ANOMALISA – The Review

So, you’ve enjoyed most of last year’s animated feature films? Yes, 2015 was a pretty good year, but doesn’t match up to the gold standard of 1999 (TOY STORY 2, THE IRON GIANT, DISNEY’S TARZAN, and SOUTH PARK: BIGGER LONGER & UNCUT). Still Pixar had its best work in years with INSIDE OUT and that SHAUN THE SHEEP was a loving tribute to classic silent comedies, but the other major hits like MINIONS and THE GOOD DINOSAUR were geared toward the small fry (not that OUT and THE PEANUTS MOVIE didn’t appeal to all ages). For this new film, definitely leave the kiddos at home. Yes we did have an “R” rated animated film last year with HELL AND BACK, but that flick was chocked full of sophomoric sex jokes and “gross-out” gags. This holdover from ’15 (now getting a wide release) is truly adult in subject matter and graphics, understandable since the story springs from the mind of celebrated screenwriter Charlie Kaufman. Really, the same fella’ that gave us BEING JOHN MALKOVICH and ETERNAL SUNSHINE OF THE SPOTLESS MIND wrote and co-directed (along with Duke Johnson) one of the most off-beat, original animated motion pictures ever, the unforgettable ANOMALISA. Oh, and don’t worry, the unusual title is explained.

This modern fable begins on an airliner descending into Cincinnati, Ohio circa 2005. We zoom in on one sad passenger, Michael Stone (voiced by David Thewlis). He’s an author (“How May I Help You Help Them?”) and a motivational speaker, a featured attraction at a customer service conference in town. Michael is distracted and uncomfortable because everyone on board seems to be the exact same person: men, women, kids (all voiced by Tom Noonan). It doesn’t help when he reads an old disparaging letter from his wife (also with that same face and voice). After the plane lands, he endures an awkward cab ride to the Hotel Fregoli. Ordering a room service dinner, Michael then looks up an old acquaintance via the phonebook. He calls up Bella, and they decide to meet for a drink in the hotel lounge. They’ve not seen each other after a brief “fling” many years ago. But things don’t go well and she storms out of the bar area (much to the surprise of the other patrons). Returning to his room, Michael takes a brief shower. As he towels off, he’s stunned to hear a very different voice emanating from the hallway. He hurriedly dresses and charges out in search of that unique sound. After pounding on several doors (telling the guests that he’s looking for a “friend”), he finds the source of that “voice”- Lisa (Jennifer Jason Leigh), who is attending the conference with her co-worker pal Emily. The ladies are fans of his book, so they quickly agree to join Michael at the bar. Over cocktails, he is mesmerized by Lisa’s every word. As the tipsy trio return to their rooms, Michael implores Lisa to join her (and only her) in his room for a “nightcap”. The shy Lisa agrees and thus begins a most intimate encounter that may be Michael’s last chance for love and happiness.

ANOMALISA is unlike almost any movie-going experience in recent memory. The first thing that registers is its approach to animation. It is not the computer generated movement that services nearly every other recent animated feature, nor is it a return to the classically hand-drawn (“cell”) work of those “golden age” Disney features (BAMBI, DUMBO, etc.). It harkens back to stop-motion animation, a technique nearly as old as cinema itself. Some just refer to it as “claymation”, a term made famous by artist Will Vinton in the 70’s with his short “Closed Mondays” (and later on TV with the “California Raisins”). Those characters (and later ones like Aardman Animation’s “Shaun the Sheep”) are shaped with colored, pliable modeling clay, while this new film features figures closer to puppets, often made with wood and plastic with a bendable metal “ball and joint” skeleton, much like the recent films of Laika (PARANORMAN, CORALINE) Studios. The superb work of Starburns Industries (TV’s “Moral Oral” and “Franken-hole”) propels this story to new artistic heights. Squint your eyes and you may think you’re watching footage of real, human actors. This adds to the dream-like feel of the film, as if we’ve drifted into another dimension. The amount of skill and patience is astounding. There’s none of the “herky-jerky” action that added to the odd charm of Gumby or Rudolph the Red Nosed Reindeer. Particularly amazing are the scenes set at the hotel bar in which nearly twenty figures are all moving, drinking, and talking (each had to be positioned by an animator’s hand) at once. The strands of hair and clothing respond naturally to the actions. Plus the faces have an eerie design with a break (allowing the lower faces to be changed for lip-syncing dialogue) across the eyes and the bridge of the nose. Ah, but that also is essential to the story. This upscale Ohio hotel is turned into a wonderland with each corner revealing another part of Michael Stone’s twisted psyche. It’s truly a remarkable achievement.

But it’s not just the look and movement that captures the viewer. A trio of wonderful actors makes all those animated figures come to life, with real emotions. Noonan often employs a “sing-songy” tone to the different guests, staff, and strangers that plants us firmly in this unique dimension. Thewlis conveys a man at a crossroads, but still somewhat lost, nearly drowning in sadness and frustration. The biggest treat may be the delightful Jason Leigh who gives Lisa a delicate, fragile persona. She’s truly puzzled by Michael’s attention especially after her quiet, halting rendition of an 80’s pop music standard (a riveting, magical scene). All three do great justice to the terrific script by Charlie Kaufman (based on his radio play). He’s exploring themes from other works (MALKOVICH springs to mind), but he’s giving us a truly original story and, with Johnson and Starburns, a very adult (yes, Michael and Lisa…well.. with real folks it’d be rated NC-17) motion picture. If you’re wanting a very, very different film, unlike any of the usual studio fare, then take a chance and spend 90 minutes with ANOMALISA.

4.5 Out of 5

ANOMALISA opens everywhere and screens exclusively in St. Louis at Landmark’s Tivoli Theatre