Mary And Max – A Little-Known Triumph From Down Under
All praise is due to Netflix Play Instantly for allowing me to stumble upon this beautiful hidden jewel of a film. The first feature from Australian filmmaker Adam Elliot, the main creative force behind the Oscar-winning 2003 animated short Harvie Krumpet (which is also superb), Mary and Max (2009) tells the true story of young Mary Daisy Dinkle (voiced by Bethany Whitmore) a lonely eight-year-old Australian girl who lives with her sherry-swilling, kleptomaniac mother Vera (voiced by Renee Geyer) and her taxidermy enthusiast father (a character so sad and dull we never even hear his voice). One day, she decides to pick a name out of an American phone book and write to whomever she finds in this way, in order to ask burning questions about America, such as Are babies found in soda cans?
The person her letter eventually reaches is 44-year-old Max Horovitz (voiced by Philip Seymour Hoffman), a morbidly obese, atheistic man living in New York City who, despite his atheism, was raised Jewish and still wears his yarmulke every day, to keep my brain warm. Sharing a love of chocolate and a sweet innocence that is far more commonplace at Mary's age than at Max's, they begin a 20-year friendship composed entirely of written correspondence. As Mary grows into adulthood, at which point she is voiced by Toni Collette, and Max struggles with his love of chocolate hot dogs (chocolate bars housed in hot dog buns) and subsequent gradual weight gain, their friendship grows and develops into something larger than themselves.
In the wrong hands, this material could have become overly sentimental, and detractors might claim that it is too quirky (that is, if it had actually made it into theaters and been seen by the much wider audience it deserves), but Elliot's gorgeous, painstaking claymation and the excellent vocal work by the two leads (particularly Hoffman, who has never been more convincing) make this a truly remarkable film unlike any other feature I have seen. As in Harvie Krumpet, Elliot brilliantly balances wonderful, whimsical humor with heartbreaking poignancy and creates characters that effortlessly feel more real and alive than at least 90 percent of those found in live-action films.
Throughout the film, as Mary falls in love with her neighbor, Damien (voiced by Eric Bana), and becomes a shining star of academia, and Max struggles with his severe social anxiety and learns that he has Asperger's Syndrome, there are moments that could bring a stone to tears. However, the film never resorts to cheap heartstring tugging; instead, it offers true insight and brilliant poetry, both visually and in the excellent writing to be found throughout. The third act contains each of these in quick succession, first in a gut-wrenching visual sequence involving Mary, and then in a wonderfully narrated letter she receives from Max. The final scene brings both elements together marvelously.
I watched this wonderful film twice within the space of 24 hours, and writing this now, I am compelled to watch it again in the very near future. It is truly rare to see a film in which so many elements – from visual style to writing, acting and the emotional impact imparted by all these – are so utterly flawless. Mary and Max is a treasure that I am happy to have dug out of the ground of obscurity. I highly recommend you take a chance on it as soon as possible.