MUBI

What a fucked up little gem. The Secret Adventures of Tom Thumb sounds like it’s based on a jolly nineteenth century children’s book (though it turns out the previous stories using the character are actually as crazy as this one, and sound equally fantastic – Princess Huncamunca!), something I am sure must still fill its creators with considerable glee. It is in fact likely to traumatize most children who watch it, although in a we’re-stronger-for-it way they will appreciate when older and return to as young adults à la Watership Down. (Stunningly, Wikipedia reports that it was originally commissioned as a Christmas movie for BBC2, “but was rejected for being too dark for the festive season”.) Of course, it is perfectly well-suited for adults too, especially those who have yet to grow up.

I don’t think there’s any point delving into the narrative as it’s much better to jump in with no expectations. One thing I’d like to flag, though, is surprise that www.theauteurs.com describes the film as “Fascinating stopmotion animation technique combines with live action.” (At least, it does so at the time this review is being written.) Over and above the fact that this is a horrible sentence, my understanding is that the film combines traditional stopmotion animation with a technique called pixilation, which basically means using the same frame-by-frame capture of images but with human actors as opposed to models, thus creating something in-between animation and ‘live action’.

I adore pixilation. There’s the technical accomplishment to admire. According to Tom Thumb’s animation studio, BolexBrothers, “Pixilation is no small task for actors. A movement or expression that lasts for, say, five seconds on screen could take three or four hours to shoot.” There’s also the fact that it makes things feel really. messed. up_. I’m purposely not going to use the adjective ‘uncanny’ – which feels right – because I know it’s also an idea that I don’t fully understand. But this impact is really very impressive in Tom Thumb, and also, if you’re interested, something that Jan Svankmajer often uses to great effect. Finally, for me at least, pixilation sets off a whole host of exciting-_feeling ideas about how people and actors might be compared with objects, which seems very powerful and dense, though has yet to cohere into anything even semi-intelligent.

Aware once again that I am straying into super-pretentious land, I’ll end on the fact that I love Tom’s misshapen and simultaneously young and old little head. He’s an interesting character, because although he is the film’s protagonist, and experiences many adventures, in no way does he particularly change or ‘grow’ as a result of his experiences. There is something magic about this.

A film to play for the unexpecting. Four stars.