When Sammy daydreams about sawing her potential Black stepmother (Paulina Lule) in half (twice), it is as vaguely uncomfortable. The only break in the magic is, perhaps, Sammy’s visceral fantasy on-screen. They share the same thesis however: wonder, not movement, ties these early media together. Whereas Scorcese directly sourced Melies’ material, Tsang gives the silent trick film an Asian American twist. In “Hugo”-like fashion, Tsang further ties together multiple media – the live show, animated scribbles, and early special effects – to gently suggest their shared beginnings. Other concepts in “Marvelous” are quite charming as well. She builds a believable teen persona, one even worth tearing up with along her journey. Though she never changes outfits and her rebellious energy feels almost textbook, Cech’s Sammy feels like the only one real character in the “Marvelous” universe. Cech’s Sammy, however, is unafraid to get down and dirty. (Perhaps this is because of Tsang’s own strong animation background – with credits in shows like Adventure Time and Steven Universe). The houses are too spick and span the outfits are too color coordinated. Like a Pixar film, the production design behind “Marvelous” sometimes feels too stylized and too sanitary. Miya Cech’s interpretation of a relatable Sammy carries the movie through. Fei Fei may be a child genius, but Sammy is the likeable punk-next-door. But while Fei Fei manifests her frustration into a rabbit-shaped spaceship, Sammy opts for a rabbit-centric magic show. More notably, both protagonists rely heavily upon their mothers’ retellings of Chang’e - the banished empress on the moon. Here too, teenage protagonist Fei Fei (Cathy Ang) is not done mourning her mother’s passing here, she is also equally angry about her father’s remarriage. “Marvelous and the Black Hole” vaguely resonates with Glen Keane and John Kahr’s “Over the Moon,” another recent release about an angsty Chinese teen. Family, she realizes, consists of more than what first meets the eye.
As Sammy learns more magic tricks, she rediscovers the world of wonder.
Margot, it turns out, is not just a children’s party magician she is a wise, but quirky mentor as well. Things take a turn, however, when Sammy runs into Margot the Marvelous ( Rhea Perlman). This does not sit well with her pastel gamer sister ( Kannon), and even less with her workaholic father ( Leonardo Nam). Sammy goes through the motions of a typical teenage rebel: she smokes, tattoos herself, and even skips class for good measure. In this film, Miya Cech stars as Sammy, a goth thirteen year-old perpetually angry after her mother’s death. Now, we see “Marvelous” again in Tsang’s home state of California at Mill Valley Film Festival as a part of its “Mind the Gap” initiative.
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