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The mark of a classic is a message that endures.
Charles Dickens’ works remind us of the power of compassion; the
novels of John Steinbeck call attention to social injustice; William
Shakespeare’s plays warn of the dangers of hubris and celebrate the
follies and joys of love. To this august company add the books of Theodor
Geisel, who as Dr. Seuss tickled the imagination of millions of children
while giving sound lessons on how to live as decent human beings. Dr. Seuss’ books have been adapted to the big
screen before, albeit with mixed results. Although How the Grinch Stole Christmas managed to deliver the author’s message of acceptance, the theme was
in constant danger of being drowned out by Jim Carrey’s overwrought
performance and a steroid-driven set design. As for The Cat in the Hat, the only message
there was that Mike Myers’ ego comes shining through even the most
extensive feline makeup job. Fortunately, the makers of the latest Seuss
movie adaptation, Horton Hears a Who!, know that delivering the good author’s message
sincerely is of paramount importance, and they do so in a handsome animated
production that expands on the childhood classic without detracting from
its message of tolerance. As adapted by first-time directors Jimmy Hayward and
Steve Martino, Horton is a vibrant spectacle, a film that makes use of all of its
animated tools to bring Dr. Seuss’ book to life without ever
overwhelming the story. The jungle of Nuel, where the optimistic elephant
Horton (voice by Jim Carrey) lives, is suffused with bright foliage and
even more vivid inhabitants. Many of the younger inhabitants follow the
ebullient pachyderm around, and he’s more than eager to teach them
the ways of the world. Although his lessons are questionable in their content, there’s no
doubt that these youngsters imitate Horton’s positive way of life. In
fact, they are the only ones that believe him when he claims that a speck
on a clover is a planet containing a town named Whoville. Although Horton
can hear its inhabitants, no one else does, and as he tries to protect the
village skeptical adults begin questioning his sanity. When Horton’s
pupils start talking to pieces of clover of their own, the paranoid and
hateful Kangaroo (Carol Burnett) hires a scraggly eagle named Vlad (Will
Arnett) to destroy the clover, a task he undertakes with glee. Obviously the book had to be expanded upon to provide
enough material for a feature-length film. Screenwriters Ken Daurio and
Cinco Paul flesh out the inhabitants of Whoville, giving us an idea of how
they live. Most of them view the world through rose-colored glasses,
blissfully unaware of the reason for the earthquakes that are shaking their
world and the sudden change in night and day whenever Horton carries their
world from light to shadow, but the mayor of Whoville (Steve Carell) takes
note and does his best to warn his constituents. They, as well as the City
Council, ignore him, because they’re preoccupied with celebrating the
town’s Who-Centennial. They just can’t be bothered with
Armageddon. The film, which moves along at a brisk pace, is aided
mightily by the cast, who throw their vocal talent behind their characters
with a degree of enthusiasm that matches Hayward and Martino’s
expressive aesthetic. Carrey’s voice is as nimble as his body, and he
finds a tone of joy to underscore Horton’s glass-half-full way of
life. Carell matches him with a sense of ever-growing urgency that reaches
manic levels, and Burnett’s voice simply drips with disdain as
Kangaroo marshals her troops to stamp out Horton’s dream. Although
there are many additional supporting characters added to the film, the
standout is Morton, Horton’s mouse buddy who does his best to warn
him of the danger that threatens him. Seth Rogen’s husky voice
emerging from the diminutive character’s mouth is just one of the
film’s unexpected delights. Adding to the film’s potency is the fact that
its message is so timely. As long as there are those who will use fear and
paranoia to quash those who accept others without prejudice, Horton Hears a Who! will
remain a vital story. This is a worthy adaptation, but I’m looking
forward to the day when the tale can be regarded as a relic and not a story
in urgent need of telling.
This article appears in Mar 6-12, 2008.
