Perception – the belief or opinion held by people based on how things seem. The way we perceive our surroundings is often founded on our past blemishes, the people we have encountered in our lives or the tales we have chanced upon. With each individual having a distinct worldview, their outlook of reality is a lived experience that is idiosyncratic in nature. Situations of grave importance to a select few may appear to be inconspicuous to others.
Henry Selick succeeded in bringing this particular theme encompassed alongside various others to the forefront, in his 2009 stop motion animated film Coraline, with the printed narrative being previously woven by Neil Gaiman. The story follows the frustrations and double edged curiosity of a young girl Coraline (Dakota Fanning) who has recently relocated to the Pink Palace, a large mansion decked with sombre silence. The loneliness that encompasses her due to her parents (Terri Hatcher and John Hodgman) undivided attention to their work is no match even to the oddly eccentric neighbours that reside in the mansion.
We have Wyborn (Robert Bailey Jr), a talkative lad accompanied with his cat (Keith David), along with two show girl’s who are way past their prime – Mrs. Spink and Mrs. Forcible (Jennifer Saunders and Dawn French) as well as a vaudeville, Mr Bobinsky (Ian McShane). Coraline’s prying nature leads her to the Other World, a stark counterpart to her otherwise dull and drab life. However, she has to pay a price to satisfactorily occupy her place if she wishes to stay there.
Selick proved to be a mastermind way ahead of his time, by introducing us to various concepts in a simple yet deft screenplay that allows the animation to speak for itself. Characters moulded with qualities, one is well acquainted with, shine through with their paradoxical choices. Parents who hate the mud and are not too fond of composting find themselves writing garden catalogues as their source of income.
A common stereotype that is played around with is the usage of colours. By painting the real world in muted and monotonous shades, the Other World is thus given more prominence. This also points to the way Coraline chooses to look at her surroundings. The world hidden behind the door provides her an escape from the current predicament she finds herself living in. The idea of perception plays a defining role in determining how the character views the events unfolding around them. Whilst Mrs Spink sees the terrifying silhouette of a hand amidst the tea leaves, Mrs Forcible adds a dash of humour by interpreting the formation to that of a giraffe.
Music floating through each scene only lends itself to enhancing the eeriness and creepiness that this animated film aims to portray. With the opening song ‘Mechanical Lullaby’ being entirely sung in gibberish, Composer Bruno Coulais cleverly bestows his musical prowess on the canvas as one automatically assumes it to be in a language unfamiliar to them.
Introduced as Laika Studio’s first ever feature film, Coraline was crafted together by a visionary community of storytellers, animators and directors. Toiling for four years, their labour of love finally bore fruit as the film won the BAFTA Children's Award for Best Feature Film amongst the numerous accolades they were showered with. In a world where one is disillusioned with the fast paced lifestyle they find themselves in, revisiting this cinematic masterpiece can allow audiences to reminisce on their fond childhood memories of innocence and budding wonder.
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