Up
I think I read somewhere yesterday that raving about Pixar is positively cliché at this point. It’s probably true. So here you have it, me being cliché. For those of you who don’t want spoilers, feel free to skip the rest of the post, but when I write about movies I see it’s rarely in review form—there are a lot of reviews out there that are more eloquent and incisive, and mine are just jumbled thoughts.
I saw Up yesterday with three friends, and about ten minutes in I could hear sniffling from both sides of me. I dare anyone to sit through the Carl and Ellie montage just after the prologue and not cry. It was like a sobbing game instead of a drinking game: every time Carl takes out the Adventure book, you cry. Every time the slower, reflective music plays, you cry. Every time there’s a close-up of the bird and photos on the mantelpiece, you cry. And so on. It wasn’t sad, per se, but touching.
I look forward to very few films these days, a result of overexposure and inertia—the growing trend of my inability to become excited. But Up, not so. Blah, blah, Pixar pushes the boundaries of animation once again, what haven’t you heard before? I’m not an expert in animation, but I do know about story. And what I keep seeing from Pixar, again and again, is that just because a film is animated doesn’t mean it’s for children. Animation is a medium for storytelling, and Pixar’s latest deals with themes I highly doubt young children will fully grasp (like Wall-E and Ratatouille, which I think appeals more to adults anyway). On the basest level, the protagonist is an old man who tries to cope with his wife’s death by going on the adventure they’ve always dreamed of, to Paradise Falls in South America. I can’t really explain it better than director Pete Docter does himself:
In part it was based on this idea, what I was talking about earlier, the fantastic adventure that Carl thinks his wife really wanted, this adventure of going to the ends of the earth and seeing rare, exotic creatures that no one’s ever seen before and doing these amazing things. And, of course, he realizes that what she really wanted, and what she had, and what he had as well, is this most incredible adventure of all, which is the relationship that the two of them had. And so it was kind of working backwards from that punchline that led us to these other characters and tried to weave them in in a way that supports that theme.
How they do it—well, that’s really best seen on screen. All the trailers show Carl’s house attached to a million helium balloons, and Carl unexpectedly stuck with insufferable Wilderness Explorer Russell, an exotic female bird named Kevin, and a talking dog Dug who doesn’t really talk. Oh, and a vindictive childhood hero. That sums it up pretty well.
It was fantastic, though I’m quite sure I won’t be able to hear that music again without crying. Also, Apparently Russell is based off of Peter Sohn, the animator who did the voice for Emile in Ratatouille and director of Partly Cloudy, the short we saw just before Up. That just gives me a bubbly good feeling inside.