I have to shamefacedly say that although I have liked most of what I have read of Mark Twain, the actual amount of stuff I've read is pitiful – some of his famous adventure stories (the Tom Sawyer and Huckleberry Finn novels, and The Prince and The Pauper) and some of his short satirical pieces. I suspect most of the general public is like that, they've heard of Twain and possibly gather his several quotable sayings to impress at social gatherings, but not read a good deal by him (as goes for George Orwell who in popular perception has written nothing apart from Animal Farm and 1984). Will Vinton, the man who made this wonderful Clay-mated film, is unlikely to fall in this category, having gone to such lengths to pay tribute to the author.
The Adventures of Mark Twain is a sort of meta-fiction based on Twain's “association” with Halley's comet (his birth and death were remarkably coincident with sightings of the comet and in his lifetime he even predicted his demise with the words I came in with Halley's Comet in 1835. It is coming again next year, and I expect to go out with it. It will be the greatest disappointment of my life if I don't go out with Halley's Comet. The Almighty has said, no doubt: ‘Now here are these two unaccountable freaks; they came in together, they must go out together.). Twain in the film actively sets out to meet his celestial brother in a tricked-out dirigible (stripped of the fantastic overtones it implies a fatalistic, perhaps even suicidal frame of mind) and tagging along for his journey as stowaways are Tom Sawyer, Huckleberry Finn and Becky Thatcher (who Twain in the film describes as reminding him of his late wife “that same combination of innocence and sand”).
In this framework, Vinton references several of Twain's works (the biggest chunk reserved for a humorous interpretation of the Adam and Eve story) and even constructs many scenes around delivering those aforementioned quotable sayings. I can't say I recognize the source of a lot of these references but they do sound like things that the author would have said or written. Not unsurprisingly, the film doesn't have a single strong dramatic trajectory, but is more a meandering journey with a series of little stops. This is not a slur against the material, it generally works pretty well, and invests the central character with a depth not obvious from his popular image. This is most significantly observed in the film's allusions to Twain's last book The Mysterious Stranger – here an angel named “Satan” holds forth unchallenged on the pointlessness of civilization's belief in a benevolent God. This section stands apart from the other sequences of the film in how obviously sinister and nihilistic it is, and has the potential to give nightmares to children of unwary parents.
Literary leanings aside, the film is a fine watch, and a spectacular example of the Claymation process. In the hands of skilled artists with solid vision, it displays far more personality and palpable emotional impact than the computer generated animation we see so much of these days. You will notice that the screens from the film look pretty but in motion the impact is far greater. Even without knowing anything about its titular character you will find an abundance of charm that in itself makes The Adventures of Mark Twain a worthy journey.