Up, Pixar’s tenth theatrical release and the latest animated feature directed by Pete Docter, is a cinematic expedition that confidently explores the uncharted territory of an over saturated, youth-fixated culture. Most family-oriented adventure stories present their protagonists as youthful, energetic stereotypes that are ultimately too immature to realistically deal with their surroundings and circumstances. The typical result is a weak film focused on forced visuals and characters that feels tried and deflated. This underwhelming formula often sabotages any real story potential, and expectant audience members become captives, rather than captivated.
Most modern animation studios have green-lit concepts that rely on “safe” stories and gimmicks, in the likely hopes of broader marketing appeal and maximum box-office profits. In reality, these projects will remain orphaned in the shallows, rather than becoming timeless classics that will continue to be discovered and cherished for generations. That is why Bambi will be remembered forever, and Home On The Range has already been forgotten. Animated films from the not too distant past, such as The Lion King and Finding Nemo, tackled themes including life, death, and sacrifice. We should take a moment to recall that these honest elements were also present in the first animated feature, Walt Disney’s Snow White.
With Up, themes of growth (moving on with life following tragedy) and maturity (keeping a promise) are approached with obvious and subtle delivery. To assist in the balance of this delivery, the non-traditional protagonist in Up is Carl Fredricksen, a crotchety old man in his late seventies. A persistent 8-year old Wilderness Explorer named Russell serves as a supporting sidekick and is a nice point of empathy for kids, but this is centrally Carl’s story. Additional characters, both human and animal, are primarily reserved for comic relief.
The spectacular prologue - easily my favorite sequence of the film - tells the story of a boy who dreams of global travels like his heroic childhood idol, adventurer Charles Muntz. But he allows life to alter his course and so never accomplishes his dream of exploring the outside world. He loses his childhood sweetheart and wife. Before he knows it, Carl becomes a grumpy, old, and very lonely man. This brief, emotional, and silent life story includes childhood and adulthood, marriage, infertility, and even the death of a loved one. It is full of disappointment and drama, but offers the hopeful assurance that people can still find happiness while learning to be happy with less. Now, the rest of the story is ready to begin:
As Carl and Russell take flight in a house lifted by several thousand helium balloons, the viewer is allowed to watch the journey unfold as the unlikely duo encounter wild South American terrain, unusual jungle creatures, an unexpected villain, and talking dogs.
The film’s narrative is engaging and eccentric, and the characters, of course, are highly detailed and well animated. As a matter of artistic opinion, the aesthetic design and modeling for the lead characters is surprisingly my least favorite from Pixar’s films. I personally found the dimensions and proportions distracting, but to be fair, this in no way diminished their performances.
Personal preferences notwithstanding, there are a number of noteworthy sequences, in particular the house flying into a beautifully rendered thunderstorm, with Carl and Russell tumbling about as they are bombarded with furniture and knickknacks. Even smaller touches showcase Pixar’s brilliant attention to detail. For example, as Carl climbs the front porch steps, each board slightly compresses and bows under his weight.
While Up offers the promise of adventure, neatly packaged with a rich palette of fun ideas, it is simultaneously a simple, sentimental, and generally satisfying story. And although I did not find it as creatively or visually stimulating as Monster’s, Inc., The Incredibles, or Wall-E, it is quite beautiful.
As a technical achievement, this marks the first Pixar film created and rendered in 3D. I’m not entirely convinced this technique deserves such mass allure, but I will mention that it is utilized well in Up and free from the gag device of random objects flying pointlessly toward the audience. Several scenes appear to truly benefit from the 3D treatment, such as the initial rising house sequence, but the 2D format will not lessen any of the film’s appeal.
Without surprise, Michael Giacchino provides another great score, almost perfectly timed and balanced within the narrative. The music cues are not as dramatic as previous Pixar themes, but it feels like an intentional decision.
Like previous Pixar theatrical releases, an animated short precedes the film. In this case, it’s Partly Cloudy (the directorial debut of storyboard artist and animator Peter Sohn), a charming story of where babies come from.
Unfortunately, many animated films of the recent past and present seem to purposefully avoid any emotional, mature, or serious topics. This is one of my biggest praises for the artists and storytellers of Pixar, and Up. This is especially true when there is a cultural hive-mindset that believes a cartoon is no place for such themes. I wholeheartedly agree, but not due to any morally or socially conscious reasons. Cartoons are entertainment products. Animation is an art form. The two can indeed coexist, and often do, but they are not exclusively synonymous.
I believe that the people of Pixar understand and embrace this principle, and that is why their stories of life, love, and adventure will continue to soar.
Until next time…
JP
Walter Elias Disney was born on December 5, 1901, and passed away on December 15, 1966.
