I have to admit that I’m not quite sure exactly who this film is for. And, judging by the very low key publicity and lack of advance word of mouth, despite the fact that director Bibo Bergeron’s last film was mega animation hit Shark Tale, neither, I suspect, does the film company.
Which is by no means to suggest this is in any way a poor film. Far from it. But there’s certainly nothing here like the family pleasing, kid friendly cinema filling fun of such recent animated outings as Puss In Boots, Happy Feet 2 or Arthur Christmas.
Originally made in French with all save one voice replaced by Hollywood talent (but no superstar), the look and style are much closer to Belleville Rendezvous by Bergerson’s fellow Frenchman Sylvain Chomet. Set in 1910 Paris, at the time of the great flood that saw the streets underwater (the opening features actual archive newsreel footage), the backgrounds look like pen and ink style drawings with watercolour washes, although the characters themselves are more familiar CGI creations with exaggerated features like big necks, angular noses or Tim Burton-like spindly limbs.
Bergeron has a bit of a cheek claiming the screenplay’s from his original story when it’s pretty obviously based on The Phantom Of The Opera, even including such signature elements as the white mask, black cloak and hat. Though, it’s certainly true that no other Phantom adaptation has made its misunderstood hero a giant singing, dancing, guitar playing flea.
Emile (Jay Harrington) is a shy cinema projectionist who dreams of making his own films and harbours a crush on box office assistant Maud. His best friend is Raoul (Adam Goldberg), a madcap delivery man and part-time inventor who drives around (and apparently lives in) in a remote control operated (though not always successfully) customized van he calls Catherine, a sort of ramshackle delivery truck equivalent of the Batmobile.
While dropping off goods at a scientist’s house, Raoul takes the opportunity of the owner’s absence to show Emile around, despite the protestations of Albert, the smart monkey who’s been left in charge. Mucking about with assorted potions, Raoul accidentally creates a giant sunflower which leads to a further mishap as chemicals come together and transform a flea into the seven foot red eyed monster that escapes through the glass roof.
It’s not long before the local citizens are reporting sightings and panic’s grabbed the city, a situation that corrupt ambitious politician Victor Maynott (Danny Huston) looks to turn to his political advantage, making himself a hero and distracting attention from his failure to sort out the flooding.
He also has his eyes on Lucille (Vanessa Paradis, reprising her role from the original), the singer at the Rare Bird cabaret at whose door the alleged monster appears where she discovers that he’s really scared and harmless. Not only that, although he can’t speak, Francoeur (Sean Lennon), as she names him, has a beautiful singing voice and is a natural musician.
So, not only does she hide him from Maynott (the name’s more of pun in French) and his chief of police Pate (Bob Balaban), but with the help of a disguise, he’s soon joining her on stage to rapturous public acclaim.
Naturally, Raoul (who himself is secretly in love with Lucille), Emile and Albert, who’s swinging along for the ride, also discover the truth and are all caught up in a frantic chase through the Paris streets to save Francoeur from the armed and pursuing Maynott.
It’s beautifully made and the period flavoured songs, delivered by Paradis and Lennon, are terrific and never brash in the way those in Disney movies tend to be. The messages too, about not judging by appearances and about taking chances of the heart, are positive.
Unfortunately, the story becomes rushed and a little confused towards the end while a final scene explaining how Raoul and Lucille know each other, should surely have come a lot earlier and makes the ending feel clumsy.
The main problem though is that, save for slapstick comedy (and the film doesn’t make anywhere near enough comic use of Albert), the running jokes about Raoul’s feather allergy and straw coat, and the final Eiffel Tower showdown, there’s not a great deal to involve younger audiences. And tie in giant flea cuddlies seem unlikely.
BBFC Guidance: Contains mild violence
LGWTC Guidance: A very lovely visual treat for grown up animation admirers and older, more sophisticated children, but young kids who like fast paced talking animal cartoons are likely to get restless.