Votre Disney préféré ?

Robin des Bois perso

Un amour de coccinelle

Alice au Pays des Merveilles !!!

Basil détective privé

Le roi lion

Bambi ou Pinocchio pour le côté nostalgique sachant que c'étaient mess 2 premiers Disney.


Why I Love Tai Lung - The Weight of Expectations (Kung Fu Panda)

Whether we want to see as a foil to Tigress, Po's direct counter part and as Shifu's fallen student, Tai Lung was one of the best villains. Of course it's impossible to mention Tai Lung without talking about his prison break escape which is the coolest in history of animation. The overall choregraphy of this scene is amazing and the decisions that Tai Lung makes is a perfect introduction to demonstrate his power, his ferocity and cleverness. He is an incredibly talented martial artist, one that worked incredibly hard to be this powerful. Later when he fights the furious 5, the fight is a great realization that Tai Lung was indeed Shifu's best student. The battle highlights the separation between him and Tigress, the truth Shifu had in him and that he didn't show with Tigress. 40 minutes into the film we get a backstory about Tai Lung. The baby cub who appeared on the steps of the jade palace was taken by Shifu who raised and mentored him, showing love and care as a father. One important key line in Tigress narration is when she told that Shifu told Tailung that he was destined for greatness. Tai Lung poured everything into his training and as he grew oldr, he wanted the dragon scroll as a compensation but Oogway denied him. In his anger the snow leopard destroyed a village, returned to the jade palace seeking to take the scroll by force, before being stopped and knocked out by Oogway. Tai Lung's story is detrimental on how weavy the weight of exceptations can be especially when placed on by a parental figure. While Shifu didn't seem to have told him that it was his destiny to harness to scroll's knowledge, from Tai Lung's perspective, the dragon scroll was the mean and end of everything. If he couldn't have that then he couldn't be great. He couldn't be the greatest. The scroll became validation in Tai Lung's eyes. to proof not only to himself but to Shifu that he was worth the hard work that his mentor had put into him.
More importantly Tai Lung says that all of his hard work and motivation was for Shifu to be proud of him. And in his rage, Tai Lung demands that he says it. It was the weight of expectations, his pride, that brought Tai Lung to this very point. Without the physical representation of his greatness that represented the scroll, he was a failure. Throughout the film, Tai Lung looked arrogant and tenacious but when his mentor apologized and recognized that he was proud of him since the very beginning, this was a foreign emotion for the snow leopard. All he ever wanted was Shifu to utter those words. When his rage fades in a few seconds, we see the real Tai Lung, the scent and the humanity that has left, the real Tai Lung is still here. The way he subtly walks into the light emphasizes that. Shifu pleades for his son back. But Tai Lung blushes it off and return to anger. It's too late. At that point the damage was already done. He wsa already too far gone. Remember the 20 years Tai Lung spent into prison, the isolation that Shifu and Oogway forced upon him. Now to proof to Shifu that he was worthy of the power contained in that scroll, he doesn't want validation anymore. He knows that he is strong enough to be the dragon warrior and to beat the dragon warrior. Now he wants the scroll's limitless powers to beat Shifu and Oogway.Oogway said he saw darkness in his heart which I think hurts more than simple rejection especially considered that Shifu never defended the goodness inside of him. At this point it becomes Shifu's story of failure. Where Shifu failed Tai Lung was not instill him humility, modesty and the ability to face rejection and to keep working.
Shifu failed by not telling Tai Lung that by existing, he was already great and that believing in himseld is what would have make him even greater. Failure changed Shifu, his way to teach and his approach to life. No one was going to be like Tai Lung. It's interesting because in the opening scene of the Furious 5, Shifu tells Tigress that she needs more ferocity, Monkey more speed, Crane more height and Viper greater sublety, all qualities that Tai Lung possesses and demonstrated. Shifu's failure made him crave control or the illusion of it. Tai Lung's destiny was never his own but one forced upon him and one that he believed was his own. In the poursuit of the dragon scroll, of Shifu's approval, Tai Lung was trying to force his way into what he thought that his destiny was. But on that narrow path with the illusion of control blinding him, he ended up avoiding his own destiny.

