Showing posts with label animation. Show all posts
Showing posts with label animation. Show all posts

Monday, February 10, 2014

When the Wind Blows (Jimmy T. Murakami)

A nuclear couple.

Still fresh from watching "When the Wind Blows", I just can't fathom why this film is not as well-known or as highly-regarded an animated film as, say, "Grave of the Fireflies": Isao Takahata's devastating pacifist masterpiece released two years after this one. Admittedly, I would not have been able to know about this film if not for Pink Floyd's official Facebook page (again, thank you), which once posted about "When the Wind Blows" as a sort of look back to Roger Waters' involvement in it as a musical scorer. Though not as quietly painful as the aforementioned Studio Ghibli classic, "When the Wind Blows" still holds its own ground by being arguably more innovative in how it conveys the horrors of war through an assortment of visuals that often border on the psychedelic. Based on the graphic novel of the same name by Raymond Briggs (which I definitely must read), the film tackles the paranoia that has spread across the globe like a plague during the Cold War period, and then filters it through an elderly couple's (voiced by John Mills and Peggy Ashcroft) distorted states of mind in an idyllic British countryside. 

Perspective-wise, the film is definitely on par with "Grave of the Fireflies" in terms of treating the impact of war on a highly personal level. For the elderly couple, though, the Russian missile threat, which they view as nothing that the government could not handle, is something that they can live through, no sweat, just like the Second World War. Mockingly labeling the Russians as 'Ruskies' and praising Winston Churchill's wartime deeds while calmly building a bomb shelter (or "the inner core or refuge") as ordered by the government, the couple seems unfazed by the threat as they go on with their everyday routine. But through the film's use of 'acid' imagery in between seemingly ordinary scenes as a sort of visual foreboding, "When the Wind Blows" excels in underlining the immensity of what's about to come even when we're often greeted by the couple's confounding smiles. 

As an exploration of wartime psyche, the film is really quite stunning on how it emphasizes the couple's naivety and inept grasp of modernity; a sight that's very painful and heart-sinking to watch. But be that as it may, the film is more fascinating in its humorous undertones, that of which do not minimize the impact of war but merely acknowledge its funnier side. 

More often than not, the greatest of dark comedies stem from the very idea of war and destruction, and "When the Wind Blows", although not blatant and showy in its humor, is just as potent a comedy of wartime horrors. But just like a true war comedy, the scarring emotional impact is still very much in place despite its funnier moments. 

But with that being said, I'm not saying that "When the Wind Blows" is strictly a comedy film. On the contrary, I thought that the film is as serious as any film about war can get, specifically due to its intimate approach. But still, there's something funny about the elderly couple's cluelessness about the kind of full-scale nuclear war out there that it's just more natural to smile than to weep at their predicament. Consciously or not, perhaps they have seen so much of the horrors of war that they choose to just shrug them all off into non-existence instead of moping in and around its ravages. A quote from Kurt Vonnegut: "Laughter and tears are both responses to frustration and exhaustion. I myself prefer to laugh, since there is less cleaning up to do afterward." 

For the elderly couple, to greet the onset of complete annihilation with nothing but smiles on their faces and denial in their minds are all but enough. It may not literally save them, but it can at least preserve the lives they've led as they know it. In the case of "When the Wind Blows", there's indeed something oddly bittersweet in not acknowledging doom for some kind of selective thinking. And in that respect, the couple live on in a way they may not have thought they would, but nevertheless do in a way only the both of them know.

FINAL RATING
 photo 42.png

Tuesday, June 12, 2012

Tales of the Black Freighter (Daniel DelPurgatorio, Mike Smith)


"Tales of the Black Freighter" is a wonderful adaptation of the pirate story of the same title embedded within the already complex narrative of "Watchmen" and is also a great reminder of how powerful this parallel story really is wherever you may look at it and whatever medium one may use to tell it. The hellish tale, about the captain/lone survivor of a destroyed sea vessel and his nightmarish odyssey to return back home, can be merely seen as a side story that may or may not add to the overall effect of "Watchmen's" story. But thanks to Zack Snyder's utter dedication of giving just cinematic life to the "Watchmen" universe through his great attention to detail (which resulted in this animated feature and the "Under the Hood" short),"The Tales of the Black Freighter's" sustaining power as a stand-alone narrative that seemingly evokes Joseph Conrad's like-minded take on madness and futility (see "Heart of Darkness") was shown in all its power and doomed glory.

