Tin Toy has always been exampled as a technical avant-garde work of art, from the CGI/3D perspective. That's true, but what in this animation short is interesting for me, is its short but enough dramatism of love and the philosophy of love. One can mention this film as a good example of drama: First of all, we meet a classic toy. Soon after, we watch his eyes which start to move around, and this is the beginning step for us to enter the fantastic universe of Mr. John Lasseter. Then a bald baby with a very big diaper enters the room, and the dramatic question is being created: he plays with his toys so that he likely breaks them; so Tin Toy fears him and wants to escape. During the next minute, we watch his escape, and there is a very cinematic short sequence where he unintentionally enters his own box and the camera/cadre's movement continues in silence, which reminds me some of the great movies of Sir. Alfred Hitchcock, like the Rear Window (1954) and Vertigo (1958). Then we watch the baby coming near and nearer as Tin Toy's PoV, and this shot somehow has aspects of horror, to be honest! Then Tin Toy manages to escape under the bed and now he meets other toys who already escaped there. This is the point which he has fulfilled his dramatic intention. But then the baby falls down and starts to cry, and here is the turning point of the drama: Tin Toy should decide on staying there and saving his own life, or going out and helping the baby. He chooses the latter, and becomes a true lover, and a love itself. He entertains the baby and makes him stop crying and laughing again; and as one can always see in every love affair, the baby forgets him very soon and start to play with the toy's box, instead of the toy itself! Tin Toy gets angry and tries to play with him more, and they get out the room while we can see the baby's cheerful voice. This is how this short drama ends.
