This
would be the last period of extended international peace the world has known. In
America, it was the “Gilded Age,” in England, the “Pax Britannica,” and in
Paris, it was “La Belle Époque.” It was the height of France’s cultural and
scientific prestige, so it is a heady time for a young Kanak girl to visit, but
not everything is as rosy as the colorful art and fashions suggest.
Fortunately, she turns into quite an adept amateur sleuth in Michel Ocelot’s
Cesar-Award-winning animated feature Dilili
in Paris, which screens during the 2019 New York International Children’s Film Festival.
The
Parisian exhibition of Kanak customs might not look so progressive to us, but
Dilili was determined to join it, so she could see Paris, even if she had to
stowaway on the trans-ocean-liner, which she did. She dutifully does her time
in what look like a zoo for people before sauntering off into the city.
Frequently, her guide is Orel, a teenaged delivery-boy, who knows everywhere
and everyone through his work.
Much
to their concern, the cheerful duo gets wind of an ongoing criminal conspiracy
perpetrated by the so-called “Master-Men.” They are committing all sorts of
felonies, but most alarming has been the rising number of abductions—mostly
young girls, but also some women. Naturally, they decide to crack the case,
relying on Orel’s insider knowledge and Dilili’s earnest persuasiveness. Their
investigation will bring them face to face with many of the era’s giants,
including Toulouse-Lautrec, Renoir, Monet, Pasteur, Eifel, Satie, Madame Curie,
and Sarah Bernhardt. Celebrated soprano Emma Calvé and anarchist activist
Louise Michel will even sign on as their full-fledged
partners-in-crime-[fighting].
Ocelot’s
story is charming and empowering, making its points subtly rather than through
didactic ranting. However, the real reason to see it is Ocelot’s stunning
animation. He is a genuine virtuoso, but his recent Tales of the Night films, conceived and executed an homages to
Lotte Reiniger’s cut-out style animation, feel like they were a little too easy
for the maestro. With Dilili, he
dives deep into his bag of tricks, combining the richly ornate detail of Azur & Asmar with photorealistic
backdrops. In one remarkable scene, Ocelot perfectly renders Dilili’s
reflection in a polished marble ornament—not because the narrative required it,
but just for fun.
In
fact, the intricate design elements of art nouveau are perfectly suited to
Ocelot’s strengths as an animated filmmaker. He was clearly inspired by the
art, fashion, and architecture of the period. Nearly every scene is a dazzler,
often filled with sly visual references to famous works of art from the era.
Plus, Gabriel Yared’s classy score further solidifies the elegant ambiance.
Still, there is one thing. Nothing untoward ever happens, not even remotely,
but Dilili is probably around six or seven years-old, whereas Orel is probably
eighteen or so, which leads to some awkward visuals.
So,
okay, whatever. The important point is how striking and sophisticated the
animation is. Sequence after sequence proves Ocelot is master filmmaker,
working at the peak of his abilities. It is a lovely piece of work, with a
light and frothy spirit that goes down smoothly, like whatever they are
drinking in Montmartre. Highly recommended for fans of highbrow animation, Dilili in Paris screens again this
morning (3/2), next Saturday (3/9), and Sunday the 17th, as part of
this year’s NYICFF.
