Wolfwalkers

In mid 17th century Ireland, the town of Kilkenny is at war with wolves. The citizens are currently clearing space in the woods for farming under the direction of Lord Protector Oliver Cromwell (Simon McBurney), but the beasts are getting in the way. They attack the townsfolk’s sheep as well. Legend has it these aren’t mere animals. They are led by a much stronger breed called wolfwalkers — individuals who are part human, part wolf — that control these canines. A hunter named Bill Goodfellowe (Sean Bean) has been hired to help aid in the canines’ extinction. He also has a young daughter Robyn (Honor Kneafsey) who is eager to help out.

The Irish animation studio Cartoon Saloon has a perfect record. They are now four for four in an extraordinary run of fantastic films beginning in 2009 with The Secret of Kells and continuing with Song of the Sea and The Breadwinner. Sure Disney and Pixar are far more prolific but with quantity comes mediocrity. Those studios achieve undeniable highs but the magical spirit of Cartoon Saloon is light years beyond releases like Chicken Little or Cars 3. This sumptuous, hand-drawn saga is an exquisite labor of love that touches the heart as it dazzles the eye. Every one of their movies has been nominated for Best Animated Feature at the Oscars. I do not doubt that this one will likewise get a nod. Perhaps 2021 could be their year. Wolfwalkers is that good.

This is a touching fable of friendship. Robyn encounters a wild bushy red-haired child. The little girl is named Mebh (Eva Whittaker). She is a human by day but can shape-shift into a wolf at night. As an apprentice hunter, Robyn has been instructed by her father to kill the last wolf pack. However, Mebh is a thoughtful soul who shares Robyn’s desire for freedom. Additionally, Mehb wants to be reunited with her mother (Maria Doyle Kennedy). There is a palpable connection — a sisterhood between the girls — that is most affecting. Robyn is conflicted.

If Wolfwalkers has a weakness it’s in the simplicity of the story. The developments have our protagonist encountering hostility for befriending a strange individual. Robyn and Mebh’s relationship is purely platonic, but it’s not embraced by her peers. That idea can be traced at least as far back as Romeo and Juliet. There are similarities to FernGully, Disney’s Pocahontas, Princess Mononoke, Avatar, and — wait for it — Dances with Wolves. There’s an overbearing tyrant who casts dispersions on the “others” as savages too. Yet I won’t hold familiarity against it. At this point, it would be like faulting a romantic comedy because it’s a “boy meets girl” tale.

Wolfwalkers is a beautiful achievement. I cannot emphasize how gorgeous these hand-drawn visuals look given our modern aesthetic of computer rendered images. It is so rare in fact that the mere presentation is stunning. The uniqueness is appreciated. The colors are bold and vibrant. There is an unfinished, rough quality to the artistry of the spectacle. Yes, traditional animation still exists. Anime from Japan and Warner Brothers’ direct to video superhero movies are notable exceptions. However with Disney, Pixar, and DreamWorks’ domination of the market, CGI has been the norm.

Cartoon Saloon has been releasing works of art since 2009. Director Tomm Moore’s first two features were The Secret of Kells (2009), co-directed with Nora Twomey, and Song of the Sea (2014). He also did the segment “On Love” in Kahlil Gibran’s The Prophet. Now he has returned with Wolfwalkers, a collaborative effort with art director Ross Stewart who makes his directorial debut here. What I value most about this production — and everything Cartoon Saloon does — is their dedication to creating an authentic age. No jargon or references to things in 2020. Disney and Pixar make enjoyable pictures, but they’re usually very much of our time. Wolfwalkers is a journey into another era allowing the viewer to bask in an ethereal mood. I rarely experience that in contemporary films. That’s something to be treasured.

12-02-20