dalwood / good grief
Besides torrentially dripping with heart, this film exemplifies some of the most powerful mechanisms of film. By weaving the stories through each other and offering layers of wordless and colorful details, the mind is engaged on many levels. For instance the fact that the water spigot is dripping in one frame with the dog and in the next he has stuffed a tennis ball into it. The opportunity to notice and connect the dots, to not be able to predictably foresee what will happen next and thus to anticipate…this loudly or subtly invites the viewer to participate. In order to feel that one is ‘getting it’, one must get on the ‘wavelength’ of the film and actively engage with the storyline. Each frame poses a question that the next, or one down the road, will answer…with yet another question, drawing the viewer in. No amount of special effects and high production value can surpass this process of ‘viewer participation’ in creating an entrancingly watchable film, one that fires up all the senses. The mixture of sweetness and adult complexity is also reminiscent of Jim Henson’s work. It also harks to one of the tools of overcoming grief with compassion: that although terrible things happen, if you are able to stay open and observant, you will see, detail by detail, that many more wonderful things are happening as well, in every moment. Not bad for some clay and lights.
Blog written by Vera Long
Tags: dragonframe, fiona dalwood, good grief, stop motion animation