1929


kung-fu-panda

Like a karate chop from a praying mantis, Kung Fu Panda is a bolt from the blue. Filled to the brim with rapid-fire wit, colourful animation, and blazingly entertaining action sequences that many action movies lack, this little animated feature from DreamWorks is the best picture the studio ever put to screen and rivals WALL-E as one of the best drawn pics of 2008.

Directed by John Stevenson and Mark Osborne, Kung Fu Panda tells the rollicking story of Po (Jack Black), a martial arts-obsessed panda stuck slinging noodles for his goose father. Po, despite having no martial arts skills whatsoever, is fanatical over the Furious Five, a quintet of warriors defending the Valley of Peace from various villains. One day, under the threat of an attack from nemesis Tai Lung (Ian McShane), Master Oogway (Randall Duk Kim) tells of a Dragon Warrior who will help defend against the brutal snow leopard.

Through a series of hilarious events, Po is named as the Dragon Warrior and it is up to the Furious Five to train him for battle against Tai Lung. Led by Master Shifu (Dustin Hoffman), the Five put poor pudgy Po through the ringer and are sceptical of his potential as the Dragon Warrior (for good reason!). Eventually, however, Po learns to use the assets he has and, with the help of Shifu, prepares to take on Tai Lung and to save the Valley of Peace.

Sound ridiculous? It is. But oh does it work like a charm! Stevenson and Osborne’s movie rumbles with intensity and sparkles with vivacious colour, each scene exploding with wild energy and craploads of fun. By using innovative colours to reflect the vivacity of China and the Valley of Peace, Kung Fu Panda is bursting at the seams with force and style. The hand-drawn animation sequence at the beginning of the piece is especially arresting, with the Jennifer Yuh Nelson-directed credits sequence opening the tale up beautifully. Other scenes are alarming in their complexity, yet the talented animators make it sizzle.

Black is perfect as the voice behind Po. He is a mile-a-minute and always on fire, lending his entire body to the character. And the other vocal talents are awesome, too. With Hoffman as Shifu, Angelina Jolie as Master Tigress, Seth Rogen as Master Mantis, Lucy Liu as Master Viper, Jackie Chan as Master Monkey, and David Cross as Master Crane, the Furious Five are an interesting set of characters that continue to enchant long after the credits have rolled. Ian McShane is spot-on as the villainous Tai Lung.

Not only does Kung Fu Panda sparkle with colour and impeccable voice talents, but it knows what it’s doing as a film. Dead right in terms of timing and plot developments, this is as clearly structured a story as an animated film has seen in years. The plot isn’t a kung fu movie satire, as would have been the easy way to go, but rather unfolds like an action comedy. It uses its action well, presenting overblown scenes like the fight on the bridge with broad lines and an enormous scope. Everything runs on time and according to plan, providing a lean and mean final product on the screen.

For a flick with heart, action, and copious amounts of good-natured humour, Kung Fu Panda is one of 2008’s best. Rivalled only by WALL-E for sheer beauty and vibrancy, this is one animated feature that DreamWorks will have a tough time following.

9.2/10

Trailer:

Un Chien Andalou

I’ve decided to start including reviews for short films here, as there is a wealth of great stuff out there to examine. It should come as no surprise, therefore, that Un Chien Andalou is the first short film that I’ll be looking at. Anyone with any interest in cinema as an art form has likely seen or at the least heard of Un Chien Andalou. It is arguably one of the most influential short pieces in early cinema and certainly breaks a lot of boundaries with its bold style and incredible content. I had to keep reminding myself that the film was from 1929.

Un Chien Andalou comes to us from Spanish director Luis Bunuel. This would be Bunuel’s first work and would begin a long career of filmmaking in which he would direct 32 films. Bunuel wrote 39 films. His final directed film was 1977’s That Obscure Object of Desire, an erotic film about obsession. Bunuel work largely relies on the surreal and there is perhaps no finer example of surrealist cinema than Un Chien Andalou. Dreams were what fed Bunuel’s imagination, as his early films as a surrealist in Paris and his later films from the late 1970s would evidence. He was never concerned with traditional conventions in terms of filmmaking, but rather almost went out of his way to confuse and bewilder the audience.

Un Chien Andalou is a flawless example of that attention to imagination. The film, also written by surrealist artist Salvador Dali, was never intended to make sense. As is likely the case, many interpretations are floating around about the ideas and the thoughts within Un Chien Andalou, but the reality is that Bunuel and Dali simply did not care for cohesiveness. The only hidden meanings, therefore, are those that the viewer places on the film. The idea behind the film was to provide a sort of revolutionary shock to audiences and critics at the time, to go out of the way to provide something so shocking and strange that it would alienate people and divide them. That was Bunuel’s mission here. It was Bunuel’s way of fighting back against a society he despised.

As a film, Un Chien Andalou is not an enjoyable experience, nor is it a film that is really up for review based on typical merits like acting or direction. Instead, it is a chaotic film that evidences disconnected timelines and a lot of allegorical notions. The techniques of the film have been so certainly absorbed by our modern culture that almost all of the shock of the film is gone, but framing Un Chien Andalou in the right context is the best way to experience Bunuel’s intentions. The famous “eye-slicing” scene, for example, is one of the more excruciatingly bold scenes to witness because of the bravery of the scene and because of the impact that such a projection would have in 1929.

Un Chien Andalou was also one of the very first independent films. Made not with the help of a studio or with any significant money, this was Bunuel’s project and this was his love. The film is the beginning of Bunuel’s journey through film and the introduction to a filmmaker that would very much try to do things “his way” for the bulk of his career. He was a rejector of the industry and was fired for insulting Abel Gance before landing his feet on solid ground. Bunuel was the classic rebel filmmaker, a kid from Spain that came to France to experience the surrealist movement. As a result of his energy, he became a significant part of it and Un Chien Andalou is one of the broadest strokes of his career.

So as you watch Un Chien Andalou – and hopefully you do – bear the context of the film in mind. Bear in mind that Bunuel’s desire was to, along with Dali, to throw as many irrational concepts on the screen as possible. The idea behind Un Chien Andalou was never to make sense. No, quite the contrary. The idea behind the film was to incite riots, produce tangible and ugly results, and to create a revolution in cinema that would change the way people thought of art. This was a rebellion piece if there ever was one.

10/10

Note: The film can be found in several locations online. A simple search engine will turn up several results.