I won’t give away too much of the specific plot away in my review but the basic storyline is new owner Bonnie creates a toy out of trash, Forky, who becomes her favourite toy but he longs to be back with the trash. When the family take a road trip, Forky jumps out the window to become trash meaning Woody has to go collect him and bring him back to Bonnie. The film is then set in a quaint little town that has a travelling carnival visiting and Pixar makes use of this inclusion with aplomb. Pixar studio always said that they would only go ahead with Toy Story 4 if the story was necessary. When they announced that the film was in production (and despite the high quality of each Toy Story film), I couldn’t help doubting whether a fourth installment really was necessary since the third one rounded the franchise off nicely. I am glad to say that there was no need to be in doubt at all. I think that the UK marketing team for Pixar did a brilliant job of not actually giving away too much of the plot which made the film all the more enjoyable to watch and also surprising.
It goes without saying that Tom Hanks and Tim Allen do a fantastic job in their iconic roles as Woody and Buzz, respectively but there are also a great array of new characters that are brought into the fold. My favourite character is the aforementioned Forky. Everything about this little guy is hilarious from how he looks to his physicality to the way he talks and socialises with other toys. He is a fantastic little addition to the Toy Story family and honestly it’s been hilarious seeing how many toys Disney have made of him for extortinate prices despite the fact that his character was literally made from items from a bin. Other characters introduced in this film include Bunny and Ducky, voiced by comedy duo Jordan Peele and Keegan-Michael Key who are also great additions. They are adorable plush teddies who have been waiting three years to be won at the carnival fair. The last toy inclusion to mention is Duke Kaboom, a Canadian action figure voiced by Keanu Reeves. He is a hilarious and sensitive character who speaks passionately about his past owner, Rijon, who got rid of him. We also see the reintroduction of an old toy in this film. Bringing back Bo Peep who has been given a makeover into a strong heroine is a long cry away from her shy, lovestruck self in the first two Toy Story films and has been the cause of complaint to some but rest assured it is done fantastically and subtly to the point where it makes sense with her own storyline. It’s also great for Pixar to show the contextual progression where female characters don’t have to be passive love interests. Bo Peep does a lot of the rescuing in this film and it’s treated no differently to when male characters take action.
It’s easy to imagine that with the addition of so many characters that they don’t have their chance for character growth but the writers have done a great job with balancing this out. Forky and Bo Peep are given the most space for character growth since their stories are central to the plot whereas Ducky, Bunny and Duke are used as comic relief so only their backstories are given. Knowing the importance of the toys in the specific film means that the audience isn’t crammed with too many plotlines that they can’t keep up with. With their being so many new and different characters, it does mean that all of Bonnie’s toys (with the exception of Woody, Buzz and arguably Jessie) may as well have not been brought on the road trip. When Bonnie loses Forky, she doesn’t care that she has numerous other (non-trash made) toys in the RV. They’re just there in the background for the whole film. They didn’t even need to bring in a replacement for Mr. Potatohead as they recycled old lines said by Don Rickles in previous films. This isn’t a bad thing necessarily but it does mean that their importance has been faded out in this (supposedly) final installment. There were many scenes that I enjoyed in this film but if I had to pick one, I would say when Woody and Forky are having their heart to heart after Forky jumps out the RV. Woody tries to make Forky understand the importance of his role as a toy which means Forky has the realisation that he is “Bonnie’s trash”. It’s one of those heart-warming scenes injected with humour which have become synonymous with the Toy Story franchise. Also, any scene with Duke Kaboom in because he is absolutely hilarious and his backstory was heartbreaking to watch.
Another thing to talk about is how amazing the animation is, in particular Bo Peep. The shine and reflective effect of her porcelein is an incredible development from the first film. It makes her look eerie at times but more delicate as well (she is porcelein after all!). When you look back to how she appeared in the first film, the animation doesn’t compare. I’m not dissing the first film because it achieved so much at the time of its release in regards to animation, but celebrating the achievements made since then and seeing that transformation in the span of 24 years is incredible. Also the textures of the plushes and ventriloquist dummies that appear in this film are equally fantastic.
I think that Toy Story 4 was well worth the wait and seemed like the true ending for the franchise. I think it will go on to win the Best Animated Feature at the Oscars next year (to be honest, it’s rare that a Disney film doesn’t win this) and I think it will date well as a film. I think what makes it work so well is that even though it follows on from the trilogy and the franchise, there is a different feel to it altogether because they’re not Andy’s toys anymore. With a new owner comes new changes and this opened up a door for new storylines and motives.
This period saw the complete acquisition of Pixar by Disney, giving complete control to the Disney board on what projects should go ahead at Disney. Whereas John Lasseter had stopped sequels and remakes previously, Disney did the opposite at Pixar and wanted to capitalise on the loved characters that Pixar had created. Although with Toy Story 2 they had found success, other franchises were not as lucky and the films were met with lukewarm reviews which was pretty unheard of at Pixar but has sadly become more of the norm now.
If you want to read the other Pixar reviews and ranking you can click the links below:
Now without further ado, let’s begin with the reviews and rankings for Pixar films 11-15:
11) Toy Story 3 (2010)
The third segment of Toy Story 3 was built with hype in the months leading up to its release and it certainly didn’t disappoint. Following the toys’ adventure in a daycare centre as Andy heads off to college, Woody, Buzz and co face off against the manipulative Lotso and his henchmen who oppress the “weaker” toys. It’s brilliant and sassy, bringing everything we love about the franchise into an even bigger film. My favourite inclusion is Ken and his dream-house with the scene in which he shows Barbie his vintage clothes collection is clearly so well researched with the materials and textures impeccable as always. The scene where Barbie threatens to rip his clothes has me on edge as we see her ripping each individual thread apart is just as horrific as the now-iconic incinerator scene. Although not quite as good as Toy Story 2 in my opinion (although this is no insult), Toy Story 3 won the franchise its first Best Animated Feature Oscar with ease. Bringing in new toys courtesy of the daycare centre as well as Bonnie’s (the daycare assistant’s daughter) collection which features a Totoro and personal favourite, Mr. Pricklepants, a dramatic hedgehog teddy who loves Shakespearean style acting. Passing the toys onto Bonnie at the end seemed like a fitting ending for the franchise so it is exciting to see how Toy Story 4 will fare and if it will live up to its hype.
12) Cars 2 (2011)
I didn’t go into this film with high hopes because I am not a fan of the franchise and I think that Cars has been the weakest offering in Pixar by a long-shot so I was definitely surprised when they announced a sequel. Pretty much more of the same but with added spies, Lightning McQueen finds himself a love interest in the form of Holley Shiftwell. It’s racing, it’s boring and to be honest Lightning McQueen isn’t an engaging enough character to be the protagonist. I am happy that there is more focus on Mater in this film but he spends most of his screen-time getting berated by McQueen who is so focused on his image and looking cool that it seems the messages he learned from the first film are completely forgotten because of his egotism. I hate to be biased about it but it just doesn’t interest me as a franchise and as much as I try to enjoy these films, I simply struggle to because of how ridiculous the whole concept is.
13) Brave (2012)
Now for a film I was really excited to see in the cinema on its release day. Featuring Pixar’s first princess, Merida, Brave looked to be full of spirit as the princess longs for freedom and to fight the tradition of marriage as is expected of her. In the course of her rebellion, she argues with her mum who is then turned into a bear. This film is an odd because aesthetically, it is stunning and captures Medieval Scotland beautifully but the screenplay is imbalanced and poorly paced. The beginning and ending to this film are brilliantly done but the middle portion just doesn’t seem to fit. It feels as though there was so much focus in establishing Merida’s character and how her character will end up rather than establishing her character and the mum’s character and then developing their relationship in the typical Pixar way, with detail and finesse. The middle portion seems poorly planned and forced, making the film drag and bringing an underwhelming feeling to the audience. The general consensus was the same among critics and audiences who responded with mixed reviews although the film did do well at the box office and subsequently won the Best Animated Feature Oscar although this was in (admittedly) an underwhelming year overall.
14) Monsters University (2013)
The first prequel offered by Pixar was a surprising choice. Monsters University, as implied, follows Mike and Sulley in university and shows how they met and how their friendship developed. It feels formulaic in development, the two dislike each other with Sulley the jock type and Mike as a nerd, the two find common ground before using their strengths to win the “Scare Games”. It’s not a terrible film by any means but it is very cliche and feels underwhelming for a Pixar film. Although it received positive reviews, it doesn’t hold a light against Monsters, Inc. because it’s clear that this is a film that Disney has ordered to be made rather than an organic creation. In Sulley and Mike’s fraternity, there are a collection of cliche characters. Although basic, my favourite is Art, the creative hyper artsy type who is bright purple and rolls around super fast and likes shiny things. I’m glad that they chose to create a film set in a different environment in the monster universe because this does make it far removed from the original and therefore the impact of Monsters, Inc. hasn’t be tainted.
