Cartoon Saloon is one of those animation studios that has the makings of being the next Studio Ghibli. If not for the infrequency of their movies, they would be already. So far their film output has consisted of mystical explorations of Irish folklore in 2009’s The Secret of Kells, and 2014’s Song of the Sea, the latter of which is one of my favourite animated movies that I've talked about on multiple occasions. But both of those were directed by studio founder Tomm Moore and were entirely original, while their latest movie, The Breadwinner is helmed by Nora Twomey and based on the best-selling novel by Deborah Ellis. However, Twomey and her entire Irish and Canadian team are certainly up to the task, producing a gripping, emotional, and absolutely radiant drama.
Set in Taliban-controlled Kabul around the year 2000, young Parvana sells family goods with her father in the town market until he’s unjustly arrested and taken away. Because of radical Islamic restrictions forbidding her to leave her home without a male family member, Parvana disguises herself as a boy to earn a meagre living for her mother, sister, and infant brother. While finding means to do this with her friend Shauzia, she tries to find out what happened to her father and if it’s possible to get him back.
The plot of a girl disguising herself as a boy out of necessity is one of the oldest storytelling devices, however The Breadwinner gives new context to it by way of the atmosphere, time, and place it’s set in. Following Parvana, we see just how scary and cruel her world is, very early on gaining a full understanding of why she has to do what she does. There’s no comedy at the expense of her cross-dressing, it’s treated as something deathly serious she has to maintain for the survival of her family. And it’s difficult, with a lot of losing fights for her along the way. This is often a grim and depressing story, certainly not for kids of a certain age. It’s commitment to gritty realism and miserable circumstances seen through the eyes of a powerless child reminds me a lot of Grave of the Fireflies. Fortunately, it’s not quite as much of a downer as that film. The harrowing detours are broken up by lighter moments of character development, genuine friendship, and tenderness. The film also borrows a story technique from movies such as The Little Prince and Kahlil Gibran’s The Prophet -wherein a separate story, one more folkloric, is told intermittently throughout the film, in this case by Parvana usually to her brother, which is presented in a different animation style. These sequences do a lot to alleviate what would be a dim tone, while also acting as a symbolic reconciliation of Parvana’s own life, and a testament to the power of storytelling.
Saara Chaudry is the young actress who voices Parvana and she is excellent! She really helps bring to life this wonderfully sympathetic and well-realized character. But more than a protagonist to feel sorry for, Parvana has plenty of moments to show she’s a regular kid, as much as she can be in her environment. She’s imaginative, emotional, intelligent (having been taught by her father to read), and incredibly courageous against insurmountable odds for an eleven year old girl. And I love how storytelling is her refuge. I’m also really fond of Shauzia, voiced by Soma Bhatia, whose relationship with Parvana becomes very important. We get glimpses into her dream, as well as her sad personal life that easily endears her to the audience. She’s essentially the Dodger to Parvana’s Oliver Twist, only more good-hearted. There are villainous characters, but they exist mostly to relay an overarching threat of violence -however of the ones that stand out, they’re given added depth. One particularly nasty character is eventually humanized in a subtle moment, and another initially antagonistic figure, with added dimension becomes one of the movie’s best characters. Parvana’s family is great too: her conflicted sister, adorable brother, and suffering mother, all immensely likeable and actually admirable. Of especial focus in The Breadwinner is how the powers in Kabul treat women and girls; but in spite of this, each of the significant female characters is resilient and strong, making for one of 2017’s most honest and unflinchingly feminist movies.
The animation, as with all of Cartoon Saloon’s work, is magnificent! In spite of how darkly it portrays its setting, it’s one of the most beautiful works of Abrahamic-themed animation since The Prince of Egypt. However it makes sure to convey an atmosphere of unease in its more violent corners. But the characters are animated with stylized grace yet simplicity you can’t help but be mesmerized by. The artistry is equally strong in Parvana’s story, inspired by Islamic tales, about a boy on an ancient hero’s quest, visualized through colourful and energetic 2D stop-motion animation. There’s some damn impressive stuff in these interludes. The music by Mychael Danna is noteworthy too: an unceasingly affecting, elevating score, whether in the films’ turbulent or calming moments.
The Breadwinner is a profoundly rich and impactful movie, and certainly the animation champion of the year. Astoundingly told, fiercely compelling, unapologetically harsh, thematically invigorating, and exquisitely animated, it’s further evidence of Cartoon Saloon’s continuing excellence, and the permanent mark they’re making on the art form.
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