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In 2010, I discovered some excellent animated films, but I did not discover ten of them. And it’s likely that only two of them are films that the majority of moviegoers have had the opportunity to watch. My list reflects a growing reality: animation is no longer regarded as a form primarily for children and families, as it once was. In some cases, it allows for the telling of stories that would be impossible to tell in a live action setting. The classic example is the Japanese film “Grave of the Fireflies” (shown on the left), which is about two children who grow up on their own after the fall of the Japanese Empire.
In contrast to some of my other best films, the first of my best films was primarily intended for children:
“Despicable Me” is a comedy film.
It begins with the observation that villains are frequently more interesting than heroes, and then introduces a villain named Gru, who freeze-dries the people in front of him in line at Starbucks and pops balloons that belong to children in the process. Despite the fact that he is inspired by many a James Bond villain, there are two things that distinguish him from the rest: (1) his vast Mad Scientist lair is not located in the desert or on the Moon, but rather in the basement of his suburban home, and (2) his ultimate goal is not world control so much as it is to dominate the cable news ratings as The Greatest Villain of All Time.
In the animated film, Gru is voiced by Steve Carell, who gives him an accent somewhere between a Russian mafia boss and a crazed fascist leader. His life is made more difficult by the fact that his mother (Julie Andrews) occasionally gets involved in his affairs. Rupert Pupkin is in his basement, yanked from his fantasies by the voice of his mother, and memories of that time resurface. Gru’s most useful weapon is the Insta-Freeze Gun, but now, thanks to the assistance of Dr. Nefario (Russell Brand), one of his brilliant staff inventors, he can use a Shrink Ray. Ahead of schedule, Gru’s arch-rival Vector takes the Great Pyramid away from him, just as global-scale villainy is beginning to look promising.
To turn a villain into the hero of an animated comedy is a risky move, but the filmmakers take a chance by bringing in three adorable children to make things right. Gru locates them at the orphanage in his neighborhood, which is run by the suspicious Miss Hattie, who is friendly and helpful. His plan is to keep them at his house until his Moon scheme is ready to hatch, at which point he will use them to infiltrate Vector’s home using subterfuge — pretending to sell cookies, for example — and infiltrate the home of Vector. It follows as surely as the night follows the day that the orphans will work their little girl magic on Gru, gradually forcing him to admit that the big lug does, after all, have a heart of gold. The most refreshing thing about “Despicable Me” is that it defies the convention that children’s animation must feature a perky, plucky young hero who overcomes his or her obstacles. Carl Frederickson, star of the television show “Up,” put an end to that.
“How to Train Your Dragon” is a film directed by Steven Spielberg.
We meet Hiccup Horrendous Haddock III, a young Viking who lives in Berk, a mountainside village surrounded by crags and aeries where hostile dragons dwell, as our hero in this story. Hiccup informs us that his village is hundreds of years old, but that all of the houses are brand new. This is a concerning omen. The villagers have been engaged in battle with the dragons since the beginning of time, under the leadership of Stoick and the dragon master Cobber. While the dragons are enormous and capable of breathing fire, the Vikings, despite their strength, are armed only with clubs, swords, and spears. It appears to be a one-sided battle. They may, however, be more intelligent than the dragons, despite the fact that you wouldn’t know it from listening to them.
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During a dragon attack, young Hiccup is ordered to remain inside the house. However, the plucky lad seizes a cannon, blasts away at the adversary, and appears to fly away with it. When he ventures into the forest in search of his prey, he comes across a wounded little dragon about his own age who has already been chained up. As he frees it, they become closer, and he discovers that dragons can be perfectly pleasant. He returns to the village with his new friend Toothless, and an alliance with good dragons is formed against the bad dragons, who are snarling holdouts and grotesquely ugly.
One particularly evil creature is covered in massive warlike knobs all over its body, and it has six eyes, three on either side, just like a classic Buick. In one scene, a Viking slams his club into the eyeball of another Viking. It doesn’t look very appetizing. The battle concludes as all battles must, with the bad guys routed and the youngest hero rescuing the day from certain death. It looks like a World War I dogfight when the dragons fly through the air, complete with swoops and climbs, and close calls with craggy mountains and other dragons in the storyboard. These went on for far too long in my opinion, but I must learn to accept the fact that I do not have the palate of a 6-year-old.
“The Illusionist” is a fictional character created by author Stephen King.
