Like horses? Like Bryan Adams? Well then, do I have just the
film for you! Way back in 2002, DreamWorks Animation unveiled one of their most
ambitious movies to date – one that has more or less sadly been forgotten
about. As their follow-up to the ground-breaking CG comedy Shrek (2001), it’s not hard to understand why. By that point,
DreamWorks Animation had just begun to define their own, almost subversive,
genre – one infused with gags galore, and one which was often cited as the ‘anti-Disney’,
boasting the acerbic and adult-friendly, snarky, sarcastic wit. The
swamp-dwelling ogre would later go on to become the face of DreamWorks, and set
the tone for their subsequent features. Indeed, this is an entirely different
beast.
The film I speak of is Spirit:
Stallion of the Cimarron. And contrary to many middle-of-the-road reviews,
it is, in fact, a very watchable
movie. That is, if you like horses. And are willing to put up with copious
amounts of Bryan Adams. Yes. Bryan Adams. I must admit, I, myself, was somewhat
confused by their (over)use of the ‘Everything I Do’ singer, particularly since
he wasn’t exactly what you’d call ‘current’, even fourteen years ago, but the
soundtrack is nonetheless decent. None of the songs are hugely memorable, but
they are mostly utilised appropriately in order to set the scene and dictate
the story, alongside a humourless and altogether rather low-key narration by
Matt Damon, who lends his vocals to Spirit’s conscience. Perhaps these
techniques were applied to give the film some levity, to make it somewhat more
accessible to a broader audience. In any case, it’s not really necessary. Too
many times, Damon states the obvious and you find yourself consciously
retorting “Well yes, we just saw that happen!” And, while I (apparently unlike
many others) have nothing against Bryan Adams’ music, I can’t help but feel
that some of the more dramatic and emotional scenes might have had more of an
impact without the accompaniment of his gravelly vocals, and some frankly
ill-placed contemporary pop-rock. It’s not a major problem, but it does
sometimes detract from the film’s ambience and setting.
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| DreamWorks Animation, 2002 |
Contrary to what many early reviews stated, Spirit actually does maintain a
compelling narrative, in the sense that it’s not boring. The ‘problem’ is that
it’s not nearly complex enough to stand out as an animated classic. Put simply,
not enough happens in it for it to be held in as high regard as, say, The Road to El Dorado (2000). Some may
also argue that it is lacking the sharp wit of some of the other DreamWorks
flicks of the era. That said, this is a very different kind of movie for
DreamWorks Animation, and one I feel may have been unfairly neglected over the
years. It’s pretty ambitious in the sense that, besides Bryan Adams and Damon’s
narration, there is very little dialogue whatsoever. The fact that it manages
to maintain your attention throughout without resorting to crude humour,
throwaway gags and needless side-characters to pad out the narrative is an
impressive feat indeed. And, while we’re on the subject of visual appeal, the
animation is nothing short of spectacular. Even by today’s high standards, some
of the scenes with Spirit galloping on the open plains are breath-taking. The
slick blend of traditional and CG animation is seamless – to the point at which
it’s difficult to tell where the one ends and the other begins. If there’s one
reason you should see this film, it’s for the visuals.
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| DreamWorks Animation, 2002 |
So if this film is so good, why is it so underrated? Well,
it’s a bit of an oddity in the sense that it’s hard to pinpoint a specific
target audience for the movie. That is, unless you’re a huge fan of horses. And
Bryan Adams. Its plot is a little simplistic for your average adult audience,
and it lacks the fast-paced, gag-infused restlessness that typically appeals to
toddlers. In any case, its plot doesn’t necessarily *need* to be any more
complex than it is – it merely falls short of being a masterpiece as a result,
and is consequently rather unmemorable, particularly considering its running
time. All the same, it’s diverse enough to stand out from the rest of
DreamWorks’ canon as one that is unique, at least in some respects. It’s nice
to see a film from DreamWorks that wears its heart on its sleeve, whose main
appeal is not cheap slapstick. It’s not perfect, but it serves as proof that
DreamWorks are far from a mere one trick pony.
