Note to Sonya: your costume makes sense to me now! |
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All right, I'm no expert on animated films. I've never seen TOY STORY. I've only made it halfway through THE INCREDIBLES (which I enjoyed, despite the voice of Holly Hunter, who was only tolerable in RAISING ARIZONA). I wasn't raised on Disney; when I watch The Simpsons, people have to explain the 101 DALMATIONS and LADY AND THE TRAMP references to me. The only reason I saw FERNGULLY was that I had had a crush on Christian Slater in those days. Nevertheless, this week's column features three animated films that every adult should see.
PERSEPOLIS (2007)
Marjane Satrapi opens the first installment of her autobiographical graphic novel with a short history of Persepolis, an ancient Persian city the ruins of which are located in modern-day southwest Iran. Iran has always been an area of riches for various reasons, leaving it open to invasion and occupation, most recently in the 20th century because of its oil. Writing in 2002, Satrapi explains that writing the graphic novel was important to her because she believes "that an entire nation should not be judged by the wrongdoings of a few extremists." And what American can't relate to that sentiment? Even a bare bones knowledge of the recent history of Iran is unnecessary to the understanding and enjoyment of Persepolis the book and PERSEPOLIS the film; Satrapi fills in 
Just a normal girl embracing her Sex Pistols phase. |
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all the blanks. It's a story of a girl and her family, first and foremost. Where she's from and where she goes is practically incidental. She could have been a child of the '70s and '80s anywhere, with her bad taste in heavy metal and her adoration for Adidas. Her beautiful descriptions of her precociousness as a kid, the sassy way she calls her teachers and other adults out on their flip-flopping and hypocrisy (such as when the students are made to rip out of the picture of the Shah from their textbooks by the same teacher who had previously told them he was handpicked by God), the audience is made to adore young Marjane and cheer her on, while simultaneously pleading with her to stop and make things easier on herself. The visual beauty of the film matches the books -- the simplicity of the black and white drawings is contrasted by the richness of every frame and every scene.
WALL-E (2008)
I was told about WALL-E from friends who had seen it in theater: that it was depressing, that it was largely silent, that it was really, really good, that it was about a robot who wants to find true love. (I take slight issue with that description — Wall-E is a robot who craves interaction and wants a "hand" to hold, but I wouldn't say that's what the movie is about.) No descriptions properly prepared me for the movie. Like a toddler, I was 
A never-ending task . . . like laundry, but worse |
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glued to the screen and silent, wrapped up in the story and details. Yes, it is a stark future: Earth has become so garbage-filled and toxic that it cannot sustain life. Still, humans had not given up on it. Wall-E is a self-sufficient robot whose job it is to compact trash, slowly preparing the planet, we assume, for humans to return one day. Wall-E is an archaeologist of sorts: Occasionally, he finds a unique item to add to his collection of human artifacts. He knows the purpose of some of these items, yet others befuddle him.* But as I said, yes, it's a stark future. But it's a future not without hope and not without humor. Just don't leave the room to wash dishes or something, thinking you'll be able to keep up by listening, like you can with Days of our Lives. You can't — you have to actually watch WALL-E, and you'll be glad you did.
RATATOUILLE (2007)
This Disney/Pixar film features the voice work of someone who I think is absolutely fraking hilarious, Patton Oswalt. He is the voice of Remy, a French rat who thinks in English (without the trace of an accent, but whatever, it's a cartoon). For some reason, Remy's sense of taste and smell is beyond that of most humans, let alone rodents, and he has the uncanny ability to predict how different tastes will meld together and even conceives of the idea to cook it. 
The skyline looks nice, but nothing beats the sewers of Paris. |
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This confuses his brother and father (as well as the rest of his clan), but because of an unfortunate (or was it?) turn of events, Remy finds his true calling and accidentally becomes a chef through a doofusy garbage boy who he puppeteers by hiding under his hat and pulling on his hair in various fashions.
All right, so it's preposterous. A rat who cooks? Please. French people choosing English over French? No way. Adding leeks to a soup without sautéing them first? Not on your life. But still, this movie is rich with metaphor and beauty. Remy goes against his father's wishes and beliefs but not for the sake of rebelling and not disrespectfully: Sometimes, a son's gotta do what a son's gotta do. And if it means leaving the country and following a dream that is unfathomable by one's family and society, then that's what it means. Remy reminded me that work isn't everything; it's just one tiny part of an individual. We do what we do to get by, but the art that we create is a much more meaningful, and we shouldn't forget it or neglect that part of us.
*My students would have understood their "cultural artifact" paper assignment so much clearer last quarter if I'd just said to imagine what Wall-E would have made of said item. Well, now I know for next time.
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