The film “The Red Balloon” may be considered to be an overwhelming movie, taking into consideration its visual, as well as narrative minimalism. The film also presents outstanding simplicity that grants its extraordinary cinematic power. In the opening scene, Pascal, the protagonist, leaves home for school, and just around the corner, comes across a red balloon that is knotted against a street lamp. Pascal carries his new toy with him, and treats it like a valuable fortune that requires to be protected. It follows that the balloon assumes life and starts following Pascal wherever he goes. This insinuates a wish realization of an imaginary acquaintance.
In this context, the genius of film is that it is a metaphor for youth itself, given that the protagonist is at a period where his dreams lack for nothing. It is also evident that the film accomplishes what Corrigan (2011) may refers as the reasonable narration of an emotional account of camaraderie, savagery, and deliverance.
At the closing of the film, there are other balloons that come to help Pascal and lift him on a balloon ride across Paris. This may be perceived as the allegory for Christ, where the red balloon succumbs and its spirit is resurrected in a multitude of balloons. The balloons rescue Pascal, and safeguard his innocence (Lamorisse, 2016). When the balloons rally to defend Pascal, elevating him high beyond the conflict, the little boy escapes cynicism and despair. In this background, the film features striking cinematography, as well as an ideal illustration of color theory in motion picture, since the visual effects on their own could form and explain the message. The closing scene depicts that compassion and imagination are recompensed, while innocence is preserved.
Corrigan, T. (2011). Short Guide to Writing about Film (8thed). Upper Saddle River, New Jersey:
Lamorisse, A. (2016). The Red Balloon New York City: Doubleday Books for Young Readers
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