In Lilliput, we await the return of the “mountain man”, the giant who saved the people 40 years earlier. In a sung — and interminable — tirade, King, the king of the kingdom, praises and thus hopes for the one who “will be able to solve one after another the titanic problems”. But the arrival of Gulliver, very small behind a huge door, disappoints more than one. Sentenced to life imprisonment, he will have to go out of his way to convince the villagers of his identity.
The animated film produced in Ukraine, whose screenplay was imagined by President Zelensky, reflects this desire to move forward despite headwinds, to believe in oneself regardless of the challenges and pitfalls encountered. The name of the president in this production makes it easy and quick to establish the parallel between the conflict which separates Ukraine from Russia and that which persists between Lilliput and the island of Blefuscu. Just as the smallness of this people of Lilliputians in front of the gigantism of the adversary participates in the symbolism. But beyond these correlations, this film directed by Ilia Maksimov clings as much as possible to the legendary Gulliver. Thus, like the story written in 1721 by Jonathan Swift, Gulliver is at the center of a political dispute.
But unlike the curious, open man, concerned about other peoples and their culture, the hero here is a being swollen with confidence, advancing with short, hurried steps, guided and saved by the beautiful and fair-haired Marsi, from whom, although sure, he will fall in love. Behind his princely hair and his belt buckle adorned with a huge G, he has all the little pretentious, constantly blessed by the gods, helped by his friends, the faithful and imposing Frelock and Squick, little mouse, companion in front of the eternal , cute and endearing, without whom there is nothing.
Flashy
Easy scenario, loaded with good feelings such as courage, determination, self-confidence that allows you to achieve anything, Gulliver’s New Adventures is ultimately a conventional film that both moves away from Swift and minimizes the courage of Ukrainians. Right from the start, horribly sung by King, the musical comedy spirit sets the tone for what will follow. The action – often accompanied by English folklore – is interspersed with a few songs, simple creations that break the rhythm and make you want to go elsewhere. Added to this is an inconsistency in some elements of the story. There is in particular this notion of “year-day”, according to which a year passes in a single day. We will thus see the seasons pass by without Gulliver and his friends changing a bit. Children, who are particularly sensitive to this kind of detail, are likely to pick up on this element.
We still cling to some interesting facts, particularly that of the Royal Palace of Lilliput, an excess that recalls that of Versailles and its grandeur, like the expectations we have of Gulliver. Just like the egg, a recurring element in this decor and which is at the origin of the conflict at Swift. Finally, a film filled with good intentions, but supported by a light tone and cartoonish characters that take us away from the original story and tend to blur this story that is nevertheless full of meaning.