by Jake Bourgeois, Contributing Writer
I’ve always had a soft spot for animation. More years than not, at least a couple of animated features find their way onto my top 10 list. So, I’m setting out to shine a light on some films that may have passed you by. The idea with Animation Celebration is to take a look at some underseen gems — so no Toy Story or Frozen here.
Let’s get started.
We are officially in awards season, which means it’s time to look at another film nominated for the Best Animated Feature at the Academy Awards that has still managed to go underseen. These are some of my favorite movies in the series to write about. For this month I’ve focused in on Ernest & Celestine, one of the films nominated in 2014 when Frozen took home the golden statuette.
Nearly a decade ago, when this film was among the nominees, the voting body was regularly nominating a European arthouse film alongside the major studio mainstays — particularly after expanding nominees. Two years previously, the Academy nominated a film I previously covered here, A Cat in Paris, as well as alongside a likely future film, Chico & Rita. The Illusionist (another likely future series entry) was up the year before that. This European collaboration was another such example. Two of the production companies, Les Armateurs and Melusine Productions, help produce Cartoon Saloon’s offerings, so there are some good indie bona fides here.
Based on the Belgian book series by Gabrielle Vincent, the story follows the unlikely bond between a mouse, Celestine (Pauline Brunner), and bear, Ernest (Lambert Wilson), who have to go on the run after leaving a trail of destruction in their wake — AND OH MY GOD IS IT JUST ONE OF THE MOST ADORABLE MOVIES I HAVE EVER SEEN.
It hooked me in immediately. We start with Celestine as a young mouse getting ready for bed at some sort of mouse boarding school, where the movie introduces us to some the most adorable mouse children you’ve ever seen. That includes Celestine, drawing a mouse and a bear together — something that is verboten in this society. Bears live above, the mice below, and each are indoctrinated to be terrified of each other. That’s reinforced by the elderly matron as she tells the cautionary tale about “the big bad bear” with the aid of some spectacular shadow animation.
What’s so great about this opening scene is it gives us a real sense of the world that we’re in and how Celestine bucks the trend, something that continues throughout. She, coupled with Ernest, are what gives the film its heart. On the surface, they appear to be your typical odd couple trope when they first strike up a relationship for their heist. Celestine is small and the “brains” of the operation, while Ernest is relatively massive and a more straightforward thinker.
However, despite the fact that their relationship is built initially on the back of criminal activities, they’re not really the bad guys. It’s the prejudiced system. The movie even showcases the fact that the people they’re stealing from are the real con artists. The relationship is much more defined by their similarities than the differences that stood out when they first met. Both really only want to pursue their art. Ernest is only driven to steal by the hunger and challenges he faces in trying to make a living on the musician, made only harder by the fact he’s not supported by family. Celestine really only wants to draw, despite being shoehorned into a dental internship that her heart’s not in. In each other, they are able to find that support they need, and overcome what they’ve been indoctrinated to believe about each other. At their core, they are both just kind and loving creatures who care for each other and develop a deep bond, perfectly encapsulated by a scene with an umbrella. (That scene is the reason I’m currently writing this from the astral plane with the aid of a ghostwriter, as my heart finally burst from the overload of cuteness this movie dosed me with.)
Having built the foundation around a relationship you just can’t help but love, the film is boosted by supporting aspects that continue to elevate the material.
The story is well-crafted. Thematically, similar to Zootopia, it has a lot to say about biases and how they can be harmful to society. A pair from different worlds, which society has told people repeatedly through fear and indoctrination, can’t coexist, very much do because they’re able to see to the heart of the other and end up burning the misconceptions away. Another way that the story just highlights how simpatico our titular two are is through the use of mirroring, particularly at the climax. It’s another way for the directors to hammer home their bond.
Aside from the fact that Celestine may be one of the cutest characters ever put on screen, another aspect that had a tendency to keep the smile plastered on my face throughout the run time was the score. The music by Vincent Courtois is largely light and delightful, and works seamlessly with what the animation is trying to portray. It’s beautifully done.
I was also in love with the art style. It looks like a watercolor painting, which allows there to be gradation within a single color. That means there’s always something to inspect, even in seemingly simple landscape shot. It’s not just landscape shots that are stunning. There are some really breathtaking ways in which the animation incorporates motion, from the storytelling scene mentioned earlier, to paired dream sequences, the personification of a storm, the capturing of coppers in pursuit, and, perhaps the best of all, when Celestine’s art is put to the tune of Ernest’s music.
The film is actually directed by a triumvirate. Stéphane Aubier and Vincent Patar, who’s other main directing nods include a pair of series, A Town Called Panic and A Stinky Dog. Benjamin Renner makes the final head of the trio and, at least based on screenshots of his other projects, is where the inspiration for the animation style comes from. You would have never guessed there were so many people directing with how the whole package comes together seamlessly.
Out of all the first time watches I’ve done for this series, this immediately becomes my favorite of the bunch. It’s definitely getting a revisit, especially with a runtime under 90 minutes. In a rarity for the series, Ernest & Celestine has sequels and spinoffs, and I can’t wait to see what else this delightful duo has in store.
I’m excited to continue to geek out on some great animated work you may not have had a chance to catch. Next month’s column continues the focus on underseen Oscar nominees for one more month. See you then!
You can read more from Jake Bourgeois, and follow him on Twitter and Letterboxd