Directed by J. A. Bayona
108 mins
Floor 1 Yellow Zone R3 (NES)
You may have noticed that the DVD for our last review of Wallace & Gromit: The Curse of the Were-Rabbit was not stored with our usual shelving in the Pink Zone. Walking around the library you will find odd DVDs on the shelves away from our main collection; these may be documentaries or films of niche subject matter. A Monster Calls is found in our educational resource section, on the first floor, and serves as a fine example of how film can educate as well as entertain.
The film follows Conor O’Malley (Lewis MacDougall), a boy whose mother, Lizzie (Felicity Jones), is suffering from cancer. In his time of need he Conor is visited by a Monster (Liam Neeson) that grows from a Yew tree. The tree is planted in a graveyard which is ever present in Conor’s worst nightmares. Upon his visits, the Monster recants Conor with three stories, and insists that a fourth story must follow from Conor – he must reveal his nightmare. Lewis MacDougall holds the film excellently in a very challenging role; he is well supported by the star-studded cast which includes Sigourney Weaver as his strict Grandmother, she is also well placed in the role – though her American accent slips through at times.
The purpose of the Monster is intriguing, the stories he imparts to Conor are neither happy nor sad; they have a parable like nature and question the black and white division of goodness and badness. Similarly, the Monster is both kind to Conor and stern with him, he is not, as I expected a friendly giant akin to Roald Dahl’s BFG. The creature is more complex than that, he has anger as well as compassion; cleverly he can be read as a mythical being or as an extension of Conor’s mind.
This visual style of A Monster Calls is stunning. The Monster unfurls from the Yew tree, glowing red beneath his bark; the CGI is impressive yet it does not distract from scenes between the Monster and Conor. Lizzie and Conor are artists which is paralleled in the visual style of the Monster’s stories, they merge the animation style of Disney films with beautiful backdrops that have the brightness of water-colour artwork. The first story the monster tells Conor is of a queen who is accused of being a witch, the animation ‘grows’ from blackness as paint drips onto the screen slowly growing into the backdrop of a kingdom. This is one of several amazing transitions in the film. Truly, I would recommend A Monster Calls for its cinematography and artwork alone – even the opening credits strike beauty.
A Monster Calls battles a challenging narrative, the fear and guilt of losing someone so close is a problem that affects us all, not just children. The strength of the film is that it does not simplify such complex emotions, it shows that life is complicated – in the words of the film most of us don’t live a fairy-tale ‘happily ever after’ life but have a ‘messily ever after’ instead. This might seem bleak for what is, in essence, a film targeted towards a young audience. But the narrative is an important one showing us what others go through, it demonstrates that it’s okay to feel angry and okay to feel sad sometimes. Also, whilst I would recommend tissues, the film is not all ‘doom-and-gloom’, there are moments of comedy and the visual style is as charming as it is impressive, which makes for a truly captivating watch.
Why It’s Significant?
A Monster Calls may be written for a younger audience but it offers a great deal for all ages, giving an in-depth look at the confusion faced by those losing a loved one. It is a very creative and beautifully filmed piece with a strong narrative.
If You Like This, You May Also Like From The Library:
Hugo, dir. by Martin Scorsese (Paramount Pictures, 2011) – Another film that broaches the tough subject of a parent passing. Hugo is also about the magic of movies, winning a slew of awards with its high profile cast. (791.4372 HUG).
50/50, dir. by Jonathan Levine (Summit Entertainment, 2011) – Joseph Gordon-Levitt and Seth Rogen may not be the first names you would expect in a film about living with cancer but they do well in this moving, yet comic, film. (791.4372 FIF).
Written by Phil Wintle
