Glenn here to discuss a true one of a kind film. That it's directed by Michel Gondry (Eternal Sunshine of the Spotless Mind) should make that statement come as little surprise, but surprised I was. The film has the unwieldy, and yet simple and effectively evocative, title of Is the Man Who Is Tall Happy?: An Animated Conversation with Noam Chomsky. Needless to say, despite being animated, Gondry's film is not planning a head to head box office battle royale with Disney's Frozen (which we're going to discuss very soon).
Another arena where the two will not face off is the Academy's Animated Feature category. Despite clearing the animation percentage bar with ease, and beautifully so too for that matter - it's certainly the most incomparable and charming animation of the year - the film was not submitted. It is, however, on the longlist for documentary features, but so are 150 others and I doubt a relatively simple back-and-forth conversation between director and subject, albeit one as different as this, can make much headway amongst bigger, loftier titles.
I wonder why the studio chose to not submit it for the animated feature? Especially in such a dire year for the category, I wouldn't have put it past the branch to have nominated it based on style alone. It really can't be said how majestically hypnotic the animation in Gondry's film is with its mass of bold colors, hand-drawn forms and techniques. He weaves in crude psychedelia, superimposed collage projections, chaotic flashes, and even moments of tribal imagery that recalls the experimental work of John Whitney Jr not to mention any number of groundbreaking experimental animated works. The film is nothing if not dazzling to watch. I imagine audiences in the 1970s would have had a field day, if you know what I mean. It is full of personal anecdotes from both scientist and philosopher Noam Chomsky as well as Gondry. When it sidesteps the sometimes head-scratching physics and heads into personal territory, like a third act detour to WWII, it proves to be remarkably effective.
The film has its problems, definitely. For one, Gondry with his thick French accent thinks he is as much a star of the film as his subject. If you're going to make a film about someone like Noam Chomsky it's best you just shut up and let the man talk. Of course, the catch 22 is that for many - including myself, I admit - much of the talk will fly right over their heads. I do, however, feel smarter for just having watched the film, whether I understood all of it all not. It was wise of Gondry to use animation to tell the story since whether you "get it" or not, you will be able to marvel at the eye-popping animation. I'm also not sure exactly why it was made in the first place, but it will ultimately prove a fascinating gem to anybody investigating the careers of both men years into the future. It feels like a film one stumbles across at 1.30am on cable and then can't turn away until you realise it's 3 in the morning and you're as wide awake as ever, your mind expanded in a way one can't comprehend until morning (or next week).
Look, I'm sure the last thing on Gondry and 84-year-old Chomsky's mind is an Academy Award nomination, but such a thing can help bring a film like this to a much wider audience. I mean, I can't imagine many people had seen The Secret of the Kells before nomination morning. So it's baffling why they wouldn't at least role the dice on Is the Man Who Is Tall Happy. With only 18 other titles to compete against they had a much easier try there than they ever did in documentary. Meanwhile, The Croods may be laughing all the way to a nomination. Sigh.
Is the Man Who is Tall Happy? closes the DOC NYC festival tonight and opens in limited release this weekend.
Thursday, November 21, 2013 at 11:58PM 
Between now and the announcement of the Academy Award nominees on January 16, I’ll be taking a look at some of the films submitted for the Best Animated Feature award: specifically, the smaller, more easily-overlooked films from non-U.S. animation studios. For it strikes me that they are the more deeply in need of love and attention than the more visible mainstream American productions likely to dominate the race. Also, I don't imagine that anyone is desperate to have a conversation about Free Birds.
