A couple of things I chose to ignore, or more accurately had selective recall over, when enjoying Robert Zemeckis’ latest film: 1) It’s a true story. 2) It’s a Robert Zemeckis film. Both of these points were made apparent to me at some point, but I feel that their omission from my consciousness during the runtime of Welcome to Marwen enhanced the enjoyment. Let me elaborate…
I find that I treat a film’s structure and plotting differently if it’s based on true events. With a work of pure fiction, there is nothing that screenwriters are beholden to. An adaptation of a true story can sometimes struggle to adhere to regular pacing, and liberties are often taken for dramatic purposes (see: Bohemian Rhapsody). When a non-fiction feature does stray from this theoretical optimal structure, suffers from pacing issues, or has unresolved (or unorthodox) plot developments, it can be understood that it has had these constraints to work within. The best biopics overcome it. Personally, it can often be a compromise.
Despite the title card ‘Based on a True Story’ showing seconds before being immersed in an animated WWII Belgium, the photo of the real-life character that ushers the credits is a surprise. ‘…Marwen’ is based of the story of Mark Hogencamp (Carell), and how he creates and photographs realistic dioramas in his yard. It’s a quaint, simple premise, but is used to investigate the deeper issues affecting Hogie. There may well have been poetic licence used, but the charm and craftsmanship involved in its realisation is impressive.
The same goes for the effects. Robert Zemeckis has made some excellent films. It’s the obsession over pushing animation techniques that has been distracting. The Polar Express, Beowulf and A Christmas Carol saw him furrowing this motion capture path. He has been a pioneer in the area, but in being ahead of the technological curve means the results have been in turns impressive and frustrating. The technology is at a place now where the outcome is more in line with his vision – the effects in Marwen are delightful.
There is a genuine wit and craft in the execution, afforded by both in miniaturisation, and idiosyncrasies of action figures. The Marwen sequences are charming and, importantly, balanced well. You enjoy your time in the strange parallel land, and the attention to detail is extraordinary, but the return to the ‘real world’ aspect is always welcome, as that’s where the stakes take place.
The real scenes and those in Marwen dovetail excellently, and there’s interesting mirroring between the two. The animation is not a gimmick – gives a different and genuinely affecting perspective on Hogancamp’s story. There’s also strands involving cross-dressing and Nazis, which is both true to the story, and give the film an unusual and welcome eccentricity.
Steve Carell is unsurprisingly excellent. It is well known now that he has evolved from his early comic roles, to have a great subtlety and depth. His neurotic and insular Hogie is an all-too-beleivable tragic character. The ‘dames’ that he populates his fantasy world with are all great, from Leslie Mann’s naive neighbour, to Merritt Wever’s loyal companion. The only misstep being Gwendoline Christie’s Anna, complete with honking Russian accent. With such a light touch elsewhere, it stands out like a soar thumb.
Welcome to Marwen is an odd movie, but its heart, wit and execution combine to make for a real gem. We can now forgive Zemeckis, and thank him for his perseverance, as the animation here is fascinating and really serves the story.
A Room With No View 