The Lady and Tramp! This Walt Disney cartoon of two in-love dogs from Fifties, American filmmaker WesAnderson as an emotional inspiration for his animated film Isle of Dogs – Atari’s journey. He is celebrating as opening film of 68 Berlinale SeineWeltpremiere and is thus first to apply for Golden Bear.
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In fact, Isle of Dogsvon is also a stray mutt, chief, and an extremely well-groomed dog, Nutmeg, who end up fighting against all odds. But Anderson Wärenicht great Enchanter of cinema (and Berlinale no longer speaking) if he left it at that.
Isle of Dogs is Andersonszweiter animated film after fantastic Mr. Fox from year 2009 Undwie this shot in extremely aufwändigenStop-motion technique. Each scene is Milimeterbruchteile with puppets in backdrops and image around image is changed so that beimAbspielen impression of flowing movements. The plot takes place in a Japanese Megacity of near future. The corrupt mayor wants all dogs of prefecture, under pretext of deceiving m, to banish an island, to Trash Island, a huge dump. The first dog he shows is one of his twelve-year-old foster son Atari. Of course, Atari, in a tiny propeller airplane, even goes to trash island to find his beloved spots. At SeinerSuche, five also banished dogs will help him, including StreunerChief.
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In fact, Isle of Dogs is a classic adventure film in which hero takes an epic journey with a pack of new Freundeauf and will not only change his own destiny and SeinerGefährten, but future of whole prefecture. In Zentrumdes films, however, young Atari is not. Anderson’s true heroes tariffs dogs. You can speak and reflect your situation quite well: on one hand you need a master, on or hand, people keinVerlass more. Now y are under-dogs and soon y suspect that weren’t were only banished, but should be eradicated.
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At this point, whole thing tilts violently insPolitische. About Susi and tramp! At that time, Disney had designed an idealized family and social image on fringes of kitsch, while at opening night of Berlinale at Isle of Dogs, hardly any dergeladenen guests would think of situation of many people who are unwitting where y live. They too often land in inhospitable places where y are hungry, thirsty and Krankheitbedroht. It takes a film magician like Anderson to pack so einengewaltigen stuff into a magical quirky fable.
Like a Japanese sci-fi movie of Sixties
He has hundreds of dolls to restore, each of m has several interchangeable faces; DieHunde also has different face parts, upper jaw, forehead, lips, which are exchanged depending expression individually. The human protagonists wear fantastic costumes, handmade, animals fluffy fur covers, hand tattered. And se are just figures. They move through ApokalyptischeLandschaften, destroyed by tsunamis, earthquakes or people, undstädtische spaces that look as if y had devised a Japanese Filmemacherder Sixties for a science fiction film.
Which is not so wrong. Anderson Gibtfreimütig that he had delved into movies of AkiraKurosawa for Isle of Dogs, especially in angels of Lost and DieBösen sleeping well, but also in monster movies like Godzilla. Forecastrisk at end of all artificiality does not look like Japanese folklore, Anderson has brought several Japanese employees to team who should advise him. And just as he talks about Japanese woodcut art or drum rhythms on first day of Berlinale, he is inzwischentatsächlich in many cultural techniques of country so that he could hold an impulse speech reallocations impromptu.
This enthusiasm for details is worth noting his film in every setting. So what did Anderson succeed? A political children’s film? You könnteihn call it that. But above all, a film that appeals to child in political person – and this may have once also loved Susi and Tramp.
