A Cat in Paris: a whimsical children’s action thriller film paying homage to Alfred Hitchcock

Alain Gagnol and Jean-Loup Felicioli, “Une Vie de Chat / A Cat in Paris” (2010)

Some kitties are happy to spend their hours traipsing from one household to the next getting free feeds but here’s a pussy that lives two of its nine lives in parallel: by day it’s a little girl’s companion and by night it roams the roof-tops of inner-city Paris with a cat burglar! Yes, in this slim animated family film, the cat Dino leads a double life straddling both sides of the law as accomplice to abseiling thief Nico and beloved pet of Zoe, a lonely child traumatised by the death of her police officer father. Her mother Jeanne, a police superintendent, is on the trail of the killer Costa. Little does Jeanne suspect that the nanny Claudine she hires to care for Zoe is in fact in league with Costa and his team of hapless gangsters who themselves are part of a team of workers moving a priceless museum antique known as the Colossus of Nairobi which Costa wants for his own collection.

The film starts a bit slowly but gets going once Zoe decides to follow Dino on his nocturnal rounds and she falls into the clutches of Costa and his thugs very quickly. Dino and Nico rescue the child but Costa’s determined pursuit of Zoe draws everyone into a continuous action thriller plot that ranges through the streets and across the roofs of Paris, culminating in a stand-off involving Costa, Nico and Jeanne at the Notre Dame Cathedral in sequences that pay homage to Alfred Hitchcock films like “To Catch A Thief” and “Vertigo”.

The film is most notable for its animation style that harks back to surrealist and minimalist modern art styles used in the 1950s when animation cels were painted. Characters look a bit crude but there are moments in the film where the surrealism is effective, especially in those scenes where lights are blacked out and one character puts on night goggles. The plot is a Hitchcockian story that features a McGuffin object (the Colossus) and two characters who may be in search of love and who are brought together in the most unexpected way. I’m not sure that the plot is all that suitable for children to watch: it is quite violent in parts (the running gag with the barking dog is funny but unnecessary) and for all his bluster Costa is a very sinister and malevolent figure. His henchmen on the other hand are clowns and buffoons, and one gets the impression that the film is trying to satisfy too many expectations and audiences and is failing at achieving any of its ambitions. Few of the characters are at all convincing and they are very one-dimensional.

In all, this is a very pleasant film which could have been a major children’s animation classic but falls far short. The film could have done with another half hour to flesh out its characters and develop the plot into something a bit more realistic while still remaining whimsical.

The Lost Thing: a multi-layered children’s story that critiques industrial society

Andrew Ruhemann and Shaun Tan, “The Lost Thing”

Adapted from co-director Shaun Tan’s picture book written for children, the beguiling “The Lost Thing” seems a very simple story yet it is one that invites many interpretations. The film’s visual style adds yet another layer of meaning to a story that would otherwise have a much narrower focus. A boy (unnamed) obsessed with collecting bottle tops at the beach comes across a giant creature, an octopus / lobster / iron furnace hybrid, looking lost and lonely. The boy befriends the stranger and decides to help it look for a home. The boy goes to a friend of his who sets about trying to classify the strange creature by measuring it and noting down its unique characteristics but in the end both boys are defeated and are no closer to determining the creature’s nature and habitat than they were initially. The boy takes the creature home but his parents are disapproving and the creature is shut away in the back shed overnight. In the morning, the boy seeks help from government authorities and is given a business card with an arrowhead sign. The boy must try to locate a place within his home city – a vast and dreary urban landscape – that carries this sign.

Apart from the obvious theme of friendship, connection with isolated others and being helpful, the film also makes references to Australia’s uneasy relationship with immigration and immigrants, the Western need to categorise and stereotype people and objects, and the alienation of individuals within a bureaucratised industrial society. While the story is very simple and does not stand up to treatment longer than 15 minutes, viewers should remember it is told from a child’s point of view and so the film’s emphasis is on creating a visually rich universe where the bizarre and the unexpected co-exist with the familiar and the bleak.

