The Triplets of Belleville

"The Triplets of Belleville"

By: Hunter Bush

I've been struggling to get my head into this article. I think the issue is that I have no really strong "take" on The Triplets of Belleville. I just really like it. In an era where far too much animation feels homogeneous, the idiosyncrasies in director Sylvain Chomet's caricatures are profoundly charming, the instances of computer-augmented images feel deliberate and carefully chosen. The story is similarly impressive, what with its unusual central character(s), concepts, style and overall POV, but it's all done is an offhand, non-showy way. It's just really very good. Isn't that enough?

The greater part of Triplets is hand drawn and Chomet's style of caricature is fairly unique to long-form animation. It reminds me a little of Bill Plympton's style, but cleaner and for the most part less cynical/satirical. There are critiques of encroaching modernity and American gluttony, but it feels less meanspirited. There are a few instances of computer generated objects (vehicles, the ocean, elaborate fly-overs) but it's the way I generally like CG: as an ingredient, not the whole meal.

As a director, Chomet is fascinated with turn of the previous century entertainment and culture. Triplets of Belleville opens with a musical number featuring representations of Django Reinhardt & Josephine Baker (among, I'm sure, others with whom I'm less familiar). He also has a segment in the live action film Paris, je t'aime  about mimes falling in love and in The Illusionist (2010) an entire animated feature based on an unproduced screenplay from Jacques Tati about how rock 'n' roll killed vaudeville-era stage magic. Chomet's films are largely dialogue-less, so his captivation with mime makes sense.

His films all also have genuine heart in an adult sense. They're emotionally engaged and nostalgic - making them just the slightest bit sad - and don't shy away from complicated bittersweet feelings. In Triplets, a grandmother has to care for her young grandson after his parents pass away and in an effort to connect with the boy, named Champion, sets him on his way to a world class athlete. Champion only has one photo of his parents, posed around their bicycles, so Grandma gets him a tricycle in the prologue. Once the current timeline of the film sets it, Champion has become a cyclist competing in the Tour du France.

What no one could know is that someone is kidnapping cyclists and transporting them to Belleville (a New York City stand-in) where they'll be doped up with an IV drip of wine and used as the lynchpin of an underground gambling ring. It's really something to see this sinister yet still humorous plan reveal itself because, the film being mostly wordless, you have to just allow it to unfold at its own pace. Chomet balances the admittedly dark subject matter - international kidnapping, doping, gambling, there's even gunplay and explosions - with with his strange character designs and genuine charm, plus Bruno, a very cute fat dog who's as devoted to rescuing Champion as Grandma is.

Grandma is very devoted btw. She's absolutely badass in her determination. Champion is her whole world - she's been his coach presumably since childhood, whistle training him, massaging his muscles, managing his diet, all to help him chase his dream and maintain that connection to his parents. So when Champion goes missing, Grandma uses Bruno's sense of smell to track him to the dock and then rents a paddle boat (20 minute time limit!) and gives chase by *paddling across the ocean* to Belleville and resuming her search! I love Grandma. Watching her cresting the rocky waves in the middle of an ocean storm, Bruno sliding around the small boat's deck, I was smiling and cheering with tears in my eyes. It's just lovely.

But how unusual is it to have an animated film whose main character is not just female but, conservatively sexagenarian? On top of that, as I said, she's a genuine heroine. In fact, Bruno aside, the rescue party is ultimately made up entirely of old women who it cannot be understated, absolutely hilariously decimate the organized crime syndicate in a hilarious and spectacular low-speed chase in the film's finale.

The movie ends on an emotionally ambiguous note, with a now much older Champion seeming to watch the climax of the film on television at which time he remembers a few of the film's scant lines of dialogue; an exchange from his childhood that apparently translates to

"Is that it? Is it over do you think? What have you got to say to Grandma?"
"Yes I think that's probably it. It's over, Grandma."

It's bittersweet, nostalgic - making it just the slightest bit sad -, and just  really very good. Isn't that enough?

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