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My fiance and I both loved this movie when it was released and we aloof do. When we heard it was coming out on Blu Ray and on top of that 3-D we were beyond aroused. Well that excitment was crushed when we got home, attach it on and were almost given instant headaches from the weak school red and blue 3-d glasses and the fact that no matter how hard we tried to recognize it, it unbiased was nowhere approach 3-d quality. We sat there contemplating whether or not it was unbiased us or if the 3-d aspect of it sucked that abominable and we came to the conclusion that it was definately the latter. So after a half hour of trying hard to like it we switched it to 2-d (thank god for blu ray for having that option) and saw how in 1080p it was almost 3-d itself.
Needless to say the very next day I went aid to the store I purchased it from and changed it for the regular blu ray version (which was $5 cheaper than the 3-d version and totally worth the lift, 5 stars for that version.) It was very black that it did not work out because such an astounding holiday movie with such large animation would be a no brainer to have as 3-d but unfortunately it impartial is not worth the headache and strain.
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I went to watch this movie tonight with a mentally handicapped friend – “Michael” — (from a L’Arche home here in Winnipeg, Canada) . We were the first persons in the theatre for the very first evening showing in this city – and we were the last to leave. We thoroughly enjoyed ourselves – enchanted by the movie’s subtleties and happily exhausted by its roller-coaster rides.
Time and again, Michael (who is sensitive, compassionate and with a agreeable sense of humor) turned to me in the darkness, smiling in appreciation at the actual same moments I turned to recognize his reactions. Each time this happened, it was at a moment in the film when some diminutive detail, perfectly captured through favorable ‘cinematography,’ brought moisture to my normally cynical glimpse, and a warm smile to Michael’s innocent face.
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Some examples: There is a lone, shadowy child on this apparent ‘dream train’ to the North Pole – a girl of about ten or eleven years, and like a painting reach to life, the miraculous technology at work in this film captures the particular sensibilities of this compassionate, dark youngster — We gawk limited mannerisms of someone comfortable with herself in a contrivance the other (ten or so) white kids on the disclose are not. And the conclude is profound — the movie audience, including some children of that same age group, went calm at such moments in the film.
My friend Michael – who has a ‘savant’ genius for perceiving my emotions, and expressing them for me out loud in public — Michael turned to me with a glad smile when the girl on the utter reaches out to contain the hands of the poorest boy, sitting alone in the rear compartment; and later, she hugs two other boys, (one of them the central character) — at their final parting. At that moment I held up a finger to my lips to try to hush Michael, but couldn’t prevent him from saying aloud: “She’s such a sweetheart.” There were murmurs of appreciation in the darkness around us, responding to this innocent sentiment.
There is a sublime moment, on the serve platform of the inviting whine — the Northern Lights glimmering in the distance — when the young girl joins in song with the poorest kid on the yelp (a younger boy from a weak home on the “far side of the tracks”) . I admit to being overcome with emotion during this duet (a magnificent, strong melody with poignant lyrics) – and I blurted out loud to Michael, after the first chorus: “What a extraordinary song!” The refrain includes the words “When Christmas comes to town.” [It's a song so splendid that, with some future 'cover versions' by serious musicians who could do it justice --- this "Christmas Comes to Town" song could, I enjoy, deservedly join the puny list of correct, Christmas 'classics.']
I’d have to agree with anyone who thinks this movie is a dinky short on residence. And yet . . . once you’ve suspended disbelief — beginning with an earth-shattering, Christmas-eve arrival of a steam-puffing, passenger remark on a small-town Michigan street, directly outside the home of the movie’s central character — once we’ve swallowed that premise, the movie disarmingly embraces the child in us, (including our fears) and our reservations vanish without our noticing.
Just as titanic `realistic’ painters, (consider Rembrandt or Vermeer) worked wonders of light & shadow that no mere photograph could ever assume, so too this computer-animated marvel takes your breath away through an accumulation of exiguous but acute observations that could never be captured by broken-down cinematography. Prime examples from the opening scenes:
A shaft of light illuminates the boy’s bedroom, and he is reflected in a chrome, automobile hubcap leaning against a wall; at once we fraction his plan — through the keyhole of his bedroom door – we can stare only the backs and the dressing gowns of mother and father, as they say goodnight to the boy’s young sister, after determining the plot of her plan in Santa’s existence – a concept no longer shared by the older brother, whose gawk is at the keyhole.
Later, on the converse, there’s an pretty discontinuance up of the boy’s face, a puny blemish above the pores on his upper accurate cheek; the `camera’ pans in rotation, capturing perfectly, the texture of the boy’s hair, and that of the young dim girl sitting beside him — subtleties of such perfection one wonders if the fresh, artistic accomplishment of “Polar Train” could ever be surpassed.
The film’s last scene, consists entirely of a close-up opinion of a runt, silver bell (of the type associated with sleigh rides) with its attached ‘ribbon’ of red leather. The tiny bell helps effect the final point about `Belief’ — in things unseen, (or forgotten, and thus inaccessible to some adults) . So simple, so much, so enlightening an image. My friend Michael turned to me at that moment, with a splendid smile. And we objective shook our heads in terror.
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Yes, this movie must have SOME shortcomings – one or two moments that don’t quite work as intended by the creators. But fair now, in the afterglow, I can’t lift what they were. The film was fair too satisfying an experience!
I’m a 57-year-old grandfather who happens to beget that “The Polar Articulate” is the first, upright Christmas classic in almost 60 years. Not since the fresh Kris Kringle “Miracle” movie of 1947, has any film (to my jaded explore) so transcended our secular, commercial views of the Holiday Season, with such uplifting and unusual reminders of the timeless and apt spirit of Christmas.
Mark Blackburn
Winnipeg Canada.
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