Adam Elliot is a highly respected stop-motion animator lauded for his personal semi-biographical projects executed through darkly comedic storytelling and mixing of optimism with bitter reality. Having been recognized from the Oscars for his psychological short film Harvie Krumpet, among many other projects, it's clear how much love and dedication he puts in his work through traditional filmmaking rather than the aid of anything commercial. As for the multi-award winning film itself, it summarizes just how much fun one can have with their own story through provocative themes and hysterical scenarios.
The film details the life story of Harvie Krumpet, a Polish-Australian man who experiences constant bad luck growing up yet always remains optimistic. Given that the film is loosely based on people Elliot knew growing up, be it family or mutuals, the entire story feels heavily inspired with all the different occurrences that dictate Harvie's life, albeit for both the better and worse. Almost told as a comedy of errors, Harvie's entire life feels like one big biography edited down into less than half an hour of shocking detail and hilarious misfortune. In addition, the film showcases a clever usage of random factoids that essentially teach Harvie about the real world even more than school itself, making the tone feel entertainingly educational. Even for all of the dark content and hysterical situations, the film is also very moving based on Harvie's tragic upbringing in Poland, his horribly mundane start in Australia and even putting his own odd yet loving family. From the affection and warmth shown throughout the poor man's livelihood, it goes to show how much good can come from even the worst situations.
As far as filmmaking is concerned, the film was shot on a modified 16mm Bolex camera and partially made in Elliot's garage. Given the limited resources, as well as the noticeably small budget, the final look feels appropriately retro, as if we're viewing someone's life through moving grainy photographs. The more advanced and complex looking set design compared to Elliot's previous work would only advance further with his acclaimed feature-film Mary & Max, adding in to the almost stream of conscious take on Poland prior to WWII and Australia's own Spotswood suburb that Harvie experiences. The character work feels like the work of a one man band, with plasticine structures and limited movements saved by specific facial expressions. The acting is so visually specific that outside of Geoffrey Rush's narration, the entire life of Harvie is all told to let the viewer's make up their own conclusions, almost as if you could watch the film silently and get the same experience. As the old saying goes, less is more, especially with a film that knows how much to tell only by showing.
Not only does Harvie Krumpet deserve all the awards it has gotten in its original festival run, but it marks as the quintessential introduction to Adam Elliot's small albeit powerful filmography. Thanks to a strong meshing of shocking humor with emotional pathos, the film is just as disturbing as it is funny and insightful. Although Elliot has made other projects worth just as much if not more attention as Harvie Krumpet, it's always worth giving the time of day as a solid introduction to a unique individual who has told stories similar to his own upbringing through the art of animated storytelling.
The film details the life story of Harvie Krumpet, a Polish-Australian man who experiences constant bad luck growing up yet always remains optimistic. Given that the film is loosely based on people Elliot knew growing up, be it family or mutuals, the entire story feels heavily inspired with all the different occurrences that dictate Harvie's life, albeit for both the better and worse. Almost told as a comedy of errors, Harvie's entire life feels like one big biography edited down into less than half an hour of shocking detail and hilarious misfortune. In addition, the film showcases a clever usage of random factoids that essentially teach Harvie about the real world even more than school itself, making the tone feel entertainingly educational. Even for all of the dark content and hysterical situations, the film is also very moving based on Harvie's tragic upbringing in Poland, his horribly mundane start in Australia and even putting his own odd yet loving family. From the affection and warmth shown throughout the poor man's livelihood, it goes to show how much good can come from even the worst situations.
As far as filmmaking is concerned, the film was shot on a modified 16mm Bolex camera and partially made in Elliot's garage. Given the limited resources, as well as the noticeably small budget, the final look feels appropriately retro, as if we're viewing someone's life through moving grainy photographs. The more advanced and complex looking set design compared to Elliot's previous work would only advance further with his acclaimed feature-film Mary & Max, adding in to the almost stream of conscious take on Poland prior to WWII and Australia's own Spotswood suburb that Harvie experiences. The character work feels like the work of a one man band, with plasticine structures and limited movements saved by specific facial expressions. The acting is so visually specific that outside of Geoffrey Rush's narration, the entire life of Harvie is all told to let the viewer's make up their own conclusions, almost as if you could watch the film silently and get the same experience. As the old saying goes, less is more, especially with a film that knows how much to tell only by showing.
Not only does Harvie Krumpet deserve all the awards it has gotten in its original festival run, but it marks as the quintessential introduction to Adam Elliot's small albeit powerful filmography. Thanks to a strong meshing of shocking humor with emotional pathos, the film is just as disturbing as it is funny and insightful. Although Elliot has made other projects worth just as much if not more attention as Harvie Krumpet, it's always worth giving the time of day as a solid introduction to a unique individual who has told stories similar to his own upbringing through the art of animated storytelling.