In itself the film’s CGI animation is not anything special: it is the juxtaposition of a bleak post-industrial Melbourne (as suggested by the network of trams), nostalgic beachside scenes and the quirkiness of a giant monster-like creature (which turns out to be friendly and gentle, and needs spoon-feeding) that makes the film stand out visually. The very eccentricity of such a combination along with the fear of immigrants and the government bureaucracy makes the film very … well, very Melburnian.

The film’s conclusion is melancholy and one considers that the boy is more lost than the creature itself, in trying to regain what the oddity represented: an opening to a wider world of rich experiences and new friends. There is a suggestion that (spoiler alert) having done what he set out to do, the boy realises that returning to normality has cost him something precious and the opportunity to step into a new world is forever … lost.

A pointless rehash of a low budget TV series in “Evangelion: 1.11 – You Are (Not) Alone”

Hideaki Anno, Masayuki, Kazuya Tsurumaki, “Evangelion: 1.11 – You Are (Not) Alone”

Since the original “Neon Genesis Evangelion” anime series aired on TV over two decades ago, its stories have been repackaged and retold and this film is intended as the first of yet another revision of the series in four parts. “Evangelion: 1.11 …” revisits the first six episodes of the TV series.

As a retelling, the film’s narrative sticks closely to the original series’ story arcs and the only difference is that the film’s plot is much more streamlined with more emphasis on action and fighting. The characters in the film are as one-dimensional as they were in the TV show, probably even more so as much of what has been pruned is central character Shinji Ikari’s background history and his self-pitying tendencies. Those who have never seen the original TV show are likely to be mystified as to why adolescent children with major mental health issues like chronic depression are employed by governments to drive giant robots to battle mysterious alien invaders (called Angels) in the middle of densely populated cities and cause massive destruction and chaos for local emergency service crews to clean up afterwards – but unfortunately those naive viewers will find no answers or comfort from the film and its successors.

Most of the improved animation is to be found in the background scenery and the details of the highly bureaucratised, technocratic society in which Ikari and the people who employ him live. Unfortunately the animators did not extend the improvements to delineating the main characters who all tend to look much alike (only their hairstyles and hair colours indicate who they are or aren’t) and still resemble the crude cartoons of the original TV show.

There really isn’t much to commend this film in its character and plot development, or even in its technical aspects. This is a film clearly aimed at pleasing its fans to the point of indulging them. Whatever the reason in making the main character Shinji a passive boy forced to deal with the responsibility of saving the world from alien invasion, on top of struggling with his low self-esteem, his desire to find his life’s purpose and inner peace, and to be accepted by his distant father, seems lost on the film’s creators. The creepiest aspect of the film is that, in order to find acceptance and connection with others, Shinji must divest himself of all that makes him an individual like no other, and turn himself into a cog in Japan’s technocratic machine.

A socialist revolutionary parable and story of Buddhist compassion in “Yuki: Snow Fairy”

Tadashi Imai, “Yuki: Snow Fairy” (1981)

In the hands of Tadashi Imai, notable as a director of social realist films in Japan in the 1950s / 1960s, the novel by children’s author Ryusuke Saito becomes a socialist revolutionary parable. Thirteen-year-old snow spirit Yuki is entrusted by her heavenly grandparents with saving a village in mediaeval Japan from robbers and rapacious samurai over a twelve-month period, after which time, if she fails, she will turn into an insubstantial grey puff of smoke. Yuki descends to earth and is befriended by orphan girl Hana who leads her to her adoptive family of other orphaned beggar children led by the one-eyed, one-legged patriarch Only One. The beggars hang about the village whose farmers pay rent to local landlord Goemon. Almost as soon as Yuki becomes known in the village, a gang of robbers attacks but Yuki is able to best their leader thanks to her ability to tame and ride Goemon’s high-strung colt Blizzard. The farmers and Goemon’s hired samurai are able to drive the robbers away.

