Animation and Design

Posts Tagged ‘adventure films’

More than a remedy for grief, as it was for example ‘Young Frankenstein’ (‘Young Frankenstein, Mel Brooks, 1974), Brad Bird movie directed in 2004 the PIXAR’ The Incredibles ‘(‘ The Incredibles ‘), is an island in the gray ocean current gringo films. After several jingoism or new versions of Greek myths, I go through pictures from this adventure, and you’re as new as if you had washed Lourdes sins, or something. It’s almost like back, faith in cinema across the Atlantic. This year, many say ‘Toy Story 3′ (id, Lee Unkrich) U.S. is the best film of 2010, and it may be. Have long been giving the boys Lasseter joys, and sweeping the Oscar for best animated film. Today I want to talk about a movie that, well, I think it is a marvel of visual ingenuity. How can spend a hundred minutes so incredibly fast and leave like much more to the point that you would give anything to see the family cope with this savage Underminer? How deep can soups to virtually all of the adventure films of that country in terms of action, creativity, hooliganism, intelligence?

With the recent success of ‘Finding Nemo’ (‘Finding Nemo, Andrew Stanton, Lee Unkrich, 2003), which had risen fun animation and some levels difficult to achieve for the rest of us, those were exceeded PIXAR themselves, as they usually do (and how to make great) with his sixth feature, a study confirming that they are up to the legends of American classic films in their identity and self-imposed one hand, and are willing to conquer the future cinema, on the other, his film more dynamic, playful and deceptively fast. ‘The Incredibles’ is a homage / parody of the films and superhero stories. As homage, is far superior to any other genre, thanks to a script and staging absolutely free, which makes the film a platform to show the endless adventure, the imagination the only limit. As a parody, is a near-perfect comedy and shows that the talent for this form of expression is as alive as in his heyday.

For me, ‘The Incredibles’ is the apex of a rising triad, along with ‘Finding Nemo’ and ‘Monsters, Inc. “(” Monsters, inc.’, Pete Docter, David Silverman, Lee Unkrich, 2002), in both characters, the relationships between them, are enriched, refined and debugged, up to this story as real as life itself, in which two superheroes decided to settle down (beset by a popular outcry against the who are like them) and start a family, forever forgetting to use their superpowers and exciting adventures arriegadas, cutting the roots with all that makes them special and helps them to feel fulfilled in life. The tone of wild fun of the movie fails to mask completely the parable about the psychic need to do more to life than sitting in the office eight hours from Monday to Friday and go out to distract the weekend. The superpowers, therefore, as a metaphor for believing in yourself and accepting one’s identity. Big words, which place this story far beyond other Disney (just put some money and distribution, thank God) that beauty is inside …

There is no talk here of beauty, or issues like that. The feeling you have is to attend a completely real life, so living in a family, dysfunctional as they are all, to survive the routine needs of adrenaline and energy of knowing different, to exploit the best there is within them, to feel alive. The wonderful screenplay by Brad Bird, who signs solo exploits all the dramatic possibilities of this proposal to its logical conclusion, then, already work address, known to give every detail, every scene and every character, time, its rhythm and its place in history. That is, without fanfare or poetic art, does what so many teachers succeeded every year in classic American cinema: everything is in place by one or several good reasons, and that everything has a reason and a purpose, a clockwork designed to captivate us without the least dismay, making romancing his best weapon, and embracing simplicity and universality as their big guns.

Nor is there in ‘The Incredibles’ a message or an image of traditional Disney-style family, that is sweetened and idelizando the affective core. This film comes to thrilling because in addition to receiving each of the five members as real people, our identification with them is total, direct and uncomplicated living. While Mr. Incredible, that handsome savior has now moved into pen-pushers Fondón, his wife, who was called Elastigirl, has become a hysterical housewife and a considerable tambourine. But not only they are incredibly well characterized: two sons, representing the classic hyperactive child rearing and insecure and shy, and as befits their personality traits are a kid with super speed, and she a girl can become invisible and create force fields to protect themselves. With these elements, and the bad guy making the rounds, we get a story that is almost entirely a large block of action, once again the parents decide who they were. The escalation of ideas, jokes, sight gags, camera, persecutions, great scenes, is such that however much one has seen much film can only keep the mouth open.

With music by Michael Giacchino that exaggerates stereotypes and reinventing the Bond saga narrative, we find that house paradise islands in the jungle monsters, villains, geeks with hairstyles impossible, containment units, space rockets that carry weapons DEFINT, cascades that open mechanically , living rooms decorated with a wall of lava, guns impossible, reckless thugs, dens, shuttles … but also a lot of irony and, above all, an amazing dynamic, thanks to a staging that relies on the speed of assimilation of the viewer, and therefore uses the entire wafer assembly, with rapid zoom, depth of field with a more than remarkable, suggesting a film image of an energy and overwhelming force. And like animation lends itself to a director and a talented team to do what the imagination dictates, because here we can enjoy a fun, I think, anyone anywhere in the world, regardless of their cultural, their ideology and their tastes.