15) Inside Out (2015)
After several underwhelming offerings, Pixar appeared to get back into their stride with this masterpiece. The question the creators asked: what if feelings had feelings? The result is a brilliant portrayal of the emotions living inside a teenage girl, Riley after her parents force the family to move to San Francisco from their cosy life in Michigan. As Riley struggles to fit in, her major emotions: Joy, Anger, Disgust, Panic and Sadness also struggle to adjust to the situation. This sees Sadness outcast by Joy and the others which causes an imbalance when Joy and Sadness are accidentally sucked from “headquarters” and into Riley’s mind. Although the plot may appear simple, a teenage girl struggles to fit in, the Emotions’ journey is actually a complex one as they learn that they need each other to thrive in the environment. Joy learns that Riley needs Sadness in order to feel those moments of joy and that this isn’t always a bad thing even if it doesn’t feel nice in the moment. Although the most dense of the Pixar films, it isn’t without its lighter moments which are provided by Anger, Disgust and Panic, who are struggling to run headquarters with Joy. I don’t think Inside Out could have been made 20 years ago as people find it hard to talk about real and complex feelings, especially in a children’s film but now there is a wider awareness on mental health and the importance of this in young children. It is a film that can engage that younger audience, even if they don’t understand everything and as they grow, they will learn to understand it. Also, the inclusion of childhood imaginary friend, Bing Bong shows the importance of the child imagination from a young age as he helps Joy and Sadness find their way back to headquarters. It’s a brilliant film that will have you roaring with laughter one moment and then sobbing the next, making it as emotionally complex and rewarding as the film itself.
This ranking was a little easier because there were a few under-performers in my opinion. I think that Pixar thrives when able to produce original content because Pixar have established themselves as the innovator rather than the follower so it’s a shame that Disney are forcing the same structure on the studio as itself by creating sequels and prequels.
Here is my ranking:
1) Up (2009)
2) WALL-E (2008)
3) Toy Story 2 (1999)
4) Inside Out (2015)
5) Ratatouille (2007)
6) Toy Story 3 (2010)
7) Monsters, Inc. (2001)
8) Finding Nemo (2003)
9) The Incredibles (2004)
10) Toy Story (1995)
11) A Bug’s Life (1998)
12) Brave (2012)
13) Monsters University (2013)
14) Cars (2006)
15) Cars 2 (2011)
The next post will look at the last bunch of offerings that includes even more sequels but also gives a couple of originals so let’s hope this batch fares a little better than this bunch.
What do you think of the ranking now? Is it a surprise? Let me know in the comments below!
“If you figure a way to live without serving a master, any master, then let the rest of us know, will you? For you’d be the first person in the history of the world.”
Lancaster Dodd, The Master (dir. by Paul Thomas Anderson, 2012)
By the time this statement is spoken, we have seen the relationship between ex-Naval officer, Freddie Quell (Joaquin Phoenix) and Master of the Cause, Lancaster Dodd (Philip Seymour Hoffman) flourish and burn. The scene in which this exchange happens is in London. Freddie has travelled the Atlantic to face off The Master once more. On entering The Cause’s headquarters, he is judged by those who know him and ignored by those who do. There is no physical conflict, no shouting, only two men who are saddened by the demise of their friendship and the realisation that they can never see each other again. The Master is the head of The Cause, a cult that believes they are spirits living in a vessel and once life ends in one vessel, they simply move on to the next. Dodd’s mission is essentially one that lasts for eternity. Freddie staggers in a drunken state onto Dodd’s boat after accidentally poisoning a man with moonshine he had made. Freddie is an ex-marine, unemployed, sex-addicted alcoholic, making him the perfect challenge for his new methods to engage with past vessels. Completely unhinged and uninfluenced by society, Freddie refuses to be reined in by the restrictions put to him by Dodd and his wife, Peggy (Amy Adams) resulting in the collapse of the American branch of the Cause and forcing Dodd to relocate to England.
The Master is regarded one of the best films of the 21st century so far and is one of my favourite films ever made (I have written a review which you can read here). Set in 1950, the film follows ex-marine, Freddie Quell, as he becomes associated with the Cause, a cult that believes that the spirit transcends the body (or vessel as is referred to) and simply changes after death. Although the film is set in a particular place at a particular time, its subject matter actually makes the film seem timeless. The characters wear clothes as expected of the time and the treatment of women and sex is reflective of the time but the sentiment transcends its period, much like the spirit, and can be argued as relevant in the 21st century. Of course, this film was made in the 21st century so it has the advantage of hindsight but I think Paul Thomas Anderson’s script captures the idea of the slave and master perfectly. The Cause is portrayed as a small religion, a friendly group of people who channel their past selves in order to eventually see where man began. Freddie is confused by everything and only wants to drink and have sex but these activities are rejected and he becomes uncomfortable and agitated. It is as though he is young again as we see flashbacks of him with his first love, Doris, before he leaves for war. There is hope in the young Freddie of returning home and marrying Doris but this dream is shattered on his arrival as he finds out she is married with two children. The Cause gives Freddie a purpose to live by hoping to engage with his inner self and control it, thus allowing him to become fully subservient to The Master.
The ending brings the film full circle as Freddie has sex with a woman he meets in a pub and thinks about his time on the beach after the war, waiting to go home. The final shot is him sleeping beside a female form made of sand. It is peaceful and serene as Freddie appears comfortable. He has become “the first person in the history of the world” to live without serving a Master. He is the free spirit that Dodd achieves to ultimately control, the “sworn enemy” as he puts it.
“Many of my movies have strong female leads- brave, self-sufficient girls that don’t think twice about fighting for what they believe with all their heart. They’ll need a friend, or a supporter, but never a savior. Any woman is just as capable of being a hero as any man.”
Hayao Miyazaki
“I do not make films primarily for children. I make them for the child in all of us, whether he be six or sixty. Call the child innocence.”
Walt Disney
I have previously written a post on Studio Ghibli giving a brief overview on why I love their films so much (you can read that here) as well as a post on women’s voice in film and the importance of strong female characters and female filmmakers (which you can read here). Thinking about these two posts separately merged together in my mind because some of the strongest female protagonists in film can be found in the offerings from Studio Ghibli. The characters are mainly young girls who are thrown into situations that test their strength and maturity, each time providing us with realistic and organic character growth. In a climate where women behind and in front of the camera is being looked at under a microscopic lens with every line and gesture analysed by critics and audience alike, Studio Ghibli feels like a pioneer that has been pulling off the strong female character for decades. Admittedly, behind the camera, there are little to no women at the top of the board. No woman has ever directed or written a Ghibli film; however, their strong female characters have been gracing our screen ever since the release of Nausicaä of the Valley of the Wind in 1984. As I previously mentioned, no woman has ever directed or written a Ghibli film so there is room for improvement and diversity at the top but what we have been presented with thus far seems to be a more diverse and varied on the female perspective in an environment where their strength doesn’t feel forced. Miyazaki’s statement above appears to read as a mantra or a basis for creating his female characters. In three sentences he has already captured an image of an individual who can fight but is also capable of sensitivity and equality among her peers. His definition of strength being “brave” and “self-sufficient” shows how a strong character doesn’t come from difficult physical activity necessarily but from following what you believe and fighting for that as well as pointing out the importance of female independence. It’s unrealistic to imagine a strong female character who in the end can’t even look after herself because she’s a woman.
You may be wondering why I have also included a Walt Disney quote above. Well aside from the fact that Disney distribute the Ghibli films in America, I think that Ghibli follow the same ethos as Disney in this respect by using young characters to make the films aspirational for children and inspirational for adults. Ghibli films are more dense than Disney films and are fearless in exploring darker issues such as war and death in a way that translates well to a global audience of all ages. The “child innocence” that Disney is talking about is a willingness to use film as a medium to discuss the bigger issues which I think Ghibli achieves effortlessly. My favourite film¸ Castle in the Sky (1986) veers on the more childish side of their films and yet it is one of the more mature topically, looking at the issues of man vs nature and corruption in authority as well as incorporating antiheroes and villains disguised as heroes. Ghibli never patronises the audience and yet is perfectly watchable for young children whilst never feeling like a lecture for its older audience. In regards to “child innocence”, Ghibli are showing young girls specifically that they are capable of being the hero without needing a man to save them. It may seem trivial to ingrain this belief into the mind of a four year old but the films we watch as young children tend to follow and influence our own morals as we grow up.
I think it’s also important to note the consistent high standard that the films themselves hold. Of course some have received mixed or negative reviews but the majority of offerings (particularly those from Miyazaki and Takahata) have been embraced as modern classics with Spirited Away (2002) winning the studio the Academy Award for Best Animated Feature. I think they hold an important part of film, not only in the animation world, but in general because it is so rare that a non-English studio has such a huge global following in the West which is a huge achievement. Their stories translate well globally no matter how bizarre the stories and the creatures in them may seem and it is because of that relatibility that the female characters have specifically. Their bravery and independence are a welcoming break from the usual Hollywood heartbreak/makeup trope that the female audience is overly familiar with.
