Today’s Cinema Adventure was originally published in
There is a popular perception that animated movies are pure kid-stuff, designed to lure families to the box office and to generate lucrative marketing tie-ins. After all, animation pioneer Walt Disney used this formula as the foundation for a financial empire that continues to dominate the entertainment industry today. Of course, Disney’s films (at least the early ones) were also artistic triumphs, and there have since been numerous others that rival them in stature. Nevertheless, even the most open-minded critics often tend to join the general public in considering “cartoons” as belonging to a separate-and-unequal category from live-action filmmaking, and often overlook them in any discussion of serious cinema.
This intellectual bias may often be warranted; but occasionally, a film like “Kubo and the Two Strings” comes along to challenge it. Set in Ancient Japan, it’s the story of a boy who lives with his strangely afflicted mother in a cave by the sea. Every night, she tells him half-remembered tales of his long-lost Samurai father; every day he spins them into adventurous yarns to entertain the nearby villagers- aided by magic which allows him to manipulate pieces of paper with the music from his shamisen. He is careful, though, to heed his mother’s warning and return home before nightfall, in order to avoid the watchful eye of his grandfather, the Moon King, who wishes to steal him away to his kingdom in the sky. One day, however, Kubo lingers too long at a village festival, and suddenly finds himself caught up in an adventure of his own- aided by a monkey and a man-sized beetle, with his two terrifying aunts, the Daughters of the Moon, pursuing him every step of the way.
This deceptively simple setup provides the basis for a magnificent visual journey, full of magic, which blurs the lines of reality and challenges us to jump seamlessly between different levels of existence. This is no small feat, and the fact that we never question it is a testament to the brilliance of its technical execution- the bulk of which was performed using the same basic techniques that took King Kong to the top of the Empire State Building over 80 years ago. Though some assistance was provided by modern CG technology, most of what we see on the screen was achieved by posing models, one frame at a time, in front of a camera. This painstaking effort certainly pays off; Kubo’s story comes to life with such palpable reality that the viewer might almost forget to be dazzled by it.
What’s impressive about “Kubo and the Two Strings,” though, is that its story more than lives up to the technical wizardry surrounding it. Though it evokes the traditional folk tales of Japan, “Kubo” is entirely original, its screenplay written by Marc Haimes and Chris Butler from a story by Shannon Tindle. Even so, as guided by director Travis Knight, it maintains a strong sense of mythological authenticity as it delivers its own version of the classic hero’s journey; the mystical elements which comprise much of the story’s framework are presented as factual conditions of the plot, yet the deeply resonant symbolism they possess- a quality downplayed by most such films aimed at contemporary American audiences- is given equal weight. Similarly, while the film doesn’t avoid sentimentality, it never manufactures it to generate an unearned emotional response; rather, it allows the story and its characters to provide it, in appropriate doses, when it arises naturally. As a result, “Kubo” manages to amuse, frighten, touch, and surprise its viewers- whatever age they might be- all the way through to its lovely, delicate, and bravely bittersweet ending.
Of course, there are many other factors contributing to the film’s success. Its visual design is a marvelous blend of stylization and historical detail, effectively transporting us to the story’s time and place from the very first frames- with the aid of a majestic and immersive score by Dario Marianelli. As for the voice cast (led by Art Parkinson as the title character and including the likes of Charlize Theron, Matthew McConaughey, Rooney Mara, and Ralph Fiennes), it must be mentioned that “Kubo” has drawn some heat for using mostly white actors. Conroversy aside, those actors deserve credit for their fine work, which plays a big part in making “Kubo” into the special experience it is.
It’s a bit early to start making lists of the year’s best films, but when the time comes, I think it’s a safe bet that “Kubo and the Two Strings” will be on a few of them- anti-animation prejudices notwithstanding. It fully deserves that honor. It’s a multi-layered, visually stunning work which tells a powerful story without pandering to its viewers- and a film like that, animated or not, is very rare indeed.