Archive for December 2012

The Mediocre Mouse Detective (ahaha I’m so clever)   4 comments

The Great Mouse Detective was released by Walt Disney Productions in 1986, a year before I was born. Fortunately my childhood was spent in the heyday of VHS, so before every movie I watched at home, I got to see this trailer. So growing up, I saw this trailer and thought that I wanted to see it. But I never have. For 25 (almost 26!) years now, I have been wanting to see this film, and I finally got a chance to watch it.

Here is what I learned: all the good parts of this movie are in this trailer. I had already seen the good parts. Over. And over. And over again.

Basil, the Sherlockian mouse, isn’t really a detective so much as a forensic scientist. Well, that didn’t really disappoint me. It was cute. They tried to make it cute. And…I think that’s where they failed? They tried so, so hard to make this a good movie, a movie anything other than mediocre.


“This is Art,” they 1980s animators are desperately trying to say. “Animation is good and can be taken seriously by anyone!” I’m not hating on the animation. Did you see that bit where they’re running from the giant wheel…bell…thing? It’s from that scene where Our Heroes are hunting for clues in the toy store. Certainly the issues aren’t with the animation — the animation is bouncy, fun, and tip-top. Characters are put in dynamic poses, always moving, always suited for their characters. The actors do a good job with the material they’re given. The problem, I think, is with the scriptwriters.


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Here are our Heroes. I normally start out by introducing these guys, don’t I? The movie is based on a children’s book series, Basil of Baker Street, which is about the Sherlock Holmes of Victorian London. In that vein, these characters fit the Sherlockian tropes just fine. Basil (Holmes), Olivia (client), and Dawson (Watson). Notice that Basil is long and lean, and leaning back on his knees, bent forward slightly, in a dynamic pose. You can almost imagine that he is shifting his weight back and forth, full of energy. Dawson, by contrast, is short and round. His stomach takes up most of his body. His limbs are shortened severely. He has hardly anything in the way of a snout, resembling more of a friendly, kindly human face. He has little in the way of body posture, and yet he oozes geniality. Olivia in the middle is the archetypal child character, a central character entirely to pull children into the movie (she spends much of the movie playing with a big friendly dog). She, too, has reduced mouse features; her eyes are even larger than the adult’s, and she’s in the middle of a turn. Clearly meant to be adorable. (By the way, Dawson for Watson? Really?)

Olivia’s father is kidnapped, and she wants Basil to help find her father. To make a long story short, this leads Basil and Dawson to uncover a plot where Professor Ratigan is going to replace the Queen of Mouse England with an automaton. And here’s my first issue: two-thirds of the movie is taken up with trying to hide this plot, as if this plot would be a shocking twist. And it kind of is, because the announcement of this plan is the first time we hear about the existence of Queen Mousetoria (yes, really). This can be pretty fitting. The audience’s surprise can match the character’s surprise, and help the audience feel more involved with the story.


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Actually my issue with the plot is this: that is not a big enough plot. The idea of the plot is well-executed, with the stealing of uniforms and the need for gears for an automaton. The foundation is there. The idea has just been done dozens of times before. And it’s done on such a small scale — Ratigan switches out two guards with his own. Only two! What happened to the other uniforms the weird bat-dude stole? You could say that the other guards were switched out, too, but how come we don’t see them when the guard turns on Ratigan? Certainly Ratigan would have been more impressive with an army of guards backing him up, rather than just looking like this:


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And just expecting everyone to just go by the Queen announcing that he’s in charge. Ratigan walks in with the authority of only a single person’s single statement, then announces that he will get rid of every old, sick, and child person in the country (“Item 96: A heavy tax shall be levied against all parasites and spongers, such as the elderly, the infirm, and especially little children”). Which doesn’t work: the crowd is ready to throttle him before Basil shows up to save the day.

Moriarty, Ratigan’s inspiration, is scary because he works behind the scenes, orchestrating small schemes to work out his larger, better scheme. There’s no series of small schemes leading to a bigger one. Olivia’s case leads straight to Ratigan, which leads straight to the Queen of Mouse England. The scale of Ratigan’s operations are more on par with a small-time thug.

I had hopes for this plan, I really did. The plot really takes off when Fidget the bat-minion:


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loses his errand list, revealing that Ratigan’s plan and also Ratigan’s location (through forensic magic).


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At first Ratigan intends to feed the bat to his cat as punishment for losing the list, but changes his mind when he realizes he can use this opportunity. The wording of this scene leads one to believe that he is going to trick Basil into somehow helping him take over England, but no. He instead locks Basil and Dawson into an easily-escapable death machine that takes a while to go off, then says “tootles!” and scoots out the door.


Seriously, Basil, you can just scootch your butt a bit and you’re free.
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So we wandered away from the plot for no reason other than to buy time for the whole of England to against Ratigan?

The whole villainous plot is thoroughly disappointing. The final climax, in the Tower of Big Ben, is fantastic and worth the price of a monthly subscription to Netflix Instant. The problem is, that scene has very little dialogue. It allows the animators to go nuts on the story-telling, really involving the audience as you become scared for the characters. Ratigan loses any resemblance to Moriarty and instead becomes a pseudo-Gaston.


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In that way, I can see how this movie helped spur the Animation Renaissance that has lead to the assortment of available features today. The animation did it though. Not the writing, not the characterization.


Let the art do the talking
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Posted December 31, 2012 by agentksilver in animation

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