The Iron Giant – 1999, Brad Bird
Since the mid-nineties or so, traditional motion picture animation in the west has been dead. It found a peak with ‘The Lion King’, then simply stopped producing quality. Disney even outright quit making traditional films a few years ago, and while Pixar gets the blame for this, they are not at fault. So many believe any story put through a computer will be as great as Pixar’s classics, but that’s simply not true. Just take filmmaker Brad Bird. The force behind ‘The Incredibles’, one of Pixar’s best, is also the origin of this often forgotten masterpiece. Unfortunately, in 1999 ‘The Iron Giant’ didn’t make much of an impact, I don’t remember it being advertised much and didn’t see it on release. This was the last great western animated film. It uses computers a lot, but in subtle, quality enhancing ways. Loosely based on Ted Hughes’ book ‘The Iron Man’, ‘The Iron Giant’ pretty much abandons the eco-friendly drive of the book for a story of friendship, paranoia and redemption. Hogarth Hughes is a lonely but otherwise happy child who stumbles upon the alien machine and tries to hide it from government agents, the army and his mother. Hogarth is one of the best child characters in any film, the story is told from his perspective so it isn’t condescending, but at the same time the world of the film and adult characters aren’t twisted into some childish fantasy. There are things an adult will pick up watching this film, especially one who knows a bit about the era it is set in (The 50’s), that Hogarth and a child audience don’t, but this isn’t winking at the adults like some crazed drunk coming onto you, its just an example of what we filter out as a child. The innuendo, the politics, its there, its just ignored when not understood. The character of government agent Kent Mansley is best at this, his beliefs on foreign powers look insane, but its not far from the truth of the times. He is funny for the most part, but as the plot escalates he gains an edge, threatening and eventually dangerous. He is just one of a fully rounded cast of characters, everyone seems like a real person, mostly the work of a great script and good performances from a surprising cast. Jennifer Aniston and Vin Diesel are the two biggest stars in the film, but unlike a lot of celebrity voices in animation, attention isn’t draw to them. Bird isn’t shouting “Look! Look who it is!”, and its very refreshing. Aniston actually gives a great performance, we feel like we know her, and most of us do, but we don’t recognise her. The familiarity is such a boost for her part as the mom, creating a depth of relationship between mother and son that wouldn’t have worked if not for some inspired casting. This is one of the few movies that consistently makes me cry at the end, and there’s maybe about five I’ve ever seen I can say that for. The soundtrack plays a big role in this, a lot of string instruments make it very tear inducing, but also the team who did all the matt paintings for the backgrounds, which are gorgeous, digitally manipulated and layered to give depth, and well chosen tones and colours to make the mood darker and colder as the film nears its end. Ultimately, this is one of the best animated films of all time, the period setting and excellent story means it stays fresh again and again.
Best Moment: Hogarth and The Giant look up at the night sky and discuss death, and what it means to kill. It’s one of the most tender and heartfelt moments of any film, and best epitomises why the film works.
Since the mid-nineties or so, traditional motion picture animation in the west has been dead. It found a peak with ‘The Lion King’, then simply stopped producing quality. Disney even outright quit making traditional films a few years ago, and while Pixar gets the blame for this, they are not at fault. So many believe any story put through a computer will be as great as Pixar’s classics, but that’s simply not true. Just take filmmaker Brad Bird. The force behind ‘The Incredibles’, one of Pixar’s best, is also the origin of this often forgotten masterpiece. Unfortunately, in 1999 ‘The Iron Giant’ didn’t make much of an impact, I don’t remember it being advertised much and didn’t see it on release. This was the last great western animated film. It uses computers a lot, but in subtle, quality enhancing ways. Loosely based on Ted Hughes’ book ‘The Iron Man’, ‘The Iron Giant’ pretty much abandons the eco-friendly drive of the book for a story of friendship, paranoia and redemption. Hogarth Hughes is a lonely but otherwise happy child who stumbles upon the alien machine and tries to hide it from government agents, the army and his mother. Hogarth is one of the best child characters in any film, the story is told from his perspective so it isn’t condescending, but at the same time the world of the film and adult characters aren’t twisted into some childish fantasy. There are things an adult will pick up watching this film, especially one who knows a bit about the era it is set in (The 50’s), that Hogarth and a child audience don’t, but this isn’t winking at the adults like some crazed drunk coming onto you, its just an example of what we filter out as a child. The innuendo, the politics, its there, its just ignored when not understood. The character of government agent Kent Mansley is best at this, his beliefs on foreign powers look insane, but its not far from the truth of the times. He is funny for the most part, but as the plot escalates he gains an edge, threatening and eventually dangerous. He is just one of a fully rounded cast of characters, everyone seems like a real person, mostly the work of a great script and good performances from a surprising cast. Jennifer Aniston and Vin Diesel are the two biggest stars in the film, but unlike a lot of celebrity voices in animation, attention isn’t draw to them. Bird isn’t shouting “Look! Look who it is!”, and its very refreshing. Aniston actually gives a great performance, we feel like we know her, and most of us do, but we don’t recognise her. The familiarity is such a boost for her part as the mom, creating a depth of relationship between mother and son that wouldn’t have worked if not for some inspired casting. This is one of the few movies that consistently makes me cry at the end, and there’s maybe about five I’ve ever seen I can say that for. The soundtrack plays a big role in this, a lot of string instruments make it very tear inducing, but also the team who did all the matt paintings for the backgrounds, which are gorgeous, digitally manipulated and layered to give depth, and well chosen tones and colours to make the mood darker and colder as the film nears its end. Ultimately, this is one of the best animated films of all time, the period setting and excellent story means it stays fresh again and again.
Best Moment: Hogarth and The Giant look up at the night sky and discuss death, and what it means to kill. It’s one of the most tender and heartfelt moments of any film, and best epitomises why the film works.
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