Next thing you know, after the summer rice harvest Goemon raises the taxes the farmers must pay and this leads to a revolt against him. Goemon flees but Yuki and the beggar children pursue him and the chase leads to Goemon’s ignominious death at the bottom of a cliff. The farmers rejoice that they have overthrown their oppressor and are now able to govern themselves but a series of earthquakes shakes their confidence and leads them to wonder if Goemon’s invocation to the Demon God to rain disaster on them is having effect. At this point Yuki realises that the farmers are faltering in their belief that they can be self-governing and determines to battle the Demon God herself – though this confrontation is certain to kill her …

The social realist slant of the film’s plot is noteworthy: significantly Yuki doesn’t appear to do a great deal apart from being an inspirational role model and catalyst but that’s the point of her mission: to show humans the path to their liberation and allow them to seize their destiny and work towards freedom. Gifts are best appreciated when blood, sweat and tears are exerted in the effort to obtain them. The farmers overcome their fears at upsetting the social hierarchy but become emboldened as they realise that by working together they can defeat the robbers and get rid of Goemon. Once the Demon God intervenes on behalf of lackey Goemon, the farmers are trapped by superstition and pagan belief and Yuki realises that the psychological warfare waged by elites against the common people can be as dangerous and deadly as physical warfare. She then determines to battle the Demon God, no matter what the consequences may be for her, to free the villagers and her friends from the internal mental fetters that Goemon has placed on them to keep them under control.

The film can also be read as an example of Buddhist compassion and empathy for one’s fellow humans: Yuki resembles a bodhisattva returned to earth to help others overcome negative karma and work towards their own enlightenment. Only when one is emptied of all selfish attachments and desires, when one is prepared to sacrifice oneself for others, is nirvana possible.

The plot is easy and straightforward to follow and its pace is fairly brisk. There are stereotypical characters in the film but they never seem limited and one-dimensional in what they do and say, and Yuki herself gives the impression of being self-possessed and having reserves of inner strength. She certainly needs all that strength when she confronts the Demon God. Other characters can be fun and child viewers can readily identify with Hana and the other beggar children. The film’s delivery is so matter-of-fact and business-like that one barely blinks an eye at the schmaltzy pop music that plays while Yuki and her fellow mendicant minors travel through treacherous mountain territory to find and confront the villagers’ ultimate oppressor.

While the film’s look has dated somewhat and can be placed in the late 1970s / early 1980s, its unfailing optimism, hilarious child characters and detailed shots of nature and people hard at work cultivating and harvesting the rice in ways typical of rural Japan hundreds of years ago are sure to appeal to all age groups and pique interest in the history and culture of pre-modern Japan.

A trite plot and character stereotyping can’t lift “Paris 2054: Renaissance” from bland SF thriller genre

Christian Volckman, “Paris 2054: Renaissance” (2006)

A glossy animated style of minimal black-and-white presentation, emphasising detail, mood and atmosphere in a future Paris governed by corporations through panopticon-style surveillance made possible by hologram and other future cyber-technologies, ultimately proves inadequate to save this film from tired character stereotyping, a dull formulaic plot and shallow treatment of its films. All that we take away from the film is that the elites, whether political or corporate, or bad and that whatever they lust for and pursue is for their own self-interest and profit while the hoi polloi must continue to resign themselves to serve them. The film ultimately can offer no more than an attitude of “plus ça change, plus c’est la même chose”(“the more things change, the more they stay the same”) with an accompanying implication that humans are incapable of change, overcoming their self-interests and desires, and creating a better society.

The thriller plot follows the fortunes of police detective Karas (voiced by Daniel Craig in the English-language version) as he searches for young kidnapped scientist Ilona Kasuiev (Romola Garai), held somewhere in an oppressive tech-noir Paris. He relies on Kasuiev’s associates who include her sister Bislane (Catherine McCormack), with whom he has been acquainted on a more personal level in the past, and her employer Avalon Corporation, to find possible reasons for her kidnapping. As he delves further into his investigation, he discovers that Kasuiev was involved in a secret corporate project to recover the methods and results of an experiment on children suffering from progeria – a genetic condition in which sufferers experience premature ageing – which might hold the ultimate genetic key to staving off ageing and death, and achieving immortality. At the same time that Karas finds revelations about Kasuiev’s work, sinister agents are following him and learning what he learns. He becomes romantically involved with Bislane as well.