This look a lot more whimsical and immersive. The atmosphere they are fitting for the audience makes it believable. You forget that these are layers, static images. 3D modeling and landscape building seem a lot more immersive than this does. They are putting us into the point of view or perspective of the creatures on screen. It's how the animals see it. I like how inquisitive Bambi is about the world around him. He always ask his mother little things. The motehr talks more than Bambi. She is eager to tell him about the world and teach him. She is a gentle and elegant soul, which makes the heartbreak later on more painful. Another thing likable in this movie is how adorable Bambi is and how the animators captured the body of these deers. You can tell they carefully studied these animals and how they moved. Even though some Bambi's movements are exagerated, the movements are still within the confines of how an actual fawn moves aside from his head and eyes for the sake of making him more relatabel to humans. It's also fun to learn the world through Bambi's eyes. Everytime he experiences something like thunder and lightning for the first time, you can tell he is totally immersed. His mother has been through it before so she knows that thunder and lightning are. One thing I like about old classics is that they animate not just through moving pictures but also through sounds. Audience is fully immersed into what the animal must be feeling. It's not that the leaves are actually making trumpet or whatever intrument playing in the background. It's that it takes us where his imagination or his observatory mind is being taken. It's all new to him.
It provides us with an easier way to see the forrest , to hear and feel it through the animal's eyes by manipulating our emotions through. In this raining and thunder scene, we can feel both the beauty and the danger of nature. Also the color palette used in the animation and the illustrations come to life all at once. It makes you feel like you are looking at a painting movie. Every mouvement seem to tell a story, putting you deeply into their perspective. Notice how Bambi's mother is moving in a very calm but also alert way. Bambi then hearing his mother scared of hearing the scared tone in her voice lets him know that out of the meadow there is something dangerous. She still speaks in a way that is very calm so she doesn't scold him. After all Bambi is still a baby at this point and everything is new to him. The fawns when they grow up usuaully learn through observation and experience what their mothers can't teach them but that foundation really start when they are young. The utilization of tension is one of the best things about this movie. One of the reason animals fear them is that they most of the time can't see them. When a wolf is chasing them they can see. If they know what it is they can run from them easier. But a man can stand several yards away and camouflage, being basically invisible to these deers and kill them from far. From that perspective, it's hard to not feel scared with the animals of this movie. Thumper represents how healthy it is to socialize you child with other people because Bambi might never idscover certain things just being with other deers or with his own family.

The scene where the parents watch their childs play feel realistic in a human way. Another scene I liked was when Bambi and Feline are playing and then a whole bunch of buck and other deers run into the field. It's the first time Bambi saw that much adult deers and he promptly goes to Feline and tries to mirror what the adults are doing. It points out that a lot of what we learn is from our environment and other members of our species. The music also coincides with the deer movements. The next scene you get to hear the danger the mother was talking about during the movie. The father stands here watching, observing the forest then crows and other birds fly overhead then he realizes the danger. Even through you never see the danger all you know is this elegant prince careening down the hill and is freaking out, his composure lost because something is out here. You are worry for Bambi. So many feelings in this scene as a gunshot narrowly miss them. We also get to see through his eyes later on what must it be like to wake up and see snow for the first time of his little life,s tepping into it and seeing how it works, even experiencing ice for the first time and Thumper introduced him to this. They are just existing and having fun. Eventually we get one of the saddest scenes in movies history. After Bambi's mother death several times, we can realize that she could actually have outrun him just like any healthy adult deer could. But she deliberatly stayed behind to make sure that he was safe. She knew that if the hunter took someone down it was going to ber her and not Bambi. This is where the time jumps to where Bambi gets adult.

