Max et les Maximonstres

This is a huge success, and I believe that it will reach that status now called "classic," being experienced over and over in whatever ways that classics will in the future.

I'll let others note the purity in the way that sharp childhood is evoked. It is the emotional center of the thing. I'll be more interested here in noting the cinematic use of space. Jonze is famous for this, and how he can connect it to the folds in the narrative.

"Folds" in this context have to do with nesting of narrative elements. For instance the "real world" segments feature eating (twice), fort (twice), snowball fight, wild suit, pileon, pulling at toes, lost marriage, broken model of a heart, being king, son/sun dying and so on. The "wild world" features the same things twisted in ways that suggest the real narrative describing the inner character of Max. This "folding" gives us a place to stand and engages us more deeply, as a key narrative device. There is even a smaller inner fold where Carol (the Max surrogate) makes a model of his world, hidden in the desert. And another where Max enters KW.

I am more interested in the spatial folding. Yup, the way that Jonze has decided to set up and elaborate a vocabulary of movement.

Here's what we have, I think. I have only seen this once and will have to wait for DVD study to confirm it.

The scenes I am working with here are the ones with physical motion, where both the camera and the subjects move: the dogchasing, snowball fight, the amazing encounter with the waves when approaching the island, the rumpus and then the dirtball fight. Frozen motionpaths are in the fort's appendage, the "pile," and indicated by the stickweaving in the global fort and houses.

I believe these all use the same motion template. When someone invents a movie annotation tool where we can find and describe this, it will be easy to check and show. Right now it is an impression, but I got the feeling when watching that wave scene (in IMAX) that I would see the same motion paths in the forthcoming rumpus. Perhaps it was the appearance of the ululating sound that was used every time something got frantic, and by that time twice already. Perhaps it was the obvious reference to the Hokusai woodblock ("The Great Wave off Kanagawa"), where a wild wave becomes an actor, a wild thing dwarfing an iconic mountain, whose shape I thought I also saw on-screen.

I would not be surprised either if Spike used a sigla to denote this motion (like Joyce does in "Finnegans Wake") and that the sigla was KW, denoting the actual paths, the K in plan and the W in the vertical plane. Thus, KW swallowing/eating Max, apart from the obvious vaginal association also takes on a deeply cinematic one, worthy of "Adaptation." I know the work on this was done in Melbourne. Could it be that this apparent one-man shop "Digital Rein" managed this? In an unconnected area, am I misremembering? I recall the phrase was "Let the Wild Rumpus Begin!" (not "start").

Ted's Evaluation -- 3 of 3: Worth watching.

A beautiful, audacious, roughly-hewn motion picture (adjectives that are no doubt overused in describing the picture's modus operandi), Spike Jonze's adaptation Maurice Sendak's adored children's book "Where the Wild Things Are" taps into the innocent, volatile world of a 9 year old boy the way few mainstream feature films have. It is original, unique, melancholy, and because of this several mainstream critics (and even lucid critics like Salon's Stephanie Zacharek) have derided the film. "There's no story"; "kids won't like it"; "it's an adult film about children, not a children's film"; "it's boring"; "the pacing is slow"...

What? Why did it become such a crime to make an abstract art film within the spineless confines of the Hollywood system? Doesn't Spike Jonze get credit for personalizing, therefore, retaining a substantial amount of voracity while delving into one of the most revered children's books of the last fifty years? What the hell is wrong with that? I understand that some people just don't respond to the abstract, pseudo-verisimilitude of pretentious art films, but there's a stripped-down purity to this picture that cannot be denied. It's not pretentious, but emotional and honest.

It's bold, it takes chances...why is it being chastised in the media? How often do we get movies like "Where the Wild Things Are"? It should be celebrated, not snidely dismissed (Ex. Lou Lumenick, NY Post).

I attended an early screening with my 8 year old daughter; we're both big fans of Sendak in general and this book in particular, and I quite like Spike Jonze as well. But this did not prepare us for the moody, almost downbeat atmosphere through most of the film, nor the sense of immediacy and almost hyper-realism combined with astoundingly fanciful imagery. It is such an odd movie! And yet, when it was over, we turned to each other smiling a melancholy smile and said, "I loved it." The expansion of the tiny story into a feature-length film is so subtle that you barely sense it happening. There isn't an artificial new plot laid over the bones of the original -- it's simply expanded at every turn and very gently stretched out to feature length. The voice performances are wonderful, and the costumes are magnificent, as is the one major visual addition to the material (which I won't give away). Enjoy!

