May 14, 2021

The great adventure of the Lunnis and the magical book: The controlled imagination | Culture

The great adventure of the Lunnis and the magical book: The controlled imagination | Culture



The Lunnis, program of Spanish Television organized from dolls, interaction with human beings and songs, was created in 2004 to cover that children's space that in other times had occupied historical puppets as The electroduendes, within the space of The Cristal ball, and those of the mythical Sesame Street, both in its American version and in the Spanish adaptation.

THE GREAT ADVENTURE OF THE LUNNIS AND THE MAGIC BOOK

Address: Juan Pablo Buscaini.

Interpreters: Carla Chiorazzo, Bruno Oro, Ramón Barea, Lucrecia.

Gender: childish. Spain, 2019.

Duration: 90 minutes.

Since then, and in the Clan channel after its inauguration in 2010, it has been becoming a landmark in contemporary television, where it has also had to deal with infinite more competition than in the TVE of yesteryear. But, despite having diversified in different formats (The Lunnis and their friend El Quijote, The Lunnis on wheels), perhaps of debatable creativity, had never been launched with such an ambitious product as the feature film The great adventure of The Lunnis and the magic book, coproduction with Argentina directed by Juan Pablo Buscarini.

Searchini, director of another work that fused animation with real action, Perez, the mouse of your dreams (2006), and with experience in pure and hard animation (Noah's ark), the teenage cinema (Tini: the great change of Violetta) and the fantasy (The inventor of games), has made a film only suitable for the little ones, in which the older companions will hardly get anything out of it unless they see how their children react. However, and despite the fact that the interiors are more successful than the exterior ones, with woods, skies and recreated nature, which are somewhat corny, the whole is endowed with a certain dignity.

Starting from an enthusiastic praise of imagination, fantasy and poetry, the script goes in an unoriginal and risky way to irreproachable stories: Alice in Wonderland, The Wizard of Oz, the legend of King Arthur, Hamelin's futist, the Perez mouse (with the same design as in previous Searchini movies) and even a touch of The engaged princess ("Again, grandfather!"). But in the school sequences it's nice to see kids and puppets interact (the already classic Lucho, Lupita and company) without anyone having to explain it, as a nice metaphor of equality. And, above all, the dances and songs, some of people as settled as Gille Milkyway, give off an uninhibited tone not without some elegance.

Of course, the film is an unequivocal product of this time of delicacy and correction, including the final redemption of the villain. The times of The Cristal ball, the electroduendes, "Long live evil, live capital!", "I am trouble and I aspire to a mayor's office" and "Bankers are careful and the poor suffer certain problems", with which many grew up, are now simply unthinkable.

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