J.B. Spins

Jazz, film, and improvised culture.

Tuesday, December 22, 2009

An Animated Joy: Sita Sings the Blues

Dumping someone over e-mail—how lame is that is? Self-taught animator Nina Paley found out first-hand, when her jerk of a former partner ended their relationship after accepting a supposedly temp gig in India. At least the experience provided the seeds of inspiration for her debut feature, Sita Sings the Blues (trailer here), which finally receives a legitimate New York theatrical run after wowing the festival circuit and experimenting with online distribution methods.

The life of Rama deeply inspired the Muslim-born Hindi poet Kabir, whose work has been stirringly set to music by the ecstatic Sufi Qawwal singers. Following in that tradition, Paley enlists the voice of Annette Hanshaw, a popular vocalist of the 1920’s and early 1930’s often backed by top band-leaders like Benny Goodman and the Dorsey Brothers, to tell the story of Rama’s long-suffering wife Sita. Though she retired early, her playful, bluesy style and her impish sign-off, “that’s all,” have maintained Hanshaw’s cult-following over the decades. Her songs of flirtation and heartache now give voice to Sita, who despite being the Earthly incarnation of the goddess Lakshmi, was still done grievously wrong by her man.

Blues retells the parts of the Ramayana (the great Sanskrit epic) that pertain to Sita, from her perspective. She willingly follows her husband into exile when his father is forced to banish him. Their time in the literal wilderness is actually quite happy, until the fateful day King Ravana of Lanka is manipulated into kidnapping her. As we see Rama and Sita devastated by their rough separation, we also witness the contemporary parallel story of Nina and her husband Dave. She also finds the considerable distance between them quite troubling, but for him—not so much. The stressful time spent apart would ultimately undo both couples.

Paley frequently switches gears visually, employing a wide variety of animation styles for each portion of her narrative. Sita and Rama come to life both as ornate figures inspired by Indian classical painting and more whimsical cartoons for Hanshaw’s musical interludes. Nina and Dave are simpler—not quite Terrance and Phillip of South Park, but nowhere near as sophisticated as the various Sitas and Ramas. Giving it all structure and context for western audiences are Paley’s narrator friends, represented in stylized silhouettes. While their improvised commentary might confuse as much as it illuminates, Paley’s accompanying animation is frequently hilarious, even approaching brilliant.

Paley’s film is chocked full of clever bits of business and some sharp dialogue. However, its finest moments come when marrying the music of Hanshaw with the ancient, exotic tragedy of Sita—her rendition of “Mean to Me” being a particularly apt standout. Indeed, the blues are truly universal.

Though it has a very grown-up sensibility, aside from the occasional cursing, it is by-and-large appropriate for audiences of all ages. Absolutely charming and consistently inventive, Blues is far superior to anything released by Disney, Dreamworks, or Pixar in recent years. As a free content advocate, Paley has Blues available for free on several online sites, but it deserves a big screen and an undivided attention. Probably the most genuinely entertaining animated film of the decade, it opens appropriately enough on Christmas Day at the IFC Film Center.

(Images: www.SitaSingstheBlues.com)

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