Bambi is quickly brought out of his romantic phse when Ronno comes along. Ronno is like " look, you are all happy but you have no business keeping this female if you can't defend her, so I am going to take her. And Feline is crying out for Bambi because that's who she really wants. Bambi is confused and I am assuming he's never fought. It takes him activating that instinct to fight. That is the first time his manhood kicked in because he was a little boy before but now he have to become a man and defend her honor. I liked that the colors changed and the animations and movements of the dee. The animation just flowed how they did the lightning because while they were fighting this is probably what they were seeing from Bambi's perspective. These 2 are no longer individuals but rather fighting machines to pass on their seed and even though Bambi and Ronno are darkened and sort of silhouetted because this is told from Bambi's perspective he is still vaguely aware of the environment. around him but the environment around him isn't actually there. It's just the background. When deers are in rut and are fighting there is little that can distract them. Then eventually a few minutes later, another danging scene. The tensions of these pheasants or quail or whatever these birds are, hearing a man coming and one of them freak out and fly away, causing her demise. Her friends told her to not fly but he is coming closer. Instinctively birds will fly away if something dangerous come to close to them because it's their main defense. So telling her to stay down and not fly away and panic went against every instinct that she had. The hunter seem omnipresent with gunshot seemingly coming from everywhere, to the point we can wonder if there are not several hunters instead of just 1, which was implied by Bambi's father later on, saying : " There are many times time ".
It insinuates that there weren't a lot before and that this situation is particular. Just as it was not bad enough, Felina got chased by a bunch of hunter's dogs, then the forest got set on fire by accident because someone was careless with how to use fire I guess. Also the gunshot that hit but luckily didn't kill Bambi.

Bambi was a revolutionary film for 1942. Family movies were still a new concept. After 1 hour of animated fun and wonder, audiences were completly blindsided by the death of Bambi's mother. Despite Walt's attempt to soften the blow with blossoms and birdsong, this film served as many kids' first blush with death. That shock still haunt the American's culture consciousness. Rest of Bambi's runtime tends to blur out around around this singular crystalline moment of loss to the point many people misremember the scene as the film's hook, positionned as the start ot the film rather than after the middle. As Daniel Karder wrote an unheard :" Bambi in fact, is more than a film : it's part of our cultural fabric. Like Sherlock Holmes or Superman, you don't need to engage with the source material to know something about it. Specifically, the crucial plot point : Bambi's mother dies... It was in the air, like Kryptonite or " Elementary, my dear Watson ". Almost everybody heard about it, even those who haven't seen the movie. When the film was primiered in 1942 WW2 demanded a projection of strenght from the American public. For however brief a moment, Bambi invited adults to grieve alongside this little fawn for the loss of their innocence, for the cruelty and unfairness of life, for the loved ones who would never return hom. However if viewers were looking for a catharsis they wouldn't get get it from Bambi. Walt wanted to kill the mum and erase her. Bambi doesn't get the chance to say goodbye to his mother or see her, nuzzle her, go to a dear funeral. Bambi's hot potato approach to death gives the film an uncanny, unresolved reality especially next to more contemporary films like " The Land Before Time " " the Lion King " " Lilo and Stitch " " Brother Bear " " Finding Nemo ". Films not only featuring the death of a family member but building their whole thesis aroudn the concept of loss.
Lion King's co director Bob Minkoff told to Yahoo Movies : " I remember when we were making The Lion King, we would talk about Bambi... The different though, is when Bambi's mom get shot, she just disappears from the movie. " The movie is based on a 1923 book. " Bambi : a life in the woods " by Felix Salten. In the novel, the loss of Bambi's mother ripples through almost every chapter. Her death delivers the first blow to Bambi's psyche with each subsequent trauma including widening of the wound until at last Bambi succumbs to his depression and abandons society for a hole under a tree. Walt, still reeling from the loss of his own mother, first planned to show the mother deer's lifeless body hit the ground. This storyboard never made the final cut but somehow a subset of viewers still remember the corpse. The fan art by the Mexican artist Rodolfo Loaiza is often mistaken for a screen cap. Bambi's mothers, just like some soldiers overseas, simply vanished one day. A body offers some small amount of closure, permission to process the loss and take steps to move on. An absent body however invites the imagination to fill in the gaps with grisly embellIishment. I suspect the decision to show the body in Lion King as a direct response to the death of Bambi's mom. Mufasa's corpse, however morbid, gives us something tangible to grieve, and spares us any ewagerrative visions of a trampeled lion's body. Mufasa's death still shook audiences of course but the pain was made visible and therefore processable.

