New production of Illumination Studios (Me, ugly and nasty), this adaptation of a classic of children's literature bears a criticism of overconsumption at Christmas, unfortunately watered down by its epilogue.
The Grinch **
by Scott Mosier and Yarrow Cheney
American animated film (1 h 26)
In the pantheon of the wicked American children's literature is Grinch, a hairy and ventripotent creature born in 1957 from the fertile imagination of Dr. Seuss, aka Theodor Geisel, the famous American author of children's literature.
Difficult to translate into French, his books with childish rhymes remain unappreciated on this side of the Atlantic. The animated adaptations of his books, Horton (2008) and Lorax (2012), have assured him a good reputation on which try to surf the studios Illumination with this version of How the Grinch stole Christmas (1).
Living with his faithful dog at the top of a mountain overlooking Chouville, the miserable misanthrope has the hair that bristles when it comes to Christmas. Now, the Chous, its congeners have decided to triple their efforts for December 25: three times more decorations, three times more illuminations and of course, three times more gifts …
To stop these festivities a bit nauseating, the Grinch employs the major means and decides to steal fir trees and presents, feasts and remnants. Obviously, nothing will end as he predicted.
Grinçante wish, the first part of the film offers some tasty scenes of gratuitous wickedness, while remaining good child: snowballs well placed and cowshed supermarket are animated with a sense of sweet treachery.
The Grinch is then furiously thinking Gru, the super-villain with a big heart Me, ugly and nasty, the saga that took off Illumination, American studios based in Paris, at the top of the world box offices.
Redesigned by Peter de Sève, brilliant graphic creator of the characters of The Ice Age, the grumpy antihero fur color gall is a beautiful expression that accentuate the sarcastic intonations Benedict Cumberbatch (in VO) and Laurent Lafitte (in VF).
Peter de Sève, prince of illustrators
The passage to the act of Grinch evokes for its part The Strange Christmas of Mr. Jack, a masterpiece by Henry Selick after a story by Tim Burton, who saw the Halloween king take the place of Santa Claus. An analogy that reinforce the musical winks of Danny Elfman, composer of the soundtrack, kidnapped and inspired, of the two animated productions.
Criticism of overconsumption at the end of the year, The Grinch seeks to give meaning to Christmas, calling on viewers to open their hearts more than their wallets. Alas, the epilogue uses the same sweet tone that the film was trying to mock in his epilogue, sweetening the subject with smiles too sweet.