Directors: Tomasz Leśniak, Jakub Tarkowski, and Wojtek Wawszczyk
By Marilyn Ferdinand
Hollywood has been making comic book movies for a long time, and the pace has reached frenzied proportions in the last few years. Much of this product is watered down, mindless, and badly executed, a disappointment to fans of the comics and of films alike. Well, here’s one film made from a comic book I can unreservedly recommend, and it’s the very first animated feature of a comic book to come out of Poland. As a film, George the Hedgehog carries on in the raunchy, irreverent, edgy tradition of such classics as Fritz the Cat and television’s The PJs. Yet, the script is pure Hollywood comedy-action cinema at its best.
In a grungy underground lab, a mad scientist (Grzegorz Pawlak) is feeding American pop culture images and sounds into a computer. The scientist hopes to develop a clone that will be a surefire superstar, win him the respect of the scientific community that has scorned him, oh, and garner him fame and fortune, too. The computer runs like a slot machine through hundreds of possible models and stops on the image of a hedgehog. A hedgehog? Well, the computer can’t be wrong. The scientist sends his assistant (Jaroslaw Boberek) to find the animal and get some DNA.
As it happens, there is a hedgehog in town, a beer-guzzling, skateboarding, womanizing slacker named George (Borys Szyc). He is having an affair with the beautiful blonde Yola (Maria Peszek), who is bored with her nerdy husband but can’t divorce him because she’s Catholic. He is also set upon regularly by Stefan (Marcin Sosnowski) and Zenek (Michal Koterski), unemployed neo-Nazis who pick on him because they can’t get all the women he can.
The assistant notices Stefan and Zenek and offers them a substantial amount of money to grab some blood, saliva, and quills from the hedgehog. He also instructs them to kill George, something they are reluctant to do because he is the only target in the neighborhood they can stomp for being different. In a comic fight, George defends himself with his skateboard, but Zenek bites his ass to draw blood, and Stefan collects his drool and quills. Leaving George to lick his wounds, the pair takes their “harvest” to the scientist who drops it into a machine that whirls him out a clone of George—a vulgar moron who vomits and farts profusely and humps anything in sight. The scientist sets his scheme in motion by shooting a music video of clone George and turning his hedgehog into an Internet sensation and Polish pop hero. But the real George will have to be dealt with sooner or later.
Hypersexed animals and gross-out jokes aren’t my usual cup of tea, but when they are mixed with pointed satire and killer animation, I’m all about it. George the Hedgehog, stripped of the local and timely topical humor of the comic book, takes on bigger fish and fries them black in a way that a worldwide audience can understand. For instance, the idea that a hedgehog could be an international internet star makes perfect sense in the era of YouTube sensations Surprised Kitty (54.2 million views and counting) and Maru (11 million views for just one of his videos). In another example, a sleazy politician (Leszek Teleszynski), who on first glance reminded me very much of Mayor Richard J. Daley (with Chicago being the city with the second-largest Polish population in the world, I have to wonder if this was more than a coincidence), hitches his wagon to the hedgehog to court the youth vote and affects rapper gestures. Anyone who has watched the steady parade of politicians on Letterman, Conan O’Brien, The Colbert Report, and similar shows will recognize the tactic and, if they haven’t given it much thought, become aware that they are being marketed to, not served.
The intelligentsia get a thorough drubbing as they pontificate on a talking-heads program about the bravery of clone George’s performance art—actually surveillance camera footage of him breaking into a sex shop, puncturing with his quills the blow-up doll he starts to screw, and burning the whole place down, thus releasing anatomically correct blow-up dolls to float like fantasy helium balloons over the city. While clone George’s performance had nothing to do with art, the flying dolls are really quite beautiful.
In an interview on Badass Digest, director Wawszczyk said the animators used a cut-out style of animation, or what was pioneered by UPA in the States as limited animation. Unlike the relatively simple cartoons I’ve seen using limited animation, the complexity of the background layering and detail work on the moving figures is very intricate in George the Hedgehog, both grotesque and beautiful.
The send-ups of Hollywood films are many. For example, the showdown between George and clone George at a stadium-style rock concert plays like a cross between the climaxes of Black Sunday and Valley Girl. George’s battles with Stefan and Zenek use the same type of slo-mo found in the Matrix movies. The filmmakers are also inordinately fond of car crashes, starting with a doozy when two policewomen who recur throughout the film see George drinking a beer on a public median strip and run across a busy street to ticket him, causing a major pile-up as drivers try to avoid hitting the women.
The focus on the inconsequential, on celebrity, that had Americans in a lotus eaters’ haze through the past two or three decades has infected Poland as well, only 20 years after throwing off the yoke of Soviet oppression. A truly free and anarchic soul like George exemplifies the genuine pleasures and possibilities of that new sense of freedom, but the creators of George the Hedgehog suggest that Poles are more interested in off-the-truck knock-offs.
George the Hedgehog will screen Friday, October 14, 10:45 p.m., and Saturday, October 15, 10:45 p.m. All screenings take place at the AMC River East 21 Theatres, 322 E. Illinois St.
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