Then came Bambi 2, 64 years later in 2004. When Bambi 2 director Brian Pimental looked at Bambi, he saw potential. Much of the Disney catalog consisted of tigh, closed loop stories with no room for embellishment. Several chapters ripped out of its heart. Here was an open wound untreated for over 6 decades. So Primental seizes opportunity to bring some closure. Bambi 2 picks up right after the death of Bambi's mother. In Salten's book, a curmudgeon old doe named Nettla looked after Bambi in his mother's stead. And Bambi spends the following year in frustrated isolation. In Primental's version of the story, the Great Prince himself takes the role of Bambi's caregiver. The film chronicles Bambi and the Prince's slow progression from mentor and pupil to father and son. The death of Bambi's mother instigates this new connexion between Bambi and the Great Prince but alsow orks as a wedge between them. Some part of Bambi still expects his mother to return, and the Prince seems to afraid to further heartbreak to open up to his son. In their own ways, both father and son find themselves unable to move on from the death of Bambi's mother, a fact that contradicts the prinnce's core philosophy : " don't look back ". Bambi's mother made a similar refrain. Her last words to Bambi were " Don't look back. Keep running. Keep running. " This is the central conflict of Bambi 2. For a dear, survival demands constant motion. The time skip from the original film takes this advice from heart. The story leaps ahead to safer ground, never stopping to reflect upon the body hiding in a shadow. Midquels are kind of a purgatory. With a prequel, the audience knows where the story ends but the author can play around with how the story came to be. With a sequel, the audience knows where the story left off but not what happens next. Your typical midquel meanwhile demands that any development follows a circle.

Both the start and the end point as an author are predetermined by the original work. How does an author instill any narrative tension when the audience knows from the get go who lives and who not? How does an author pursue a character arc when the character by mandate of the original text, can't progress or regress enough to conflict to their original timeline? Midsequels are notorious nothing burgers for this reason. Their format requires the text to maintain a certain statu quo. Disneytoon studios to pursue a mid sequel, a famously stagnant narrative format to tell a story about change and the path forward after tragedy. The beaitiful backdrops are a testament to the Disneytoon artists' skills but their software was too new or their deadlines too steep for the crew to fully capture Tyrus Wong's original watercolor magic. At first glance Wong's backgrounds are soft, blurred out. A closer look however reveals patterns of texture and curated hard edges. It's the juxtaposition of watercolor blur and chiseled texture which creates a sense of depth. In contrast even the more defined details of Bambi 2's backgrounds maintain a wet on wet oil paint edge, giving the forrest a certain ephemeral quality. The animals defined outlines and flat colors isolate them from their hazy surroundings. From its midquel.format to its art style to its score, Bambi 2 is a battle ground between past and present, old versus new. 2000's software fights to resurrect the watercolor styles of old and emerges with kind of ghostly technicolor haze, made stark by the sharp relief of its animal inhabitants. Bruce Broughton's lovely traditionalist and score builds upon the complex soundscape of the original film... only to be gunned down by the contemporary pop song.

