Continuing my point that Fantastic Mr Fox might just be the most grown-up film of the year, here’s a terrific piece by A. O. Scott in the New York Times about this year’s crop of family movies, from Coraline (my review here) to Where The Wild Things Are.
Fantastic Mr Fox is some kind of miracle: a children’s movie that might just be the most grown-up picture of the year. It’s also a remarkable collaboration between two distinctive artists, Wes Anderson and Roald Dahl, that doesn’t compromise either of them; despite being his first adaptation this is as much an Anderson movie as Rushmore or The Darjeeling Limited, with which it shares many of its themes.
The central premise is a simple one. Mr Fox likes stealing chickens. He knows that this is dangerous — as a young fox he and his wife were almost killed in one fatal raid — but it’s part of his nature and it makes him feel alive. But when his most ambitious raid goes wrong he and his family become targets, as three vicious local farmers, Boggis Bunce and Bean, vow revenge. As the farmers’ plots become ever more elaborate, and not just the Fox family but their neighbours come under threat, can Mr Fox save his family, and at what price to their community?
All of this is beautifully executed in stop motion animation, lovingly hand crafted. The world of the film is lush and stylised, blending elements of the English countryside with touches of the American West: as well as moles and badgers there are beavers, gophers and a single, terrifying wolf. Many of the details — clothes, furniture and props — are from Dahl’s own life: the book was his most autobiographical novel, and Anderson and his co-writer Noah Baumbach lived in Dahl’s own house while writing the script. It’s also very funny, blending Anderson’s wry humour with elements of slapstick — there’s a motorcycle chase that Nick Park could be proud of.
But what makes Mr Fox so stunning is its family. The plot of the movie is the hanger, but the family is the clothes. This is as funny, poignant and observant a depiction of a family as anything we’ve seen this year. It’s a portrait of a marriage under pressure, as Mr Fox’s exploits put the family at risk; and, in the film’s main subplot, its a story about children, and the subtle status shifts and jealousies they face. The Fox family have one son, Ash (Jason Schwartzman), who is shy, hesitant, bookish: in his own word, different. At the beginning of the movie they are joined by his cousin Kristofferson, who is everything that Ash is not: confident, athletic, comfortable in his skin. And as Ash realises immediately, he’s the son that Mr Fox would have wanted, with some of his own cocky swagger, insouciance (he’s played by George Clooney) and style.
This is the heart of the story. There’s a moment, early on, as Mr Fox watches the two boys competing at diving and casually compliments Kristofferson while lightly mocking his own son, where you see how easily children are damaged – not by deliberate cruelty, but by not quite thinking hard enough – and how Mr Fox’s narcissism puts his family at risk. It’s pitch perfect writing and directing, and suggests that Anderson picked the perfect collaborator in Baumbach, the writer-director of The Squid and the Whale.
He could also have hardly chosen a better cast: not just Clooney and Schwartzman, but Meryl Streep, Michael Gambon and Anderson regulars Owen Wilson and Bill Murray, as Mr Fox’s badger lawyer. Together these diverse collaborators have created a timeless, endlessly rewatchable movie that expands and deepens Dahl’s story while remaining true to its fantastic, foxy heart.
Stop motion animation is the absolute essence of cinema: creating life at 24 frames a second. And right now it’s on a high. While the box office might be dominated by glossy, 3D CG movies from Pixar, Dreamworks and Fox, the last few years have also brought us some of the most beautiful hand-made movies ever filmed. Here’s a clip from Suzie Templeton‘s wonderful, Oscar-winning Peter and the Wolf (now available on iTunes):
Henry Selick, the director of Nightmare Before Christmas, also returned this year with Coraline, which I loved. Here’s an inspiring, faintly unsettling interview with Selick as he discusses the world from a puppet’s point of view:
At the more experimental end of stop motion, keep a look out for Romela Crnogorac, whose MA degree show at Chelsea last week was extraordinary. I’d love to show you her cooked Chinese duck sex video (honestly), but it hasn’t yet made it onto YouTube, so here’s a taster from her earlier work, which should at least win her the next Bjork promo:
Finally, here’s a very touching new behind the scenes film from Wes Andersons’s Fantastic Mr Fox, which is playing a next month’s London Film Festival. Turns out that Anderson actually lived in Roald Dahl’s house while writing the script, and based much of Mr Fox’s character on Dahl. Keen Dahl fans will also recognise Mr Fox’s chair.