Ah, the memories. This was the first time I reviewed the
Oscar-nominated animated shorts, in the second year that I had seen the
nominees before the ceremony. That year most people were interested in
seeing how many awards Slumdog Millionaire would win. I wasn't
too concerned, as I had only seen four
(yes, only four) of all the nominated films at that time, so I can't say
I'm too
excited about the traditional awards. Therefore, my main focal points
were seeing if Heath Ledger can shake off the stigma of being dead and
win Best Supporting Actor posthumously...and the Best
Animated Short category. It's interesting to look back at my progression
at watching the nominees. Back then, two years after trying to watch
the winners and a year after starting to watch all the nominees I had
seen 73/76 (96%) of the winners and 275 / 317 (87%) of the nominees, or
87%. Three years later I had seen 100% of the winners, and 322/332 (97%)
of the nominees. Evidently I've kind of hit the bottleneck.
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Lavatory Lovestory
This
Russian short tells the story of a lonely female worker at a public
lavatory whose monotonous life goes topsy-turvy one day when somebody
leaves her flowers in the change jar. The fact that there is such a
position is probably one thing that may be a bit bizarre to we Americans
with our free public restrooms. Heck, the idea of having to pay to "do
business" was a bit mindblowing to me the first time I saw this short,
but this idea plays a crucial role in the way the filmmakers tell the
story. The entire film is non-verbal (which is a good thing, considering
the difficulty of watching last year's Maya Lyubov without subtitles),
and the only sound is the clinking of the change and the squeaking of
the turnstiles. The film does a good job in establishing the pattern
that any change becomes an important plot point. Lavatory Lovestory is
also stylistically very simple, made up of only black lines on a white
background. Not only does it allow the filmmakers to do some snappy
cutting, but it makes the flowers even more noticeable, since those are
the only colorful items in the entire short. And the film is
very sweet. I can't imagine how many times I've passed by a toll booth
or a parking booth and giving no thought about the person sitting
inside. This poor lavatory lady suffers the same fate. Everybody is
going on with their lives and their business, giving little notice about
the poor woman's hopes, dreams, and disappointments. The filmmakers
manage to make these emotions quite visible in her, and the viewers
undergo the same ups and downs as the heroine. However, the film does
drag a little, taking ten minutes to tell a seven-minute story. I had
the urge to go do something else in the middle, and I'm sure most people
will too. However, Lavatory Lovestory is a cute little film that is
worth a viewing.
La Maison en Petits Cubes
La Maison en Petits Cubes tells the story of a stoic old man
who lives in a world that has completely flooded over. While most people
have vacated the area, the old man stays put in his house, building
another layer by hand each time the water level rises. While salvaging
his furniture following another move, he drops his beloved pipe, and
must undergo a diving expedition to retrieve it. A simple trip to pick
up a pipe soon becomes a tender journey through the old man's past. Now
this film is interesting. It's a Japanese film that is done in the
style of French animation, a la Sylvain Chomet, the director of the
Oscar nominated La Vieille Dame Et Les Pigeons and Les Triplettes de
Belleville. The character design and animation styles are more akin to
such films than the Japanese animation most of us are so familiar with. This
was the last nominee that I've seen since it was never on YouTube and
didn't make it onto iTunes until this past week. For the longest of time
all that was available was a short 30-second clip. And the clip kind of
irritated me. There are, I feel, some shorts that are clearly
art-house, having more aesthetic qualities than any lasting value.
It's like those shorts are nothing but awards-bait. To me this just seems like the case, or maybe it was just sour grapes at being unable to see the film.
My opinion has changed now that I've seen the film. Yes, this film does
have an aesthetic focus, and yes, the opening is incredibly
slow-placed. However, La Maison en Petits Cubes does pack an emotional
wallop when you get to the bottom of it. The film uses a simple piano
soundtrack and the merging of past and present to tell the old man's
tale. By the end of the film the viewer knows what makes the old man
tick, and why he continues to stay in his lonely old house. The short
may be 12 minutes long, but after you get past the first four minutes,
the rest of the thing just flies by. Yes, the film still does have the
feel that it was created to win awards, but now that I've seen the
darned thing I know it has redeeming value.
Oktapodi
Oktapodi, is the frenetic tale of two octopi's devotion to each other in the face of major obstacles. A pair of octopi are in love, but they live in an aquarium in a life seafood shop. When one of the octopi get taken by an octopus butcher, the other must set out to rescue
its lover. The film is short, only
two minutes long, and so the film has to move at a rapid pace. The action is fast and furious, and the speedy strings
soundtrack complements the action. As one might expect, some things suffer as a result.
The 3D animation is a bit on the simple side, although it does have an excellent 2D segment, and features a nice view of a
pastoral Greek seaside village. It also takes a lot of liberties with laws
of physics, although that's more of an observation than a complaint. Some of the best works of animation throws the laws of physics out the window. And it's not very deep at all, kind of like an anti-La
Maison en Petits Cubes. Both films are about love, although one takes a more contemplative look at the meaning of devotion, while the other shows you in a kind of slapsticky way. However, its short running time, furious
action, and clever ending means that viewers would most likely be left entertained. Alas, this review will be as short as the film itself.
