In 1937, “Snow White and the Seven Dwarfs” proved that animation is an art form that can transcend film. In 1995, Pixar and “Toy Story” spawned the new era of animated filmmaking, showing human depth and emotion beyond any that had been seen in a children’s movie. Ten films later, Pixar is still here, and it’s a sad thing that adults still need reminding that even a kid’s movie can be breathtaking.
So here it goes: “Up” is yet another of Pixar’s masterpieces. It is not my favorite film of theirs, but asking me to choose between them is like asking which is my all time favorite breath of air; each one is as good and as essential as the last.
Like the many other Pixar achievements, “Up’s” accomplishment is being original, colorful, charming, intelligent, humorous, simplistic and profound. But this movie doesn’t have the natural charm we see when looking into WALL-E’s droopy binocular eyes. “Up’s” hero is the bitter old man, Carl Fredricksen (Ed Asner), who after the death of his wife has refused to leave his dream home that’s about to be torn down, and instead glowers at the construction workers with a cold, firm stare behind his thick glasses he’s worn since being a child.
Ever since his childhood, he’s admired the work of explorer Charles Muntz, and he and his soon to be wife Ellie had always dreamed of one day following in Muntz’s footsteps to visit Paradise Falls in South America. After her death, he harnesses thousands of balloons to his roof to float his house away, but not without one young stowaway. After takeoff, the 8-year-old Russell and Carl both start a journey to fulfill Ellie’s lifelong dream.
The beauty of “Up” is its exploratory, simplistic concept. It’s one we still find reason to care about, but it grants us time to appreciate the vast landscapes and the glorious colors that serve to tell the story better than anything else. Director Pete Doctor knows that a million blue balloons is not nearly as effective as the same number glistening in all different shades.
What the exploratory plot also allows for is a story and a set of personalities driven more by comedy. Perhaps more than any other Pixar film, the jokes are punchy, random, quick and hilarious. Russell and Carl have a fantastic chemistry and a group of talking dogs makes for one of the funniest group of animals since “The Lion King.”
Although the concept is remarkably original, the greater comedic presence is evidence of Doctor’s choice to make a more conventional film. After seeing the near silent charm of “WALL-E,” it’s surprising to notice how much more dialogue there is. To be honest, the film could have perhaps benefitted from a little less. This must have lingered on Doctor’s mind, as there is a beautifully touching intro sequence telling us the story of Carl and Ellie’s married life. He has no lines in these moments, but from it we see the care and love in his heart that’s harder to see when he opens his mouth.
Yeah, these jokes are for kids, and the message is simplistic enough for a child audience to appreciate. But this is an adult film. There’s no need to shelter your kids, but some darker images of death and violence are peppered throughout the film, all emphasized by Doctor’s brilliant use of color.
There’s also one scene that resolutely sold me on the film. It is a simplistic, almost cliché scene that combines the film’s superior attention to detail with its more mature side. Through this scene, we learn the film’s message that it’s the simpler things in life over the extravagant that we remember and value the most. Kids can grasp it, but adults that have lived more of life’s experiences will greatly appreciate it.
They more than anyone will know that life is the real adventure and leave it to Pixar to show the adults that think they’ve seen it all just a little more.
4 stars