From Andrew Stanton’s “WALL-E”
Since I never bothered to fully set down my thoughts on the film, here’s a micro-small jot-down, and I’m probably in the minority, with this. The first half is intriguing initially, due to the lack of dialogue and it’s reliance on physical comedy of the Chaplinesque variety (I say it’s Chaplinesque. Other people seem to want to compare the character to Buster Keaton, but Keaton was a stoic in the midst of frenzied situations – WALL-E, the character, is not), but I was far less interested in that than I was on the second portion of the film, on the ship.
Here, the film takes a far broader turn, in terms of scope, and while some might say that the satire here is a bit too broad (and in certain places, I might tend to agree – yes, yes “stay the course,” okay), there’s more than enough ideas here to counter that, although it does seem to rely on a basic formula that does lose a little of it’s power by the film’s end, and there’s a resolution so convoluted that I still can’t wrap my head around it – with Eve somehow resurrecting WALL-E’s personality through a ‘kiss,’ after all seems lost. Emotionally, it makes sense, but there still needs to be some logic to it. A bleak ending, as some have suggested, isn’t the answer, as that wouldn’t feel organic in the overall context of the film – but, if they’d just found a way past this one contention —
Still, Pixar finally seems to have gotten over their visual hump, and have finally let their ‘camera’ loose to move, outside of the conventional measurements they’d set up for themselves previously. Lights and lines, here and there, and I’m sure this is thanks in no small part to Roger Deakins working as the cinematographer (or, the animation equivalent, as has been brought up to me before).
Interesting. This is basically a ramshackle collection of notes, and I’ll probably write something a bit longer later on, but this doesn’t do too bad a disservice, at the moment.