Triteness oozes from nearly every pore in the plot and its characters. The romance between Karas and Bislane is never convincing and seems to have been thrown in simply to inject some James Bond frisson and the notion that Karas is somehow more than just grim crime-busting operative into a shallow plot and a one-dimensional main character. Likewise an unnecessary car chase is added into the story; the illogicality of such a car chase in a story and setting where surveillance is so pervasive that the chase could have been ended by the police before it began (a helicopter or a drone could have shot the runaway car from the air or forced it to stop by hacking into its electronics) needs to be overlooked for the cheap thrill the ruse adds. It’s as if director Volckman and his script-writers couldn’t trust the premise of a panopticon police-state Paris enough to allow the story to develop naturally and suggest its own narrative that could intrigue their audience and make viewers aware of their guilty pleasure as complicit with those overseeing the city and its life; and instead forced the sci-fi vision into a lame thriller plot in the belief that the public will prefer the familiar and the generic over the innovative, the unusual and the experimental. What an insult to the public’s intelligence!

The plot, shorn of its unnecessary convolutions, and the animation would have worked well enough together for a shorter film and the twist ending, when it comes, would have made much more of an impact. As it is, the film becomes something of a torture to sit through as it limps to its resolution and perceptive viewers might guess that both hero and kidnap victim receive very unpleasant shocks when they meet. Somewhere along the way, the film’s message – that life with all its highs and lows only has meaning when ended by death – ends up being submerged by too many clichés.

Supervenus: a 3-minute critique on Western standards of female pulchritude and the damage they cause

Frédéric Doazan, “Supervenus” (2013)

This 3-minute debut effort for writer / director Frédéric Doazan is a devastatingly critical comment on modern standards of female beauty as they have changed over time. Using Photoshop, a home-made green screen to film his hands and Adobe After Effects, Doazan cuts out a picture of a woman from an old anatomy textbook and changes her appearance from ordinary and generic to a more glamorous creature by puffing out her cheeks and lips, replacing her brown eyes with blue (by ripping out her eyeballs), giving her lustrous dark hair, augmenting her breasts, digging out a pair of ribs and performing other kinds of cosmetic surgery in fairly gruesome and bloody ways. The result is varnished with a burst of sunlamp ray and the newly tanned lady looks quite attractive if rather bland. Doazan proceeds to the next step of transformation of his model by pumping up her cheeks and lips even more with Botox, zapping her brain with drugs, denying her her unborn child, thinning and extending her limbs, and stuffing more silicon into her already stuffed breasts. He subjects his victim to yet more sunlamp rays and the end result is … more sizzled than sizzling.

The silent animation – there are sound effects of slicing and dicing, but that’s all – is entertaining to watch as comedy horror satire. Doazan makes a good point about how much female physical appearance is forced to conform to a highly artificial standard determined by external forces (represented by gloved hands) and how much individuality and the natural functions of the female body are sacrificed in following such a standard. Most disturbing of course is the moulding of the brain (and the woman’s own sense of identity) and the harm the various procedures cause to the woman’s body until it can’t stand the tortures any more and literally falls apart.

Doazan might have made a stronger point about how corporations profit from establishing standards of beauty that compel women to undergo often quite dangerous and life-threatening procedures, and about how cosmetic surgery turns women and their bodies into passive vessels on which men may inscribe their desires and expectations. The very minimal style of animation certainly allows viewers to make up their own minds about what Doazan is saying about cosmetic surgery and its place in the way physical beauty is defined in Western society, and the harm and damage such narrow aesthetic standards can create.

A cheap production and crude narrative make “Batman: the Killing Joke” very unfunny

Sam Lim and Bruce Timm, “Batman: the Killing Joke” (2016)

That “Batman: the Killing Joke” has lasted nearly 30 years as a milestone in the history of Batman’s adventures – because it contains the story of the Joker’s origins – is not necessarily a good reason to make a film of it. Neither is the fact that Alan Moore, writer of such classic comics / graphic novels as “The Watchmen”, wrote the comic a good reason either. Still, DC Comics thought these and other reasons were enough to finance an animated film version of the story, and the result is a tremendous disappointment.

The original story was very short and frankly very flimsy and shaky in its plot and logic, so in its filmed version it is combined with another story about Batgirl pursuing a psychopathic criminal called Paris Franz. Yes, it’s that kind of story with not very witty shots at humour. The combination though turns the whole film into Batgirl’s story which was probably not the original intention and calls into question Batman’s motives for pursuing the Joker in the main plot with a suggestion they are not quite as noble as in the original graphic novel. An unwelcome and unpalatable sex scene is introduced which sours Batman and Batgirl’s working relationship. None of the characters undergoes much in the way character development; even the Joker’s own origin story, intended to make of him a character one can sympathise with, fails to elucidate the darker and more manic aspects of his nature.

