In recent years Hollywood animated movies have began to experiment with more adult and grown up themes. No longer are they seen as simple entertainment aimed at keeping children quiet, but now aim to please across generations of the audience. Films like Shrek (2001) and Toy Story (1995) contained references in both the story and design in relation to their adult viewers. Yet even in these films at times, there seems to be a particular hyperactivity to the pace, a quick cut, fast action style in order to keep the young primary target audiences attention. In a way, ParaNorman (2012) is one of the few animated movies to let the story set the pace.
At times, ParaNorman feels like an indie comedy. With the film beginning with a slow mellow pace to it which, in turn allows it to build the characters at a more naturalistic pace. Characters are introduced at first appearing as the usual caricatures. However, as the film develops you begin to see more of them than first meets the eye. The characters feel natural (at times real – almost) and it’s unusual to say that about an animated family movie.
Although the film is pitched to the audience as a comedy, there’s a real respect and patience in building on dramatic plot points. The jokes are here of course (for adults as well as children) but this really isn’t what separates ParaNorman from other family animated features. In fact, it is unusual in a way that this comedy is defined by its serious dramatic moments.
The film really builds on its characters unlike many comedy films. In a way the film owes a certain debt to Spielberg’s early films and in particular The Goonies (1985). But even these films by comparison are quite conventional and safe. With ParaNorman taking some plot swerves, which you really wouldn’t expect.
The themes here are really quite serious - with the idea of the outsider and the small communal reaction to such a thing. But it goes fervour than this as the film begins to relate itself to the town’s puritan past and its celebration of a witch burning. Here they don’t shy away from this, there is a real confrontation with innocence being persecuted because of societal fear of difference. This is something that I found to be very brave for a family film to deal with – the possibility of extreme outcomes to fear, which extenuates to outward aggression. In turn this parallels with Norman’s dealings with the towns people who look on him as strange because he can speak with dead people.
Overall, I believe this is what the film is fundamentally about. It’s not about visual spectacle; it’s not about the comedy or even to some extent the characters. In this way it could have very easily come across as heavy-handed but because of the craft of the story and narrative this was never the case. In fact, it is important to mention that if it wasn’t for the animation being so visually appealing or the characters being so relatable, (and the actors fulfilling their roles as such) then the film would have been no where near as impactful with its narrative themes.
In truth, because the movie is so engaging it could be discussed all day. Not forgetting to mention that the film has probably the first openly gay character in a family animated film – or the fact that his physique and attitude go completely against distasteful social stereotypes. The point isn’t played up and is only dispelled in what could arguably called a throw away line at the end of the film only goes to show the movies maturity not to dwell on information that overall, has very little significance. The filmmakers should be largely applauded for their achievements and decisions in making this film. What they have managed to achieve somehow is a very intelligent, funny, at times serious film, which is able to extend itself to an unthought-of cross age appeal.
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