Two review for the price of one. Here's a couple movies some of you haven't had an opportunity to see. However if you do get the chance, I'd highly recommend it. I was lucky enough to catch a screening of City of God with introduction and a Q and A session with executive producer Elisa Tolomelli. As if the film itself wasn't great enough, hearing about the resources used to pull it off just boggled my mind even more. I'll be back later on with a trio of bloody flicks. Kill Bill Volume 1, House of the Dead and The Texas Chainsaw Massacre remake.
The Triplets of Belleville
Review by Jon Waterman
****
When a young boy can't seem to find happiness in life, his mother tries everything she can. Neither a train set nor a puppy can cheer the little guy up. They both find happiness in the form of a bicycle. As the years go on, the young boy grows to be a professional cyclist with his mother as the coach. During the Tour de France, however, he's kidnapped. Now his mom must find some way to get him back.
For those unfamiliar with the film, I should mention that it is animated. Also, it's a French film with no translation (at least not when I saw it). However, no translation is needed, because there's minimal dialogue and the characters communicate through body language and small noises.
The animation looks great. For the most part, it's all traditional two-dimensional (meaning without the use of computers) stuff. For some of the more complex aspects, though, computers were used such as swooping camera movements and some of the scenery. Although computers composed some of the elements, the drawings were all based on the same style as the characters. It's becoming increasingly rare to see a feature length 2-D project, let alone one that shows as much care for detail and works as well as "Triplets" does.
Writer/Director Sylvain Chomet created a wonderful film. With such little dialogue, much depends on the strength of the characters to hold your attention. I was interested from the start. Each person, no matter how small the role, has some unique quirk to look for. Some may prefer the mousy mechanic, or the mother with her persuasive whistle. In my opinion, the dog steals the show. He's not portrayed as anything unusal. He reacts just as a dog would in most situation. He runs around in circles, he begs for food and he barks at trains...a lot.
Aiding the ecclectic characters is a story that keeps you glued to your seat. It's not that the mystery of the kidnapping is necessarily award worthy, but you never know where it's going to go. Chomet seemingly sacrifices structure for humor at times, however, all the loose ends are tied and the randomness is forced to make sense. By the end, you'll be surprised it doesn't keep going and you'll wish it did.
Most likely, "The Triplets of Belleville" won't be playing in your town. I can only hope that it hits video shelves at some point so that everyone has an opportunity to see this great animated movie. In the land of Pixar and Dreamworks Animations, Triplets is at least three times better.
++++++++++
City of God
Review by Jon Waterman
****
In the 1960s, all Rocket wants is to be able to escape his hometown. Teenage hoodlums (including his older brother) run the streets. Thievery is seen as the only way to get money and thus get out of the destitute hellhole in which they live. In the 1970s, all Rocket wants is to be able to escape his hometown. Teenage and pre-teen hoodlums run the streets. Thievery and drugs are the best way to make a living and guns guard the territories previously established.
This is a gang film like no other. Based on historical events, "City of God" tells the story of how this Brasilian town transformed so quickly from a place where kids stole some money every once in a while to a place full of drug trafficking and full out gang wars.
No one in this cast of thousands had previous acting experience. The trick here is to find kids that resemble their real life counterparts in each stage of life, and then get them to give a good performance. It couldn't have been easy, but it was accomplished flawlessly. I can't think of a single character that didn't show amazing range or didn't convey their emotions in a subtle manner. To think that so many child actors could do their jobs correctly is astounding on it’s own. To think that they had never done this before adds more awe.
The screenplay, written by Br?ulio Mantovani, could easily be seen as pretentious. It flows in a very postmodern fashion. It flashes back between the time periods. It starts one story then finishes it later after a few more stories have been told. The structure of the film reads very much like a novel. (And it is based on a novel by Paulo Lins.) The narration combines well with the natural dialogue and scene skipping. It leaves you in your seat, because you want to know more. At the same time, though, it lets you know what else you can expect to see before the end of the film.
The visual style is intriguing as well. In the hot locales, the scenes are given a very warm look. The frames are overpowered by deep oranges and yellows. Only towards the end does that start to change and for good reason. The look and feel of the images differ depending on the decade that's shown. The film looks as if it was bought in the 60s and 70s and used recently to make the movie (an effect that "Confessions of a Dangerous Mind" seemed to want to capture but couldn't). Also, within this classic film look are very contemporary camera moves and effects. They use the gimmicky "Matrix" revolving shot technique here. It's not used for parody and the cameras are not aided by computer support. The lack of fluidity in the gimmick shots mixed with the overall impression given off by the film almost makes their use of the effect unique. At the very least, it's well done. In all the cinematography by César Charlone looks astonishing.
