Motion is not captured; its made. Thats the profound first maxim of studio animationor it used to be, in the days of Ray Harryhausen, the . Today, of course, theres Pixar. Harryhausen made his name counterfeiting motion, making inanimate objectsmostly monster modelsdance. In Mighty Joe Young (1948), Harryhausen somehow inspired a gorilla figure, in a hurtling truck, to spit playfully at his foes. In Jason and the Argonauts (1963), Harryhausens masterwork, seven skeletons engaged in a swordfight. In Clash of the Titans (1981), Harryhausen created creatures so subtly alive that they could act alongside Laurence Olivier.When that last (British) film appeared, however, Harryhausens work was slighted as old hat, since R2D2 and C3PO were already on the scene in Star Wars (1977). That cant have felt goodand Harryhausen retired from filmmaking then and there. Industrial Light and Magic did what it did, but it also sidelined some of the best. At the same time, the animation that has appeared sincefrom George Lucas and then from Pixar and all of the computer-generated imaging studiosends up providing a useful contrast to Harryhausen. The non-puppet monsters, creatures and robots of the past three decades derive their humanity, typically, by clowning. Their humanness comes through in humoroften slapstick. Think of Buzz Lightyear or Rapunzel in Disneys Tangled. These fighters-with-a-funny-streak fall and crash and are brought up short. Thats how you know theyre fallible, and can infer theyre human. But pratfalls-as-shorthand werent the Harryhausen way. His gorillas and dinosaurs and skeletons had a tenderness deep in their physicality, and it informed their every move. That waythe way his monsters bodies expressed profound alienation and longinghe dared viewers to doubt they had beating hearts. It wasnt that Harryhausens monsters were perfect cyborg warriors, or princesses, who had a moment or two of silliness. They were, instead, mortal in everything they did.
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