Author: Robert Greenberger

On the Odd Hours (Louvre Collection)

By Eric Liberge
NBM Comics Lit, 72 pages, $14.95

Art is in the eye of the beholder, we’ve been taught. But it’s also a matter of the soul so some works move people while others are bored silly by the same piece. Apparently, there’s far more to the paintings and sculptures than one might imagine if you buy into Eric Liberge’s graphic novel [[[On the Odd Hours]]].

The third in an imaginative series of graphic novels co-published by NBM with the Louvre Museum, this book tells of Bastien, a deaf mute who has had an internship arranged for him by his loving girlfriend. Instead, he winds up missing his appointment and being recruited by a deaf guard to join him on the nightly rounds.

The night guards are charged with looking after the souls of the artwork, sounding percussion instruments in order to let them free and roam a bit before returning to their usual positions for the daylight patrons. Bastien is being recruited because the guard is old and sick and the legacy must continue.

The premise is certainly an interesting one but Liberge fails to make Bastien an interesting character, robbing the entire story of its power. The plight of the deaf mute is a difficult one, but we’re told he’s been difficult from birth, refusing to train himself to operate in the world. We have no clue what his girlfriend sees in him or why we should care for someone with contempt for the rest of the world. Had we seen some redeeming feature, his frustration with the haring world would have worked a lot better.

His mentor, Fu Zhi, delights in slowly revealing the museum’s true self to Bastien but with his illness, one would have expected him to explain more and prepare Bastien for his new role. Instead, Fu dies and Bastien winds up being fired from his job.

The entire final section of the book is Bastien’s immature attempt to regain his work and to protect the Louvre’s treasures. By the end, I am left deeply dissatisfied with the story.

Liberge’s artwork is attractive and works in a muted palette, making everything, even the classic works, feel drained of life. He’s ill-served by the small format of the book, 6.5” x 9”, so everything feels cramped. His balloon and caption placement is also dreadful and could have used a helping hand from his editor for greater clarity. 

Where he excels is in depicting how the deaf communicate and you gain a greater appreciation for their situation in a world built for oral and audio communication. A little less successful is how he shows the sonics freeing the souls of the artwork, especially as he frees most of them for the daylight climax.

Many will no doubt judge this as an artistic success for Liberge, who has graduated from fanzines to a fine career as a French graphic artist but for this patron, the work left much to be desired.

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The history of the world is rich with stories of personal triumph and epic events. In fact, so many stories remain to be told to modern day audiences, you would never need to leave the non-fiction section to find stories to tell. In school, we’re given such a surface review of global history that we’re constantly amazed to find out what really went on.

Take China for example. The country is our partner and rival in modern day affairs but what do we know of a land that can trace its culture back thousands of years? Sure, we were taught they were largely xenophobic and measured their rulers by dynasties but little else. But, to those growing up in the Pacific Rim, the stories of great warriors outnumber those we can tell about out forefathers.

This point is brought home in the release this week of the stunning [[[Red Cliff]]]. Director John Woo has wanted to tell this story about the fall of the Han Dynasty since childhood and spent years researching it, more years to craft a script and then months to film the story.

In 208 A.D., the Han Dynasty Emperor grants permission to the greedy General Cao Cao to form a movement that will pulverize two warlords who stand in his way.  The warlords, Liu Bei and Sun Quan, are sworn enemies but know their only hope for survival is to band together and counter the attack. Although outnumbered by Cao Cao’s vast and fast approaching army, the warlords put their rivalry behind them and end up surprising all those who doubted their small brigade. 

History, as we know, is written by the victors so most accounts make Cao Cao out to be evil incarnate but Woo wisely sourced most of the facts and character descriptions from the more level-headed Records of Three Kingdoms. This certainly makes all the players far from cardboard caricatures.

The story was so epic in scope, akin to [[[Lord of the Rings]]], that he shot a four hour film that was released internationally in two parts. A 148-minute edited version came to America last year, garnering excellent reviews although it didn’t perform well at the box office. The movie has been released by Magnolia Home Entertainment in a variety  of formats such as the two-disc Blu-ray International Edition with the complete film or the single disc with the shortened version. Both come packed with extras galore.

In watching the 148 domestic version, I thought I had seen enough. The problem for me was that too many of the key players were not developed as characters with Woo’s emphasis on his trademark action sequences which were larger and more involved than ever. As a result, Cao Cao is not the standard movie villain but also remains enigmatic, his true goals and desires absent. Similarly, Liu Bei and Sun Quan’s enmity is left mentioned and unexplored so their alliance is missing the significance it should otherwise posses.

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There’s a documentary about to open, [[[Waking Sleeping Beauty]]], focusing on the decade that saw Walt Disney Studios regain their mojo and produce a new generation of wonderful animated films beginning with [[[The Little Mermaid]]].  I’m really looking forward to seeing how that happened but we all know how it ends. Pixar’s CGI efforts arrived with [[[Toy Story]]] and suddenly 2-D movies looked like something from a fairy tale, old and tired. Disney shuttered the animation department.

