Writer: Jana Šrámková
Director: Filip Pošivač
Stephanie Meyer’s variation on the vampire myth suggests the reason they avoid sunlight is that it makes them shine like diamonds. Although not a vampire 11-year-old Tony has a similar condition – he has glowed since birth.
Tony’s over-protective parents literally keep him on a short leash – he is tethered to their apartment where he is home schooled and conceals his skin behind masks and even cardboard boxes. However, the arrival of new tenant, Shelly, gives Tony a reason to wander for the first time. Shelly has an ability to see things overlooked by most people particularly when she employs her mysterious flashlight.
Together the children detect a supernatural creature which manifests as wisps of darkness or a gigantic snake-like creature and has a puzzling relationship with the caretaker of the building. But as it becomes apparent the dark creature feeds on light the possibility arises Tony might be in danger.
Tony, Shelly and the Magic Light, written by Jana Šrámková and directed by Filip Pošivač is stop-motion animation but of such a sophisticated high quality – with swinging camera angles- at times to be indistinguishable from CGI. The larger-than-life quality of the animation helps illustrate the ridiculous nature of the precautions taken by Tony’s parents.
The colour scheme is subtle. Outside the apartment block the streets look like a Christmas card on a large scale, all deep snow and glistening pavements. Inside, the walls of the apartments and the clothing of the residents are discrete shades of purple. In a sweet in-joke Shelly’s mother is dressed as a tribute to Mortica Addams including her skirts falling as tentacles.
Tony and Shelly are contrasting characters. Tony is petit and vulnerable and adheres to his parents’ instructions to conceal his condition. Shelly is more confident and as a result seems older; a massive pair of spectacles gives the impression of an intellectual. Shelly’s relationship with her mother is more complex with an undercurrent of resentment at how her parent’s work has necessitated frequent relocation.
The film is a tribute to the transformative power of imagination. Tony has constructed a ‘fort’ in his bedroom out of blankets and rugs. Under the light of Shelly’s torch this becomes an Aladdin’s cave complete with underground lake while the structures retain the colours and textures of blankets and rugs.
There are delightful touches of humour with Tony’s anarchic younger siblings causing chaos and Shelly giggling at Tony’s shining bottom.
The author and director squeeze a lot into the short running time. The theme of children needing to grow up and even rebel is reflected not only in Tony’s willingness to break free of his restraining tether but also in his mother’s jealously of how he has transferred affections from her to Shelly. The need to be tolerant and avoid judging others, particularly those who deviate from the norm, is a major theme. There is also social comment on the need for housing for people rather than development of office blocks.
Possibly due to the ambitious range, some aspects of the film feel under-developed. Shelly’s ability to reveal fantasy elements seems to run out of steam and ceases to be mentioned. The caretaker is a marvellous visual creation with plants sprouting from his back but his origin as a kind of mythical ‘Green Man’ is not clearly explained. Contrary to the theme of accepting outsiders the conclusion of the film suggests both Tony and the supernatural creature have embraced conventional behaviour rather than their neighbours becoming more tolerant.
It is worth watching Tony, Shelly and the Magic Light to appreciate the meticulous craftsmanship which has produced such gorgeous animation. Although the plot seems a bit crowded, it is impossible to object to the plea for greater tolerance of people society might class as outsiders.
Tony, Shelly and the Magic Light is screening at the 28th Made in Prague Festival 2024 from 31 October to 30 November..
The Reviews Hub Score
Gorgeous animation