“Brave”
Bravery comes in many forms in the Ghibli universe. There are the female characters who act as traditional heroes such as Nausicaä in Nausicaä of the Valley of the Wind and San in Princess Mononoke (1997) who protect their families and environment from the evil threat of mankind who aims to destroy nature. Nausicaä is a dystopian film based in a post-apocalyptic world where humans live in small villages and giant insects rule large vasts of land and jungles. Nausicaä is the princess of her village and has the ability to communicate with the insects and aims to make peace with them. Despite their supposed roles as enemies, Nausicaä understands the bigger picture and uses her influence and morals to fight against those who want to burn the jungle. Princess Mononoke is a Medieval film that follows a young prince called Ashitaka who is cursed by a Boar God after he kills it. He encounters wolf God Moro and his companion, the human San (also known as Princess Mononoke) and together they fight the industrial Irontown, a small village that is dangerously mining into the forest of the Gods, killing the nature as they go. Both films are set in opposite time spans and yet they tell almost the same story. Both women have an outsider male companion who acts as a sidekick and supporter without ever overshadowing the female. Although both films do hint at couplings, there is nothing inherently overtly sexual or forced, San is particularly uncomfortable with being physically close to Ashitaka at first. Both films delve into technology and war. Even Princess Mononoke, set in Medieval Japan, has weapons that feel oddly futuristic in the form of large iron harpoons made from the materials from the mine whereas Nausicaa allowed for more imagination due to its dystopic setting. It makes use of hovercrafts and spaceships with laser guns to boot but it doesn’t feel out of place. Both films have women working in the war itself and operating the machinery with no issue. Ashitaka even struggles to keep up with the women who run the iron mill. Lady Eboshi, leader of Irontown, is a brilliant villain as she is just as complex as the protagonists. She genuinely believes that what she is doing is for the good of the village and wants to provide a decent life, particularly for the women. Her greed for power is subsequently what thwarts this as she aims to dominate the forest and mine as much as possible. It is this character conflict that allows us to view Lady Eboshi as more than a simple evil figure like the Evil Stepmothers in Snow White or Cinderella. Her motive is to gain power for herself but she also has motives for her people as well. This is what makes Ghibli women much more complex but at the same time, realistic and gives the audience an extra layer into character growth.
There are also characters who approach bravery in a more peaceful manner such as Sheeta (Castle in the Sky) and Chihiro (Spirited Away), both films directed by Miyazaki. Both characters are young girls who are thrown into adult situations. Sheeta is on the run from government officials as they try to steal her precious necklace that is the key to finding legendary floating castle, Laputa whereas Chihiro finds herself working in a bathhouse for spirits when her parents are turned into pigs after feasting on the food for the spirits. Castle in the Sky looks at how government officials would use the castle for military purposes to rule the world. Similarly, No Face in Spirited Away manipulates through his riches and shows the corrupt nature of the structure in the bathhouse. Money is seen as an evil entity in bothas Pazu’s job working in the mine is under threat from no products found to sell, whereas the gold No Face throws around is seen as vulgar and pathetic as the adult characters scramble for nuggets. The gold pieces hold no significance to Chihiro and that means No Face has no power over her. She cannot be ruled by him because he cannot buy her. Sheeta was raised on a farm by her grandmother and Chihiro raised in modern day Japanese suburbs. Neither one has encountered a violent situation nor would know how to fight or defend themselves but their determination to do what is right and fight the powers that oppress them allow them the growth to use their wits. We see Sheeta, a princess, take on the chores on the pirate ship ran by Dola and her crew. She cooks and cleans and is unphased by the attention Dola’s sons are giving her (it’s a bit weird that adult men are fawning over a child but that’s for another time). She has a natural kinship with the robots that inhabit Laputa and with nature in general. Her ancestry gives her that connection and it gives her the strength to protect the castle without the use of violence. Chihiro, on the other hand, must travel across the spirit world to find a way to get home. The villains in Spirited Away aren’t violent themselves (with the exception of No Face) and so Chihiro isn’t under a physical threat. The beginning of the film shows Chihiro dissastified with her parents’ decision to move away. She finds the idea of change difficult and this is shown as she sulks in the back of the car shortly before her parents are turned into pigs. Spirited Away is a film that is all about change. It’s about Chihiro’s ability to live a different life and gain perspective. Her identity is literally taken from her as bathhouse boss, Yubaba, employs her and steals her name, renaming her Sen. It’s a horrifying moment as she is a child with no identity but the film shows her growth into a more mature person and how she is all the better for the experiences in the spirit world.
“Self-sufficient”
Ghibli’s exploration into identity and independence is achieved best from the perspective of the teenage girl trying to discover herself in a society that has certain expectations for her. One of the most iconic Ghibli characters, Kiki (Kiki’s Delivery Service 1988) is a clumsy witch who struggles to fit into mainstream society. She finds her place when she uses her magic for a delivery service, delivering goods from the local bakery to the townspeople in order to save the business from closure. Hayao Miyazaki’s Kiki’s Delivery Service is one of Ghibli’s lighter offerings, much like My Neighbor Totoro and doesn’t have the dark complex issues that other films have. However, it is all about the teenage girl experience and how she has to find her identity in a society that has certain expectations for women. The village itself leads a more traditional lifestyle with men as active and the women take passive roles; however, Kiki becomes self-sufficient when she fights this hierarchy. Her male friend, Tombo, admires Kiki for her magic and at no point is threatened by her independence. Kiki’s Delivery Service features a flipped relationship in which the female is active and the male passive, again, without it feeling forced or a major talking point. When Kiki becomes depressed after feeling intimidated by Tombo’s friends, she becomes depressed and is unable to use her powers or understand Jiji, her cat. It is only when she sees Tombo in danger as he hangs from an aircraft that she finds her purpose and can fly again to save him. Some people may argue that it’s following the old stereotype that a woman only has love as a motivation but the significance of this scene comes from the fact that she rescues him. This never happens in regular Hollywood offerings never mind a family animation. Kiki becomes the hero of her own story and reward and validation that is more significant doesn’t come from Tombo, the male protagonist, but from Kiki herself as she finds her own identity. This is also the case in Yoshifumi Kondō’s only directorial effort, Whisper of the Heart (1995) before his untimely death in 1998. Following high-achieving, 14 year-old Shizuku, an avid writer who loves to translate Western songs into Japanese and her encounter with Seiji, an aspiring luthier (someone who makes and repairs stringed instruments). They work together to create a story about a mysterious cat statue called The Baron that Shizuku found in Seiji’s grandfather’s antique shop. Like Kiki’s Delivery Service, Whisper of the Heart is a film about identity and independence. As Shizuku delves deeper into her creative world when writing the story on The Baron, her grades drop and she becomes lazy and sluggish. Her need for independence arrives at this low point as she realises what she wants to do with her life and knows that she must work hard at school to achieve it. She doesn’t allow her life to continuously slump to appease Seiji but rather than threaten Seiji, he in fact expresses his admiration for Shizuku for taking control of her own life and declares his love for her. The self-sufficient female isn’t punished for her strength but rewarded. Like Kiki’s Delivery Service, Shizuku’s independence comes from herself. She does receive validation from the male protagonist but this feels secondary and insignificant compared to the love that she has for herself at the end of the film.
Just as there are films that show the success of female independence, Ghibli have also given us films that show the true battle for female self-sufficiency. Isao Takahata’s beautiful swansong, The Tale of the Princess Kaguya, is a retelling of the Japanese folklore about a young girl found in a bamboo stalk and her ascension to royalty and the struggle she has with this lifestyle. The aesthetic of the film is traditional Japanese ink and is visually a stunning film to watch with beautiful bright colours from the cherry blossoms and kimonos combined with the natural materials used to create this film. This is combined with darker undertones such as depression and the loss of identity as Princess Kaguya is forced to pick a husband despite not even wanting to marry. At first she is lured in by the clothes and the materialistic lifestyle with the giant palace but the palace soon grows into a prison and she struggles to adjust to this new life under the watchful eye of her governess who rebuts her desire for fun and laughter. The most poignant scene in this film comes near the end of the party where Kaguya is forced to sit behind a curtain and is forbidden to socialise with anyone, except for the potential suitors who talk from the other side of the curtain. Layered with multiple kimonos, she runs through the palace to get away and sheds each kimono off layer by layer, throwing them on the road as she runs in the full light of the moon. She is literally rejecting her role in society by casting the clothing away. The materials do not hold the same magic as they once did and much like Kiki and Shizuki, she realises that wants to be free. The end of the film sees Kaguya returning to her original home, the Moon, in a scene that is painful to watch as the memories of her life on Earth are forgotten and her parents look on heartbroken as they watch their daughter whisked away. Kaguya was unable to find her solace on Earth but her struggle is important to take away. The film exploits the impossible expectations thrusted onto women and how they aren’t treated as humans most of the time. Kaguya’s discomfort mainly came from the daily practice of makeup and being physically restricted when in the presence of a man. The Tale of the Princess Kaguya is one of the darkest films that Ghibli have released and I think it was also a real brave offering because it openly looked at depression in a realistic way. Kaguya wasn’t able to gain her independence on Earth but it is a brilliantly inspirational film for the young girls watching who wish to be self-sufficient.