These conflicted elements made for a confused final product. but I kind of like the chaos. It feels appropriate for a story about a father and child caught between the past and the future. Bambi 2 is full of ghosts. We open on an old clip from the original film. first recorded by Fred Shields, an actor who died 30 years prior to the midsequel release. Then we divert to Patrich Stewart for the rest of the film. About 20 minutes into Bambi 2, Bambi dreams of his dead mother. He wakes, only for his mother's voice to call out to him through the woods. You got this cheerful facade then all at once, Bambi is chasing a ghost, his mother's affect puppeteered by the omnipotent hand of man. And on a meta level, they reanimated his mom. Anyway, the voice lures Bambi into the expressionist blur of the meadow. Suddently crows burst from the treeline. Their cries less " caw " than " ma ". The film's art style shifts into this prismatic chiaroscuro of its predecessor; the past and the present blurs as the hunters take aim at Bambi's father. The Great Prince snaps Bambi out of his stupor and the present reasserts itself with the film's contemporary art style. The Great Prince leads Bambi back to their hideway. It's true that hunters will mimick a mother's bleat to her fawn as a way to relax or summon nearby deer but Disneytoon Studio's decision reuse Carolyn's Hennessy's voice gives this parlor trick a necromantic tinge. Like the American audience in the 40s film, is haunted by the ghost of Bambi's mother. Until that moment, Bambi was able to delude himself that maybe his mother never really died. Maybe she is still out there, waiting for him in the meadow. Her respect summons Bambi back to the site of her death, where he nearly meets the same fate. It's like death itself courting Bambi, leveraging his denial with a lure.

Like the first film with its tonal kick flip from familial death to gay birds, Bambi 2 scurries back to the relative safety of cute animals and fart jokes. Then Mena, Bambi's new surrogate mother, sets off a hunting trap : " Don't look back. Keep running. " Sounds familiar. In the Great Prince's mind, looking back is dangerous. He believes the only way to move forward is to leave the past to die. But how are you supposed to heal when you can't look back on the past. Unless Bambi and the Great Prince stop and acknowledge the death of Bambi's mother, her ghost will hunt them forever. In the last leg of Felix Salten's book, Bambi and his maybe father take up residence together on the far side of the woods, separated from the rest of Bambi's friends and family by a deep gully. Sometimes Bambi yearns for companionship but he knows these attachments will only put him at risk of danger and heatbreak. Then the elder prince shows Bambi a human corpse and goes off to die in a hole somewhere. Of course they don't do that in Disney but even in the sacrilegious Disney film, Bambi ends the story alone, situated high above the other forest animals as his father wanders away. Back to Bambi 2, in this moment with Mina, Bambi has a choice to make. He can honor his mother's laast words and keep running or he can turn around and face his past. A near miss scene seems to prove the Great Prince right : love only leads to heartbreak. To protectyourself, you must live alone. We see the Prince steals himself as he leaves Bambi's corpse behind, ready to push ahead like always but by midquel mandate, Bambi survives. Overwhelmed with relief, the Great Prince finds the courage to bear his heart for the first time for all to see. In this final, Bambi saves Mina but also himself and his father.
The film already established a symbiosis between father and son : we see the Prince teach Bambi how to survive, while Bambi teaches the Prince how to live. The dog attack forces the Great Prince to face reality : solitude won't keep you safe for that long. The techniques Bambi learned through his friend and family were what ultimatly saved his life. In turn a twist of fate allows Bambi to reenact the moment of his mother's death, only this time he's able to save her. Bambi's triumph creates a much needed sense of closure. When the Prince shows he is ready to accept his role as Bambi's father, he gives the audience permission to reframe the original timeline. Rather than carnage, we are invited to imagine scenes of growth and connection. We are reassured that Bambi and his father were given to reflect upon the past and support each other through their grief. The end of Bambi 2 promises a feature so unlike the oppressive attitude of Felix Salten's book as to generate an alternate universe. It's the paradox of trauma recovery : to move forward, you must turn back. It's revisionist history; it's closure as time travel. It's 2 stars on rotten tomatoes. I find myself fascinated by Bambi's discordant, vaguely haunted yet optimistic vibe.


Pour ce qui est du meilleur méchant : le Boss de Notre Dame avec Frollo.

Et parmi les plus récents, Là Haut et Ratatouille.