The plot follows Batgirl attempting to round up Paris Franz and his henchmen who are supposedly working for Franz’s gangland boss uncle. The reality is that Franz himself is planning to usurp his uncle as the local Gotham City capo di capi. Batman warns Batgirl that she is dealing with a psychologically disturbed criminal and tells her he will deal with Franz himself. Naturally this riles Batgirl and she is determined to get Franz once and for all. In her day job as Barbara Gordon, working at Gotham City Library, Batgirl is pestered by a co-worker curious to know who her current boyfriend is; she tells him cryptically that he is her yoga teacher.

Batgirl does end up capturing Franz (and at the same time rescues Batman) in a tortuous way that has her questioning her motivation to continue as Batgirl. She hangs up her cape permanently but has only a brief time to enjoy her new life outside work before an even more deranged and dangerous criminal – the Joker himself – cripples her and abducts her father, Gotham City Police Commissioner Jim Gordon. The Joker subjects Gordon to physical and psychological abuse in his theme-park den. In the meantime, Barbara Gordon is hospitalised and her doctors tell Batman she will never walk again. Batman then hunts down the Joker who then tries to force Batman into the mental maelstrom he put Jim Gordon through earlier.

Through the main story of the film, there is interspersed in fragments the Joker’s own origin story, as remembered by the Joker himself. The Joker does forewarn the audience throughout the film that his memory is unreliable and that he prefers to think of his past as multiple choices: this means that the story as presented (and frankly it’s not all that interesting or plausible) need not be taken as gospel.

Batman is never more than a mostly one-dimensional shadow figure representing order, stability and control in a corrupt society on the edge of social breakdown and chaos; in a world such as this, he can never allow himself self-doubt and relaxing his strict personal moral code is out of the question. Compassion for the Joker’s plight would surely invite comparison between himself and the Joker, and Batman would see in that compassion a potential weakness in himself that the Joker would exploit for all it was worth. This limits Batman as a character and the focus of the film must therefore fall on other characters and the action of the plot. The Joker revels in chaos and madness as expressions of his hate and revenge against an unjust and uncaring world that has robbed him of love and respect, and denied him his identity, physical health and body. He correctly sees that Batman has suffered severe personal trauma and tries to draw him into his world as a fellow sufferer. Batman’s own restrictions would trap him in the Joker’s world and here is where Commissioner Gordon offers a way out as a representative of justice, the rule of law, the establishment of moderation and proper boundaries between the two extremes represented by Batman and the Joker, and the possibility of healing and setting right a dysfunctional world. The action that binds the three men though is not substantial and all it really highlights is that Gordon is made of different moral substance than the Joker, and the audience must look to something beyond the bounds of the film that can explain the Joker’s unstable tendencies and criminal actions.

Although Barbara Gordon / Batgirl is a minor character in the main story, the inclusion of the Paris Franz teaser story turns her into a tragic figure robbed of a normal life and a future; unfortunately viewers do not see her recovery, rehabilitation and resurrection, and only see her contemplating her new role as Oracle, the leader of the all-female Birds of Prey crime-fighting team. One would have liked to see how Barbara was able to recover from the crippling and abuse inflicted on her by the Joker and his minions, and what this would have implied about her strength of character.

The animation is crude and typical of “Batman: the Animated Series” starring Kevin Conroy as Batman’s voice and Mark Hamill for the Joker. (Indeed the two actors voice their respective characters here.) The cheap style of animation is not adequate enough to portray the characters and their psychological complexity. What is unfortunately implied by the cheap production and the crudely constructed narrative of the movie is that DC Comics has unthinkingly tried to cash in on one of its more profitable franchises to milk it for more profit without thought or care for the Batman universe or its fans.