“The child in all of us”
Ghibli films are often marketed as children films due to the animation style and constant comparisons with Disney; however, Studio Ghibli has a large adult following and its understandable to see why. Every film has underlying mature contexts that children won’t understand. Issues such as illness and death are prevalent in many of their films and even though they are suitable for children to watch, they are oftentimes heartbreaking for adults to view as well. The prime example for this would be young sisters Satsuki and May in Miyazaki’s My Neighbor Totoro. Following the girls and their father as they move to be closer to their ill mother, My Neighbor Totoro is often viewed as the most iconic Ghibli film (Totoro’s profile is the Studio’s logo). The girls encounter the spirits by live in the surrounding forest including the soot spirits that initially live in the house and eventually the giant Totoro, a lovable spirit who lives in a tree near the house. He reveals himself to Mei first then Satsuki, the latter being an iconic scene in which Satsuki lends him an umbrella in the torrential rain before he boards another iconic character in the form of the Catbus. This film is a favourite among children and adults alike because it displays the creative talent and imagination the Studio have. On the surface it is a lovable and cute film that is brings a smile to your face but there is an undercurrent through the film which is the the plot regarding the mother. She’s rarely onscreen but the adult audience is aware that she exists and she is severely ill in hospital. It seems that she may even die at some point but because the film is told through the perspective of the two girls, we don’t encounter mother unless they visit her at hospital. As the girls, particularly Mei, are very young, they don’t fully understand the situation and so they act as if everything is normal and enjoy their adventures with Totoro and company. It’s this child innocence that gives the film its light and allows it to avoid being full of darkness and sadness. Their innocence prevents the reality from creeping in and allows their imagination to soar.
Ghibli’s most adult film to date is one that sees child innocence stripped away during the course of World War II. Grave of the Fireflies (1988) is Isao Takahata’s war tale about siblings, Seita and his younger sister, Setsuko and is the Studio’s most heartbreaking film to date and probably one of the hardest films to watch overall due to its explicit portrayal of Japan during wartime. The film opens with Seita’s death as he meets the spirit of his sister in the afterlife before proceeding into a flashback which shows the story of their demise. When their home is bombed, Seita must take his sister to their aunt’s house in the countryside for shelter. Eventually they have to leave to the abuse they are subjected to and are by themselves. Seita himself is only a teenager and both siblings are forced to adapt to the environment around them. Setsuko takes solace in the fireflies that flutter around only to find them dead the next day. The scene when she buries it is when she questions and begins to understand the concept of life and death, asking Seita why their mother had to die. It’s this moment when Setsuko is stripped of her child innocence and is forced to adapt to a very adult situation. The film does not treat her kindly because she is a child. Setsuko is subjected to starvation which eventually leads to her graphic and heartbreaking death which sees Seita cremating her ashes with her favourite straw doll. The size of the wicker basket holding her is tiny and showcases the cruelty of war. Takahata has denied claims that the film acts as an anti-war piece but it is difficult to view it as anything else as it is the loss of that child innocence and the loss of life at such a young age which shows the true cost of war. It’s a profound film that is extremely difficult to watch but it is important and shows how fearless the studio was even in its early days.
Studio Ghibli is a company that refuses to conform to the expectations held by mainstream releases. Instead, it remains a pioneer for film in general and continues to release films that explore complex female characters who are brave and self-sufficient. The hearts of their films come from the girls and women who choose to fight for what they believe in and the journey they have to discover what they are capable of. The characters don’t always achieve their end goals but the growth that they go through shows their resilience and strength. One word that cannot be used to describe the female characters in Ghibli is weak because each character has their complexities and flaws but they also have their morals and heart. Without the female characters, the standard of Studio Ghibli films would not be what they are today and in fact, Ghibli probably wouldn’t even exist. The first major character to be introduced (although not under the Ghibli name technically) was Nausicaä, suggesting that having “brave” and “self-sufficient” female heroes has always been at the heart of the Studio Ghibli ethos. After all, “any woman is just as capable of being a hero as any man”.
These five years of Pixar revolutionised film not just in terms of animation (which it did in spades) but for film as a whole with their limitless imagination, stellar scripts and characters that stay with you long after you leave the cinema. Pixar by this point had established themselves as a respected animation company that alongside Disney dominated the family market and with an Academy Award under their belt, it’s needless to say that this merely predicted further success. Utilising the creativity of directors such as Brad Bird and in-house artists such as Pete Docter and Andrew Stanton, this period of films cemented Pixar’s legacy firmly in film history.
You can read the ranking for the previous link here:
As ever, let’s get on with the reviews and rankings for Pixar films 6-10:
6) The Incredibles (2004)
Before the superhero film became a monthly fixture in our movie calendars, Brad Bird teamed with Pixar to create a world where superheroes have been outcast but must come out to fight against a narcissistic billionaire who has been killing superheroes in a bid to become a saviour to the human race. The superheroes set out on saving the world are The Incredible family, consisting of dad, Bob (known as Mr Incredible), mum, Helen (known as Elastagirl), teenage daughter, Violet and son, Dash. The family use their unique abilities to save the world from Syndrome, the billionaire set on revenge against Mr. Incredible, whom he idolised as a child. It’s a brilliantly complex film that depicts an ordinary family in an extraordinary situation. The script is second to none, the score is sublime and the primary characters are all developed fantastically with likable secondary characters in the form of fellow superhero, Frozone (Samuel L. Jackson on top form) and the iconic superhero outfit designer, Edna Mode (voice by the film’s director, Brad Bird). I would say that this film surpasses most of the superhero films that are churned out month after month in recent years as it follows the formulaic route without becoming victim to it. Elastagirl is a brilliant female character who isn’t afraid to stick up to the patriarchy (even in the film’s opening when she says “leave all the fighting to the men? I don’t think so!”). It’s a film that is aware of society’s expectations but thwarts them by exploiting the flaws in society and using the heroes strengths to fix them.
7) Cars (2006)
Created from a love of cars by the heads of Pixar, Cars is a film set in a universe of anthropomorphic cars. It tells the story of Lightning McQueen, a sports car who longs to win at a rescheduled race after finishing in a three-way tie. On his way to training, he finds himself in a crash and stumbles upon Radiator Springs, a small town tucked away in the middle of nowhere. He befriends Mater, a battered tow truck and his experience among the small townspeople teaches Lightning lessons in humility and respect. This film has spawned two sequels as well as spin-off films and is popular among the younger audience particularly; however, I am not a huge fan of the Cars franchise. Even from the first viewing, I couldn’t wrap my head around the idea of anthropomorphic cars which sounds ridiculous in the world of Pixar because anything in animation is possible. Living toys, monsters and animals in general I am perfectly fine with, but I just can’t immerse myself in the Cars universe because it seems a little too ridiculous. I can’t help but think that the idea itself is rather forced and inorganic unlike the other films that Pixar had offered up to this point. Maybe this had to do with Disney’s increasing power in the company or the slump Disney studios where experiencing lately but it just seemed that the heads of Pixar sat down and said “we like cars… let’s make a film about it!” and didn’t think about the logistics of this. Monsters. Inc. is a film about monsters in their own universe and yet they have access to the human universe so there is an awareness of the “real world”. But since Cars doesn’t have any humans at all, it pushes the film into an absurd territory of the audience asking questions about the technicalities of the universe rather than enjoying the film.
8) Ratatouille (2007)
Brad Bird’s second offering for Pixar, Ratatouille, is the story of a rat with a big dream, to become a gourmet chef in a Michelin star restaurant. Remy lives on the outskirts of Paris, but when he finds himself in one of the most iconic Parisian restaurants, Gusteau’s, he begins to use his talents to help out the chef and prevent the restaurant from closure. Like any animation that incorporates food (check out Studio Ghibli’s offerings), Ratatouille’s concoctions look delectable and good enough to eat off the screen. As ever, the detail is on point and makes the film appear to be a sensory experience. Remy is an adorable protagonist who fights against the odds to achieve his dream despite what his family says or expects of him. His determination to teach Gusteau’s son, Alfredo, the ropes of cooking with hilarious results with Remy controlling Alfredo like a marionette by pulling his hair. Another brilliant character in this film is the lovable Emile, Remy’s brother and best friend. He’s a rat who loves to eat food without savouring the taste which repulses Remy, who urges Emile to appreciate the food. The film boasts a starry cast with Patton Oswalt voicing Remy and Peter O’Toole as Anton Ego, the pretentious food critic that Remy longs to impress. It won the studio it’s third Best Animated Feature Oscar and remains a Pixar favourite among fans.
9) WALL-E (2008)
Pixar’s 2008 feature is set in a world that has seen the mankind abuse the earth so much that it is now inhabitable. The film was directed by major Pixar figure, Andrew Stanton and tells the story of WALL-E, a friendly robot who sorts out the trash left and organises it into piles. His daily routine is constant as he is the only “living” thing with the exception of cockroaches. WALL-E collects trinkets that he finds and takes them back to his home where he watches old films on a box television. When a mysterious robot called EVE visits earth, WALL-E instantly in love with her and longs to be with her. Together, they embark on an adventure that sees them dancing among the stars in a stellar sequence that is mind-blowing and encountering what is left of the human race on a spaceship. On the surface, it’s a beautiful love story communicated through actions and shows how far someone would travel (literally) for the one they love. Under the surface, it is a story about mankind’s continued abuse on the planet we live on and how greed and corruption will eventually cause the world to ruin. It’s a film that was made over a decade ago but feels even more relevant now than ever in a time where the push for climate change has never been stronger.
