I have this fantasy. I imagine the day when US animators start treating their art like their Japanese brethren, as a means of making film that isn't limited to a kid's audience. Consider Paprika, a very R-rated animated film, or Akira or the entire Ghost in the Shell series. The mind boggles at what might result if a talent such as Brad Bird, backed by a studio like Pixar, took on a more adult project, like Roger Zelazny's Lord of Light. (An interesting story of a cancelled film version may be found here.)
Until then, we have Ratatouille. It might be an over-statement to call Ratatouille the best film of the year, but not by much. Certainly if Beauty and the Beast can get such a nomination, this film can because it is far more deserving. Ratatouille raises the bar in so many ways it's amazing to consider that it is "merely" an animated film. Brad Bird (The Iron Giant, The Incredibles) rules animation the same way that light and air rule your life; there really is no substitute.
Plot-wise, this is not a complex or subtle film. It's message is plainly stated: "Not everyone can be an artist, but an artist can come from anywhere." From that simple premise, Bird weaves a story that is only predictable in the sense that it will have a happy ending. Beyond that it is always inventive and visually rich beyond words. There are lovely touches everywhere and while we expect high standards from a Pixar film, this production goes even higher. In so many ways it makes Pixar's past triumphs, even Finding Nemo and Monsters Inc., look like little more than paint-by-numbers.
For instance, there is a moment near the end of the film that is pure and visual, making a point without a word being spoken. Yes, it's cliché, but it is "told" with such exuberance and joy that cliché is tossed into the trash and you laugh out loud at what you're seeing. It's clear in that moment, and throughout the production and in his past works, that Brad Bird doesn't just enjoy making animated films, he loves them. He revels in animation in ways no one else in the industry does. Other Pixar animators obviously enjoy the craft, but there is so much love and grace and beauty and talent in Bird's films that all others are left at the starting gate.
Yeah, I'm that big of a fan.
Peter O'Toole has a promising new career as voice talent for animated films. His performance as Anton Ego, lethal food critic, is priceless. He's backed up by a marvelous character design and a series of deft touches: When viewed from the back, parts of Ego's typewriter form the shape of a leering skull; when looked at from above, his room is shaped like a coffin. On and on, each visual cue adding to the personality that O'Toole's voice is building.
In comparison, everyone else is merely great, and this includes Patton Oswalt (who?), Lou Romano, Brian Dennehy, and Ian Holm. No one slacks and no one's character is completely predictable. Each takes a subtle turn or change and each turn or change is perfectly keeping in character. It's a lovely ensemble, spoiled only by one: Janeane Garofalo.
Including her risked ruining the film because she is humorless and vacuous in spectacular ways. Luckily for us, the film is saved by her putting on so thick a French accent that she's unrecognizable.
But back to the good stuff: Ratatouille is fantastic. It completely redeems Pixar for making Cars. (Of course, the included teaser for 2008's Wall-E fills me with dread. The teaser is so lacking spark, energy, or life that I cringed.) And Brad Bird is a national treasure. I loved the little credit at the end, declaring that the film is 100% animated, no motion capture used. Ladies and gentlemen, that is love and devotion to a cinematic art.
C'mon, Brad, Lord of Light calls.
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