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Up, up and Away
Pixar saves the day with The Incredibles
by Clint Casey
In a world where truth and justice are sublimated by apathy, the call for superheroes sounds louder now than ever. The prospect of larger-than-life problem-solvers bridges the gap between fantasy and reality, stirring child-like wonderment in good over evil. With The Incredibles, Disney and Pixar plunge headlong into imagination with a cape-free adventure that provokes awe in their superhuman champions.
After an unfortunate series of events, all supers are pushed underground into mild-mannered existences, relocated by the U.S. government in a protection program and forced to hold menial jobs. Bob Parr/Mr. Incredible (Craig T. Nelson), marries his former ally Helen/Elastigirl (Holly Hunter) and lives in suburbia with his three children Dashiell, Violet and Jack Jack. Each family member is endowed with extraordinary abilities but required by law to maintain anonymity.
However, Bob isn’t content to sit on the sidelines, spending evenings with Lucious Best/Frozone (Samuel L. Jackson), living vicariously through a police scanner in the hope of landing the occasional good-guy action.
When Bob is approached with the mysterious offer of tackling a machine run amok, his interest is predictably aroused, and his wife and kids enlist to save the day.
The character dynamic makes The Incredibles unique and endearing. The nuclear family works together during superhuman challenges, utilizing each gift to its fullest potential despite individual differences. The love-hate relationship familiar to every family is eloquently articulated, with each personality charming in its own right. Actually, the Parr family is fairly similar to the television Simpson family in its interaction with one another and their assigned roles. (Director/screenwriter Brad Bird worked on the series.)
While the animation is paramount, the actors responsible for breathing life into technology immerse themselves into the visually stunning adventure with an engaging story. Nelson’s semi-bumbling Mr. Incredible and Hunter’s more-responsible Elastigirl anchor the well-rounded cast, and little more is desired from any of the heroes and villains than is offered.
The first half of the almost two-hour film moves leisurely, laying groundwork by establishing character quirks, flaws and connections, but it more than delivers in a well-established finale that pays homage to time-toughened superhero tenets and clichÉs. And, the dialogue is acutely sharp. In a dated television interview, Mr. Incredible spouts, “No matter how many times you save the world, it always manages to get back in jeopardy again! I feel like the maid; ‘I just cleaned up this place! Can’t you keep it clean for 10 minutes!’”
While the movie approaches Finding Nemo (Pixar’s most recent offering) in heart, its segments don’t connect quite as well. It does, however, manage to pummel much of Dreamworks’ fare, including the instant gratification and rapid-fire wisecracks of Shrek. (Incidentally, the theory about Beatles people and Elvis people appears likewise applicable to Pixar and Dreamworks.)
Toppling or matching Pixar features in quality has proven difficult for rival studios, and the Incredibles ranks among its finest. The closest competitor to Pixar appears to be the company itself. It’s just unfortunate that the symbiotic relationship between Disney CEO Michael Eisner and Pixar creator Steve Jobs seems to be crumbling over irreconcilable differences.
Ultimately, The Incredibles provides thoroughly entertaining insight into the hypothetical microcosm of a family with superpowers. And, superheroes are totally cool.
November 11, 2004 • Vol. 14, No. 46
© 2004 Metro Pulse
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