A film about death that is brimming with life, shining a spotlight on Latino culture
Making a film is a hard enough to begin with, but when you take on portraying and interpreting aspects of a culture and their most cherished traditions and beliefs, you’re opening yourself up to an even greater challenge. Such is the situation with the fine folks at Pixar, who faced something of a backlash when they announced they had begun work on a film centered around Dia de los Muertos (the “Day of the Dead”). Despite those early missteps, the studio has crafted a film not just steeped in Latino traditions, but one that genuinely celebrates them too.
Synopsis
Despite his family’s baffling generations-old ban on music, Miguel (voice of newcomer Anthony Gonzalez) dreams of becoming an accomplished musician like his idol, Ernesto de la Cruz (voice of Benjamin Bratt). Desperate to prove his talent, Miguel finds himself in the stunning and colorful Land of the Dead following a mysterious chain of events. Along the way, he meets charming trickster Hector (voice of Gael García Bernal), and together, they set off on an extraordinary journey to unlock the real story behind Miguel’s family history.
The film revolves around family, as you’d expect, but one in particular with a past that casts a shadow. Generations earlier, the matriarch of the family was abandoned by her husband when he left to follow his dreams of being a musician. In current day Mexico, this pair’s great-great-grandson Miguel finds himself drawn to a similar life, putting him in a position of choosing between his passion and a family who want nothing to do with music. The conflict comes to a head on Dia de los Muertos when he is pulled into the land of the dead and begins an adventure to reconnect with a part of his family’s past long denied to him, and gain a blessing from this ostracized relative so he can return to the land of the living.
It’s a vibrant adventure, one infused with a lot of heart. After something of a clunky start, the film swiftly finds its feet as Miguel enters the land of the dead, a shift in location that sees Miguel’s arc move away from a more trite “following his dream” story to one where he ends up learning about his family and culture. It’s here the film finds it’s soul. The tale given its impetus as Miguel is racing against time to return home. Without the blessing of a member of his family, he can’t get back; if he stays past sunset, he’s stuck in the land of the dead forever. But what really drives matters is how the film immerses itself in the traditions of Latino culture. As Miguel is educated by his relatives alive and deceased (far less morbid than it sounds), as well as other characters he meets on his journey, it reframes his perspective on what his culture means, to him as well as his family as a whole. It’s as illuminating as it is entertaining. Coco also weaves in something of a cautionary tale about hero worship, with Miguel discovering a connection between himself and his idol, famed (and again deceased) musician Ernesto de la Cruz. It works well to explore how sacrifices are made personally in the name of passion and art, while reinforcing the importance of family, and the notion that such a bond is stronger than the adulation of millions of strangers.
Coco is undoubtedly the most detailed and exquisite offering yet from the animators at Pixar. This Land of the Dead is a stunning and vibrant realm. It’s full of colorful characters such as living skeletons, technicolored alebrijes (spirit animals), as well as Pixar’s customary flourish for detail and visual gags, both subtle and slapstick. The authenticity on display visually is reinforced by a stellar voice cast, including Benjamin Bratt, Gael Garcia Bernal, and Edward James Olmos, as well as an especially brilliant ‘cameo’ by one of Mexico’s most revered artists. Pixar’s polish is evident throughout.
The studio’s once pristine reputation has lost a little of its shine the last few years, a brand sullied by the Cars franchise and rehashing of ideas, best exemplified by sequel-itis syndrome. The Good Dinosaur and Finding Dory, while polished and entertaining, lack the immediate masterpiece status that was given to Ratatouille and Finding Nemo. Does Coco get Pixar back on track? Well, sort of. There is a predictability to the film, a formulaic feel as boxes are ticked off and plot strands tie up ever so elegantly. But there’s nothing here that is really surprising. More specific quibbles stem from Miguel’s family being underdeveloped, something amplified by their dealing in absolutes when it comes to allowing music into their lives. It’s a baffling premise, one solely deployed in service to the story at hand, but addressing some conflict within rather than blind acceptance would have made things a little easier to swallow. It’s symptomatic of a few issues where we get a rather superficial examination of a character or plot strand, lacking the the nuance that permeated Pixar’s earlier work.
What is refreshing is how Pixar shows a willingness once again to tackle weightier fare, in this case death. It’s a difficult subject to weave into forms of entertainment, especially those targeted at a younger audience. There is a respect and grace to these facets of the film, a reverence for tradition that makes for an affecting experience without being morbid or unsettling. You’ll walk out wiping a tear from your eye, but with a feeling of joy too, thinking that Pixar has got you again.
While Coco does not hit the heights of Pixar’s greatest efforts, it is certainly a potent reminder of their prowess. A familiarity robs the film of any real surprises, but you can’t help but admire its vibrancy and elegance while responding to the inevitable emotional gut punch. A wonderful fiesta of fun, family, feels, and Frida Kahlo.
Disney•Pixar will release COCO nationwide on November 22, 2017.