Jacques Tati portrayed (and was) a tall Frenchman who bows from the waist with a pipe in his mouth, who frequently wore a trench coat and pants that were too short, and who was always the source of confusion. Everyone who has seen “Mr. Hulot’s Holiday” knows what I’m talking about. Although Tati, who passed away in 1982, wrote the screenplay for this film, the project was never completed. He intended for it to be used in a live-action production. “The Triplets of Belleville” is a miraculously funny animated film created by Sylvain Chomet, who was inspired by his daughter Sophie Tatischeff, who still had the script in her possession (2003). He has drawn it with a lightness and beauty that would be appropriate for an older, more tragic Miyazaki story. It’s a good fit for animation. The realism of live action would overwhelm the imagination of the audience.
The story revolves around a magician named Tatischeff, who fails miserably in one music hall after another, eventually ending up in Scotland, where he finally finds one admirer: a woman named Margaret. A young woman who idolizes him moves in with him, tends to him, cooks and cleans for him, and would almost certainly offer sex if he didn’t abstain from sleeping on the couch all of the time, but she doesn’t. A good magician on a small scale, he is flawless at every trick he performs with the exception of pulling a rabbit out of a hat. Tatischeff has a problem with his rambunctious rabbit, who likes to sleep on Tatischeff’s stomach in the middle of the night. During the performance, the rabbit makes it a point to pop up and peep around at inopportune moments to keep things interesting.
Those who remember the opening sequences of “Up” are aware that animation can be more effective than live action when it comes to conveying the story of a person’s life. This man is extremely good at what he does, but he no longer has a reason to be there anymore. Is it possible that Tati felt the same way when he wrote this in the 1950s, before “Hulot” became a worldwide sensation? It is the grace with which the character of Tatischeff has been drawn that contributes significantly to the appeal of “Illusionist.” He has the same physical appearance as Tati, but more importantly, he possesses Tati’s inimitable body language. The polite formality, the deliberate movement, the hesitation, the hesitancy, the apprehension His world is a deluding illusion that he conjures up at night from a hat.
“Tulip, My Canine Companion”
This is the story of a man who only finds love once in his life, and he stays with her for 15 years. It is the affection of a canine. It is possible that this is the only love he is capable of experiencing. J. R. Ackerley wrote a book about a German Shepherd bitch he rescued from a cruel home, in the same way that other men have written books about a woman in their lives. My Dog Tulip has now been transformed into an animated feature film, combining enthralling visuals with a virtuoso voice performance by Christopher Plummer to create an unforgettable experience.
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Despite the fact that the film is animated, it is not intended for children. It is told from and by an adult sensibility that understands loneliness, gratitude, and the intense curiosity we have for other lives, both human and nonhuman, as well as for other species. It is told by Plummer, who speaks in the voice of a man in his 60s who works for the BBC and lives in London, in the first person. He is a solo performer who is cantankerous, crabby, and lonely. In order to better understand the needs and ways of domesticated dogs, Tulip instructs Ackerley. Tulip’s feeding, training, grooming, walking, territorial marking behavior, sexual needs, illnesses, personality, life and death are all taken care of by him. He is also responsible for his own life and death. There has never been a time when a child’s parents were more attentive or took better care of their child.
“My Dog Tulip,” a short film directed and animated by Paul and Sandra Fierlinger, incorporates Sandra’s watercolors into the story. Mr. Fierlinger is the type of watercolorist that one would want to own. It is a good fit for the story because her colors, line, and ability to saturate or wash are all appropriate. She captures the essence of London when its black cabs and red buses come to life, and then she transforms into a pastoral landscape on Putney Common. Even though she’s an original, if you’re familiar with the work of an artist named David Gentleman, you’ll get the idea.
“The Secret of Kells” is a novel about the history of Ireland.
In this film, a young and very brave medieval monk named Brendan, a sacred book, a legendary monastery, a fairy girl, an ominous creature, and a forest full of tiny nuts that produce brilliant green ink are all featured. Brendan has witnessed firsthand that the fairy girl is a genuine entity. If there are any leprechauns around, she is almost certain to know where they are. How does she know there aren’t any if she doesn’t look?
