Have you ever wondered why you get songs stuck in your head, where invisible friends go, or why you sometimes say the things you really shouldn’t? Inside Out, the latest from the animation powerhouse Disney Pixar, has answers to those and many other questions - it’s all in your head.
Inside Out tells the tale of 11 year old Riley as she struggles to cope with her family moving to a new city, starting a new school, and generally growing up. Inside Out also tells the tale of the five emotions who are in Riley’s head, and the journey they go on when the move throws everything off balance.
Pixar chief John Lassiter was apparently greatly excited by the pitch for this film, specifically with what fun they could have with voice casting. Pixar have typically been spot-on with voice casting, however, casting the voices of anthropomorphic emotions surely posed something of a unique challenge as the voice cast had to convey the emotion they were meant to be and avoid becoming caricatures. Amy Poehler steps up as Joy, a character of relentless enthusiasm, however she infuses Joy with enough self-doubt that she is inspiring rather than irritating. Phyllis Smith (best known as Phyllis from the American version of the Office) is Sadness, Joy’s unlikely partner in a quest that forces them to work together. The evolution of Sadness is one of the scripts greatest feats, taking her from being something of a nuissance, to something else entirely, Smith manages to capture the feelings of hopelessness that we all sometimes feel - making her a relatable character rather than a burden on the story. The other three chief emotions get less screen time, however rack up the laughs thanks to the delivery of Mindy Kaling (Disgust), Bill Hader (Fear), and Lewis Black (Anger) - as these three extremes try to run Riley’s head while Joy and Sadness are on their own quest.
Pixar have always made beautiful films, going back to the original Toy Story for which John Lassiter claimed the goal was to make the technology invisible, a tool in service of the story. The outside world occupied by Riley and her parents is classic Pixar, San Francisco realised with impressive attention to detail, though coloured in drab tones to depict the absence of Joy in Riley’s life. It is inside Riley’s head that the production design really gets interesting; the animators and designers were essentially given free reign to create a world where anything is possible, but think less Inception and more…well there really isn’t a visual frame of reference for Inside Out, it is unique. What is surprising and commendable is that Pixar have been remarkably disciplined with this free reign to create, Production Designer Ralph Eggleston (Finding Nemo, Wall-E) has said in interviews that such creative freedom made Inside Out perhaps the most difficult production he has ever worked on. Riley’s mind is a visually stunning environment, however it follow’s an internal logic where by the whole place is connected via a network of memories. Perhaps some of this design will go over the heads of younger viewers, however they will no doubt be delighted with lurid landscape and potential for adventure contained in every frame. Older viewers will marvel at the extent to which Pixar have created a world which looks as though it actually could work, as well as the clever observational gags such as the ‘train of thought’ or the room of ‘abstract thought’. My personal favourite was the Dream Studios, in which Riley’s dreams and nightmares are conducted in a TV studio with actors following a script - it is ingenious.
Co-Writers/Directors Pete Doctor and Ronaldo Del Carmen have made a film which sticks to the family friendly territory familiar to the Pixar audience, however this does not mean they have avoided some very grown-up emotions. Inside Out is at its best when the narrative switches between Inside and Out to give us a full picture of what is driving Riley’s actions, for example a video chat with a friend shows Riley lashing out almost aggressively, however the audience is allowed to peek inside her head to see the frustration and insecurity driving this action. These moments work brilliantly because they are executed in the simplest way, however they force the audience to think more deeply about the characters and their choices. This is perhaps Pixar’s greatest skill, with disarming simplicity and clarity they tell stories driven by emotion - quite literally in this case - and so they appeal to all ages. Pixar seems to be leading the charge for family-friendly films in which no character is ever just sad, or happy, or good, or evil; they have grasped the notion that children (and children-at-heart) are not stupid and will not be satisfied with lazy storytelling, and it has been the secret to their success.
Normally when I write a review I follow a formula (a secret recipe which I’ll never reveal mwhahaha), however I found myself unable to do that with Inside Out. Instead I just began typing and realised just how much I loved this film, and can’t wait to see it again. Inside Out is a fantastical and inventive take on what rules the mind, however, ultimately it is the heart that rules this witty and charming film.
WHO: Amy Poehler’s boundless enthusiasm is completely infectious.
WHAT: The Dream Studios section creatively poking fun at the film industry.
WHY: The script is packed with wicked-smart observational comedy.
WHEN: If you can’t see it early like I did at Glastonbury (hooray humblebrag) then catch as soon as you can.
No comments:
Post a Comment