Note: The
following refers to a screening of this film at a sneak preview on
November 6th.
I vividly remember reading
Chris Van Allsburg’s children’s book, The Polar
Express, excessively, in my youngest years. The
story always struck me as being that of a real
adventure, not just one with a kiddy vision of a
narrative. Even though it does not contain nearly as
many sentences as it does drawings, it captures the
reader in an enriching spell and proves its story to be
rather deep, in a somewhat indescribable way. My fond
recollection of The Polar Express and how it
affected me as a child left me instantly interested at
the thought of a film adaptation of the story,
especially considering it would the first Tom
Hanks/Robert Zemeckis pairing since 2000’s Cast Away.
Now that it is here, I can
confirm that the film-version of The Polar Express
has lived up to my expectations for it. Zemeckis
directed it using a live-action motion-capture
technique. This basically means that he shot an
acted-version of it, with the actors wearing
motion-detectors and performing in front of a
green-screen, and then painted over them using CGI, to
create an animated final product. In short, this
technology is visually amazing and far more creatively
appeasing than traditional computer animation. Such a
technique allows for the actors to move and occupy space
realistically, while still permitting for impressive and
quick action sequences to easily take place, throughout
the film. Also, the CGI looks much like the pictures in
the book-version of The Polar Express, and this
adds a nice feel to the movie, which may be nostalgic
for many viewers, who have not taken a peak at it since
their childhood.
The Polar Express tells
the tale of a boy who is losing his belief in Santa
Claus, as he grows older with the coming of each year’s
Christmas. We are introduced to him on one Christmas
Eve, in which he is lying awake in his bed, listening
for Santa, hoping to hear the sound of sleigh bells,
which would confirm for him that the jolly old man does
exist. It is then that a gigantic train pulls in front
of the boy’s house, and the conductor greets him with
delightful firmness. The boy decides to hop on, at his
last chance to do so, even though he is apprehensive
about such. They will be traveling to the North Pole,
where Santa will be handing out the first present of
Christmas to a child of his choice. On the train, which
bears the same name as the film’s title, the boy
associates with three other kids, in particular, and
also meets a raggedy old man who lives atop the roof.
The movie’s beautiful imagery
and enchanting storytelling both enthralled me when I
was watching it, but the thing that mystified me the
most about The Polar Express was how wholesome it
is. Not once in its duration is a ridiculous fart joke
or scatological gag, which so many other children’s
films contain, tossed at the audience. Why is this?
Because director/co-writer Zemeckis doesn’t need such
filler to connect the dots of the plot; literally every
waking moment of his film is carefully thought out so
that the audience’s attention is well-invested. Not to
mention, The Polar Express also bears the same
ambience of a full-on live-action film; it displays
swooping cinematography and holds a profound sense of
filmmaker-viewer intimacy.
Only time will tell whether
The Polar Express will be universally regarded as
the next Christmas classic or not, but I can guarantee
that I will certainly be revisiting it in future holiday
seasons, if during not this current one. Instead of
simply making a seasonal film for the family, Zemeckis
captured the spirit of the holidays through the eyes of
a child in this project, allowing kids to identify with
it and adults to reminisce about their own youth through
it. It works tremendously well, functioning as one of
the purest and liveliest efforts in cinema in the past
decade. There have been better films released over the
course of the past year, yes, but when it comes to
enjoyableness, The Polar Express closes in on the
top of my list.
-Danny, Bucket Reviews (11.10.2004)