The Lego Movie
- Category: Film
- Published: Thursday, 20 February 2014 00:34
- Written by Jason Luthor
Children’s
movies. For those of us in our 20s and 30s, children’s movies have been
a part of our lives almost since we came to consciousness. Think about
it. If you were born in the eighties you lived through Disney’s greatest
era, the period of Little Mermaid, Beauty and the Beast, Aladdin and
The Lion King. At the tail end of the 1990s we got Pixar and Toy Story,
not to mention other quality works like Finding Nemo, Monsters Inc., and
Wall-E. In the post Pixar period Dreamworks made a name for itself with
the Shrek franchise, which made its bread and butter tearing apart
Disney staples.
The
rise of the ‘sophisticated’ children’s film has been a necessary
creation of the 20th century. Adults need a reason to stay in the seats
as much as children, and ‘kids’ movies work best on two levels. While
children cry about Mufasa dying, they don’t necessarily grasp the drama
at work in Halmet-like fashion, between a conniving brother that murders
the king and potentially rapes his nice. Yes, Scar was that bad in that
movie, within the subtext of the film.
The
Lego Movie doesn’t play with such dark themes. Instead, it holds up a
light to capitalism and creativity and asks what are we willing to
sacrifice? On one hand, the movie highly values individualism. The
heroes of the film are brilliant Master Builders that can create
anything from a stack of Lego, whipping together submarines, rockets and
a Batwing. On the other hand, this same film states that only by
working together can we rise to success. While individually we’re all
quite brilliant, together we achieve even more. In the words of Barack
Obama, “You didn’t build that”, at least not all on your own. The great
corporations are lead by titans of industry but they get tax breaks from
the government, roads paid by taxes, contracts extended to them by
politicians, etc. We all build on each other.
Its stand against homogeneity is apparent in two points. President Business
wants to build an unchanging Lego world in which there is one amazing
tv show, one amazing song, and an unmoving population that is
permanently in a state of illusory happiness. Literally, he wants to
krazy glue them into place so that they are unchanging.
The theoretical
opposite of this is Coo Coo Land, a land of permanent happiness but
where everyone has to smile all the time and always be at their
happiest. Neither is a Utopia, and only in allowing characters both from
Coo Coo Land as well as the normal Lego World to indulge the full range
of emotions do the characters receive satisfaction.
Capitalism
in the U.S. has bred, to a degree, a homogeneity, so in this way the
Lego movie can be seen as not anti-capitalistic but pro diversity.
Diversity is an ongoing issue in the country and there are, undoubtedly,
many people walking away from the film at least partially offended.
Still, for all the topics it tries to address, the movie has a solid,
emotional heart.
The
overarching conflict is, of course, President Business’ attempt to
krazy glue everything into permanent stasis. A prophecy states a hero
will prevent this, leading to the typical hero’s quest in which Emmet,
an ordinary Lego construction builder with few innovative or redeeming
features, somehow becomes the “One”. Think Neo of the Matrix, here. Of
course his skills are far below par and his fellow heroes, including
Lego Batman, are constantly disappointed in him. The course of the film
sees his development not into a hero only due to his personal skills,
but in how he inspires those around him to cooperate for a greater good.
Some
have said it’s just a typical action film, but typical action films
don’t normally so strongly push for heroes as a collective versus the
Lone Ranger archetype. The film subverts action tropes, buying into
them, presenting them, but making them so outrageously over the top as
to border on hilarious. The strong performances by the cast are
constantly engaging, their dialogue sharp and witty and always
intriguing. Peripheral character Superman, for instance, is constantly
annoyed at the side kick attempts of Green Lantern to hang around with
him at all moments. Batman constantly talks up his independent heroic
streak, shortly before departing with Lando Calrissian and Han Solo
aboard the Millenium Falcon. Time and again the movie takes on action
tropes in a way that can only be done using something so absurd as Lego.
Finally,
the emotional core cannot be fully addressed without ruining the film’s
twist ending, but Will Ferrell’s performance here, across the board, is
applaudable. Both as a bombastic and egotistical villain as well as a
sympathetic character, he constantly wins the screen against anyone else
he’s playing against. If people ever do fully tire of his physical film
work, his future as a voice actor is guaranteed.
By
the end, the film’s message to live fully, live with a streak of
independence, but don’t shy away from others and cooperation from time
to time, really struck a nerve. It’s a fine balance we have to strike in
life, but one with a great payoff in the end.
4 / 5 Stars
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