Perhaps Brendan, the little boy, was once one of them. Perhaps some of that brilliant emerald green came from nuts he had collected in the forest, and he had used it to dye his clothes. Brendan (voice of Evan McGuire), the youngest and pluckiest monk in the walled monastery, befriends old Brother Aidan (voice of Mick Lally), a traveler who has arrived bearing the priceless book. Brendan and Brother Aidan become fast friends. Aidan says Brendan must assist him with the creation of some pages that need to be completed. It is possible for him to begin by disobeying the Abbot (Brendan Gleeson), venturing outside the walls, and collecting the nuts.
Tomm Moore’s work is reminiscent of an illuminated manuscript in its own right. The film is adorned with patterns and borders, arches and frames, do-dads, and scrimshaw images in every shot. The colors are bright and bold, and the drawings are simplified and two-dimensional. That reflects the fact that the original book was written hundreds of years before the discovery of perspective during the Renaissance.
The film has a broad audience appeal, with a significant gap in the middle. In my opinion, it will appeal to children who are still too young to be taught how to entertain themselves and to anyone who is old enough to be drawn in and appreciate the artistry. This appears to be written in a quaint and unknown language to those who are caught in the middle, the “Transformers”-damaged generation.
“A Town Called Panic” is a novel about a town named Panic.
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“A Town Called Panic” is set in a town where panic is a common emotion experienced on a daily basis. Cowboy, Indian, and Horse are three friendly roommates who share a house on a hill that is much larger on the inside than it is on the outside. Farmer is their next-door neighbor. Police officers are in charge of enforcing the law. Horse’s birthday is approaching, and Cowboy and Indian decide that the best present for him will be a brick barbecue. They go online to order 50 bricks, but because of a computer error, they end up ordering 50 million bricks, which causes an endless stream of problems. By the way, each and every one of these people is a miniature action figure.
Stephane Aubier and Vincent Patar, a Belgian duo who first created this world in a series of short films that became enormously popular on European television in 2003, are the directors of the film. I’ve never seen anything quite like their aesthetic before. To be clear, it’s stop action, but not just any stop action; this is because plastic action figures are, by their very nature, stop action. The cowboy and the Indian are able to move their arms when necessary, but their platforms keep them from falling over.
I thoroughly enjoyed this film, and I’m sorry to say that it eventually became too much of a sameness. There is a limit to how much cake one can consume. However, I do not believe this to be a problem. This animated family film, like all animated family films, will have a long shelf life and find its greatest popularity on video. Because the plot is just one doggoned thing after another with no discernible logic, there is no compelling reason to watch it from beginning to end in one sitting. The film should hold up well if you watch it chapter by chapter or two at a time.
Don’t get me wrong: I’m not a hater. I’m glad I was able to see it on a large screen. It has a charming innocent hallucinatory quality to it. The friendship between the three friends is endearing. I liked Horse’s bashfulness when he’s smitten with Madame Longree. And his patience with Indian and Cowboy, who get them into one fine fix after another.
“Toy Story 3”
In Disney/Pixar’s “Toy Story 3,” Andy has grown to college age and the story leaves the toys pretty much on their own. Their problems begin with that most dreaded of commands, “Clean out your room!” Andy’s mom gives him three choices: (1) attic; (2) donation to a day-care center; (3) trash. As Andy examines his old toys, his gaze lingers fondly on Woody (voice of Tom Hanks), and he decides to take him along to college.
What with one thing and another, the other toys find themselves at the day-care center, which seems like a happy choice, until a dark underside of its toy society emerges in the person of an ominously hug-prone bear named Lotso. Buzz Lightyear is back, still in hapless hero mode, but after a reboot, he starts speaking Spanish and that leads to some funny stuff. I also enjoyed the plight of Mrs. Potato Head, whose missing eye continues to see independently of her head. This raises intriguing physiological questions, such as, if Mr. Potato Head lost an ear, would it continue to hear, or if he lost a mouth, would it continue to eat without a body? These are not academic questions; at one point, Mister becomes an uncooked taco shell.
This is a jolly, slapstick comedy, lacking the almost eerie humanity that infused the earlier “Toy Story” sagas, and happier with action and jokes than with characters and emotions. Some viewers thought it a masterpiece. I thought it was just fine, but “Tulip and Me,” it wasn’t.
The Elephant in the Room. This is 3D, of course. It is the misfortune of contemporary animation that it must mostly be viewed as if through the fog of a peat fire. It is too dim, I tell you, TOO DIM! Do I make myself clear? And more expensive — and not worth the extra money. Blast and damn, thundernation, tonnerre le brest, rumble, grumble…
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