AntiRacist Hitler: a subversive cartoon satirising Western social policies and hypocrisy

Matt the White Rabbit, “AntiRacist Hitler” (2013)

A subversive animation short satirising open-borders immigration policies and multiculturalist agendas in Western countries, most of which also hypocritically support Israel’s own racist policies and genocide against Palestinians, this cartoon posits what would happen if Israel were forced to have similiar social policies imposed on it. The former German chancellor Adolf Hitler, having apparently been in hiding in Argentina for over half a century (which might explain his youthfulness and the unchanged moustache), returns to the West and announces before an amazed audience that he no longer believes in Aryan racial supremacy and now embraces multiculturalism and diversity. He vows to bring diversity to the whole wide world and selects Israel, bastion of Zionist exclusivity, as the place where to start. Miraculously elevating himself to head of the Israeli government (one assumes he had to send the entire fruitcake Knesset somewhere out of the way … maybe not remote railway terminuses in rural eastern and southern Poland), the new Hitler opens the country’s borders to all the displaced peoples of the world. Over time, the new arrivals remake Israel’s urban landscapes into their own, their languages replace Hebrew and they intermarry with Israel’s Jewish population until Israelis are no longer Jewish. The last remaining Jewish citizen in the country runs into Hitler’s office and exclaims that Israel is no longer Jewish, at which Hitler (barely looking up from eating lunch) murmurs that he had not foreseen such a scenario when he first opened the borders.

While the motivations behind the creation of “AntiRacist Hitler” could be racist and discriminatory towards non-white people, the way in which the new Hitler uses the “diversity” agenda and supporting social policies to eliminate Jews should at least give us all pause to consider how similar policies and programs have been used by Western governments in the past to undermine social democracy, workers’ rights and working conditions and to denigrate those protesting against the weakening of worker protections as fascist or racist. The outsourcing of manufacturing from Western shores to Third World countries offering cheap labour in conditions where workers’ rights are suppressed viciously can be seen as a parallel policy to open-borders immigration policies: ultimately everyone, local people, immigrants and overseas workers alike, stand to lose whatever rights they had and whatever social and industrial democratic progress they had previously made. Democracy overall has receded under the onslaught of the corporate state and the individuals and corporations supporting it.

Where the cartoon possibly falls short is in implying that Jews (or an elite made up of Jews) are actively encouraging multicultural “melting pot” or “salad bowl” societies in Western countries. Such a blanket assumption opens the door to racist infiltration into and eventual domination of individual countries’ historical narratives of how they initially encouraged immigration and what their original reasons for doing so were; in most cases, the reason was that governments determined sufficient manpower was lacking for their nations’ economic development and decided to import foreign workers to overcome worker shortages. In some countries such as Germany, these foreign guest workers were not expected to stay permanently and they and their families were supposed to return home when they had fulfilled their work contracts. To that end, the host countries failed to provide education for these workers in the host language, culture and history, and as a result these workers and their families ended up alienated and disadvantaged.

In other countries that imported foreigners to fill their factories, programs to assimilate these people and to teach them the languages of their host nations existed but since the 1970s when the neoliberal economic paradigm became supreme, such programs have been squeezed for funding. At the same time, the corporate world in these countries continually wants more foreign workers to come, regardless of the prevailing economic situation and whether there are enough jobs for both foreigners and locals. In many nations where manufacturing has now ceased to exist, the only way money can circulate is through financial bubbles including property bubbles … which means that people have to be persuaded to take out more mortgages … and if the present population is already saturated with excess debt, then immigrants and refugees are the next targets.

What would have made the cartoon’s message even more biting would be the fact that many of the poor flooding into the new Hitlerian Israel are people displaced by wars and invasions instigated by Israel through its lobbying activities in Western governments. The invasions of Afghanistan (2001), Iraq (2003), Libya (2011) and Syria (2011 onwards) by the US and its allies have the effect of removing political and economic challenges to Israel as the only or the most advanced / democratic country in the Middle East.

Ultimately the cartoon’s message is very simplistic and reduces a complex issue to a level where it and its creators might be accused of racism (unjustly perhaps) but its use of a known historical figure notorious for policies of genocide to demonstrate how superficially anti-racist social policies might in fact be racist, even fascist, is sobering and thought-provoking.