Presto
Of
all the nominees, this is the short that has been seen by the most
viewers, and probably has the most loyal backing. After all, it was the
short that played before Pixar's beloved WALL-E. Presto tells the tale
of a hungry rabbit getting revenge on the pompous magician he works for
using the top hat/wizards hat portal that is the secret to Presto (the
magician)'s magic. It's clear that the directors at Pixar took the
concept of the hat-to-hat portal and ran with it any way they could. The
end result is a short that, like Oktapodi, is incredibly fast-paced.
Yet unlike Oktapodi, the action in Presto requires a lot of thought and a
couple of repeat viewings to completely understand. It's almost like
watching a magic act. At first one would go, "How did they do that?"
However, finding out how everything worked only increases one's
admiration for the work; it becomes more like "How did they think of
that?" Of course, being a Pixar film, Presto is filled to the
brim with zany, madcap comedy. And like most Pixar works, most of the
comedy is hilarious, although some feels a bit flat. However, it is
still incredibly entertaining. There are some faults. The film isn't
very deep, and the animation isn't quite up to par with some of Pixar's
other work - most of the aesthetic value of Presto is with the clever
action. However, it's deserves the following that it has received, and
it is, in my opinion, the best Pixar short since the Academy
Award-winning Geri's Game.
This Way Up
This
Way Up tells a macabre tale of a father/son pair of funeral home
workers who have a hellishly bad day at a burial, quite literally. This
is to me the most frustrating of all the nominees. The film does a lot
of things right. The animation is crisp and clean. The directors create a
somber atmosphere without losing the film's comic edge. The characters
are quite well-rounded. There is a brilliant Goldberg-esque scene near
the beginning of the short. And the climactic dance scene is snappy and
sharp. And yet at the same time the film as a whole falls far short of
the sum of its parts. The action, while humorous, just seems to meander
along without having any indication of going in any direction. The
climax comes out of nowhere and never loses its random,
haphazard feel. And the ending just feels unsatisfying. I'm not saying
that the film is weak. I know a lot of people that absolutely love it. I
just feel that it could have been incredible, but as it is it has to
settle for being merely good.
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Oh-kay...I
didn't exactly expect to write so much about three of the films and so
little about the other two, but you can probably tell which two films
were my favorites. As for my thoughts about that year's "race," Presto seemed like the central player. It was an audience favorite, but it seemed like the prognosticators fell into two
categories: They loved Presto and think it's going to win, or they loved
Presto but thought that the Academy will turn against Pixar. Most people in the second camp point out the fact that
Pixar shorts generally don't win. That's not entirely true, as three
Pixar shorts have walked away with the main prize: Tin Toy (in 1988),
Geri's Game (in 1997), and For the Birds (in 2003). However, they did
lose five times before this year, including their past four nominations: Luxo Jr. (in
1986 to A Greek Tragedy...a tragedy right there), Mike's New Car (in
2002 to The Chubbchubbs), Boundin' (in 2003 to Harvie Krumpet), One Man
Band (in 2005 to The Moon and the Son), and Lifted (in 2006 to The
Danish Poet). It has since stretched to seven straight. Now this losing streak may be a sign of
anti-Pixar backlash, or it could be because the shorts just weren't as good as their feature length films.
Then the question becomes what is the film most likely to upset Presto? I was hoping that it would be La Maison en Petits Cubes, mainly because it was such a beautiful and emotional tale, also because it has such an aesthetic focus. Of course, many prognosticators were beginning to feel that This Way Up could also prevail, although I can't imagine why. So the race essentially came down to a film that I liked vs. a Pixar vs. a film that I disliked. (Gee, where have I heard this before). Thankfully, La Maison en Petits Cubes pulled off the win.
Anyways, my rankings (in both quality and preference)
La Maison en Petits Cubes > Presto > Lavatory Lovestory > Oktapodi > This Way Up
I never had a problem watching "La Maison en Petits Cubes" myself, as I managed to catch a YouTube appearance just before it won the Oscar and knew it would win. While of course the use of a French title and approach to the design was obvious, it reminded me more of similar sentimental works like Federic Back's "Crac", Borg Ring's "Anna & Bella" or Adam Elliot's "Harvie Krumpet", where you do have a life of an individual that is summarized through the course of the film. Kunio Kato's film reflects the theme perfectly through exploration of the man's world, but perhaps also leaving us with unanswered questions such as how it got that way (no doubt climate change was the culprit in this story), I enjoy films that often leave you figuring things out on your own.
ReplyDeleteThough I'm not sure if you like to link to videos on your blog for these older entries, here's one off of Vimeo for this film if anyone doesnt mind checking it out.
https://vimeo.com/12741107
Although not in the nominees for that year, one short also from France a few of us wished had been in the running was Jeremy Clapin's "Skhizein". Quite an unusual tale of one person's suffering after being hit by a meteorite and finds himself out of sync with his body by 91 centimeters to the left.
ReplyDeletehttps://vimeo.com/36824575
Yeah. I would like to link to videos in the older entries but I haven't had the time to do it. And I did see Skhizein. It was interesting, and I probably would have removed This Way Up to fit it in, but I think I prefer La Maison en Petits Cubes.
ReplyDelete