The Wake

If shows like Family Guy and The Simpsons have taught us anything, it’s cartoons are not just for kids anymore. Anyone who says differently has obviously never seen South Park: Bigger, Longer, and Uncut. Cartoons have always played on people’s senses of whimsy and humor, although some have more fun exploring the seedier side of human nature. The French animated film, The Triplets of Belleville, certainly belongs in the latter category.

Animated films have long been a staple for adults as well as children and Triplets is no exception. A good old-fashioned tug-of-war between good and evil, Triplets is a treat, but don’t make the mistake of lumping it with feel-goods like Finding Nemo. This is not The Little Mermaid. You won’t find any cliché romance story or important morals here.

Triplets tells the story of Champion, a cyclist rigorously trained by his grandmother Madame Souza and portly dog Bruno. As Champion peddles his way through the Tour de France, he is kidnapped by nefarious thugs and it is up to Madame Souza to find him. Using Bruno’s keen nose, Madame Souza traverses the ocean and enters Belleville where she encounters three batty old nightclub singers who take her under their wings. Together they take on the French Mafia to rescue Champion and bring him home.

The plot is simple enough, but, aside from that, it departs from the basic children’s cartoon. Triplets is virtually devoid of dialogue, relying instead on the imagery and character traits, as well as Mme. Souza’s training whistle, to tell the story. The animation is so rich that it is easy to overlook the lack of conversation. Everything you need to know is written on the characters’ faces and in their actions. The sepia tones and artistic style are reminiscent of vintage Disney, circa 101 Dalmatians. Each individual is a caricature, from the pencil-thin cyclists with mammoth thighs to the box-like Mafia hit men. Everything is over the top and each archetype is more exaggerated than the last.

Triplets is director Sylvain Chomet’s first feature-length film. He focuses on movement to determine the characters and their personalities. The cyclists gasp for breath with dejected faces as they peddle. Sinister hit men walk in sync, shoulder-to-shoulder, impenetrable as brick walls. Madame Souza clomps around with her clubfoot, ignoring Bruno who stands knock-kneed barking at passing trains.

From the start, it is clear Chomet loves what he does. The work and care that went into the project is obvious throughout. Triplets was an excuse for Chomet to push the boundaries of animation and move away from a world limited by sugar-and-spice endings and life lessons. Although appropriate for children, Triplets is geared toward adults. The subtle and nuanced animation could make the film difficult for children to grasp and the lack of dialogue might stretch young attention spans. Clocking in at a mere 80 minutes, however, attention should not be a problem for most people.

Already a favorite for foreign film awards, Triplets is definitely groundbreaking in terms of visual depth and beauty. The plot is simple, if a little bizarre, but that’s not the point. It is an original and captivating exploration of human flaws, love and loyalty. It’s not your average cartoon, but just as delectable.

The Triplets of Belleville is playing at the Lagoon Theater in Uptown.