Allegro Non Troppo: a suite of animation shorts of breath-taking imagination and originality, and much food for thought

Bruno Bozzetto, “Allegro Non Troppo” (1976)

A spoof of and tribute to Walt Disney’s famous “Fantasia” film, “Allegro Non Troppo” is noteworthy mainly for its six animation shorts set to short works of famous composers in Western formal compositional music linked by a live-action narrative of slapstick comedy. The black-and-white live-action sequences are insincere, painful to watch and utterly forgettable; they feature dull and dated comedy skits that mock the elderly female characters in them and viewers can dispense with these interludes. The animation sequences range from surreal and playful to almost realistic and painful, with plenty of room for director Bozzetto to give his views on human evolution, the nature of love and the effects of materialism, conformity, capitalism and industrialisation on human societies and possibly the future of humanity itself.

Of the various animated sketches, the best ones are those attached to Jean Sibelius’ “Val Triste”, in which an aged cat lingering about a ruined mansion remembers the comfortable life he had in the building; to Igor Stravinsky’s “Firebird”, in which a snake fails to persuade Adam and Eve to taste the forbidden fruit it offers and as punishment must experience all the ills of capitalist society; and to Maurice Ravel’s “Bolero”, detailing the evolution of life from primitive one-cell origins to the triumph of humanity. The animation is highly imaginative and inspired, frequently bizarre and mind-blowing, and always colourful. Each sketch has its own style of animation and colouring. The music is not bad though the choice of pieces might leave something to be desired as not all the music is equally good and the animated pieces, taking their cues from the music, are also uneven.

The Sibelius sequence is very moving and tragic: the cat tries to remember the humans who cared for it, and the warmth of the mansion in its former glory – but memory eventually fades and the cat also fades with it. Finally what remains of the mansion is destroyed by a wrecking ball. The Vivaldi piece (featuring “Concerto in C major for 2 Oboes, 2 Clarinets, Strings and Continuo RV 559”) is light-hearted and bright in colour, yet sympathetic to the tiny bee inconvenienced by the two large humans romping and making love in her garden.

While the animation can be stunning, and some of the messages contained within individual segments invite thoughtful examination, the film as a whole is very uneven and the mockery in the live-action sequences is unnecessarily cruel and may appear alien and strange to contemporary audiences.

 

Pony: a dark little story about the loss of innocence in a banal setting

Dony Permedi, “Pony” (2006)

“Pony” is a short animated film made by Permedi as an undergraduate college project with the subversions of everyday life and student black humour one might expect of people in their late adolescence / early adulthood. A young girl aged about 8 or 9 years runs out of the house one fine morning to celebrate her birthday with her friends. She discovers a surprise behind the tree in the backyard: it’s a colourful critter called Pony. He’s a co-operative friend too, if one overlooks his tendency to bite the heads off little girls’ dolls. The girl and Pony play around for a while and ignore her friends who have started to arrive for the birthday party. Later in the day, the girl goes looking for Pony and discovers to her horror that he’s dangling from a branch by a rope and her friends are preparing to hit it with a baseball bat. Bang, bang! – Pony’s guts spill out and the kids start grabbing bits and pieces of him. One child hands a bloody part to the girl and she eats it … The scales fall from her eyes and she realises she’s eating a sweet and Pony has been a piñata the whole time. She looks at her friends anew and all she sees are other piñatas … so she picks up the baseball bat and goes after them …

It becomes obvious that the birthday party and the character of Pony represent aspects of a rite of passage in which the girl passes from the world of infancy and innocence into another world where life is not so kind and friendly, the difference between good and evil is not well defined, and one constantly has to be on guard against friends who too easily become enemies, and against enemies who pretend to be your friends. Fantasy and reality are not easily separated. In this world of ambiguities, where the law of the concrete jungle reigns and folks live by dog-eat-dog rules, violence becomes a first resort rather than the last option. Apart from the symbolism, the ideas and the themes they may represent in “Pony” are not well developed and it may be that Permedi is trying to express more than he can actually say in this short. The characters are too undeveloped and stereotyped and the birthday party context perhaps too banal and flimsy to carry the rite-of-passage theme and how it affects one particular individual with devastating consequences.

Permedi would be well advised to find a writing collaborator who can express his ideas and aims in a story-telling form while he concentrates on creating credible animated characters and worlds.