30
nov
2009
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Recently, I saw Albert Brooks on Tedious Night with David Letterman, talking about Finding Nemo. Brooks, who stars as the mutter of Marlon, the daddy fish, had taken his son (who, I acquire was about five years dilapidated, the equivalent human age of Nemo), to the premiere. After about five minutes, Brooks said his son leaned over to him, and quietly said, the draw a grownup might, “I cannot spy this movie,” and walked out. Behind in the movie, the son returned, having obviously been crying. Leaning over, Brooks assured his son, “You are not Nemo.”
Such is the power of this fish narrative about father and son clownfish who become separated, and must struggle to earn their blueprint assist to each other. Marlon is a loving but neurotic and overprotective father; Nemo is a frustrated young fish who wants to be independent and sight the world, and resents his father for preventing him from doing so. We glance an ocean (read: the world) that is a poor, heartless, and yet joyous location that we obsolete fish must confront, as best we can, because there’s no alternative.
The animation was done by the unbelievable folks from Pixar, who are the closest thing to the reincarnation of Walt Disney. There is simply no comparison between the animation of the typical, visually flat, politically moral, contemporary challenging movie (many of which are produced by Walt Disney Pictures!) and Nemo. In Nemo, the ocean floor looks like the ocean. And the characters are all … characters. They are all physically distinctive, wonderfully written, and performed by gifted actors who - if you’ll pardon the cliché - will alternately compose you laugh and weep. Of particular mark are Barry Humphries as Bruce the Shark, Geoffrey Urge as Nigel the Pelican, Willem Dafoe as Gill, Allison Janney as Peach, and of course, young Alexander Gould as Nemo. Ellen Degeneres, in particular, steals every scene she’s in, as Dory, a gregarious fish whose memory leaks like a sieve. But this is Albert Brooks’ movie. The Academy should give this man a special Oscar for the most spirited philosophize work my wife and I have ever heard.
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Thomas Newman, of the musical Newman clan (Alfred, Lionel, Randy) has produced a get that is subtle and unobtrusive grand of the time, but at dramatic moments takes over, and is more impressive, with repeated viewings. He deserves his fifth Oscar nomination for Nemo.
Andrew Stanton’s (Toy Epic, Monsters, Inc.) screenplay, written with Bob Peterson and David Reynolds, brims with intelligence and wit (e.g., in an AA-style group of recovering - and frequently lapsing - sharks, the members intone, “I am a nice shark, not an eating machine…. Fish are friends, not food”), and Stanton’s direction does not end a scene. Every moment in Nemo will either charm you or depart you. In fact, as my wife remarked, for all of its many amusing scenes, this is one of the most racy movies you’ll ever eye. We’ve already seen it several times with our three-and-a-half-year-old son, who loves it, and yet with each original viewing, we spy things we’d previously missed.
Though I wish Nemo would accept all of the ample Oscars (Best Record, Director, Screenplay), I doubt Academy voters will decide it over its live-action competition. And yet, I will be very surprised, if a better narrate — live action or spicy — is released this year. Finding Nemo is truly a derive.
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Originally published in The Considerable Critic, October 17, 2003.
Finding Nemo is the fifth installment for Pixar Studios, the most wonderful studio in Hollywood today, and it is my personal approved. The first obviously outstanding aspect of the movie is the animation. From the breathtaking wonder of the Titanic Barrier Reef, to the frigid, sterile fish tank, the animation is top notch and truly area of the art. The water, which has always been the bane of animation, is recount perfect, and the animators have captured the rolling but constant ocean and the light refractions perfectly. But animation itself doesn’t accomplish a film. Finding Nemo’s strongest aspect is it’s warm, witty, heartfelt, and laughable tale of a father’s quest to reclaim his son. The kids will cherish the vibrant characters and laughable situations, and so will the parents. However, the parents will be able to savor the film on a level far more than the kids will. The narrative is about losing a child, and the desperate quest to be reunited, which will hit the parent honest in the gut. This is the story’s unlit side, which has, thankfully, not been sugar coated by the creators. Overall, lets objective say Halleluja, Pixar, you’ve done it again!
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