Charlie Kaufman and Duke Johnson’s Anomalisa is a modern-day manifestation of the goals of the surrealist movement as establish some 90 years ago.While this review was written without the benefit of any special knowledge of the process by which Anomalisa was created, (and process is central to surrealism), what we experience as an audience is Kaufman’s ability to make visible the very process of thought, just does Andre Breton declared as the goal of the surrealist project in 1924.
In Anomalisa, we see the world through the eyes of a successful business group, Michael Stone (voiced by David Thewlis) who is in Cincinnati as keynote speaker to a conference on customer service. The stop motion animated puppets are all strikingly similar, all voiced by the same actor (Tom Noonan), regardless of gender, age, or other individual qualifiers. All, I should say, except Michael and a customer service rep/groupie of his named Lisa, (voiced by Jennifer Jason Leigh). In fact, it is her voice that first attracts Michael to her. Obsessed with meeting the woman whose voice stands out against the aural monotony of everyone else, he tracks are down and finds that she also looks different from everyone else. And while her personality, intellect, and appearance are all very generic, Michael find her fascinating and irresistible simply because she is an anomaly.
Anomalisa is a film that raises a lot of different issues within the small world of these characters. Stone is a man in search of something different. He’s mastered his profession and, like many middle-aged people, has lost the passion that brought him through his career. He’s also come to realize how very generic the world is. Even as we all know that each individual person is unique, we are more similar than we are different, and so Stone is at a point where he desperately needs to be challenged with something or someone truly different. In his pursuit of “something different,” Stone latches onto Lisa without really seeing who she is. It’s as though he’s actually imagining her and not really seeing her for who she is.
The film shows Michael’s skewed perception quite directly, both through the use of sameness in voice and appearance of the characters and by showing the plainness of Lisa and Michael. It struck me in a sex scene between the two characters that you could never see this in a live action film because lead actors don’t look like real people for the most part and if their bodies do, they are usually not shown in sexual situations. It was strangely fascinating to see two people making love who, despite the fact that they are animated, more closely resemble the average person than any actual actors do in American cinema.
Kaufman, who wrote Eternal Sunshine of the Spotless Mind, Adaptation, and Being John Malkovich, to name a few, and directed the highly underrated Synechdoche, always brings a touch of the surreal to his scripts, here succeeds in creating a world that is both absurd and totally recognizable, filled with characters who are irrationally rational, in a story that is very real but told with unreal visuals. It is at the core of the Surrealist ethos to occupy the spaces between the real and unreal, the logical and illogical, the rational and irrational, conscious and unconscious. Kaufman always succeeds in doing this in fresh ways that take Surrealism into the 21st century without reducing the power of that movement’s potential. He is a breath of fresh air in a cinematic landscape that resembles the world of Anomalisa, filled with strikingly similar films that no one seems to recognize for their dullness. I am so glad this film has been nominated for the Academy Award for Best Animated Feature. I saw it last year and I hope Cape Codders will get the chance to see it now that the Oscar nomination has brought it to mainstream consciousness.