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WHERE DO WE GO NOW
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CABIN IN THE WOODS
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WANDERLUST
5:40
SHERLOCK
HOLMES
7:30
Once Upon a Time, Etc.
SAFE HOUSE
9:40
)($785,1*
0DUN/HZLV
BRAVE :
Directed by Mark Andrews, Brenda
Chapman and Steve Purcell. Screenplay by Andrews,
Chapman, Purcell and Irene Mecchi; story by Brenda
Chapman. Editor, Nicholas C. Smith. Music, Patrick
Doyle. Starring Kelly Macdonald, Billy Connolly,
Emma Thompson and Julie Walters. Walt Disney
Studios, 2012. PG. 100 minutes. 00021
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THE ARTIST
5:40
PROJECT X
7:30
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O
h, that hair. Rapunzel may have
the length, but she has little else
on the locks of Merida (Kelly
Maconald), the Scottish princess in Pixar’s
Brave. Merida’s hair is sunset orange,
vermillion, peach, candy-apple red, a riot
of curls that never settles, bouncing around
her shoulders in a glorious tangle. It streams
behind Merida as she gallops through the
forest on horseback, nailing targets with
perfectly aimed arrows; it fl ounces and
bounces, uncontrollable, when she shows
up all of Scotland’s eligible fi rst-born sons
in an archery contest. When her mother,
Queen Eleanor (Emma Thompson), dresses
her up like a lady, a single unruly curl
repeatedly escapes from her bursting cap
(sometimes with a bit of aid from Merida).
The hair gets all the love (I’m hardly
the fi rst person to rave about it) because the
hair is the one thing about Brave that fully
lives up to the fi lm’s potential — beautiful,
wild, created with the best of Pixar’s
magic. The fi lm’s will o’ the wisps, little
blue airborne jellyfi sh that sigh and coo,
come close, and Merida’s triplet brothers
get all the studio’s expected cleverness; the
little hellions will go to great lengths for a
plate of baked goodies.
But this is a story about a young woman,
and Pixar has never quite fi gured out how
to tell those. Women are goofy supporting
characters (Finding Nemo), heartachingly
absent presences (Up) and effi cient robots
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(Wall-E), but not the stars of their own
stories. Abundant expectations hang on
Merida’s shoulders, and while she’s a
character to love, the fi lm only earns a sort
of warm affection — especially if you’re
the sort who loves nods to fairytales, with
their transformations, horrid deadlines, and
emphasis on the importance of knowing
what you really wish for.
Part of the problem is that, despite the
nice way Brave tweaks the notion of happily
ever after, it remains awfully traditional;
the confl ict, for Merida, is between
her mother’s expectations and her own
yearning for independence, even though
no one so much as mentions that boys
and men do whatever they like, without
repercussions. Merida’s complaints about
her responsibilities border on the poor-
little-rich-girl variety — she is a princess,
after all — so the fi lm tries to make her
troubles universal by locating them in the
clash between mother and daughter. This
works, to a point, and the compromises
the women reach are well-earned and true.
They’re also a touchy lesson.
Pixar’s fi lms are family-centric, and
this one’s no different, but the moralistic
bent is pulled a little too far to the fore. The
lovely and true notion that stories teach us
how to live is made awkwardly, needlessly
explicit. This isn’t quite as painful, howev-
er, as the drippy songs that soundtrack Me-
rida’s jaunts into the forest. Trite and mod-
ern, they’re a jarring reminder that we’re
still in Disneyland, where the greatest free-
doms a girl can hope for are to (eventually)
marry for love, get to keep her beloved
horse, and occasionally be allowed to set
her weapons on the table.
ew
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Pixar’s Brave new world is still Disneyland
$19.99
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