Um Gato em Paris

Even when "A cat in Paris" isn't at the same level of animated masterpieces as "The Triplets of Belleville" or "Persepolis", certainly it is a much better film for the whole family than most of the awful stuff produced by Hollywood in the recent years.

The animation of this film is neat, with a great atmosphere and beautiful sceneries. Also, even when the character's designs seem to be quite simple at first sight, they are actually quite stylish and well made.

The story, without being spectacular, never fails to entertain, keeping a good pace from beginning to end.

While this film is clearly aimed to kids, I think that the adults will find "A cat in Paris" to be quite enjoyable, mostly because it is a way more mature and sober movie for the family viewing.

I thoroughly enjoyed this film: in one sense it's an animated spoof of a classic thriller genre, in another it's a charming entertainment -- and it contains a very well observed cat! Like the B-movies to which it nods, it packs a vast amount of action into its 65-minute running time, leavening action with humour (the splatted dog is a classic cartoon gag -- but it's a tribute to the emotional realism of the film that later on the audience was actually worried that it had come to serious harm) and parody with genuine feeling: the gangsters discussing food are a homage to Quentin Tarantino, but the bereaved Jeanne's battles with the cartoon-Costa of her imagination put a quiver in my stiff upper lip. And the clambering up and down the face of Notre-Dame is a pure paean to Paris... and to the Hunchback!

There are two apparently separate stories going at the start: the little girl with a workaholic single mother, plus the night-time adventures of her cat. But neither of them is quite what it seems -- the neglectful mother in particular is a much more sympathetic character than we initially assume -- and both strands rapidly intertwine with a gangster thriller plot. This may be an animated adventure, but it has more than enough depth for adults as well as children: in fact, I suspect the tension may be a little too much for small children. One little boy in the row in front of me had to be carried out howling that he wanted to go home.

The style of animation is -- deliberately -- extremely crude: characters are drawn in the simplest of outlines, although I noticed that the cat movement and postures, for all the crudity of the shapes, were extremely well done. (Take the scene, for example, when the cat is sprawled in Nico's room -- or when it disdainfully opens just one slit of an eye as Claudine rages at it!) And almost all the action takes place at night or by artificial lighting, heightening the child's storybook appearance of the art. This is clearly a consciously retro aesthetic: I was amused to note that the brand of paper used in making all the drawings got its own entry in the credit listing at the end of the film.

What really grated on me, for some reason, was the depiction of the feet (I had the same problem with DreamWorks' Sinbad animation). The characters in this film have incredibly tiny triangular feet which seem always to be drawn from the same angle no matter which way the rest of the body is pointing, and I found it visually disturbing to have the perspective so obviously all wrong...

A bonus feature was the fluent idiomatic English translation in the subtitles, at least in the London Film Festival version: it makes a welcome change from translations obviously aimed at the American market. (And it's always fun to back-translate the insults: within the limits of my vocabulary of French vituperation, some pretty apt equivalents seemed to have been chosen!)

I'm tempted to rate this at 9 out of ten, but I don't think it has quite enough depth for that level: I'll compromise and knock a point off for the annoyance of the feet, leaving it at a very solid 8.

I found A Cat in Paris to be a very good film. Although it is rather short, perhaps too short, it is very well animated with ethereal colours, beautiful sceneries and a fantastic atmosphere that is both thrilling and nostalgic. I agree however that how tiny the feet were drawn was a form of annoyance. The music was both haunting and charming, almost like listening to a score by Bernard Hermann. The story is not the most original story in the world, but I didn't see it as a bad thing, seeing how slickly paced, vivid, affecting and humorous A Cat in Paris was. The characters also engage, with the best being the title character, a strutting observant sort of cat, and the little girl who is sweet and moving, and the voice acting is dynamic enough too. In conclusion, a very good film. 8/10 Bethany Cox

Having most recently been seduced by Paris in The Artist and Midnight in Paris and before that in animation with The Illusionist and Triplets of Belleville, I was fully prepared to enjoy A Cat In Paris, a nominee for Best Animated Feature Oscar, worthy of the award even with competition like Chico & Rita. I was not disappointed.

This cute, un-Pixar thriller depicts a cat accompanying a cat-burglar at night over the rooftops of Paris and into apartments ripe for the plucking with his accomplice, Nico (Bruno Salomone voice). The owner of the crafty cat, Zoe (Oriane Zani), lives with her chief of Police mother Jeanne (Dominique Blanc), both of whom are still mourning the loss of dad/husband at the hands of arch-villain Victor Costa (Jean Benguigui). The plot does not make this a memorable cartoon; it's the whimsical slit-eyed, long-nosed eccentrics who inhabit the flat pastel world, slim on speech and graceful even when they're thugs. It's a fantasy of our imagination, what we dream Paris would be like in a better world, even with burglars and mobsters.

An interesting touch is to make the cat tough rather than tender and Zoe mute for the shock of her father's death. The tonal shifts between that darkness and then silly thugs and a sweet cat burglar, who doesn't seem to be punished for his crime, will make this a problematic choice for kids, who might not get it. Parents may find it difficult to decide if this is a thriller or a comedy as well.

For me, it's just the exotic world of Paris in my imagination. Nothing beats swinging over the rooftops at anytime with anyone, even a mischievous cat.

A charming, if somewhat trite, tale about the night life of a pet cat, Dino, who wanders off every evening, where he leads a second life as a partner in crime for an extremely elastic burglar. During the day he accompanies the mute Zoe, having lost her will to speak after the abrupt death of her father, murdered by villainous art thief Costa. Both her parents married into the police force, so now her mother, Jeanne, places great focus on pinpointing and capturing the elusive and ruthless crook.

The odd, yet arresting, traditional animation are extremely stylish, visibly marking the specificity of French animation, seen also in similarly caricatured human drawings of Sylvain Chomein ("The Illusionist"). Drawings are kept simple, yet layered, with well animated figures, inspired by unique lack of symmetry oft found in children books, not by the strive for perfection of Walt Disney animation. Whereas the throwback-style of animation brings about a sense of unique charm, the story itself really doesn't venture into any unknown territory, instead delivering a well-mannered simple tale, which - unfortunately - does not always seem suitable for children given the simmering brutality (dogs being squashed by large bricks or a surprisingly direct level of aggression in the final act) and the drastically building tension levels in the second act. Nonetheless the entertainment value, significantly enhanced as an ode to the old-style heist genre, makes it an enjoyable affair, just as long as expectations keep the audience very close to the base ground level: just enjoy, don't analyse.

Well-paced with a decent amount of action, after a more muted, restrained beginning, the voyages of a French cat thoroughly engage, leaving a level of satisfaction, not hampered by the overall triteness and familiarity of the whole affair. Naturally, French wouldn't be French without homaging and referencing other movies, hence the feel of old Closeau and Pink Panther movies is omnipresent.