Thoughts on... Coraline (2009)

Coraline, 2009.

Directed by Henry Selick.
Featuring the voice talents of Dakota Fanning and Teri Hatcher.


SYNOPSIS:

A spine-tingling tale about a curious young girl who unlocks a mysterious door that leads to an alternate version of her life.


On the surface Coraline looks like any other children’s animation, telling the tale of a girl who teams up with her new neighbour to explore the apartments in which they live. The plot holds glimmers of a Pixaresque premise so you would be forgiven for relaxing in anticipation of a jaunty tale. However this isn’t any animation, it is the brainchild of The Nightmare Before Christmas director Henry Selick and writer Neil Gaiman, famed for his dark and unconventional tales.

Rather than create a film based on cartoon characters, Selick has chosen to stick with his traditional stop motion models for which he has made his name, rather than opting for the modern techniques. While some may feel that this vent of animation is no longer needed, I feel that in using these charismatic characters, lovingly crafted and animated by hand, he has added an element of realism that could never be achieved by the likes of Pixar, and one that is sadly being lost into a world fuelled by technology.

The film is expertly cast with quirky kid Dakota Fanning voicing the extrovert Coraline, giving another dimension and enhanced strength to the character, which can be seen to build throughout the narrative. Teri Hatcher performs beautifully as the mother; her treacly sweet tones giving the 'other mother' a delightfully sinister quality and rousing our initial suspicions over her motives.

We see Dawn French and Jennifer Saunders co-star as a pair of eccentric retired actress’ which - along with Mr Bobinsky and his trained circus of mice - adds to the dreamlike feel of this other land; a theme that shows links with tales such as Alice in Wonderland where - just like Alice - Coraline falls down the proverbial rabbit hole into a land which, despite it’s exotic appearance, is not quite what it seems.

This new land is distinguished by a vibrant change in colour, removing it from the dull monotony of reality. This technique has been used throughout science fiction and fairytales, such as The Wizard of Oz, where Dorothy is swept from the monochrome Kansas into the Technicolor Land of Oz. Just like Coraline, Dorothy soon learns that all is not what it seems in this world, leading both characters to the final conclusion that there really is no place like home.

In a world full of possibilities, Coraline soon learns the daunting truth that her other parents want her to replace her eyes with buttons, striking fear within both Coraline and the viewers as this bright and happy land descends into darkness. This beautifully constructed piece holds suspense throughout, as we fall further down the rabbit hole in an animation that will leave you ever exhilarated, yet unable to look at a button in quite the same way again.

Rosie Cammish

Thoughts on... I, Robot (2004)

I, Robot, 2004.

Directed by Alex Proyas.
Starring Will Smith, Bridget Moynahan, and Bruce Greenwood.


SYNOPSIS:

In the year 2035 a techno-phobic cop investigating the death of a scientist suspects that the crime may have been committed by a robot, leading to a greater threat against humanity.


Starting off within the prolific field of science fiction, it seems the team behind I, Robot could do no wrong. However, far from following on from the success of Hollywood with yet another Matrix remake, they have used this film as a vessel with which to summon a rebirth of ‘the machine’ within this sector, following on from films such as Blade Runner and The Terminator, and bring back the theme of aliens through this modern medium of robotics.

Aliens have been a common focal point throughout science fiction; venting our fears of the unknown through these extra terrestrial life forms. Though, I, Robot, gives a subtle twist to the conventional alien invasion, as we see human creations revolt against their masters, and overcome the knowledge of man. In doing this they have integrated our inner fear of higher knowledge, while triggering anxieties that our own kind are capable of inflicted great chaos upon us. This shows intertextuality with Frankenstein, in which we see a human creation rebel against his creator.

This idea of Frankenstein also links in with references to the horror genre, which have been incorporated into the text, most predominantly visible when the robots begin to chant ‘one of us’, taking on the chilling characters of zombies. This again enhances the idea of an invasion from within our own world, building fear and tension as the narrative progresses.

Further links can be seen through the idea of a Faustian figure, highlighting the idea of creating life and taking on the powers of God. Again this enhances links between I, Robot and Frankenstein, both of which concentrate of a central character created by a Faustian figure who ultimately failed to control their power.

I also feel that references can be made between I, Robot and Blade Runner, through the production of a robot that has human emotion, linking with Blade Runner’s Rachel and her dream of being human. These links entwined within the narrative then cause us to think of dystopian visions, such as those featured within Blade Runner, and turn us against this evolution of the machines.

Altogether I feel the depth of this narrative gives a compelling viewing enhanced by Smith, who delivers a dominant performance throughout in his role as Del Spooner, a policeman with extreme anxieties over the robots. In this technological interpretation of the future, Del gives the audience a character to identify with. He longs for a conventional life where he is in control, without the constant suspicion of the ever present robots. The use of signifiers such as his ‘retro’ Converse All Stars, help link Del within modern society, giving a feeling that he is one of us, in contrast with the inhabitants of 2035. The addition of this character helps lighten the narrative, as well as helping give contrast throughout, helping to produce a successful sci-fi adventure that can enjoyed by all.

Rosie Cammish