So, my dear friends, Wall*e has been reviewed to death in the few weeks since its introduction. In my flist alone the wickedly sharp minds of
laguera25,
thelauderdale, and
cats_n_crying have all attacked it, but I have only just now seen it and wish to lay out my own thoughts. I also wish to avoid having to think up some fictional thought to write about tonight, so this it shall be.
I found the Earth-based portion of the movie at the beginning incredibly sad and rather lonely- the little robot that could is stuck on a world, essentially alone except for a roach and the corpses of his deceased comrades. The filmmakers tactfully deal with the reality that the Wall*E unit in question essentially cannibalizes his brothers by simply cutting away the actual theft of the treads from off the body of another, and showing his collection of eye/camera units as an integrated part of his collections. Since it’s a kid’s movie, the accidental squishing of the cockroach turns out to be nonfatal, but we do need to understand that Wall*e is truly the last living thing on the planet at the beginning of the film.
The choice and use of the musical Hello Dolly was inspired and lovely. I had thought from the previews that the film would be entirely without dialogue, and I honestly think that they could have pulled that off and simply used the music to convey the budding romance between Wall*e and Eve. It was simple, it was effective, it was lovely. Bravo.
The character designs are rather derivative but not clearly stolen from anything else. Wall*E units, when fully deployed, look a heck of a lot like Johnny Five from the Short Circuit film franchise (http://www.youtube.com/watch?v=z6VVELKyhOg&feature=related) and feature some of the same very simple emotive tools: eyes and hands. Also, his temporary “death” at the end of the film when part of his motherboard has to be replaced from his stores suggests a similar personal history: Johnny Five gains his personality and sentience when struck by lightning, and disassembly is likened to death- he is more than the sum of his parts. Wall*E seems to be as well, but apparently enough of it was transferable that it was able to re-establish itself afterwards.
Eve is clearly an iProduct, all seamless white plastic and high tech jimcrackery. She is also about five times as photogenic. She takes the lead in all their Bonnie and Clyde pictures and looks far more frightening than Wall*E. It’s a bit strange to me that something brand fresh new out of the factory, and intended only to be a probe without any human interaction, was able to develop a personality so quickly, or was given an interface that was so human as to show amusement and interest in things with her “eyes.” But it's a useful conceit for the film, and cute as a button, so I will allow it to pass unscathed.
The Auto-Pilot was a huge blinking red nod to the HAL unit from Space Odyssey 2001, as was the music that played at the Captain slowly and ponderously launched himself from his chair and took his first baby steps towards reclaiming his authority. (
laguera25 made an interesting quip at the end of her reviewon the subject of the normality of the passengers’ willful and permanent immobility, and since her review is worth forcing you to read in its entirety, I will simply link.)
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I found the Earth-based portion of the movie at the beginning incredibly sad and rather lonely- the little robot that could is stuck on a world, essentially alone except for a roach and the corpses of his deceased comrades. The filmmakers tactfully deal with the reality that the Wall*E unit in question essentially cannibalizes his brothers by simply cutting away the actual theft of the treads from off the body of another, and showing his collection of eye/camera units as an integrated part of his collections. Since it’s a kid’s movie, the accidental squishing of the cockroach turns out to be nonfatal, but we do need to understand that Wall*e is truly the last living thing on the planet at the beginning of the film.
The choice and use of the musical Hello Dolly was inspired and lovely. I had thought from the previews that the film would be entirely without dialogue, and I honestly think that they could have pulled that off and simply used the music to convey the budding romance between Wall*e and Eve. It was simple, it was effective, it was lovely. Bravo.
The character designs are rather derivative but not clearly stolen from anything else. Wall*E units, when fully deployed, look a heck of a lot like Johnny Five from the Short Circuit film franchise (http://www.youtube.com/watch?v=z6VVELKyhOg&feature=related) and feature some of the same very simple emotive tools: eyes and hands. Also, his temporary “death” at the end of the film when part of his motherboard has to be replaced from his stores suggests a similar personal history: Johnny Five gains his personality and sentience when struck by lightning, and disassembly is likened to death- he is more than the sum of his parts. Wall*E seems to be as well, but apparently enough of it was transferable that it was able to re-establish itself afterwards.
Eve is clearly an iProduct, all seamless white plastic and high tech jimcrackery. She is also about five times as photogenic. She takes the lead in all their Bonnie and Clyde pictures and looks far more frightening than Wall*E. It’s a bit strange to me that something brand fresh new out of the factory, and intended only to be a probe without any human interaction, was able to develop a personality so quickly, or was given an interface that was so human as to show amusement and interest in things with her “eyes.” But it's a useful conceit for the film, and cute as a button, so I will allow it to pass unscathed.
The Auto-Pilot was a huge blinking red nod to the HAL unit from Space Odyssey 2001, as was the music that played at the Captain slowly and ponderously launched himself from his chair and took his first baby steps towards reclaiming his authority. (
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