Alec Nevala-Lee

Thoughts on art, creativity, and the writing life.

Brave and the fate of Pixar

with 6 comments

Note: Spoilers follow for Brave.

It pains me to say this, but there’s no other way: I no longer fully trust Pixar. While I’m aware that this may not be a popular opinion, Brave strikes me as their weakest movie of any kind, weaker even than Cars 2. As I said at the time, Cars 2 had big problems, but it was only a rewrite or two away from being a entertaining movie. Brave, by contrast, comes off as fundamentally misconceived, and in ways that raise troubling questions about Pixar’s vaunted storytelling skills. There’s no doubt Pixar takes its storytelling very seriously, and as we saw with the recent list of narrative tips shared by artist Emma Coats, it’s developed a formidable bag of tricks. But in the case of a movie like Brave, such tricks amount to smart tactics in the service of no strategy whatsoever. Much of Brave works fine on its own terms—it’s consistently beautiful, ambitious, and rendered with a lot of love. But the more I think about it, the more it looks like a story that could only be fixed by being thrown out and radically reconceived.

At its heart, Brave‘s story is startlingly simple: a teenage princess, Merida, annoyed by her mother, Queen Elinor, casts a spell that turns her mother into a bear. This isn’t a bad premise in itself, but as handled by Brave, it suffers from three major problems: 1. Neither Merida nor her mother are strongly developed enough as characters to make the latter’s transformation meaningful. We don’t really know Queen Elinor before she’s transformed and can no longer speak, so the long sequences with Merida and Elinor as a bear can’t build on anything that came before. 2. Elinor’s metamorphosis is supposed to bring mother and daughter closer together, but there’s nothing in the situation that reveals anything new about their relationship. It’s just a generic crisis that doesn’t cast any light on the central conflict, which is that Merida is smarting under her mother’s expectations. 3. The movie’s treatment of magic is casual at best, with Merida essentially getting her spell from a witch who dispenses plot points, and the rules are never really explained, which undermines any narrative tension, especially near the end.

It isn’t hard to think of a version of this story that would have worked better than the one we’ve been given. We could make Elinor, not Merida, the central character, which automatically makes her transformation more interesting. We could turn Elinor’s father, the king, into a bear, and have mother and daughter work together to save him. We could have Merida take a rebellious interest in magic, and be drawn to a witch—not the witch we see here, but perhaps someone more like Maleficent—as an alternative mother figure in place of the queen, with disastrous consequences. Or we could even keep the story we have and approach it with a lighter touch, as Miyazaki might have done. Totoro barely has any plot at all, yet the grace of its conception makes it seem elegant rather than half-baked. Brave‘s technical splendor actually works against it here: it’s so visually compelling that it takes us a long time to realize that we’ve been given a rather simpleminded children’s movie, and that the studio gave less effort to exploring Merida’s motivations than it did to developing her hair.

In the end, we’re left with a deeply muddled movie whose constant harping on themes of destiny only makes its confusions all the more clear. Merida, for all her talk about fate, doesn’t seem to have any particular sense of what she wants out of life, and neither does the movie around her. (Just repeating the word “fate” over and over won’t convince us that you have anything interesting to say on the subject.) And the result is a film that seems less like an ordinary misfire than a tragic waste of resources. It’s possible that the change of directors was to blame, or the fact that, contrary to what the filmmakers have said, the studio was so intent on making a movie with a female protagonist and a fairy tale setting that it forgot to make either distinctive—or to see that Tangled had already done a better job. If I’m being hard on Pixar, it’s because it’s capable of far more, and I’m afraid it may see Brave as the best it can do. But it isn’t: it’s the work of a great studio that has lost its way. And only time will tell if Pixar can manage to change its fate.

Written by nevalalee

June 25, 2012 at 9:52 am

6 Responses

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  1. I love Billy Connolly, so I’ll be seeing it. But the trailer doesn’t inspire me like Up did, and I consider Up the second best animated movie I’ve seen, just pipped by Miyazaki’s Spirited Away.

    Catherine McCallum

    June 25, 2012 at 7:57 pm

  2. Brave is not brave at all!

  3. Tiffany Aching. The Wee Free Men movie is on IMDb as ‘in development’ (so I assume we’ll never see it…), so I guess Pixar can’t make it; and they seem to go for original stories anyway. But they could learn a lot about a teenage female fantasy protagonist from Pratchett.

    Darren Goossens

    June 26, 2012 at 6:06 am

  4. @Catherine: Connolly’s pretty great, although he isn’t always given the material he needs. (All the actors involved are very good—I’m annoyed by the movie’s misuse of the theme of fate, but I could listen to Kelly Macdonald say “fate” all day.)

    @Darren: Good call!

    nevalalee

    June 26, 2012 at 9:32 am

  5. It’s a shame, I had been looking forward to something original from Pixar after two summers of sequels, and it turned out to be tremendously disappointing. Now for another two year (at least) wait :(

    Isaac

    June 26, 2012 at 2:53 pm

  6. On the other hand, we did get Toy Story 3.

    nevalalee

    June 26, 2012 at 4:27 pm


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