While their version of The Lorax may strongly argue against
this, if any animation studio was to bring another iteration of The Grinch to
cinemas, Illumination are the guys to
do it. Between their cartoon revivalism and their love for animated slapstick and their championing of villains that
audiences love to hate, they have the aesthetic foundation to at least give
this a shred of hope. I mean, the last time we got a Grinch movie, audiences
landed on either the "this is awful" or "this is lame but fun" sides of the
debate. Thankfully, this film is off to a good start because, whatever it has
going for it, it doesn’t need to be defended as strongly.
From there, the animation has Illumination in their fun and
bouncy wheelhouse, allowing for some nifty set design and quite infectious
energy during the faster-paced moments. It keeps in tune with the heartfelt
spirit of the original story, keeping the crudeness to a respectable minimum
while still letting the Grinch’s scowlier machinations shine through to deliver
a healthy dose of gleeful mischief. This is echoed in the soundtrack, which has
Danny Elfman getting back into his kookier side and teaming up with Pharrell
devotee and musical bastard Tyler The Creator to create some tasty nocturnal
jams that fit the story quite nicely.
But this is all rather part-and-parcel for this story; is
there anything new being brought to the table with this one? Well,
surprisingly, there is something new injected in the narrative, and it has to
do with the Grinch’s origins. Now, considering his origin story is largely an
invention for feature-length cinema, this already raises a few eyebrows, but
it’s not nearly as bogged down in needless detail as the Ron Howard version. It
basically boils down to him being an orphan who was neglected of gift and
company on Christmas.
This brings up a rather interesting point regarding this
film’s moral leanings that I don’t think have been addressed before: What about
the poor families that Santa Claus “forgets” during Christmas? Those
unfortunate souls who see Santa and the commercialisation of the holiday as a
symbol of how much their own financial bracket prevents them from joining in
what is constantly pushed in their faces as the “true meaning of Christmas”:
Giving varyingly expensive gifts to others as a token of love. Not only that,
looking strictly at an orphan’s point of view, it’s hard to get into the spirit
of spending time with family when… well, when they don’t have one.
Through this, the Grinch’s story takes an isolated and
melancholy turn, giving him an impetus for his actions that
feels like something Seuss himself would have included in the story, similar to
him bringing up the other side of the debate in his animated version of The
Lorax. It imbues the character with a certain tragic tone that doesn’t detract
from the proceedings, but rather lends itself well to the remarkably lean
pacing and focus of the rest of the production. The result of all this is a
rather fun Christmas flick that not only stands out well enough on its own, but
also solidifies its reason to exist by adding another layer to the original
story’s intent.
No comments:
Post a Comment