When it comes to the Oscar nominees for Best Animated Short, you can usually divide the selections into two broad categories. There's the deep emotional tales that tell a complete story say, 'Harvie Krumpet (2004)' and 'My Love (2006)' and then there's the one-joke comedic shorts, which are typically enjoyable but inconsequential five-minute distractions. As such, I'm usually disappointed when the latter category earns themselves nominations, as I can't escape the feeling that there's a profound, meaningful alternative out there that I'll now never hear about. 'Maestro (2005),' directed by Géza M. Tóth, inspired this type of mild, illogical resentment; it's good, but it's nothing special, a single funny joke that takes a full five minutes to even approach its punchline. This is not necessarily to say anything negative about the short, merely that its ambitions were quaint from the very beginning. Not every animated film should say something profound about the state of human existence, and perhaps I should simply enjoy this little gag for what it is.
In a dark dressing-room, as a chicken-like opera singer prepares for his next performance, a nifty mechanical device industriously grooms him for the big moment. As the machine goes about its duties pouring a martini, applying make-up, dusting off clothing the camera, in one clever long-take, continually carves a 360-degree path around the Maestro, shifting in one-second increments like the second hand of a ticking clock. The computer animation is smooth and crisp, doing a fine job of readjusting to the rapidly-changing lighting conditions as the camera consistently circles. The suspense of the big moment is prolonged, to such an extent that the five minutes preceding the all-important punchline seem stagnant and expendable once we know what is about to happen. I don't think that this short will hold up on repeat viewings, and, indeed, I don't feel any inclination to watch it again (which is where it differs even from Pixar shorts like 'Geri's Game (1997),' which I could watch all day). 'Maestro' is worth a look, but it's not one for posterity.
In a dark dressing-room, as a chicken-like opera singer prepares for his next performance, a nifty mechanical device industriously grooms him for the big moment. As the machine goes about its duties pouring a martini, applying make-up, dusting off clothing the camera, in one clever long-take, continually carves a 360-degree path around the Maestro, shifting in one-second increments like the second hand of a ticking clock. The computer animation is smooth and crisp, doing a fine job of readjusting to the rapidly-changing lighting conditions as the camera consistently circles. The suspense of the big moment is prolonged, to such an extent that the five minutes preceding the all-important punchline seem stagnant and expendable once we know what is about to happen. I don't think that this short will hold up on repeat viewings, and, indeed, I don't feel any inclination to watch it again (which is where it differs even from Pixar shorts like 'Geri's Game (1997),' which I could watch all day). 'Maestro' is worth a look, but it's not one for posterity.