When Pixar and Disney merged, the best thing to come from that was John Lasseter coming home and declaring that hand-drawn animation was far from dead. That statement became a fact last November when The Princess and The Frog
was released. Now on home video from Walt Disney Home Entertainment, it is a worthy addition to the family library.

John Musker and Ron Clement, who will get their due in the documentary, return as co-directors and it feels like they have not missed a beat. The movie follows what has become a standard template for a Disney film but they wisely spice things up much like the gumbo seen in the movie itself. Rather than adapt the tale and setting it in Europe, they felt a new venue was in order. New Orleans in the 1920s was an inspired choice, allowing them to feature people of color, along with the attendant dialects and influences.

The latest princess is not the first of color, a designation that more properly belongs to Princess Jasmine from Aladdin but having a largely African-American cast was long overdue. Fortunately, New Orleans has always been a real gumbo, mixing a little bit of everything and everyone so it’s the first truly multi-racial cast.

The story is entertaining with lessons learned and laughs to be enjoyed. The power of love proves more magical than anything conjured up by the malevolent Doctor Facilier. Also magical is the music from Randy Newman. While none of the numbers seem to be breakout hits, they do serve storytelling purposes and does give a number of performers, including the great Doctor John a chance to reach a wider audience.

Disney also uses a nice diverse vocal cast and the standout is Anika Noni Rose as Tiana. Everyone else is fine and well cast.

The movie is available in the now-standard combo pack so you get the Blu-ray, standard and digital disc in one nice package. Visually, the animation is bold and bright and eve more colorful on Blu-ray. The look and sound are ideal in this format.

The extras are a mixed bunch with solid commentary from co-directors Musker and Clement, along with producer Peter Del Vecho. For interested fans, there are a series of deleted scenes that never got beyond the pencil test and there’s interesting discussion as to why each moment wound up excised. Magic in the Bayou: The Making of a Princess is a nice 22 minute making of featurette.  After that, though, the others are shorter and far less engaging, including The Return to Hand Drawn Animation, The Disney Legacy (which references the Nine Old Men but doesn’t name them all), Disney’s Newest Princess, The Princess and the Animator, Conjuring the Villain, and A Return to the Animated Musical. The exception being Bringing Animation to Life, where Clements and Musker delve deeper into the process.

The Blu-ray is rounded out with Art Galleries and an interactive game, What do you See? for the younger crowd. 

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Much has been written about the human soul, what makes it so special and unique. How some souls can be twisted or damaged or how they could be sold to the Devil. It has been the inspiration for poetry, prose, and much philosophical thought. But the very idea that it is too heavy to carry around and therefore could be stored to lighten the burden…well, that’s unusual.

It’s the very premise of the little film Cold Souls
, which was written and directed by Sophie Barthes. The movie opened to fairly positive reviews last year but was largely overlooked despite the strong cast and intriguing premise. A work of sophisticated science fiction, it’s also a dark comedy in some ways. The film was released this month on DVD from 20th Century Fox Home Entertainment.

Paul Giamatti portrays an actor named Paul Giamatti, who is struggling with his role in a production of [[[Uncle Vanya]]]. Worried about losing his job and feeling terribly burdened by life, he considers storing his soul after reading an article on this new business.

Imagine his surprise to see his soul is small, the size of a chick pea and bright in color compared the more voluminous and grayer souls on display. At first he feels freed but fairly quickly he also recognizes the emptiness in his life. His performance has gotten no better and now he’s lacking in basic emotion such as empathy.

At much the same time, we discover the logical outgrowth of a business that deals with souls. They can be bought and sold legitimately, but also trafficked illegally as seen with a Russian mule operation led by Nina (Dina Korzun), who has smuggled souls imprinted in her until she arrives in America and delivers them to the same firm, run by Dr. Flintstein (David Strathairn).

Paul is unhappy so Flintstein quietly suggests he tries one of the imported souls. What neither realizes is that to make quota, the Russians are indiscriminately relabeling souls so he wants an artist but gets something else. When he finally decides to get his soul back, he learns it has been shipped to Russia, to Sveta (Katheryn Winnick), a model turned actress who just happens to be married to the head of the smuggling operation. On a trip to Russia to retrieve it, all the threads come together.

This is a terrific subject for a story and by keeping the focus largely on Paul, Barthes allows the audience to understand the daily complications of first having no soul then having the wrong soul.  She claims the idea for the film came to her from a dream and there’s an ethereal quality to some of the scenes so she has fully realized her concept.

Giamatti and Korzun are front and center in the story and both give solid, understated performances. Wasted in small roles, given too little to do are Emily Watson as Paul’s wife Claire and Lauren Ambrose as Stephanie, the lab assistant.

The disc comes complete with a short piece on the making of the soul extractor and several deleted scenes, one of which at least gave Watson more to do.

If only there were more movies that explored such engaging ideas without a lot of pyrotechnics, movies that could spark debate and better yet, thought.

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