The Secret of Kells
Yesterday I discovered a film that seems a little gem of animation contemporary is titled The Secret of Kells , and is a Franco-Irish Agreement of 2009. He won the Annecy Film Festival and another series of awards that do not remember.
seeing the trailer, I smile automatically thinking about the luck I've had the courses at the University of Bendazzi. Without them, I would not have the foggiest idea how to juggle in a world so interesting and dynamic as the animation, which is the last frontier of cinema - I agree with prof. in the belief that the cinema of the future will be a mixture between the true and fair entertainment.
the little I saw of The Secret of Kells, I thought that maybe it's a bit 'too much toward a certain type of television production for children (such Powerpuff Girls), and the animation at times is probably slightly dismissive (but there must also be said that the last animated film I saw was a Miyazaki, and then maybe I'm still influenced by its natural flow) other than that, the backgrounds are of a beauty moving, and the definition of the characters just as lively imagination of a child.
Also, I find brilliant and innovative hyper in some scenes perspective is totally neglected by the relevance of visual elements: I remember in particular a point at which two characters in profile, with a coating more or less up to them , and the floor on which they rest is perfectly seen from above, to show the beautiful inlays.
The graphic style is wonderful as the pure expression of the imaginative process: the memory, vision, daydream, in short everything we can see with the mind does not necessarily take into account laws Renaissance perspective, and probably that's why when we dream we would not know really draw our dreams - even providing a technique worthy of Dali.
I started writing this a few days ago, after seeing the film just a bit above. Now I've seen it all, and when it is finished I wanted to restart it because it seemed not to have fully grasped.
I mean, even if the graphics and animation are perhaps the most enjoyable I have ever seen, the stories told are not easy to hook. The story begins in the fourth, adventure, epic, with all the typical elements of the bildungsroman for boys, but then changes, it becomes an almost metaphysical "adagio" narrative that leaves a bit 'perplexed and vaguely dissatisfied. On reflection
cold, in fact, this closure is rich in meaning: Brendan is the hope that girl is saved by a barbaric slaughter to preserve their culture - a fragile and valuable book. When he discovers that the Chi-Ro page, the page most beautiful of all, has not yet been filled, never imagined that he will do so - as we already accept the tacit suggestion. But like all heroes who are respected, Brendan must pass a test before they can begin the book, and in this case the evidence is facing a pagan god, Crom Cruach a cross between a snake and what would a computer virus if he had form. Aisling, tender fairy Brendan driving in the forest and warns him frightened Crom also killed his mother. It means that before the forest had been destroyed by a profound evil, and then reborn with / in the same spirit of Aisling?
Whatever the reason, the clash is one of the most spectacular and significant scenes of the film wrapped in a dark fetid, humid, Brendan blinds and defeat the monster hits of none other than chalk.
The entire film is based on the power of design: and as often happens in works of a certain level, it is a meta-film that celebrates the beauty and creative power of the mind, language, as opposed to violence with no face or soul of the invaders in search of gold (there would have to say that the "Vikings" were not so completely unpresentable, but the point here is not the supremacy of one culture over 'other).
Perhaps it is no coincidence that the director Tomm Moore has used old-school animation, as if to preserve a method now almost "traditional" than the three-dimensional techniques now in vogue. And the result is impressive: one and a quarter of pure beauty that not only wipes out almost a century of supremacy Disney iconography, but reopen the battle between digital and 3D, suggesting new possibilities of expression and narrative-a sweetness unparalleled graphics.
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