In Ratatouille movie, Skinner serves his purpose really well as the overall main antagonist while having Anton Ego serve the other half as anti villain or secondary to overarching antagonist Ego is secretly the reason behind the heartbreak towards Remy and his own hero Gusteau. Chef Skinner is basically just Gusteau's trusted sous-chef who took over the restaurant after he died. These kind of pixar character come from normal background which make sense instead of the sense that Disney does usually stealing their villains with evil from the very beginning but in this case Skinner seem typical for a head chef or owner of a restaurant of stealing high order after Gusteau's death and the reputation that has failed over since accepting Linguini as a garbage boy to clean aroud the kitchen with his short temper. From the beginning he is a bit upright with how he runs things being a busy man proccupied with something else before things start to get more hectic when Remy accidentally falls into the picture because Linguini did ruin the soup. This is the aprt that reveals Skinner's short temper when he assumes Linguini was cooking by the pot when he stopped Remy. It's here that we delve into the realm of madness and paranoia that he would display. A garbage boy that made a soup that somehow impressed a critic who amongst like the rest like Ego had written off Gusteau. It's crazy because it goes against the message of the movie, already trying to write Linguini off the picture until Colette highlights the model that the restaurant lives by in the words of Gusteau being " Anyone can cook ". He evidently does relent with that attitude allowing him to become a chef in the kitchen but under the condition of him recreating the soup as he remains suspicious until Remy appears and freaks out with his worst nightmare.

No one wants to kill the rat so he has Linguini to take it outside to do it as it would be bad for the entire restaurant if a health inspector found out, shutting it down for good. Of course he is still shocked by the fact that a critic gave an interview on the press about a new soup, trying to get to the bottom of this very mystery, greeting Linguini with a " Welcome to hell ". It fits the dialogue for a villain so well without needing to be full on a curse word using it in a way that is charming. The ones that it feel it can translate across generations while feeling like a film you can watch easily as an adult as much as a kid. It's all done again to try and test them if he was the one to create the soup or if he had some outside help. Skinner wants to keep his order which we discover is in fact selling Gusteau's name as a frozen microwave dinner brand you typically see in a grocery store. A trully heinous action that disrespects the work of his former friend and boss who valued that message that anyone can cook. That is cheaply made with his face plastered everywhere. Talking about lack of morality here... Cooks are suppoed to be here for passion that a true artist can have for his craft unlike the man who currently runs the kitchen. Nothing says Gusteau likes microwave burritos, a food item that probably doesn't even exist or is offered under the restaurant because it doesn't make sense. Where a 4 or 5 stars french restaurant would ever serve something likefrozen microwave burritos. Things get worse when he read the Renata's letter ( Renata is Linguini's dead mother ). The letter says that the lanky boy, who became a chef within a day, is in fact Gusteau's secret son. In Gusteau's will since he doesn't know that he had any children, he passed his restaurant into his suit chef Skinner.
It's where we also see the cracks of insanity unfolds as he pours on his lawyer this trouble that he will get into where he has to have his task to keep an eye on him. The truth starts to be unveiled when for a second he sees Remy before the start of the shift to constantly send him intoa state of paranoia around Linguini with a rat that pulls the strings. To shift his mind in a way that toys with him that he will lose the restaurant. Angry to the thought that his old customers want food actually made by Linguini ( controlled by Remy ), now this is where we see him acting deliberatly to sabotage the new cook. Based upon that information, pulling and old and crap recipe to try and test him, you can tell it's obvious by the fact that other cooks are worried about the recipe. But hos he brushes itt off as a worthy challenge for a new budding chef before Remy flips the script because he knows the recipe is in fact crap and it's kind of painted as bad at first for Linguini to change the recipe since it's generally bad to do something like that instead of following the actual ingredients. But from the eyes of Skinner and what we know with the talents of Remy, this change could actually work in his favour to impress which it actually does when Skinner is forced to change his tone by saying this is a wonderful new despite what he actually tried to do. Seeing Remy in secret behind that hat where he longs to get to the bottom of the truth which makes him into a paranoid old freak by the time he tried to pull his hat and nothing comes out of it and see if the rat have helped Linguini. In his quest for the power he wants to hold for himself he tries to make Linguini drunk like a stunk but it doesn't work and Linguini keeps his cool throughout even when he is actually intoxicated, to protect Remy and the reputation that Skinner seems vastly interested in.

