Tim Burton: A Return to Frankenweenie

On the 10th of October GUM were asked to fly down to the heart of London to see the film that would kick off the acclaimed London Film Festival, the 56th year the British Film Institute have thrown the city into movie-mania.

That film was Tim Burtons new 3D stop-motion masterpiece Frankenweenie, a story about a boy and his dog taken to macabre heights by the ex- Disney animators’ notoriously bizarre mind. Heavily based, as the title might suggest, on Mary Shelley’s classic gothic novel Frankenstein, it’s modern animated counterpart is a surprising return to the early days of Burton and his 1984 short of the same title. It is interesting to see how the world has changed that Disney are now wholeheartedly endorsing the flick after sacking Burton for the same unconventional animations over twenty years ago. For those of us who grew up on a staple of The Nightmare Before Christmas, and more recently the likes of Corpse Bride, will not be strangers to the wonders of stop motion animation- but to see it in 3D and in black and white was a new experience altogether. The films plot rotates around Victor, a young, gaunt boy in typical tortured Burton fashion, and his dog Sparky who gets hit by a car and then resurrected by his stricken owner. With the film being cited as a ‘labour of love” with the director working closely with people of his past, such as Winona Ryder and Caherine O’Hara, as well as long-time musical partner Danny Elfman, the film hits a personal chord any Burton aficionado would be proud of. With a “traveling road show” of actual sets from the film and an Animators Masterclass after the Press Conference (Burton is just how you’d expect him, wild haired and full of impersonations with madly gesticulating hands) the highlight of the film was indeed expounded to be the talent of the animators.

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