[26 July 2007]
PopMatters Contributing Editor
You’re gonna hear a lot of talk in the next few days about The Simpsons Movie—and not all of it will focus on the film itself. Some of it will center on Fox’s failed strategy to keep the movie away from critics, and the clandestine, last minute appeals that saw the press finally viewing the finished product the night before it officially opened. Others will question the legitimacy of an effort that flaunts the fact that, as an audience, you are paying for the privilege of seeing something that the boob tube provides for free. Heck, Homer even makes a joke about it. There will be a few who frown on the lax language issue, their favorite family using the mildest of profanities to express some of their concerns. And a couple may complain about the abomination which is animated genitalia.
Well, you can tell all these wannabe experts and misguided moral watchdogs to eat your ever lovin’ shorts. After 18 years on the air and nearly 400 amazing episodes, The Simpsons Movie delivers the entertainment equivalent of a 90 minute greatest hits package. Jam packed with jokes, insider references, unique cameos and characters, and just a smidgen of sentiment and heart, this is the kind of stone cold genius creation old school fans have been longing for and demanding since around Season Four. Indeed, the most striking thing about this luminous bit of social satire is how fully realized and completely linear it is. Most episodes of the series, especially in the last few years, are tangential, vignette oriented, and elliptical. A weird event will trigger another oddball happenstance before the whole things blows back and up in Homer’s fat face. Here, we begin with a basic storyline, and the jokes grow organically and effortlessly from its finely honed foundation.
It all begins with that current crisis du jour -– our volatile environment. In typical surreal Simpsons fashion, Homer adopts a pig. When he can’t figure out what to do with his new pet’s “leavings” (to quote wife Marge), he decides to dump an entire silo full of feces in local Lake Springfield. Coincidentally, daughter Lisa has been protesting the continued polluting of this body of water (with the help of her new Irish boy buddy Colin), and the town has placed a moratorium on further befouling, afraid of a horrible natural disaster. Of course, our favorite bald buffoon doesn’t listen to them, and soon, things are at a crisis point. The EPA – under the direction of Chairman Russ Cargill (a hilarious Albert Brooks) and President Schwarzenegger – finally comes up with a plan. It will dome the town, trapping everyone inside forever. Then when things get too bad, they’ll bomb the city. In the meantime, Springfield has driven the Simpsons away, and they begin life anew in Alaska. Yet, even with all the hard feelings, the family can’t resist the urge to return and help save their threatened town.
And just to keep things frisky, there are a couple of clever subplots involving Barts’ growing affection for the Flanders, Grandpa’s religious hissy fit, and Homer’s interaction with the native Inuit peoples of America’s 49th State. Yet instead of distracting us from the main plotline, these asides help us appreciate the level of intelligence and wit the show’s creators carry over into the film. They even add in a very touching moment where Marge speaks from her heart. To any fan of the wonderful voice acting the cast produces on a weekly basis, this heart-rendering reading by Julie Kavner will all but unhinge you. It’s very, very powerful. The rest of the actors are also uniformly excellent, managing to make us care about the outcome of certain situations that, within a cinematic fantasy paradigm aimed directly at the PG-13 demographic, are more or less predetermined from the start. In fact, the script (credited to 15 of the show’s most inspired scribes) does a great job of poking fun at the whole doomsday action adventure genre.
It wouldn’t be The Simpsons without the goofy asides and borderline crude cracks, and leave it to the brains behind the scenes to keep things as imbecilic as possible. Homer doesn’t suddenly grow smarter, or stumble onto the truth after several sincere conversations. Instead, he remains regressive and childlike, amiably screwing things up with a sense of wide-eyed wonder that’s a sidesplitting joy to behold. Similarly, both Bart and Lisa are toned down here, each one getting a solid sequence of their own before giving in to the needs of the narrative. There will be a decided outcry from fringe favoring fans about the lack of extended scenes of Apu, Krusty, Principal Skinner, Mrs. Crabapple, and many others. Indeed, aside from Kent Brockman and the brazen bumpkin Cletus, the rest of Springfield’s citizenry are reduced to perfectly honed cameos – introduced and exploited as needed and necessary. The family members are the real focus.
Are there things here that don’t work? Not really. Hans Zimmer’s score barely stands out above the comedic din, his mundane music cues doing very little until the final confrontation with fate. Similarly, the animation takes a bit of getting used to at first. Fans familiar with Futurama will instantly appreciate the combination of 3D CGI and standard pen an ink cartooning. But it’s still odd to see the Simpsons home swallowed up, Poltergeist style, or a massive deep focus mob containing possibly every character ever conceived for the show. And of course, the continuity police will be up in arms over how Marge and Homer’s marriage has, once again, been reimagined into a familiar formal setting (they eloped, as all true Simpsons savants remember). Yet none of this really matters. In fact, any quibbles over content or approach are incredibly minor when compared to how effortlessly this movie delivers its many, many delights.
On par with South Park: Bigger, Longer and Uncut in the way in which a beloved TV series can be broadened and deepened by the cinematic experience, The Simpsons Movie is a major triumph – and that’s saying a lot considering its stance as a creative enterprise overflowing with consistent genius. The direction (by David Silverman) has a decided artistic bent, several shots announcing their compositional and framing freshness with major impact (this happens frequently during the last act). The Inuit dream sequence is especially impressive, riffing on symbolic ideas fans will remember from past character interactions with the cosmic. Perhaps the best thing this fine film does however is treat its audience with intelligence and respect. It doesn’t try to cheapen our yellow-tinged icons by making them into a sloppy, saccharine example of kid vid corniness. All The Simpsons Movie emotion is earned honestly, and all its humor is unforced and very, very funny.
So let them all talk. It may not be a return to the glory days of phenomenon formation, when the series finally found the courage to take the show outside the boundaries of your typical animated TV experience, but The Simpsons Movie argues that there’s plenty of life left in this clever collection of characters. Whether Fox decides to keep renewing the series, or simply allowing film to fill in the future blanks, one thing is certain – The Simpsons remain one of the classic comic creations ever. Their big screen debut may have taken over a decade to arrive, but it was well worth the wait. Here’s hoping one family member’s statement over the closing credits comes to fruition—the sooner, the better.
(PS: Make sure you stay until the very end – the writers have some extra rib-ticklers as a reward for those who don’t just jump up and leave.)