Eventually he runs out of wine and is left with virtually nothing to work until the L comes back with the DNA results to confirm that Linguini is indeed Gusteau's son. making him conclude that this is all a setup, a conspiraycy to top his future frozen microwave burrito empire. Notice that Skinner never actually cooks at all. Since he is Gusteau's sous chef he obviously actually learned how to cook. But from what we saw in the course of the events of the story, he just doesn't cook at all. He mostly deals with papers and his frozen foods business. It's genius because it cements further this character as a villain against Remy and for those who actually want to cook and who understand Gusteau's message. This makes Skinner go insane and go to opposite direction to be more greedy to make hiw own money, talking about rats controlling things and other non sense that make his lawyer being worried about his own mental health. But this concern doesn't help either because he also did find rodent hair within the sample which sort of proves his point within his own mind that was broken. To make things worse for him that there was rat controlling things both figuratively and actually physically, he has to contend with the fact that what he owns is threatened because good food has returned to the kitchen compared to him selling millions of burritos on a lovable and marketable face. Gusteau is a familiar face that sells well. The train doesn't stop here. When Remy finds about Gusteau's son and Skinner spots him, they go on with this wild non sensical chase where he just push his own cook off of his own bike just try and catch up for a damn rat that carry his will. This is where you start to dive into the depths of his sadistic insanity. For chasing a rat who has the keys of an entire restaurant doing the most outrageous actions in the city of love. It's hard to imagine a weirder situation.
The letter is received back at the restaurant, finally topling his frozen microwave empire once and for all while the greatest days of the kitchen are coming back. The only thinkg he could do right now was watch and sit back as a costumer claiming that it's still his restaurant that he wants to desperatly cling to the health inspector to try and save it for him. He disappears then for a good part of the film until he sets up a trap for Ramy knowing that Remy is the real cook in which he promises to not kill him as long as he makes him a new line of frozen foods. All of this while he sits as a customer in the restaurant, waiting for Linguini to fail without Remy with Anton Ego coming in. He thnks it would work when Ratatouille gets served. But then he notices that Ego actually likes the dish and dies in himself actually savoring it. This is where the final defeat comes, where his nightmare comes true, entering to find out which one is the cook actually made it since he knew Linguini was helped by a rat, only to discover that the entire kitchen was in fact infested that such rats. Rats finally locking him up with the health inspector being the final defeat of him in the entire film. Of course they had to set him free and the restaurant gets shut down but the story didn't need him to continue. After this the victory they wanted for the hero already happened and better things actually came from it Skinner remained to be an excellent villain that combined levels of comedy and messaging into one that fit the story of where they needed to go when that makes total sense in the world that can blend without feeling like he is an overall threat in the sense that other villains would present themselves, the typical of pure evil. Skinner still remains as one of the greatest pixar antogonists.