10) Up (2009)
This film is too good for words. Pete Docter’s creation is beautifully animated as expected, filled with a spectrum of colour (courtesy of 20,000 animated balloons) and has, arguably, the most emotional opening to a film ever. Following pensioner, Carl as he flies his house to Paradise Falls (the place he longed to visit with late wife, Ellie), he is accompanied by boy scout, Russell, exotic bird, Kevin and talking dog, Doug in a big to find peace and fulfill the mission he has worked on for years. I couldn’t tell you the amount of times that I have watched this film but I can say that 100% of the times I have seen it have ended with me in tears with a box of tissues by my side. Featuring a brilliantly sinister performance from Christopher Plummer voicing Carl’s childhood idol, Charles Muntz, an explorer who was disgraced earlier in his career, Up is a film that swept the critics and audience away with its beauty and heart. As I mentioned before, it features the most emotional opening to a film ever and I think I should discuss this scene in detail. We follow Carl and Ellie’s relationship from marriage to Ellie’s death and the highs and lows in between as they struggle (and sadly fail) to save up for a trip to Paradise Falls. It is a sequence with no words, only music and this only heightens the opening. The jaunty score shows them renovating and decorating their home then slowly descends into a sad clarinet as they struggle to conceive and Ellie eventually ends up passing away. It’s a poignant story and a really powerful message to put in a children’s film, especially in the opening when it isn’t expected. I think this was revolutionary in Pixar storytelling because they are explicitly showing the love and eventual heartbreak and sadness that comes with being human.
Again, this ranking took me ages to decide because the films are of such a high calibre but I have made some (arguably controversial) decisions. I think the quality of films from this period was so strong (with the exception of Cars) that it was so hard to place them among the previous films.
Here is my ranking:
1) Up (2009)
2) WALL-E (2008)
3) Toy Story 2 (1999)
4) Ratatouille (2007)
5) Monsters, Inc. (2001)
6) Finding Nemo (2003)
7) The Incredibles (2004) 8) Toy Story (1995)
9) A Bug’s Life (1998)
10) Cars (2006)
The next post begins to delve into Disney’s takeover seeing Pixar create sequels and prequels galore as well as the first Pixar princess and more Oscar winners.
What do you think of the ranking so far? Let me know in the comments below what you’d place as number one!
As with the Disney Animated Classics rankings that I am currently working on, I always thought it would be a nice idea to give myself another impossible challenge of ranking the amazing films from Disney Pixar. Founded in 1986 to pave the way for computer animation, Pixar has since become an icon in the world of film and has made its name in animation. After making a small collection of short films, includings the iconic Luxo Jr, director John Lasseter thought it would be a great idea to translate this new animation into a feature and thus Toy Story was created and a new phenomena was formed. Since then Pixar has been completely acquired by Disney and its global popularity is attributed to the quality writing, memorable characters and the stunning aesthetic.
It’s only natural then to task myself with the challenge of ranking their brilliant offerings. Of course this shouldn’t take as long as they have 20 features in their repertoire (excluding Toy Story 4 which is released later this month). I will discuss 5 films per blog and if I have seen it in time, I will also include Toy Story 4 in the ranking.
Here we go with Pixar films 1-5:
1) Toy Story (1995)
The film that revolutionised animation and sparked wonder for many generations, Toy Story really is a film like no other. The plot is fairly simple, what would happen if your toys could come to life. When Andy receives a Buzz Lightyear for his birthday, leader of toys Woody becomes threatened as he isn’t the favourite toy anymore. Aside from becoming the Pixar aesthetic, computer animation has proven to be the popular animation among audiences and therefore all major animation studios have tended to follow in Pixar’s footsteps. Even Disney Studio ceased production on hand-drawn animation after the release of 2011’s Winnie the Pooh. Although hugely expensive at the time of Toy Story’s release, computer animation has turned into the cheaper and less time-consuming of animation and tends to be the familiar style that audiences today expect. There are a lot of scenes in this film that standout so I’ll go through a couple. First there is the scene when the toys and the audience are introduced to Buzz as he stands on the bed with confidence. The toys are perplexed by this stranger but immediately take to him as he shows off his actions and moves (not to mention to important backstory of Star Command). It’s a scene that immediately reveals Woody’s jealousy and inability to really control the other toys, who he sees as lesser beings. The conflict between the two characters is immediate but communicated through body language and the toy’s abilities themselves. Comparing Woody’s old-school string pull on his back to Buzz’s abundance of buttons and wings shows no contest as Woody must face this new era in Andy’s life and the toys follow suit. Later on in the film when Woody and Buzz are kidnapped by Sid, a kid who likes to destroy his toys and lives across the street from Andy, Buzz realises that he just a toy and not a spaceman. When he says those famous words “to infinity and beyond…” and jumps to fly, falling down and landing at the foot of the stairs, Buzz is physically and emotionally broken. His realisation sends him into a breakdown (cue Mrs. Nesbitt) and the friendship develops between himself and Woody as they respect each other as equals. The film is simple in plot but the importance of this film cannot be understated for its contributions to animation (and rightly received an Honorary Oscar for this) and complexities within the plot allow the characters to truly develop and bring the characters to life from this perspective.
2) A Bug’s Life (1998)
If Pixar’s first offering was all about bringing life to inanimate objects then the second offering is all about bringing the Pixar DNA to nature. Following clumsy inventor, Flik, A Bug’s Life explores how one ant has the courage to face off an oppressive group of grasshoppers who threaten to destroy the ant colony if they don’t provide enough food. A Bug’s Life provides one of my favourite characters in the Pixar universe in the form of hilarious caterpillar, Heimlich (voiced by the late Joe Ranft). This German legend just wants to gain his wings and the payoff at the end of the film is golden. Although not as well-received as its predecessor, A Bug’s Life has its charm and is still a brilliant film. It also challenged Pixar to create different textures as the setting is in nature so they had to consider how the weather affects the environment and the insects themselves. The lead grasshopper, Hopper (voiced by Kevin Spacey) is cruel and relentless in his approach to ruling the colony, gas-lighting the ants into believing that they need the grasshopper’s protection when in fact, they outnumber the grasshoppers at least 100 to 1. The number of ants was an impressive feat to animate as well as the animators had never attempted to create so many characters onscreen at any one time before. This is only a small detail and only for a couple of seconds in a scene but it’s important to acknowledge these seemingly little challenges have helped make computer animation as flawless and progressive as it is today.
3) Toy Story 2 (1999)
Toy Story 2 is one of those rare sequels that, in my opinion, surpasses the original. Woody is stolen by a toy collector who plans to ship him off to a museum in Japan. Flipping the situation around so Woody becomes disillusioned with his own legacy as part of “Woody’s Roundup”, a television show in which he is the star, it is up to Buzz and co to save him and bring him back before Andy comes home from summer camp. This film introduces us to a variety of new iconic toys, particularly cowgirl Jessie and loyal steed Bullseye. Everything in this installment is sharper from the animation to the character development to the scores and songs (who doesn’t cry at “When She Loved Me”?). It’s my favourite of the Toy Story films so far and I don’t think Toy Story 4 will usurp it (not because it will be bad but because Toy Story 2 is genius in every way). What makes this film as brilliant as it is is Pixar’s ability to identify what worked well in the original and to elaborate on that so incorporating more branded toys as a way to create familiarity with the audience and creating a villain who is even more unsympathetic than the original. There are two antagonists in this film with the first being Al, owner of Al’s Toy Barn and mad toy collector who kidnaps Woody at the start of the film. He lives alone opposite his shop surrounded by his extensive Woody’s Roundup toy collection. The little we see of him shows that he doesn’t have any friends and he is rude and aggressive to everyone he meets. The idea that he is a collector should suggest passion which could have been a redeeming feature but he only plans to sell it showing that he only sees the toys as money rather than sentimental in the way that Andy does. The second villain is Stinky Pete, the Prospector who has been kept in his box in mint condition for years as the toys have waited for Woody. Voiced by Kelsey Grammer, Stinky Pete is kind and paternal on the surface but underneath he is mean and controlling, much like Al. I think it was smart to incorporate a toy villain as it is someone the characters can actually exchange conversation with and build that conflict fully.
