During the expected pre-release hoopla leading up to the ultra-Disney-sized opening for the newest bit of Pixar CGI twee, Wall-E, director/writer Andrew Stanton swore up and down that the film was not supposed to have any sort of environmental message. In interview after mind-numbing roundtable interview (those modern stations of the cross for the entertainment industry to atone for their success), Stanton made it clear that it was a story about one lonely robot falling in love with another robot. Stanton told MTV News that the film was supposed to be “science fiction” and not “science fact.” That is of course true (unless the Disney Wall-E toy robot turns out to be much more intelligent than anticipated). It’s also the kind of statement that a creative person is almost honor-bound to make; one doesn’t sit down at the keyboard or show up to the set (or animation equivalent thereof) every day in order to make a statement. One wants to craft a story.
But, given the unalterably bleak vision of the future that Wall-Econtains, Stanton’s disavowal doesn’t quite ring true. It’s not as though one can simply take the film’s backdrop of devastation and either take it or leave it, as you could for, say, a sci-fi action film where a totalitarian future is nothing more than the excuse necessary to give its characters cool shades and a burning need to utilize high-tech weaponry at the drop of a hat. In Wall-E, the love story between the two robots only exists because of the dystopian vision that surrounds them. The two are inseparable, which is as it should be. One mark of great narrative art is that the setting, characters, and plot mesh together into a cohesive storytelling mechanism. So while Stanton was most likely telling the truth when he said that there was no “message” in the film, that should not be taken to mean that one can either take or leave the film’s quite loud and damning indictment of consumerism. That critique is just as much a part of Wall-E as is the moment when the two robots first hold hands. To say otherwise would be like claiming that the organized crime elements of The Godfather are really secondary to the main story, and quite beside the point.
Ben Burtt, Elissa Knight, Jeff Garlin, Fred Willard, John Ratzenberger, Kathy Najimy, Sigourney Weaver
(Walt Disney Pictures)
US theatrical: 27 Jun 2008 (General release)
UK theatrical: 18 Jul 2008 (General release)
Wall-E unfolds some seven centuries from now, when the Earth has undergone complete environmental collapse, a sort of fatal and global toxic shock. The planet is all dirt-brown vistas and dead cities, and not a living creature to be seen; like what one could imagine the world in Soylent Green looking like a few decades hence. Wall-E is a robot who’s spent untold centuries puttering around a poisoned Earth, busily compacting the mounds of detritus left by a big-box-shopping culture and turning them into neat little cubes that he then stacks into futuristic obelisks of waste. There’s no end of work for him to do, because as the film’s mostly silent opening makes clear, the humans that blasted off from the planet in 2100 were a frighteningly wasteful lot with plenty in common with those of us watching the film from cushioned stadium seating.
One of the perverse ironies of Wall-Eis that the surviving humans (there is no mention of what happened to all the people who couldn’t fit onto the admittedly huge Axiom cruiser) are then coddled into blob-like indolence by even more depraved levels of Barcolounger and Big Gulp-style creature comforts. Having been complicit in the destruction of the home planet, the human species on display in Wall-E is a swaddled band of babies, interested in little beyond the datascreens always plopped right in front of their jowly faces, much like the soulless entities inhabiting E.M. Forster’s prescient 1909 story “The Machine Stops.” It’s nearly impossible to behold these twin nightmares, the blasted Earth and the purgatorial shopper’s paradise of Axiom, and imagine that the film is anything but a clarion call warning of the environmental catastrophe to come. The fact that the robots at the film’s heart are more demonstrably human and brave than practically any of the homo sapiens lurching about, only proves the point more. This is not a species to be impressed by.
Another irony of Wall-E, and one that has rightly been widely noted in the blogsophere, is that the filmmakers participate quite avidly in the same consumerism that their film blasts away at with such heat. By dint of all the thousands upon thousands of plastic Wall-E and EVE toys that Disney will be trucking into the marketplace for this year and (they hope) many more to come, the Pixar boys become part and parcel of the same hypocrisy.
But, then, we all are, of course.
// Moving Pixels
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