By Debra Kaufman
LOS ANGELES (Hollywood Reporter) -
For animators, it's
never about the technique. It's always about the artistry: the
appeal of the characters, the richness of the details, the
whimsy of the animation, the strength of the story.
Critics, animators and civilians alike have praised
"Ratatouille" for its combination of endearing characters,
indisputable attention to detail and its powerful, classic
animation. Perhaps only Pixar, and writer-director Brad Bird,
could turn an unlikely tale about a rat in the kitchen into a
film so thoroughly enjoyable for adults and children that many
have said "Ratatouille" is Pixar's best effort in years. This
is the film to beat when the Academy Awards take place Sunday.
French-language 2-D "Persepolis" might possibly pull that
off. From a technical standpoint, this out-of-left-field entry
couldn't be more different than "Ratatouille." The
coming-of-age tale about a young Iranian girl is hand-drawn, in
black and white, and presented to American audiences with
subtitles. "Persepolis" proves what U.S. animators have been
saying for years: Animation isn't just for kids.
And the nomination of penguin-populated "Surf's Up," which
didn't draw huge crowds (perhaps because they were weary of
stories about the flightless birds), gives this extraordinarily
charming and well-done film the recognition it deserves but
failed to receive at the boxoffice.
Here's a closer look at the Oscar nominees for best
animated feature.
PERSEPOLIS
"Persepolis" is "a little film," says animation
author-historian Jerry Beck. "It's the complete opposite of
'Ratatouille' and (is in) a total David and Goliath
(situation)." Beck also thinks "Persepolis" stands out for
another reason. "It's important for the animation community
because it's an adult film," he says. "'Persepolis' is about
real people and real events and even has a few dirty words.
It's going to give 'Ratatouille' a run for its money."
In "Persepolis," writer-director Marjane Satrapi (with
co-director/co-writer Vincent Paronnaud, a figure in the
underground comic world) details her life, first in Iran during
the Islamic Revolution and the Iran-Iraq War and later as an
exile in Vienna, where her parents send her so her
outspokenness won't land her in prison. "Persepolis" won the
jury prize at Cannes and has been beloved by critics who
ordinarily don't go into raptures about animated features. (The
Los Angeles and New York film critics organizations have both
named "Persepolis" the best animated feature of the year.)
The film's unpretentious, hand-drawn imagery has also
gained advocates. Whether it's 3-D CGI fatigue or a vote for
hand-drawn animation, the simplicity of the film's style
largely seems to be a point in its favor, among animators and
non-animators alike.
"It's good to be reminded that animation is rooted not in
any particular technique, but in the impulse to bring static
images to life," says the New York Times critic A.O. Scott.
"And 'Persepolis,' austere as it may look, is full of warmth
and surprise, alive with humor and a fierce independence of
spirit. Its flat, stylized depiction of the world ... turns
geography into poetry."
In fact, Satrapi drew all 600 character figures and acted
out the scenes for a 100-person team that drew the scenes by
hand. The power of the pencil comes through in a style that
translates the story's graphic novel roots to the big screen.
"It certainly helps to sell the idea that 2-D animated
movies can be very successful," says Acme Filmworks executive
producer Ron Diamond, who also points out the appeal of the
film's "unusual story." "It's historical and personal, and
people respond to movies that are about a personal experience."
If "Persepolis" does win the best animated feature prize,
this truly will be a David and Goliath story.
RATATOUILLE
The House of Mouse has set standards in animation success,
but with "Ratatouille," a rat is likely to bring the Oscar
home. This film is the odds-on favorite for animators and
non-animators alike. The fact that it's the work of Pixar
spells "winner" for many animation fans, and "Ratatouille" is
largely hailed as Pixar's best effort yet.
"It's unparalleled in its craftsmanship," Diamond says.
"It's gorgeous to look at, and the story is seamless. It's also
furthering the technology of 3-D animation, and Pixar is on the
forefront of that."
"There are chunks of the movie where the Linguini character
is surrendering his motor skills to a rat," Bird says. "It's a
preposterous idea, but one that animators really love. It's
very physical, akin to silent film comedy more than anything
else. This surrender of control to another's wishes is just a
dream assignment for an animator."
"People don't have the same reaction to mice as they do to
rats," Bird admits. "Only after (the movie) was done, I
realized the extent to which people have a revulsion to rats. I
can't tell you how many people said, 'I had to be dragged to
this movie' and then (went) on to tell me it was their favorite
movie of the year."
In wide release, "Ratatouille" succeeded at the box office,
coming in at No. 9 for 2007's top-grossing U.S. films. It also
did spectacularly in Europe and elsewhere, with $619 million in
worldwide grosses. Is there any downside to the film's chances?
Animation Guild president Kevin Koch notes that Pixar has
already won two animated feature Oscars. But he brushes that
off as insignificant. "'Ratatouille' has done tremendously well
here and overseas," he says. "And you can't argue with the
artistry."
Bottom line: The smart money is on "Ratatouille" to bring
home the cheese.
SURF'S UP
If you didn't see it, you're not alone. The Sony Animation
feature came and went fairly quietly, coming in at No. 41 in
2007's list of top-grossing pictures.
But that doesn't mean the movie went unnoticed by animators
and the Academy's animation branch. Although "Surf's Up" didn't
gross anywhere near what the year's big animated features did,
Beck sings the small movie's praises. "It's funny, clever and
well-made," he says. "It shows that Sony Animation is a real
contender, and they haven't gotten that recognition yet."
It's also got some technological innovation with the ocean
waves. Water has always been difficult to create digitally, and
"Surf's Up" takes realism a step or two further as we watch old
surfer Big Z/Geek, hero Cody Maverick and the other surfers
ride the curls.
Sony Pictures Animation used a vast amount of detail to
create each wave, manipulating the throw of the lip, the trough
depth, the wave face height, the slope of the shoulder of the
wave, how much the wave collapses, the height of the wave back,
the thinness of the lip, the noise on the lip, and the height
and width of the wave.
"We took the waves and made them into an emotional value as
well as something beautiful to look at," says "Surf's Up"
writer-producer Chris Jenkins. "We set out to make the water
another character."
The critics largely liked "Surf's Up," noting its mix of
adult-oriented and child-friendly humor, along with the rousing
music of 311, Pearl Jam, Incubus and others. Just as the
movie's main character, Cody Maverick, doesn't win the surfing
contest, so "Surf's Up" will not win the Oscar for best
animated feature. Its charm just won't stand up to the
powerhouse of "Ratatouille" or the charisma of "Persepolis."
But, also like Cody, "Surf's Up" has found its own wave and
probably has a long ride ahead in the post-theatrical market.
Reuters/Hollywood Reporter
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