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Review: Get under its shell and you’ll be charmed by ‘Memoir of a Snail’ and its unique loner

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Review: Get under its shell and you'll be charmed by 'Memoir of a Snail' and its unique loner

As a cinephile who has traversed the cinematic landscapes of countless cultures and genres, I must say that “Memoir of a Snail” is undoubtedly one of the most unique, poignant, and captivating films I’ve had the pleasure of experiencing. The filmmaker, Adam Elliot, masterfully weaves humor, heartbreak, and raw humanity into a tapestry that leaves an indelible impression on the soul.

In my perspective, a snail is both soothingly comforting yet subtly disconcerting. Its decorative shell serves as both home and protection. The slow pace at which it moves, often leaving a trail of slime behind, can make it a bit messy, though hardly offensive. However, for Grace Pudel, the main character in Adam Elliot’s latest animated film “Memoir of a Snail,” this creature is more than just a gastropod; it symbolizes the life she has accepted. For her, snails – whether the live ones she nurtures or the handcrafted trinkets she collects – represent the solitude she embraces, a solitude she struggles to let go of, like a shell she’s unsure how to discard, let alone live without.

In simpler terms, Elliot’s title character, Grace, is likened to a snail and is always seen wearing a hat with eyes made from juggling balls that resemble tentacles. The movie we’re watching, titled “Memoir of a Snail,” is a deeply emotional tale filled with sorrow and pain, yet it also includes crude humor, physical comedy, clever wordplay, and subtle visual jokes. This film, which was awarded the best film at this year’s Annecy Animation Festival and the BFI London Film Festival, is a remarkable achievement and is undoubtedly one of the top films of the year. It will be released in theaters on October 25th.

At first encounter, Grace, portrayed by Sarah Snook with a hint of bittersweet sadness, is seen holding the hand of her long-term companion Pinky (Jacki Weaver). Unfortunately, Pinky passes away shortly after. This event is just one among many losses that Grace has experienced throughout her life. With few others to confide in, she finds solace in Sylvia, her beloved snail, who shares her name with the renowned author and poet Sylvia Plath. Grace then goes on to narrate her personal tale, both to Sylvia and, indirectly, to us.

She begins at the very beginning, when she was yanked (prematurely, as it happens) from the womb she shared with her twin brother, Gilbert — a moment that left her an orphan with a cleft palate. Such a loss shatters the possible happy family Grace and Gilbert (Kodi Smit-McPhee) could’ve had. Instead, the bookworm twins are forced to witness their father, Percy, further wither and drink himself away: He’s a former Parisian juggler in a wheelchair after being hit by a drunk driver.

After Percy’s passing, the twins are divided: Gilbert is relocated to a family in Perth who exhibit strong religious beliefs, while Grace goes to live with a free-spirited couple in Canberra who practice nudism and swinging lifestyle. This narrative bears a resemblance to a contemporary interpretation of Roald Dahl’s work, incorporating his unique wit and affinity for the sharp, sometimes cruel realities faced by both children and adults, yet infused with Elliot’s more melancholic, though equally fanciful perspective.

In the film “Memoir of a Snail,” Elliot skillfully paints a complex picture of a woman, tainted by past hurt, yet far from gloomy. The term ‘wounded hoarder’ might not fully capture the essence of this production. This is no somber storyline. Instead, it’s brimming with vibrant secondary characters, such as the spirited Pinky, who, despite her personal hardships, maintains an infectious enthusiasm for life. The Australian filmmaker cleverly intertwines Pinky’s extraordinary anecdotes, like her husband being devoured by a crocodile, with dry wit, aiming to both amuse and soothe the audience. (The shy yet contented crocodile serves as a humorous punchline.)

In this film, Snook’s dry delivery aids me significantly. Her straightforward narrative about the extraordinary events she relates gives them a sense of authenticity that resists melodrama or evoking pity. Instead, it invites us to connect on an empathetic level and ponder the inner lives of characters we might otherwise dismiss. This sentiment is echoed in the tangible quality of Elliot’s stop-motion clay figures. Their irregular forms are not flaws but testaments to their handmade origins, symbols of genuine craftsmanship rather than adherence to a strict realism.

In the vein of his previous works like “Mary and Max” (2009) and the Oscar-winning short “Harvie Krumpet” (2003), “Memoir of a Snail” continues Elliot’s knack for navigating the delicate balance between humor and melancholy, darkness and light. Despite the monochromatic tones of Grace’s world, Elliot breathes life into this color scheme with his unique storytelling. It’s only through a director as deeply connected to his character’s journey that the snail, our titular hero, becomes both charming and a symbol of playful potential. The intricate design of its shell serves as a beautiful metaphor for the art of looking back in order to progress.

Though it delves into intimate details, ‘Memoir of a Snail’ stands out as a remarkable creation. This heartfelt animated movie reveals Elliot’s humanistic approach, as he seemingly molds his ‘clayographies,’ or films, directly from the very core of life.

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2024-10-26 03:01

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