Inserting the DVD into my player to view it in a very 'watch it just for the sake of completion and a hint of curiosity' kind of way, I was immensely surprised as to how well "The Tales of the Black Freighter's" story has flowed while also retaining Alan Moore and Dave Gibbon's surreal combination of doomed yet poetic narrative and otherworldly illustrations. 

On the other hand, some technical deficiencies include the slight out of synch between the dubbing and how the characters on-screen open their mouths and maybe some subtlety missing in Gerard Butler's voice performance (just a little bit). But all in all, those meager cons are still overshadowed by the immense vision that was contained and perfectly captured within this fine animation short. 

At the end of the day, I'm still quite critical about Zack Snyder and company's choice of changing the plot twist in the film adaptation of "Watchmen", which, in my opinion, pales in comparison to the one that was shockingly revealed in the source graphic novel. But still, though I must say that Alan Moore has a completely valid and understandable point on preferring complete high-brow apathy towards Snyder's "Watchmen" or any other cinematic adaptations of his works for that matter, I think he needs to check out "The Tales of the Black Freighter" for the simple artistic reason that it did channel his hypnotic and nightmarish vision of tragedy, despair and, ultimately, fatalistic madness, with great conviction and considerable justice.

FINAL RATING
Photobucket

Tuesday, January 18, 2011

Despicable Me (Pierre Coffin)

Gru: The villain with megalomaniac plans and a paternal heart.

Film Review Archive (date seen: December 30, 2010)

Good amalgamation of the usual colorfulness of the animated genre with the uncommon exploits of a villain (more of a larger-than-life thief really) named Gru, and the fact that he may not be as bad as what his reputation tells of. In terms of execution, "Despicable Me" do not have anything extraordinary to offer but the common 'change of heart' type of theme, but it surely does have its share of moments.

I'm impressed with the overall voice talents of this film, with the chief actors such as Steve Carell and Russell Brand not cashing in on their fame to just deliver a pedestrian, lackluster, 'do-you-recognize-this-voi
ce' type of performance; instead, they became the character, putting up unrecognizable, fairly ingenious voice alterations to accompany the visual looks of whoever they play. "Despicable Me" is a good (and funny) animated film overall, but it just did not hit the higher notes to maximize its entertainment value (unlike what "Cloudy with a Chance of Meatballs" did).


What the film did was it relied too much on the 'cute' factor and the cliched interactions between the main characters, leaving the material's great potential still widely unfilled. I cannot say that "Despicable Me" is wholly inspired in its creation; but the concept surely is.

FINAL RATING
Photobucket

Sunday, January 16, 2011

Pink Floyd The Wall (Alan Parker)


Film Review Archive (date seen: October 9, 2010)

Psychedelic trip of a film with an endless haze of acid-inspired imagery. I'm not much of a music fan, so I'm not particularly acquainted with the band Pink Floyd and their music (except perhaps the recurring mentions of their album "The Dark Side of the Moon"). After watching it, and dare I say it's one of those films with a content that's very, very hard to swallow at first viewing, I'll say "Pink Floyd The Wall" is a great, although ambiguous experience for me.

If there's one thing I have to continually praise in it apart from the music, then it is the film's ability to tell a personal tale about a tormented protagonist and at the same time, tackle and expose, with over-the-top surrealism, some radical thoughts, the horrors of war, extreme education system, and the pain of psychological isolation. The film's about Pink, a depressed rock star sheltering himself from the horrors of his past, but also clinging on some of its faded memories. There's not much dialogue in the film, and if there's ever a scene required to have some, the sounds were particularly toned down and almost inaudible, supporting the film's stance that "music", above all, is its grand storyteller.

There were also some "Python"-esque animations that enhanced the visual texture of the film, which led me to a conclusion that even though I can personally put "Pink Floyd The Wall" in the "unforgettable" section of my film-viewing experience, I think some scenes stand alone and are even better than the sum of most of its parts. But it's a compelling film anyway, and removing its surreal touches does not make the film's emotional core any weaker.

FINAL RATING
Photobucket

1001 Movies You Must See Before You Die

Ivan6655321's iCheckMovies.com Schneider 1001 movies widget