Directed by Pete Docter, Bob Peterson
Starring Edward Asner, Christopher Plummer, Jordan Nagai, Bob Peterson
Entering a surprisingly full cinema whilst wearing a somewhat suspect pair of over-priced 3D sunglasses, one wonders what the draw of an animated film about a pensioner and some balloons could truly be. As the opening scenes unfold however, it becomes apparent that Up is something special.
Our protagonist, a tragically lonely and cantankerous old widower named Carl Fredricksen (voiced by Ed Asner), is first introduced in what can only be described as a masterpiece of narrative exposition; we witness the childhood meeting of Carl and his one true love, their marriage, purchase of a house and eventual, heart-wrenching parting. Following the loss of his beloved wife, Carl (still in the aforementioned house), defies bullying property developers by appending thousands of multi-coloured balloons to his roof in order to fly away for one final adventure.
Those first five minutes of montage alone pack more emotional punch than twenty Hollywood blockbusters combined, their subject matter and emotional depth a risky and profoundly original opening for any movie, let alone an animated one. Herein lies the beauty of this work; those very adult strains of heart-wrenching sadness, loss and notions of thwarted dreams are omni-present, yet don’t alienate the target audience and still manage to present the older patrons with a highly rewarding and beautifully cathartic experience.
Despite this overriding melancholia, the film still packs more laughter (primarily in the form of a talking Doberman with a speech impediment), action (a final showdown on top of a giant Zeppelin) and pure, unadulterated film-making genius into ninety-six minutes than most ever could. The host of supporting characters (Russell the boy scout, Kevin the brightly coloured bird and several hundred talking dogs) provide a tremendous foil and comic relief to Carl’s monosyllabic grumpiness. Michael Giacchino’s vivacious score gives a buoyant and playful edge to those moments perhaps too risky for the younger members of the audience.
The film (or rather, the studio) loses points for the faux-stylish 3D glasses which I was forced to wear; the ‘thrill’ of Disney 3D soon wears off once it becomes apparent that one has paid over the odds for an experience which is essentially no better, and significantly less clear, than 2D. Up is available in both formats and, given the choice, I would certainly opt for the latter.
Nevertheless, Pixar must truly be applauded for this original and lively feature. One can only hope that the future of the company’s output lies in other such delightfully human, relentlessly comic and universally endearing films.
★★★★½
Liz Mowforth