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. Continue reading “Up”