I don't think everyone truly appreciate the level of thought and consideration that went into the film. Carl Frederickson is an old man that lived a lonely life since his wife of many decades has died and he has no children or other family members to keep him company. Carl and his wife originally bonded over a mutual love of the Adventures of Charles Muntz, an explorer who was shunned after a bird skeleton he brought back to the United States was declared a forgery. Munte was called a fraud, stripped of his membership of the organization he worked for. He promised to bring the bird back from the jungles of Paradise Falls and swore he would never return until he did. Ellie, Carl's wife, hoped the 2 of them could one day go to the Paradise Falls. Coming back to the story and the main timeline, a construction company bought most of the land around Carl's house and constantly pesters him to sell the house so that they can build on his land. After Carl injures one of the construction workers he is committed to a retirement house. However he decides to pull of the most absurd schemes of all by putting enough ballons up his chimney so that it carry his house up in the air. While the house floats over the city, Carl realizes that a boyscout named Russell who was stuck under the Porch has been inadvertently carried up with him. Not long after landing Carl and Russell both find the bird that Charles Muntz has been chasing some 70 years ago by luring him with chocolate. Carl runs the bird off and eventually end up finding out that Charles is in fact still alive after decades of staying in the jungle and obsessively looking for the bird. At first Carl is grateful to meet his hero who he presumed to be dead. but it soon becomes clear that Charles lost his mind over the years and has resorted to murdering everyone who comes to the Paradise Falls to keep them from taking the bid away from him.
Carl and Russell narrowly escape Muntz while Muntez accidently jump to his doom when his foot is caught in the strings of Carl's house. When it comes to twist, there is the surprising one. It's sort of a twist to learn that Charles is even alive. The audience on the first viewing forgot that he was even a character. But still there was no reason to believe he went rogue at this point. Secondly, despite Charles Muntz not having a lot of screen time before being revealed that he was an actual villain, there were some hints towards his true intentions. First of all and more obviously, he is looking for the bird that Russell befriended and there was obviously going to have some sort of conflict around that. Secondly, Charles is presented obscured and shadow from the very start on his in person appearance in the film. So the few screentime he had was very well used. Finally there is the twist necessary for the plot to progress. Almost all the conflict is about Charles intentions so you can't really have much of a plot without him. If Charles wasn't in the movie it would have weaken the movie's overall message. Ultimatly, " Up " is a story about letting go of the past. Every single thread of this movie perfectly align with that message. Carl and Charles are not really that different. Each of them share an important trait. Outside the fact that they are both old, they both had the most important thing in the world to them taken away. For Carl, he lost his wife. He can't get over his obsession of carrying her memory with him. Ultimatly this drives him away from everyone else and leads him to an insane fixation on getting his house to Paradise Falls to fulfill his wife's dream. Charles also lost what he most carred about : his reputation. He went from being a celebrity beloved by the public to an outcast despised as a fraud. Likewise he drives everyone else away while he frantically searches for the bird in Paradise Falls unable to let go and live his life as normal.

Another thing they had in comon was that trying to fulfill their goal will certainly kill them. Carl can't take the house all the way to Paradise Falls because the house will either fall on top of him efore he gets here or he will be lost in the jungle forever as nature's obstacles keep him from his destination. Charles can't get the bird that he wants because it's in a maze that traps anyone who enter it and he literally goes to his grave trying to take it. Both Carl and Charles are the same name by the way. Carl is just the German word for Charles. They both mean free man. Because that's what they both need to do for themselves in order to keep them from taking their losses to the grave with them. Carl wears a soda cap on his shirt that Ellie gave him when they were kids to show that he carries the past in the very litteral sense. Charles does the same thing, wearing the Explorer's jacket from all the way back in the days when he was a member of Explorer Society. You can even see where the patch was ripped off. This is a fantastic way to show that audience that the characters only live in the past. But for both of them the sad truth is that when you live in the past, you live alone because everyone else has already moved on.
The Paradise Falls are a metaphor for the lonely space that people are put in who can't let go off emotional pain. That way they eventually, if they let themselves being consumed by bitterness and despair to the point that no one wants to be around them anymore. One last piece of connectivity between the 2 that put things into perspective is that when Carl becomes enraged at Russell for the last time before the final confrontation, he yells at him, saying that he will take his house into the Paradise Falls even if it kills him. Carl chased a dream that was long gone. Charles is a man who wasted all of his years of life trying to get the past back to the present. But it's impossible. The film message is nearly tied up with a nice bow in that. Russell was essentially set up to potentially be another link in the Charles and Carl chain. Russell also obviously lost something important to him. There was the potential for him to end up in the same way. Ultimatly, Carl himself breaks that chain by realizing that living in the present is the only way to prevent becoming like Charles was. And see that even though the thing that he treasured most is gone, there are other things to treasure in the present. And his friendship with Russell is one of those things to be treasured in the present.

+ le livre de la jungle pour le côté nostalgique aussi.


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