bee Minus

Film Film Reviews

Bee Movie (Steve Hickner & Simon J. Smith, 2007)

Nearly a decade ago, in 1998, Dreamworks released Antz. It marked the emergence of the first major competitor to Pixar in the field of computer animation, a rivalry highlighted by its superficial similarity to Pixar’s release for that year, A Bug’s Life. While both were good films, the Dreamworks offering was exciting for the alternative perspective it offered: where the Pixar film advocated a comfy theme of community solidarity, Antz satirised the hive / mob mentality and offered a more cynical voice than the Disney-backed Pixar studio could. This diversity of approach seemed an eminently healthy start to the computer animation boom. It’s a little disheartening, then, to now be confronted with Bee Movie, a lightweight and mediocre retread of Antz that sees almost everything of interest leached from the Dreamworks recipe. Pixar are still making interesting (if uneven) films, but Bee Movie is a telling example of the mediocrity that has characterised their competition.

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Beowulf vs Animation

Film

Robert Zemeckis’ new computer-animated epic Beowulf is modelled as the future of cinema. Designed for high-definition digital 3-D projection, it is Hollywood’s latest attempt to create a unique theatrical experience that can’t be downloaded. Yet the film is something of an oddity. Despite Zemeckis having paid tribute to the classic cartoonists with his 1988 feature Who Framed Roger Rabbit?, his new film is deeply at odds with the traditional practice of animation.

Beowulf advances “performance-capture” techniques Zemeckis had previously used on his 2004 film The Polar Express, in which the movements of actors are mapped directly onto digital characters. Peter Jackson did a similar thing to use performances by Andy Serkis as the basis for Gollum in his Lord of the Rings trilogy and Kong in King Kong, with celebrated results. Yet Jackson was working to achieve characters that couldn’t be achieved by traditional means, and the motion-captured performance was considerably reworked by a team of animators.

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State of the Artless

Film Film Reviews

Beowulf (Robert Zemeckis, 2007)

Beowulf is a test-bed for a combination of technologies that might be the future of the movies. It utilises “performance capture” animation, which some think will revolutionise computer animation. In many theatres it is being exhibited in 3-D, and that technology is acting as something of a trojan horse for the accelerated roll-out of digital cinemas. And its regular theatrical release is paired with showings in IMAX. It’s all very reminiscent of the 1950s, when extreme widescreen processes and early 3-D were used to try to give theatrical exhibition a competitive advantage against the threat of television. Today, the threats are DVD and illegal downloads, but the impetus is much the same. And Robert Zemeckis, in particular, has devoted much of the last decade to this technology: he hasn’t made a live-action film since 2000’s Cast Away, and won’t for some years (with his next picture locked in as the computer-animated A Christmas Tale, due in 2009).

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Rats!

Film Film Reviews

Ratatouille (Brad Bird, 2007)

Pixar’s newest film, Ratatouille, sees the studio’s gun director, Brad Bird, try his hand at saving a troubled production. The result is a somewhat messy and not completely satisfactory film, but still one that sees the studio expanding the horizons of the form.

Bird is an exciting figure. He worked with Disney in the 1980s, and was mentored by legendary animator Milt Kahl, before becoming one of the key creative personnel in the early years of The Simpsons. He then directed the acclaimed (but underseen) The Iron Giant for Warner Bros before joining Pixar to helm The Incredibles. It’s a career progression that moves from a start under one of animation’s great figures, to a key role in the renaissance of television animation, and then a shift to theatrical features just as that area was growing moribund again after a revival in the nineties. As everyone else’s features have grown more and more alike – with jive-talking animals, fart jokes and pop culture gags galore – Bird’s films have remained distinct. They stand apart from even the generally superior films produced by Pixar: while the other Pixar films show a clear house style that is very much driven by the sensibilities of Toy Story director John Lasseter (and which in Cars had started to slide towards mediocrity), Bird’s films are distinguished by their more adult tone and adventurous subject matter.

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