The Triplets of Belleville

Year: 2003
Country: France
Director: Sylvain Chomet
Watched through: library DVD
Also known as: Les Triplettes de Belleville, Belleville Rendez-Vous

The scenario: After Madame Souza notices that her grandson, Champion, is happiest on a bicycle, she trains him to compete in the Tour de France. Not all goes well in the race, however, as Champion and two other cyclists are kidnapped by the mafia. Madame Souza sets out on her own to rescue her grandson, but is soon assisted by three elderly jazz-singing sisters known as the Triplets of Belleville.

First impressions: Having heard this movie described as “blissfully bizarre,” I was eager to see it when I first about it around 2004. I rented to the DVD to watch with a friend, but my rather conventionally-minded pal found the imagery in the opening scene too gross to watch and made me stop the movie after seeing only two minutes. Needless to say I was disappointed, but I re-discovered the film a few months ago and enjoyed it immensely.

Plot and story: This film is a sort of surreal mystery/drama/musical/gangster film/comedy, which is to say that its story is pretty stand-out in the animated film arena. Everything in this film is so deftly original that there isn’t a single uninteresting second. The simple but nuanced plot unfolds with admirable clarity (especially considering there is almost no dialogue), and not a second is wasted in the short running time. The race to save Champion from the mafia is suitably gripping, and everything is fittingly (if bizarrely) resolved at the end. 18/20

Characters: I’ve seen many people complain that since this film lacks dialogue it doesn’t have much in the way of characterization; I disagree. Because the visual storytelling and character animation are so good, a great deal comes across without ever hearing the characters talk. Some of the characters don’t go beyond one-note personalities (most notably the mafia agents, but more disappointingly, Champion); however, our main protagonists have very distinct personalities. Madame Souza is resourceful, determined, and courageous, even when she is out of her element in the strange city of Belleville. The Triplets are an odd but compassionate bunch, and their dinners are quite hilarious. Even Bruno the dog has a personality, being a loyal but rather lazy companion. It is really clear how much thought and effort went into these characters, and they give the film its heart. 17/20

Voices: There are hardly any, as mentioned before. Champion and Madame Souza have only one spoken line each (though Madame Souza sings briefly), and most of the remainder of the talking is just incidental TV broadcasts, radio noise, or sports announcers. The Triplets do most of the singing, but they never speak. This sparing use of voice is another element that sets this film apart from its animated feature brethren. Though some may find this approach jarring, and others may even find it dull, I thought it was another of the film’s strengths. The one thing I didn’t like was Madame Souza’s singing voice. 16/20

Music: Again, since most of the storytelling is visual rather than dialogue-based, the music has to work extra hard to convey the mood of every scene. And, in this respect, the background score works excellently. The Triplets’ signature song, “Belleville Rendez-Vous,” which appears several times, is repetitive yet properly catchy. The most interesting bits of music, however, are the instrumental jams improvised by the Triplets and Madame Souza. With a refrigerator, a vacuum clear, as newspaper, and a bicycle wheel, these four create some of the most original, catchy, and quirky music I’ve ever heard in any film, period. 18/20

Visuals: Both the characters and the settings of this film are stylized to the point of caricature, and some have complained that the visuals are a bit on the grotesque side. Again, I have to disagree. Though the designs may be unusual, the visual creativity of every character and background leaves something to smile about in every frame; Madame Souza’s two different shoes, the fact that her house bends to accommodate a monorail line, the absurd steepness of the streets, the ocean liner that’s bigger than the town it harbors in, the parody of the Statue of Liberty. . . all of these details add something to this film’s peculiar mix of wit and heart. So, with great designs, darn near perfect animation, and a fantastic color palette, the wonderful visuals are the icing on the cake of this wonderful film. 19/20

Overall grade: 88/100 (A)