Movie Review: Klaus
Rated PG for rude humor and mild action
As a former animation student, I like many was saddened at how the hand-drawn medium became sidelined in the early 21st century. While Disney would attempt to revive it stateside with The Princess and the Frog (2009) and Winnie the Pooh (2011), the films did not make much money, and the studio let any further hand-drawn plans sink from sight.
One person who believed in the medium, was Sergio Pablos, who had actually worked for the Disney company on a number of past projects before striking out on his own.
For over a decade, Pablos tried to find investors to bring his film Klaus to life. Finally, Netflix came calling, and the animator’s vision was unleashed to the streaming service, and the world.
After shirking his Postal Academy training, lazy and over-privileged Jesper Johansen (Jason Schwartzman) is transferred to the isolated island town of Smeerensberg, with the caveat that he establish a postal service there within a year. However, the town is the home of two feuding families (the Ellingboes and the Krums), who would rather see the other side defeated than send each other a letter. Even the town’s lone school teacher Alva (Rashida Jones) sees little future in getting through to the citizenry.
Beyond the town, Jesper comes across a bearded man named Klaus (J.K. Simmons). Seeing a large assortment of toys the man has made, Jesper feels that if the kids send letters to request toys from the lone woodcarver, it might be his ticket out of this crazy place.
However, as Jesper begins to put his plan into action, strange things begin to happen to the little island community.
Like a number of productions in the last 20 years, Klaus comes off as another “you don’t know the whole story” story, but it manages to do things a lot more…”traditionally.”
Pablos’ take on the tale of Santa Claus, definitely feels like it borrows from the older Rankin-Bass Holiday specials (right down to the backwards-thinking jerks who want to quash anything happy). Unlike most films these days, this one treads very lightly into the pop-culture references or “music inspired by” graces of American-made productions. It is quite a feat when the story being put on the screen…is actually focused on telling you a story!
Character-wise, Jesper Johansen isn’t that different from the likes of Emperor Kuzco or Lightning McQueen when we first meet him. He’s your typical character who has it all, and then gets knocked down a few pegs. However, Jesper as a character is not quite as “abrasive” as I had feared.
He does have some work ethic, but he just needs to find a way to focus it. It also helps that we do see him doing quite a bit of action when it comes to helping deliver Klaus’ gifts. The fact that he is quite pro-active for much of the film, definitely helps make us start to feel for his character, even if he isn’t entirely truthful at times.
Speaking of Klaus himself, the film portrays him as an enigmatic character: a large figure who seems intimidating, but has a story of his own to tell. Much of his characterization is through little bits of action, and while J.K. Simmons does decent voice-work, it never feels like his voice truly belongs to the gentle giant.
There are also some additional subplots that just feel like overkill for the story.
The subplot regarding the town’s feuding families does get a little flimsy at times. While we do get some scenes regarding the heads of the family, their business within the film just never feels like they’re that much of a real threat.
The town’s school teacher also figures into the plot in a few areas, but it feels like they mainly put her in to give Jesper someone to talk to about the state of Smeerensberg from the inside. She is also given a small character arc, but it doesn’t really seem to be that strong.
The children in the film are what really makes the town seem more alive. As rules are established for the receiving of toys, the children begin to become the more responsible of the citizenry. It is rather fun to see in a few montages, the kids setting a good example to the more “childish adults” around them.
The art style of the film is inspiring as well. The less-is-more approach to the snow-covered backgrounds, will probably put some people in mind of animation production artists like Mary Blair, or Evyind Earle. There is the use of computer-generated imagery for sure, but it blends in so well to the film, that my brain soon stopped analyzing the techniques and got pulled into the story!
Even so, there are moments that did take me back to what hand-drawn animation could do. From the elasticity of Jesper’s facial expressions, to the “heaviness” of Klaus’ overcoat, this is a film that feels magical in more ways than one.
Klaus is definitely a rare film in this day-and-age, and not just because of the artistry on hand here. While some of the story points woven into it feel a little too much like overkill, the tale of how Jesper and Klaus come together really sticks in your mind long after it’s all over. When there’s an emotional scene to be had in the film, it comes across as genuine and sincere…something that often feels missing from a lot of animated features foisted upon the public these days.
Netflix has helped Sergio Pablos create a wonderful new film, that may surely gain a following of it’s own over the years.
Final Grade: B+