The Culture Beat

Several years ago I was thinking about the potential for computer-animated filmmaking to come up with something only that technology could achieve in evoking in its narrative something different from what Pixar had wrought. As much as I loved everything that groundbreaking studio did, I felt like there was another corner to explore that was different from the bright, funny and hugely entertaining family films that had rescued animation from its doldrums. It was hard to describe, but I wondered if someone could take a different road to see what strange and even weird stories could be told with the new possibilities computer animation had created.

Recently released on DVD and Blu-Ray Coraline, which we watched in hi-def in astonished wonder at its rich detail, I couldn’t tell whether it was computer animated or stop-motion, like Wallace and Gromit. On one hand, the figures’ moved with that slight jerkiness associated with stop-motion, but the pristine textures and colors seemed like that which you get with CGI. It wasn’t until we watched the special features that we confirmed that it was indeed old fashioned stop motion, made by master animator Henry Selick (The Nightmare Before Christmas) in what I believe sets a new standard in the artform. Sorry Wallace and Gromit, for all your eccentric charm, you now look dated. This is the first animated film I’ve seen in years that should give Pixar a real challenge for Best Animated Oscar. And it reminded me of my desire to see a film that took viewers to a strange new place–but there’s not much CGI in Coraline.

Based on the Neil Gaiman book but surely far transcending it, Coraline the movie is the story of the title character, a pre-teen girl just moved to the dreary dampness of Oregon to live in one of several apartments carved out of great old house now called “The Pink Palaces, ” for obvious reasons. Coraline’s parents are so busy finishing up their gardening catalog manuscript that they don’t give their daughter the attention she craves. So when Coraline discovers a small door to a tunnel leading to an alternative world with parents who have all the time in the world for her, she’s naturally tempted to stay with her “Other Mother,” and dad–except for the strange fact that they have black buttons for eyes. As the doughty girl struggles with choosing her real parents or her too-good-to-be-true ones, we see the predicament of many kids with working parents who themselves struggle to find the balance between home and work. But this being a Gaiman tale, the fantasy element soon explodes into a stunning spectacle of temptation that rivals Pinocchio’s trip to Pleasure Island, with the nightmare consequences awaiting those who stay too long.

It’s hard to describe the unprecedented riot of creativity and chills that Selick and his army of talented filmmakers produce that is even more stunning when you realize that the thrills and suspense, with chases, swooping camera shots are being created by moving small figures and props in tiny increments one film frame at a time while being photographed twice for 3D presentation. In terms of achievement, it’s natural to compare Coraline to The Nightmare Before Christmas, which has become a perennial favorite. Both have Selick’s trademark creepy design. Tim Burton wrote the earlier story and produced it and my experience is that the earlier film was an interesting conceit with some catchy tunes but too much of Burton’s trademark macabre style and flawed storytelling–I never really cared much about Jack Skellington’s existential crisis.

But Coraline’s journey is far easier to relate to; many kids have experienced apparently oblivious parents, unaware of the adult distractions and responsibilities that keep them from giving their child their constant attention and giving them whatever they want. It is Coraline who must use her smarts and character to overcome the creature who would be the girl’s Mommie Dearest. While my much articulated love and appreciation for Pixar’s artistry and values is still as high as ever, I understand that it is the heir of Walt Disney’s vision of great popular art. Selick’s Coraline (which should be noted is distributed by classic monster-movie studio Universal) is first of all, because of its scary tone and images NOT for small children, despite its PG rating, and instead aims for mature early teens and above. Its quirky style will limit its broad appeal but many should embrace and appreciate the constant invention and scary delights of this innovative fantasy.