If you haven't yet read Maurice Sendak's classic book, you can go ahead and do that now because its only 347 words long. This review I'm typing ended up being almost twice as long.

The point I'm making is that the original book didn't have much of a plot; its charm is in the imaginative illustrations. So the task of adapting the book to a 1 hr 41 min feature film was very ambitious, to say the least.

Let's complicate matters. In the original story the main character, Max, isn't a very likable protagonist. In almost every drawing he is shown with a malicious smirk on his face as he causes mischief such as chasing the family dog around with a fork, and then later commanding others to do his bidding with a tyrannical ferocity. I won't go into a discussion of Sendak's book, but let's just say it's not your typical cutesy fable or morality play.

Quirky and ofttimes cynical director Spike Jonze (known for the excellent "Being John Malkovich") was well suited for the job. During production, Jonze consulted Sendak himself, so we can guess that the author's original intent was mostly preserved. The result is that this is definitely no Disney flick. If you're looking to take your kid to a "Beauty and the Beast" entertainer, hmm, you might wanna look elsewhere.

Great, so if that didn't scare you off, let's talk about what's good about this film. One: they didn't corrupt the original bratty concept of Max. Although he's considerably softer around the edges than the fork wielding demonchild in the book, he's still not exactly likable, and so he's almost an anti-hero. Of course he's still a cute kid, so you can view him as that, but I like to think he's a troubled juvenile with some serious psychological issues brewing.

Two: the visuals & special effects are primo. The master puppeteers of Jim Henson's group (Henson himself died a few years prior to filming) provided amazing 7ft tall animatronic puppet suits with actors inside which were augmented by subtle cgi. In other words, to all my fellow cgi haters, this was done very tastefully. Sets and landscapes are jaw dropping, having been filmed in the majestic forests & deserts of Australia.

Three: the music is pretty cool. Composed and performed by Karen O (The Yeah Yeah Yeahs), the score and songs are edgy but still cinematic enough to blend with the film. Most of the songs are simple haunting melodies with an alternative rock vibe. If you're not familiar with Karen O, think of maybe Bjork.

Four: it has a pretty complex message that may be lost on young kids, but adults may get it. It's the idea that life's problems aren't so easy to solve, even when everyone does exactly as you say. You might even sense socio-political overtones as Max attempts to create order in his imagined kingdom while learning that you can't please everyone all the time. This is where the film deviates from the book where Max is a tyrant who imposes his rule over obedient and mostly mindless subjects. Here, the creatures have individual personalities and opinions. So in the film, Max faces the reality of making mistakes. He isn't so sure of himself, and his choices often lead him to deep regrets. I count this as a big plus, even though it may confuse young kids who are expecting a simple, digestible fairytale. Don't be surprised if your child comes out slightly confused, if not disturbed. (Note, there's a bit of violence... no blood, but a character or two might get slightly maimed).

I would categorize "Where the Wild Things Are" with other fairy tales for grownups, like "Willy Wonka" (as well as the recent remake "Charlie & the Chocolate Factory") and an obscure 70s gem with Gene Wilder "The Little Prince". This film is probably closer to the children's side than those others which were clearly skewed toward adults. That's probably where it lost a little punch in my opinion. But it's still a great flick that does a nice job honoring a classic book. By the way... wtf? Did I just use the word "socio-political" to describe a children's flick? I need to get out more :/

Where the Wild Things are is a well written, intelligent, and very cold drama about the often challenging interactions within a closed group of people, the complexities of leadership and the cost of selfishness.

It's not a movie about imagination or childhood at all, and it's only vaguely concerned with themes of growing up, family or maturity.

It's not wacky or funny. Not colorful or exciting. There's only about 10 minutes of what I'd call "fun" in the whole 2-hour package.

That doesn't make Where the Wild Things Are a bad movie. It just makes it completely defiant of the viewer's expectations, and thus a rather confusing film to watch.

The first time I saw this I wasn't sure how I was supposed to be taking things. Was that supposed to be funny? Is she being sarcastic, or serious? Is Max in real danger now, or not? That's not because the movie is actually confusing, but because it all seems vaguely wrong and inappropriate. I left scratching my head saying "I guess that was good?"

In the end I decided I didn't like it. I felt that this was either the wrong script for this movie or the wrong movie for this script. Either way, it didn't click for me and felt awkward to the end.

Nevertheless there is quality here, and I recommend you watch it yourself and reach your own conclusion.