4) Monsters, Inc. (2001)
The next step Pixar took was to create an entirely new universe altogether for this film about a world populated by monsters. Pete Docter’s feature length directorial debut, Monsters, Inc. follows Sulley (voiced by John Goodman), the best “scarer” at the titular place where children’s screams fuel the city’s energy supply and his assistant, Mike (Billy Crystal) as they encounter a toddler who has wandered into the monster world. This film allowed the animators to push the bar as far as they could and the result is a brilliantly original burst of colour. The writing is superb as expected from Pixar and casting Crystal was a great choice as it appeared that his quick wit and ability to spontaneously burst into song was perfect for the role of Mike. Another highlight in this film for me is the textures given to the monsters, in particular the fur. The detail is impeccable and the city looks just like a regular city to make the concept of this monster universe believable to the audience. It’s a film that elevated my imagination as a kid, especially the scene with all the doors as Mike and Sulley venture through different worlds. The scene with the abominable snowman is fantastic as it’s set in the snowy mountains but despite the lack of props on the screen, the detail in the snow and rocks is groundbreaking. It seems that at this point, Pixar are seeing how big they can go with their universe creation and the details and characters shown in Monsters, Inc. are created so impeccably that this easily could have turned into a franchise with numerous sequels and reboots rather than just one prequel, Monsters University which was released in 2013.
5) Finding Nemo (2003)
The fifth film in Pixar’s catalogue is a heart-warming tale of Marlin the clown-fish and his journey across the ocean to find his missing son, Nemo. Accompanied by the lovable and forgetful, Dory, they venture into the unknown encountering sharks, jellyfish and turtles to name a few in a bid to bring Nemo back home after he is captured by a scuba diver. With Andrew Stanton in the director’s chair, the film has one of the most heartbreaking opening scenes that always leaves me in tears. The first Pixar film to win the Academy Award for Best Animated Feature (Monster’s, Inc. was the first film that could have won but it lost to Shrek), Finding Nemo is about the importance of family but equally the importance of freedom and allowing kids to have the space to explore. The big seller of this film is Dory, a John Dory with short-term memory loss and her unrelenting optimism as she helps Marlin search for Nemo which helps keep the film light for the younger audience but there are so many mature undertones to this film that makes it a thrill to watch as an adult. It isn’t afraid to show vulnerability and flaws in its protagonist and the script allows for real growth in both Marlin and Nemo as both realise the importance the other has in their life. On another level, the Pixar studio also raised the importance of preserving marine wildlife which although subtle in this film, is made all the more clearer in its sequel, Finding Dory. Directed by Andrew Stanton, Finding Nemo is a beautiful adventure under the sea that brings even more colour and imagination than the previous films made by the studio.
So that’s it for the first bunch of Pixar films. Now since Pixar’s catalogue is a lot shorter than the Disney Studio’s, this series will only consist of four posts but that doesn’t mean it won’t be hard to rank. I found it difficult with this post alone because Pixar have such a strong repertoire of films that show off just how far the imagination can be stretched; however, after (literally) hours of deciding, I have managed to rank them.
Here is my ranking:
1) Toy Story 2 (1999)
2) Monsters, Inc. (2001)
3) Finding Nemo (2003)
4) Toy Story (1995)
5) A Bug’s Life (1998)
My next post will look at what I believe to be the best offerings from Pixar as we delve into more Oscar winners and even the second animation ever to receive an Academy Award nomination for Best Picture (even more of an achievement than Beauty and the Beast as there is now the Best Animated Feature category as well so it even exceeded that!).
In the meantime, what do you think of my ranking so far? What would you put as number one? Let me know in the comments below!
Women in film has become a huge talking point for film development in recent years, partially due to the #metoo movement that outed the abusive patriarchy in film seeing women given less power both in representation and finance. A lot of discussion on the internet (from men mostly) questioning whether there truly is a problem in the first place, do the women deserve the harassment they face and most importantly, do we really need these gender swap remakes? The answers to these questions are simply: yes there is a problem, no a woman never deserves harassment and of course we need as much female representation as possible.
It’s not secret that the days of Golden Hollywood, although seemingly flawless and iconic, foresaw the way women in film were treated by their bosses (producers and directors). From the infamous “casting couch” to the manipulative studio contracts, Hollywood presented itself as a mecca of dreams but proved to be a breaking point of mental illness, drug and alcohol misuse and domestic abuse. This period sees the breakdown of many stars including Judy Garland, Marilyn Monroe and Bette Davis just to name a few. It seemed that solace could only be found at the bottom of a whiskey glass.
So what does this issue have to do with Hollywood today?
Well, to begin with, despite the elimination of studio contracts in the 50s due to the collapse of the Hollywood studio structure, it appears that female filmmaking is still viewed as a niche rather than as an equal offering. The fact that we even discuss a film as “female” or celebrate female creators and strong female characters shouldn’t be something we celebrate in the 21st century. Especially considering that we’re at a century of accessible filmmaking that has distributed across the globe. AFter everything that has happened globally regarding women’s issues such as voting rights, reproductive rights, fighting the wage gap, it’s unsurprising that the fight for the female experience through a woman’s perspective has been equally difficult. After all, film is a brilliant and affordable medium to translate issues to a global audience using visuals to gain awareness for issues. Take last year’s Oscar-winning short documentary Period. End of Sentence. that looks at female poverty in India where women are forced to quit school due to periods as they are unablt to afford sanitary products. In terms of fictional feature films, we have seen a resurgence of female driven comedies with Bridesmaids accredited with starting this trend. Other offerings in recent years have reverted back to teenage years with 2019’s Booksmart and 2017’s Lady Bird among the big fish. it’s great to see original stories created by women being given mainstream releases and have subsequently done well in the awards circuit. As well as comedies, we have also seen female-centred dramas such as Todd Haynes’ beautiful and iconic LGBT love story Carol (you can read my review here) starring Cate Blanchett and Rooney Mara, which I would argue is the best love film of the century so far. Now these Indie films do incredibly well, but why hasn’t this translated as well into mainstream films? I’ll try to break this down.
It’s known that the majority of people who will go and see an original story created and performed by women is going to be seen by women. That’s all well and good but considering that men are the majority of the cinematic audience statistically, it’s important to get men to see films created and performed by women too. This is for a number of reasons and since the film industry is a business, the most important issue is money. If more men see the films then more money is given to the filmmakers and then more films created by women can be made which would eventually make the idea of the “female film” as old and traditional as the Golden Age of Hollywood. This brings me to the gender swap remakes. If you looked at the highest grossing films in recent years, chances are that they are filled with sequels, reboots, prequels and remakes. Using this information, it is a smart idea that in order to bring a female perspective to a high-grossing film, you must incorporate strong female roles into these films. However, this hasn’t been without a share of complaints from a small portion of the male audience. Take the Marvel and DC Universes for example. Admittedly, I am not a huge fan of the Marvel Universe but I have never heard such negativity from a male audience regarding it’s iconic female characters before. It seems that every other film is released with no issue, Marvel films particularly tend to sell out every initial screening and exceed in both critic and audience circles so when they decided to do a film dedicated to Captain Marvel, this should have been a celebration for a strong female character to join the achievements of its predecessors; however, this sadly wasn’t the case. A portion of the male audience was outraged by Brie Larson’s interpretation of the role as well as her feminist statements. It’s all well and good when the male superheros want to prove their stereotyped masculinity (which is an old school trope that Marvel appear to be fighting as well by bringing vulnerability into the male characters) but when Captain Marvel doesn’t need a man to save the world and more importantly, doesn’t want a man with her to save the world, this is a major issue. It was a role that should have been celebrated but instead, while Endgame was adored for bringing its emotion to the male characters (Iron Man specifically), Captain Marvel is viewed in a negative light because she veers away from the traditional “eye-candy” trope that Golden Hollywood has been feeding the audience with for years. I hope that as these franchises expand and more female characters are incorporated into their respected universes, the male audience that openly despises the likes of Captain Marvel and Wonder Woman may be open to the idea of the strong, independent women without thinking of them as simple love interests or sidekicks rather than the leaders of their own stories. Despite this small male audience who tweet outrageously about the femalecentred films, DC is clearly proud of the overwhelming success of Wonder Woman as they are bringing Patty Jenkins back for the second film (I did actually enjoy Wonder Woman! The first segment featuring the Amazonians is astonishing direction and writing).
I am not writing this article to be negative or bash the male audience because the male audience is important to the plight of female filmmaking as well and it is only a small portion. I think that there has to be an understanding that it is much harder for a woman to get a film made than a man. Once that statement is understood and acknowledged then the discussion of female film becomes a welcome idea and celebrated. But in a world where the Indie films created by women are renowned for their originality, why do we need gender swapped films such as Ghostbusters? Do we actually need them?
As I said at the top of this article… yes, yes we do!
Why do we need them? By remaking films with gender swapped protagonists, it gives the audience a new perspective on a femiliar setting. It’s easy to be angered when a classic like Ghostbusters is given an update with the best female comedians much like the original with men. It’s a brilliant film by itself (it obviously isn’t as good as the original) but I don’t think the intention was to “outdo” the original. I think it was to show that women could be given an ordinary role without the woman part being of any importance. I think that if Ghostbusters was remade with a male cast, there would be the usual complaints of “we don’t need a remake” but the abuse hurled at the stars of the film showed that there is sexist view from this portion of male audience. It seems to not only be that women have “taken” the roles, but that women are put in powerful positions without being the love interest. There is also an argument that representation is important and when given the opportunity to make these remakes, it’s another opportunity to put women in the driving seat which is only a positive.
