A Cat in Paris: movie review (+trailer)

( PG ) ( Monitor Movie Guide )

A Cat in Paris: This Parisian cat's tale is sweet and inventive animated film, with a dash of noir.

Courtesy of GKids.TV
Nico the burglar and Dino the cat survey the skyline in the Oscar-nominated animated feature ‘A Cat in Paris.’

“A Cat in Paris,” recently nominated for the best animated feature Oscar, is a lovely surprise. Best of all, it’s a lovely surprise in 2-D. You do remember 2-D, don’t you?

Both a French and an English version are getting theatrical release. I saw the English version, accompanied by the voice work of, among lesser lights, Marcia Gay Harden, Anjelica Huston, and Matthew Modine. Whichever version you end up seeing, the star attraction here is the quietly elegant, occasionally near-abstract visual design, with its links to artists as diverse as Picasso, Edward Hopper, Ben Shahn, Modigliani, and Matisse.

These visual references are for the delectation of the cognoscenti, but directors Jean-Loup Felicioli and Alain Gagnol aren’t conducting a tutorial here. The references function as art history in-jokes and touchstones; but even if you don’t pick up on them (as most children won’t), it doesn’t really matter. It also doesn’t matter if you don’t recognize the vast array of allusions to classic Hollywood film noir movies, or neonoirs like “Reservoir Dogs” or “Goodfellas.” Either way, this cornucopia works for all ages, all levels of learning.

Dino is a cat with a double life. A housebound kitty by day, he lives with Zoe in the Paris apartment she shares with her mother, Jeanne (Harden), a police superintendent whose husband, also on the police force, was murdered by big-shot gangster Victor Costa (J.B. Blanc).

Traumatized by the loss of her father, Zoe has been mute ever since. By night Dino slips outside through Zoe’s window and makes the rounds with fleet-footed cat burglar Nico (Steve Blum), who adopts the cat as a kind of mascot. When Zoe decides to follow Dino, she falls into the clutches of Victor as he is simultaneously being pursued by Jeanne for her husband’s murder. It takes the combined efforts of Jeanne, Nico, and Dino to wrest the girl free and save the day (and night).

If all this sounds unnaturally dark for a PG animated film, I should point out that, except for very young children, there’s nothing in here I expect would scare kids. On a dramatic level, I would take issue with the way the filmmakers overload the story with noirish filigree, but this is only because the nongangster elements are the film’s most successful achievement. In any case, the French have always had a love affair with hard-boiled American gangster movies. As “A Cat in Paris” demonstrates, that love extends even into the animated realm. And why not?

Felicioli and Gagnol give their moody fantasia a languorous, jazzy feeling. (The terrific score is by Serge Besset, with added delights on the soundtrack such as Billie Holiday’s recording of “I Wished on the Moon.”) When Nico and Dino are slithering across the Paris skyline, they have an off-kilter grace that’s reminiscent of Buster Keaton or Jacques Tati’s Monsieur Hulot. The hushed, rapt atmosphere of the night city is both beckoning and ominous.

The film’s big climax is a battle beginning atop Notre Dame cathedral, and the filmmakers make very clever use of the jutting gargoyles as the combatants are bumped and poked on the way down. There’s a particularly inventive sequence in a cellar when the lights suddenly go out during a gangland search and all the characters turn into white stick figures against a pitch-black background.

Very little in “A Cat in Paris” compares with, say, the best in “Persepolis,” “The Illusionist,” or “The Triplets of Belleville” – the three most inventive 2-D animation movies of recent years that weren’t directed by Hayao Miyazaki (“Spirited Away”). But it’s a sweet and disquieting excursion made by filmmakers whose eyes and ears and imaginations are in marvelous sync. Grade: A- (Rated PG for mild violence and some thematic material.)

You've read  of  free articles. Subscribe to continue.

Dear Reader,

About a year ago, I happened upon this statement about the Monitor in the Harvard Business Review – under the charming heading of “do things that don’t interest you”:

“Many things that end up” being meaningful, writes social scientist Joseph Grenny, “have come from conference workshops, articles, or online videos that began as a chore and ended with an insight. My work in Kenya, for example, was heavily influenced by a Christian Science Monitor article I had forced myself to read 10 years earlier. Sometimes, we call things ‘boring’ simply because they lie outside the box we are currently in.”

If you were to come up with a punchline to a joke about the Monitor, that would probably be it. We’re seen as being global, fair, insightful, and perhaps a bit too earnest. We’re the bran muffin of journalism.

But you know what? We change lives. And I’m going to argue that we change lives precisely because we force open that too-small box that most human beings think they live in.

The Monitor is a peculiar little publication that’s hard for the world to figure out. We’re run by a church, but we’re not only for church members and we’re not about converting people. We’re known as being fair even as the world becomes as polarized as at any time since the newspaper’s founding in 1908.

We have a mission beyond circulation, we want to bridge divides. We’re about kicking down the door of thought everywhere and saying, “You are bigger and more capable than you realize. And we can prove it.”

If you’re looking for bran muffin journalism, you can subscribe to the Monitor for $15. You’ll get the Monitor Weekly magazine, the Monitor Daily email, and unlimited access to CSMonitor.com.

QR Code to A Cat in Paris: movie review (+trailer)
Read this article in
QR Code to Subscription page
Start your subscription today