In just 40 short years, puppets and animatronics have moved from family film staples to horror stalwarts. What happened?
This article first appeared in Film Stories issue #52.
In 2004, aged somewhere between four and five, I saw two films in the cinema which would prove oddly formative, in very different ways.
The first was Harry Potter And The Prisoner Of Azkaban – Alfonso Cuaron’s wizarding world mega-hit that marked the franchise’s turn from Chris Columbus’ family-friendly adventure flicks to something… stranger. The second was Robert Rodriguez’s Christmas classic The Polar Express, the first film crafted entirely from digital replacement animation. Both scared the heebie-jeebies out of me.
The fight-or-flight moment in Potter was understandable – the transformation of the nice professor lupin into a malnourished werewolf-creature is quite literally the stuff horror fiction is made of. But the moment in The Polar Express which stuck with me far more than a snarling supernatural beast comes relatively early in the film, when a young, dressing-gown-equipped Tom Hanks is left alone in a train carriage filled with old toys on their way back to Santa’s workshop.