Some of the films I love such as Eternal Sunshine of the Spotless Mind and Frances Ha feature brilliant female characters. Clementine Kruczynski (played fantastically by Kate Winslet) in the former and Greta Gerwig as the quirky titular character in the latter are women who have their flaws and struggles but at the end of the day, are independent and strong. Both films directed by men but show the important of strong female presence in film. Eternal Sunshine’s script won the Best Original Screenplay Academy Award suggesting that there is a demand for these female characters. Another film that is a force of nature is 2016’s Turkish offering, Mustang, about five young sisters who are forced into marriage after wrongly being accused of sexual activity with a group of boys in their class at school. Written and directed by Deniz Gamze Erguven in her directorial debut, Mustang is one of the best films I have ever seen. The film is shown through the eyes of the youngest sister, Lale, giving the audience an innocent glimpse into an oppressive world without explicitly saying so. Much like the message of the film, the writing and directing is subtle with a lot of stillness and peace in moments of chaos. Another brilliant female-led offering is 2018’s The Favourite which was hugely snubbed in the Oscars this year and has not one, not two but THREE stellar leads in the form of Olivia Colman as Queen Anne (who deservedly won an Oscar for her performance) and Rachel Weisz and Emma Stone as the women vying for the queen’s attention. It’s a complex triangle of lust, power and manipulation. This answers the question whether women can carry a film with a resounding YES!
At the end of it all, more needs to be done to finance and distribute mainstream films created by and starring women but this isn’t to say that none exist at all and the offerings we have had in recent years particularly show a huge improvement to the films of the Golden Era. Women have proven time and time again that they can create films that are both critical and commercial (when given the chance) successes.
What are your favourite films created by and/or starring women? Let me know in the comments below?
The next bunch of films see a return to the classical format of animated offerings based on 19th and early 20th century classics (with the exception of Cinderella). This blog also looks at some of the most controversial films in the catalogue for its racist depictions of Native American Indians (Peter Pan) and Asian stereotypes (Lady and the Tramp) as well as misogynistic qualities that will sadly become even more so prevalent in Disney animations. The films, however, have stood the test of time and remain among the most loved classics in the Disney repertoire.
As ever, here are the links to previous installments:
I don’t know if there is a darker tone in the Disney catalogue than the “Ichabod Crane” segment in this collection. Consisting of two segments inspired by The Wind in the Willows and “The Legend of Sleepy Hollow”, this is the last of the segmented features found in the Disney collection. I would watch this on repeat when I was younger and “Ichabod Crane” certainly made an impression in terms of how I see films today and approach them. It taught me that you don’t always need the happy ending that is usually given in family films and can be dark without being overtly scary. I am not as fond of The Wind in the Willows segment as much but I still find it a joyful treat to watch. Telling the story of Mr. Toad, an eccentric proprietor and his friends, Ratty and Moley, who are tasked with finding him before he gets himself in serious trouble, The Wind in the Willows follows Mr. Toad as he finds himself eventually jailed for car theft despite being framed. This differs greatly to the following segment of “The Legend of Sleepy Hollow” where Ichabod Crane moves to the lazy town of Sleepy Hollow where he tries to woo Katrina von Tassel in a bid to take her family inheritance while also being bullied by Brom, the village hero who also loves Katrina. It’s a film littered with flawed characters but this adds to the suspense as the audience doesn’t know who to trust.
12) Cinderella (1950)
Probably the most iconic Disney princess, Cinderella is the classic fairy-tale about a young girl subjected to servitude at the hands of her Evil Stepmother and Ugly Stepsisters. With the help of her Fairy Godmother, Cinderella attends a ball where she meets a prince before leaving her glass slipper. The palace search for the mysterious woman who captured the prince’s heart and the glass slipper is tried on by every woman claiming to be the woman. However, Cinderella puts the slipper on and they live happily ever after. There is no doubt that this film is a classic and for good reason. It is a simple film with likable animal sidekicks and a strong moral purpose; however, I believe that there are a lot of better films that captured my imagination as a child. I always enjoy watching Cinderella but it has never been among my top favourite Disney films simply because I find that there is more development given to secondary characters than primary characters. Ultimately, we learn more about Jacques and Gus more than Cinderella herself. Her character is supremely passive with events simply happening to her rather than her actually doing anything herself. Whereas Snow White shows an achievement in the animation field as a whole, I completely appreciate that she too is a passive character but what separates it for me is that there are fantastic sequences throughout the film such as when she flees the huntsman whereas Cinderella doesn’t do anything spectacular in the animation that we haven’t seen before.
13) Alice in Wonderland (1951)
The most famous adaptation of the classic Lewis Carroll novel, Alice in Wonderland follows the titular character as she delves in an absurd world filled with the unlikeliest of characters from the White Rabbit to the evil Queen of Hearts. Filled with lots of songs that have stood the test of time such as “Golden Afternoon” and “Painting the Roses Red”, it is a film filled with colour and nonsense and knows it. Disney makes the most of the bonkers plot by allowing the animators to create the most unimaginable creatures such as those found in the forest. Characters such as the Cheshire Cat and the Madhatter are also designed brilliantly with the former being among the most recognisible of Disney characters.
14) Peter Pan (1953)
Peter Pan tells the story of Wendy Darling and her brothers, John and Michael, as they venture to Neverland with Peter Pan, a young boy who never grows up. It is probably the trickiest Disney film to write about because it spawned some of the most iconic characters including Tinkerbell and the film itself is loved around the world; however, its damaging representation of Native American Indians and misogyny throughout the film make it an uncomfortable film to watch. The infamous scene I am talking about in particular is when Peter and co are celebrating the return of the Chief’s daughter, Tiger Lily in what is a highly racist collection of stereotypes with every aspect of Native American Indian culture being ridiculed. I thoroughly enjoy every other part of the film, particularly the baddies Captain Hook and Mr. Smee and a special mention to the Crocodile who I am convinced spawned my fear of alligators and crocodiles. It’s a film that I remember watching frequently and I think it sparked my imagination and writing. I love the scene when we see Captain Hook’s reaction to the Crocodile for the first time. It’s comical and terrifying at the same time but it’s the fear that keeps me going back to watch it, very much like Snow White.
15) Lady and the Tramp (1955)
Now for a film that is simultaneously classic but always understated and quite forgotten a lot of the time compared to other offerings. Lady and the Tramp is about an upper class spaniel called Lady who falls for a stray dog, Tramp and the two fall in love despite their different backgrounds. It’s a clever take on classicism during a time in which society was very much torn in the aftermath of the war. As Lady begins to venture out of her comfort zone, her character becomes three dimensional as she becomes fearless and most importantly flawed in a world that expects her to be perfect. Again, much like Peter Pan, we see another racist trope in the form of the infamous Siamese cats who are the epitome of Asian stereotypes. Their appearance and song is frowned upon in modern times and again is uncomfortable to watch. Thankfully, their appearance doesn’t last long and we are served with famous songs like “Bella Notte” and “He’s a Tramp”. With a remake in the works to be released this year, this is a love story that has stood the test of time and can melt the hardest of hearts.
So that’s films 11-15 reviewed with some of the most famous Disney films covered. As you can see, Disney appear to have fully recovered financially and critically from the segmented offerings made during and after the war.
Here is my ranking:
1) Snow White and the Seven Dwarfs (1937)
2) Fantasia (1940)
3) Bambi (1942)
4) Alice in Wonderland (1951)
5) Peter Pan (1953)
6) The Three Caballeros (1945)
7) Pinocchio (1940)
8) Dumbo (1941)
9) Cinderella (1950)
10) Lady and the Tramp (1955)
11) Fun and Fancy Free (1947)
12) The Adventures of Ichabod and Mr. Toad (1949)
13) Saludos Amigos (1943)
14) Melody Time (1948)
15) Make Mine Music (1946)
The next blog looks at the last bunch of films made and approve before Disney died including classic favourites, Sleeping Beauty and The Jungle Book. Check it out and see where the films rank!
Do you agree with the ranking so far? What are your favourites from this blog? Let me know in the comments below!
The next five films are a unique bunch in the Walt Disney animation collection. Created during World War II with a very limited budget, these films consist of segments inspired by music and incorporate live action in a bid to reduce animation costs. Admittedly, this makes these films difficult to rank because they are completely different medium of film in my opinion to the regular offerings from the studio. However, despite the quantity of animation, the quality is still there and makes these films worth watching.
Since there are numerous animators working on various segments, it means that the style of animation isn’t consistent as well, allowing the studio to bring a more experimental approach that attempts to push animation even further than the revolutionary Fantasia. Some of the films are a lot more successful at achieving this than others but the passion to create fun and groundbreaking animation of quality is present in all of the films.
