Pixar’s “WALL-E” succeeds at being three
things at once: an enthralling animated film, a visual wonderment and
a decent science-fiction story. After “Kung Fu Panda” I thought I
had just about exhausted my emergency supply of childlike credulity,
but here is a film, like “Finding Nemo” that you can enjoy even
if you’ve grown up. That it works largely without spoken dialogue
is all the more astonishing; it can easily cross language barriers,
which is all the better, considering that it tells a planetary story.
It is 700 years in the future. A city of skyscrapers
rises up from the land. A closer view reveals that the skyscrapers
are all constructed out of garbage, neatly compacted into squares or
bales and piled on top of one another. In all the land, only one
creature stirs. This is WALL-E, the last of the functioning
solar-powered robots. He — the story leaves no doubt about gender —
scoops up trash, shovels it into his belly, compresses it into a
square and climbs on his tractor treads and heads up a winding road
to the top of his latest skyscraper, to place it neatly on the pile.
It is lonely being WALL-E. But does WALL-E even know
that? He comes home at night to a big storage area, where he has
gathered a few treasures from his scavengings of the garbage and
festooned them with Christmas lights. He wheels into his rest
position, takes off his treads from his tired wheels and goes into
sleep mode. Tomorrow is another day: One of thousands since the last
humans left the Earth and settled into orbit aboard gigantic
spaceships that resemble spas for the fat and lazy.
One day WALL-E’s age-old routine is shattered.
Something new appears in his world, which otherwise has consisted
only of old things left behind. This is, to our eye, a sleek
spaceship. To WALL-E’s eyes, who knows? What with one thing and
another, WALL-E is scooped up by the ship and returned to the
orbiting spaceship Axiom, along with his most recent precious
discovery: a tiny, perfect green plant, which he found growing in the
rubble and transplanted to an old shoe.
Have you heard enough to be intrigued, or do you
want more? Speaking voices are now heard for the first time in the
movie, although all on his own, WALL-E has a vocabulary (or
repertory?) of squeaks, rattles and electronic purrs, and a couple of
pivoting eyes that make him look downright anthropomorphic. We meet a
Hoverchair family, so known because aboard ship they get around in
comfy chairs that hover over surfaces and whisk them about
effortlessly. They’re all as fat as Susie’s aunt.
This is not entirely their fault, since generations
in the low-gravity world aboard the Axiom have evolved humanity into
a race whose members resemble those folks you see whizzing around
Wal-Mart in their electric shopping carts.
There is now a plot involving WALL-E, the ship’s
captain, several Hover people and the fate of the green living thing.
And in a development that would have made Sir Arthur Clarke’s heart
beat with joy, humanity returns home once again — or is that a
spoiler?
The movie has a wonderful look. Like so many of the
Pixar animated features, it finds a color palette that’s bright and
cheerful, but not too pushy, and a tiny bit realistic at the same
time. The drawing style is Comic Book Cool, as perfected in the funny
comics more than in the superhero books: Everything has a stylistic
twist to give it flair. And a lot of thought must have gone into the
design of WALL-E, for whom I felt a curious affection. Consider this
hunk of tin beside the Kung Fu Panda. The panda was all but
special-ordered to be lovable, but on reflection, I think he was so
fat, it wasn’t funny anymore. WALL-E, however, looks rusty and
hard-working and plucky, and expresses his personality with body
language and (mostly) with the binocular-like video cameras that
serve as his eyes. The movie draws on a tradition going back to the
earliest days of Walt Disney, who reduced human expressions to their
broadest components and found ways to translate them to animals,
birds, bees, flowers, trains and everything else.
What’s more, I don’t think I’ve quite captured
the film’s enchanting storytelling. Directed and co-written by
Andrew Stanton, who wrote and directed “Finding Nemo,” it
involves ideas, not simply mindless scenarios involving characters
karate-kicking each other into high-angle shots. It involves a little
work on the part of the audience, and a little thought, and might be
especially stimulating to younger viewers. This story told in a
different style and with a realistic look could have been a great
science-fiction film. For that matter, maybe it is.
