He
is a real wild child. His mother is an
animal spirit and his father is a mountain man, bordering on a Neanderthal. His socialization has been lacking, but his
world is about to expand in Jean-Christophe Dessaint’s animated feature Day of the Crows (trailer here), which screens
during the 2013 New York International Children’s Film Festival.
“Son”
is the only name the Gollum-ish looking boy has ever known, but his gruff
father does not use it particularly lovingly.
At least his dearly departed mother often consoles him, appearing as a
mute deer incarnate. When disaster
strikes, the other woodland spirits encourage the boy to drag his comatose
father into the forbidden village for medical assistance.
It
seems many in town remember his father, surname Pumpkin (first name Rupert,
perhaps?), and none too fondly.
Fortunately, the kindly doctor will not let gossips stand his way of
treating a patient. His young daughter
Manon also makes quite the impression on Pumpkin, fils. Naturally, when old man Pumpkin finally wakes
up, he is not happy to be back in civilization.
As soon as he is back on his feet, he drags the boy back to the
forest. Things are back as they were,
except Pumpkin, père is even worse than before.
Crows holds the
distinction of being the final screen credit of the great Hitchcockian director
Claude Chabrol, who gives voice to the good doctor’s warmth and humanity. Refreshingly old school, the film has an
endearing hand-drawn look and a beautiful orchestral score composed by Simon
Leclerc. Is it also wildly sentimental
and slightly New Agey? But, of course. Still, Amandine Taffin’s screenplay (adapted
from the novel by Jean-François Beauchemin) clearly suggests the forest might
be all very pleasant to visit, but probably is not the best environment to
raise an impressionable child. In fact, Crows portrays nature as both a force of
beauty and danger in equal measure.
With
its striking backdrops and the charming work of Chabrol (astute ears will also recognize
Jean Reno grunting and bellowing as old Pumpkin), Crows has enough to satisfy most animation fans. Its themes of forgiveness and compassion are rather
touching as well. At times it appears
poised to lambaste the local military garrison (who certainly look French, even
if Crows avoids national specifics),
but to its credit, the film veers off before getting too didactic.