You can read the link to the previous ranking here:
And now for the discussions of Walt Disney Classic Animation Studios films 6-10:
6) Saludos Amigos (1943)
Made in an attempt to unite the two Americas in the midst of World War II, Saludos Amigos is a tribute to various South American countries such as Argentina and Brazil. It comprises of various shorts as groups of Disney animators draw inspiration from the places they visit merging the classic Disney style with South American culture. The result sees Donald and Goofy learn about the countries and it also sees the introduction of iconic Disney character, Brazilian parrot, Jose Carioca. The film heavily features live action which makes me unconvinced whether it should belong in the Disney Classic Animation collection, but the animation we view is a real treat. My main downside with this film is that the balance between educational and entertainment is heavily swayed in favour of the former with a lot of lecturing overshadowing the animation at times. Each segment shows the live action footage and pictures that they took away from their trips narrated in depth and is then followed with the animated footage with the narrator repeating the information he has already told us. The heavy use of narration sometimes distracts because there is so much information and therefore we miss some of the cultural aspects in the animation itself. I found this particularly distracting in the first segment when Donald Duck visits “Lake Titicaca”. I don’t think that narration is needed during the animated parts because we already know the information.
7) The Three Caballeros (1945)
If there were doubts about Saludos Amigos position in this list then The Three Caballeros knocks it entirely out of the park. Again, featuring a more forgiving dose of live action, this film yet again focuses on Donald Duck’s adventures as he learns about South America through his friend, Jose Carioca. This film feels like a huge improvement on its predecessor and features some unforgettable songs. It feels more focused and yet isn’t afraid to be completely bonkers with a bigger than life finale. It’s a shame that Disney don’t use Jose Carioca in its cartoons or merchandise more because he’s a brilliant character. Another part of this film that I enjoy more than Saludos Amigos is that it is a fun film that isn’t as serious. Although it is a film that is educating its audience on South American cultures, it doesn’t feel like its lecturing us which as I previously said is something that Saludos Amigos does a lot. My favourite moment in this film is the brilliant inclusion of the eccentric Aracuan bird, a bird that lives in the rainforest and has a unique (to say the least) song. It is the funniest 30 seconds ever and the song he sings will be stuck in your head for hours.
8) Make Mine Music (1946)
Make Mine Music attempts to follow in the footsteps of Fantasia by creating art inspired by pieces of music. There are some brilliant segments in this film such as “Peter and the Wolf” and “The Whale Who Wanted to Sing at the Met” but the film as a whole seems disjointed and has a tendency to drag. The pieces of music don’t flow as well as they do inFantasia, perhaps this is due to a lack of narration or explanation, meaning that one minute we watch a peaceful river in the moonlight in the classically inspired “Blue Bayou” which then follows in to “All the Cats Join In”, a jazz inspired mash of 1940s adolescence. It feels that this shouldn’t be put as a feature film as it doesn’t successfully thread together. This isn’t to say that I don’t enjoy the individual segments but as a film watching experience it is rather jarring.
9) Fun and Fancy Free (1947)
Much like The Three Caballeros, Fun and Fancy Free feels like an improvement on its direct predecessor. Rather than featuring numerous sporadic segments in one film, Fun and Fancy Free only features two stories with sandwiched narration by Jiminy Cricket. The first segment, “Bongo”, is shorter and tells the story of the titular character, a circus bear who escapes into the wilderness and his struggle to adapt. It feels like a combination of Fantasia and Bambi and manages to tell a fulfilling story without overstaying its welcome. The second segment and the focus of the film is the epic “Mickey and the Beanstalk” which is, unsurprisingly inspired by the fairy-tale “Jack and the Beanstalk”. Following Mickey, Donald and Goofy during a time of famine after a magical harp fairy is kidnapped by a giant, the three set off to get her back. It’s a lovable piece that is accompanied by the real world story of a party with renowned ventriloquist, Edgar Bergen, who is recounting the story to child actress, Luana Patten, and his dummies, Charlie McCarthy and Mortimer Snerd, in attendance also. Charlie McCarthy is quite a cynical character and his little quips here and there will have you howling.
10) Melody Time (1948)
Featuring a starry cast and seven musical segments, Melody Time was made with no expense spared on a $1.5m budget. The segment, “Blame is on the Samba” includes my favourite character, the elusive Aracuan bird who is his usual mischievous self. It’s a welcome return and a nice surprise that Disney decided to bring him back for an entire segment. With segments running as long as 22 minutes, this sees Disney allowing the artists to push themselves further. It definitely feels as though the Disney studio is beginning to recover from the effects of the war but Disney cleverly made sure to keep a focus on happiness and hope with lots of colours and joyful musical choices. Not to mention the favourite child duo at the time, Bobby Driscoll and Luana Patten making appearances. It doesn’t quiet hit the highs of Fun and Fancy Free but the narration between segments brings a thread that is missing in Make Mine Music and it seems to flow better as a film because of this. I love the “Little Toot” segment particularly because it is charming and heartbreaking at the same time.
So with that, it’s time for the ranking. I found this particularly difficult because I have tried to balance how I felt watching the films when I was younger with how I feel about them now.
Without further ado, here is my ranking:
1) Snow White and the Seven Dwarfs (1937)
2) Fantasia (1940)
3) Bambi (1942)
4) The Three Caballeros (1945)
5) Pinocchio (1940)
6) Dumbo (1941)
7) Fun and Fancy Free (1947)
8) Saludos Amigos (1943)
9) Melody Time (1948)
10) Make Mine Music (1946)
That’s it for this post! It’s been interesting looking at films made during and after the war because Disney clearly felt that the studio should focus on lighter entainment rather than anything with dark undertones such as Bambi. Films 11-15 see a return to well-loved classics such as Cinderella and Peter Pan which I promise will be up much sooner than this one.
As always, let me know in the comments below whether you agree or disagree with my rankings so far? What would be your number 1?
On hearing the news that icon Doris Day had died yesterday, my mind immediately went to some of her greatest roles like Calamity Jane (1953) and Pillow Talk (1959); however, I always found myself most affected by her brilliant performance as the mother looking for her kidnapped son in Alfred Hitchcock’s The Man Who Knew Too Much. A remake of Hitchcock’s 1934 film of the same name, this Hollywood remake stars James Stewart and Doris Day as a husband and wife whose son, Hank, is kidnapped while they are holidaying in Morocco. It is revealed that their son is being used as a pawn while the kidnappers plan to assassinate an important ambassador during his visit to London. It’s a film that shows the importance of family in a time of politically turmoil that feels just as relevant in its post-war 1956 as it did in pre-war 1934.
The Man Who Knew Too Much is my favourite Hitchcock film and much of it is attributed to Doris Day in her role as Jo Conway McKenna. The role is clearly tailored for Day as she plays a professional singer. This may not seem like a stretch as we watch her beautifully sing the Oscar-winning song “Que Sera, Sera (Whatever Will Be, Will Be)” but this changes the moment Hank is kidnapped. Day effortlessly brings an emotional depth to her character that she hadn’t really displayed earlier in her career, showcasing her talents as a dramatic actress. In particular, her acting in the final act of the film shows an explosion of all these emotions and her distress and longing to see her son are brought to her heart-breaking final performance of “Que Sera, Sera” that seems worlds away from the performance at the beginning of the film.
Made with a large Hollywood budget, Hitchcock makes use of multiple locations across two continents and yet somehow, the murder scene that place in the open market of Marrakesh feels equally as claustrophobic as the climatic orchestral scene in the Royal Albert Hall. Hitchcock never allows the audience to let their mind wander in his films as we are quickly assured not to trust anyone. One of my favourite locations used is a small Taxidermist’s shop and the struggle James Stewart has escaping the workers is tense as he is almost stabbed by a swordfish. Another intense scene that is recreated in the remake is the chapel scene in which the protagonists discover that the kidnappers run a local church. As the mass is under way, they clear stand out in the congregation and it is only a matter of time before they have their confrontation with the criminals. Everything about this scene in both the original and remake is brilliantly done because Hitchcock ensures that everything is directed slowly. There isn’t much physical movement as the mass takes place, the hymns are slow and droll with the speaker calm and paced in his sermon. The suspense is driven up until the moment everyone has left and they are the last visitors in the church.
It would be a true crime not to talk about the music in depth. Aside from its Oscar-winning hit that became synonymous with Day throughout her life, music is also integral to its film because it is used for the climatic moment during the assassination attempt. As in the original, it is the clash of cymbals that signals the shot. The kidnappers play the piece on a record player beforehand so the audience knows the moment. This is a clever move on Hitchcock’s part because we then know the moment when the shot will occur. Opposed to the suspense of the chapel scene, the Albert Hall scene is faster paced as the music quickens and the camera shifts between the gunman, Day, the ambassador and the orchestra. I feel that Hitchcock improved on this scene from the original as he used the same musical piece but it feels that the suspense is really played out and the production feels bigger as a whole which I feel the original lacked.
It’s a shame that this film isn’t discussed as much as some of Hitchcock’s other films because although it’s not a horror in the traditional sense of the word (ie. Psycho and The Birds), it still contains elements of horror from the writing and directing. I think it is a film that shows Hitchcock not only pushing boundaries on filmmaking but also showing how he is willing to improve on his own work.
What is your favourite Hitchcock film? Let me know in the comments below!
