Archive for April 11, 2018

Dog Zero: Unleashed

Posted in FILM, MUSIC, Politics with tags , , , , , , , , , , , on April 11, 2018 by dcairns

I think ISLE OF DOGS is one of the best things I’ve seen in a while, on the big screen. Half an hour in, Fiona whispered to me, “I like this better than FANTASTIC MR. FOX.” Don’t worry, nobody was sitting nearby to be disturbed. I remember we loved FANTASTIC MR. FOX so I would have to see that one again to compare more freshly. But this one is pretty great, and may show advances in the Wes Anderson emotional lexicon. (In brief: there are a lot of crying dogs and people in this one, and not all of the emotion is smothered under a thick layer of irony. This may mean Anderson is about to become a rank sentimentalist, but for now it means he’s opened up a little, the possibilities have become wider. It’s a process we’ve seen hints of for some time.)

I’d like to dispose of the whole cultural appropriation question quickly. I think this is a pretty clear example of the GOOD kind of cultural appropriation. It’s obviously born of a deep love of Japanese culture; it displays, and shares, relatively nuanced knowledge of that culture; I find it preferable to the bored tourist’s eye view of LOST IN TRANSLATION. I see lots of American indie films in my work as submissions viewer for Edinburgh International Film Festival, and one thing there isn’t enough of in American cinema is interest in other parts of the world. Sure, this is set in futuristic comedy Japan, but little kids aren’t going to be seeing Ozu just yet. Fiona wondered if the film was too strange and too dark for little kids. I don’t care: it’ll be SOME strange, dark little kid’s favourite movie.

If there are clear (but shifting) limits on the extent to which Anderson’s films engage with other cultures (Colourful Backdrop in THE DARJEELING LIMITED; Ruritanian Allegory in GRAND BUDAPEST HOTEL), it’s still impressive here how much of the film plays as anti-Trump. I mean, the orange blob has only been squatting in office a year, and how long does it take to make an animated feature? The movie is obviously more broadly anti-dictator though, and I guess they’re all somewhat alike (Trump’s incoherent Twitter bellowing is down to the fact that he’s an aspiring dictator whose found himself in charge of a democracy, and doesn’t understand why he can’t make things happen just by shouting). But the executive order signing seems like a specific jab.

There’s a conspiracy plot — power-grab using manufactured plague — which dates back to AIDS conspiracy theories (the truth about Reagan-administration indifference to the “gay plague” is horrifying enough without need for germ warfare elaborations) and which is a repeat of a story point from an earlier agit-prop fantasy: the Wachowski-scripted V FOR VENDETTA, which went after G.W. Bush with very internet-era Hitler comparisons. (I liked that film a fair bit despite some egregious flaws. Here’s the nonsensical timeline: government builds concentration camps and experiments on prisoners, creating virus it uses to decimate populace and seize power. Wait, seize power? Aren’t they already IN POWER, powerful enough to set up concentration camps? It’s not just a tangled web, it’s a moebius strip… or a script by people who aren’t as smart as they think they are.)

Tilda as “Oracle”

Brief summary of what I liked in this film: resonant Bryan Cranston voice (his first great movie role); Jeff Goldblum, Bob Balaban, Harvey Keitel and Tilda Swinton are the Anderson regulars who work best as voice artists (some of the others maybe aren’t distinctive enough*); the beautiful imagery you’d expect; Alexandre Desplat’s score, snagging quotes from THE SEVEN SAMURAI and Prokofiev’s Troika, and reminding me of AKIRA and YOJIMBO in places; deaths of sympathetic characters; no deaths for unsympathetic characters; everything seen on TV screens is animated in 2D, anime-style; I laughed; I cried; it has lots of dogs in it.

Fiona didn’t like that the bad guys are cat lovers: but she liked the fact that jailed evil people got to keep their cats in prison.

*Voice acting for cartoons is strange. In the anaemic ANTZ, Sylvester Stallone’s distinctive mush-mouthed delivery makes him far more effective that Gene Hackman, who just sounds like some dude, despite being self-evidently the superior actor.

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