Directors Fernando Meirelles and K?tia Lund give us a film full of incredible acting, a compelling script and beautiful visuals. What more could you ask for? See this movie as soon as you can.
The Triplets of Belleville
Review by Jon Waterman
****
When a young boy can't seem to find happiness in life, his mother tries everything she can. Neither a train set nor a puppy can cheer the little guy up. They both find happiness in the form of a bicycle. As the years go on, the young boy grows to be a professional cyclist with his mother as the coach. During the Tour de France, however, he's kidnapped. Now his mom must find some way to get him back.
For those unfamiliar with the film, I should mention that it is animated. Also, it's a French film with no translation (at least not when I saw it). However, no translation is needed, because there's minimal dialogue and the characters communicate through body language and small noises.
The animation looks great. For the most part, it's all traditional two-dimensional (meaning without the use of computers) stuff. For some of the more complex aspects, though, computers were used such as swooping camera movements and some of the scenery. Although computers composed some of the elements, the drawings were all based on the same style as the characters. It's becoming increasingly rare to see a feature length 2-D project, let alone one that shows as much care for detail and works as well as "Triplets" does.
Writer/Director Sylvain Chomet created a wonderful film. With such little dialogue, much depends on the strength of the characters to hold your attention. I was interested from the start. Each person, no matter how small the role, has some unique quirk to look for. Some may prefer the mousy mechanic, or the mother with her persuasive whistle. In my opinion, the dog steals the show. He's not portrayed as anything unusal. He reacts just as a dog would in most situation. He runs around in circles, he begs for food and he barks at trains...a lot.
Aiding the ecclectic characters is a story that keeps you glued to your seat. It's not that the mystery of the kidnapping is necessarily award worthy, but you never know where it's going to go. Chomet seemingly sacrifices structure for humor at times, however, all the loose ends are tied and the randomness is forced to make sense. By the end, you'll be surprised it doesn't keep going and you'll wish it did.
Most likely, "The Triplets of Belleville" won't be playing in your town. I can only hope that it hits video shelves at some point so that everyone has an opportunity to see this great animated movie. In the land of Pixar and Dreamworks Animations, Triplets is at least three times better.
++++++++++
City of God
Review by Jon Waterman
****
In the 1960s, all Rocket wants is to be able to escape his hometown. Teenage hoodlums (including his older brother) run the streets. Thievery is seen as the only way to get money and thus get out of the destitute hellhole in which they live. In the 1970s, all Rocket wants is to be able to escape his hometown. Teenage and pre-teen hoodlums run the streets. Thievery and drugs are the best way to make a living and guns guard the territories previously established.
This is a gang film like no other. Based on historical events, "City of God" tells the story of how this Brasilian town transformed so quickly from a place where kids stole some money every once in a while to a place full of drug trafficking and full out gang wars.
No one in this cast of thousands had previous acting experience. The trick here is to find kids that resemble their real life counterparts in each stage of life, and then get them to give a good performance. It couldn't have been easy, but it was accomplished flawlessly. I can't think of a single character that didn't show amazing range or didn't convey their emotions in a subtle manner. To think that so many child actors could do their jobs correctly is astounding on it’s own. To think that they had never done this before adds more awe.
The screenplay, written by Br?ulio Mantovani, could easily be seen as pretentious. It flows in a very postmodern fashion. It flashes back between the time periods. It starts one story then finishes it later after a few more stories have been told. The structure of the film reads very much like a novel. (And it is based on a novel by Paulo Lins.) The narration combines well with the natural dialogue and scene skipping. It leaves you in your seat, because you want to know more. At the same time, though, it lets you know what else you can expect to see before the end of the film.
The visual style is intriguing as well. In the hot locales, the scenes are given a very warm look. The frames are overpowered by deep oranges and yellows. Only towards the end does that start to change and for good reason. The look and feel of the images differ depending on the decade that's shown. The film looks as if it was bought in the 60s and 70s and used recently to make the movie (an effect that "Confessions of a Dangerous Mind" seemed to want to capture but couldn't). Also, within this classic film look are very contemporary camera moves and effects. They use the gimmicky "Matrix" revolving shot technique here. It's not used for parody and the cameras are not aided by computer support. The lack of fluidity in the gimmick shots mixed with the overall impression given off by the film almost makes their use of the effect unique. At the very least, it's well done. In all the cinematography by César Charlone looks astonishing.
Directors Fernando Meirelles and K?tia Lund give us a film full of incredible acting, a compelling script and beautiful visuals. What more could you ask for? See this movie as soon as you can.
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