Lee Unkrich
Really now Pixar is the top of the Western cartoon. What else to say to a production company that in three years has given us "Ratatouille," "WALL-E", "Up" and the third "Toy Story"?
Directed by Lee Unkrich and beautifully written by Michael Arndt ("Little Miss Sunshine"), "Toy Story 3 - The Great Escape" is the best in the series: wild in the narrative, authentic movement, full of humor and poetry, delicious for characterization and vividly satirical. The film begins with an unexpected page comic-style adventure westerns, a Train Robbery coi coniugi Potato inseguiti da Woody; si aggiungono in continuo ampliamento gli altri personaggi, creando una spirale citazionistica che dal western va alla fantascienza, a James Bond, ai kaiju eiga , man mano che si amplia. Poi passa, con elegante transizione di punto di vista, a una vecchia registrazione video di Andy bambino che gioca. Ma ora Andy ha diciassette anni e deve partire per il college; e i suoi giocattoli temono l'abbandono (“Venite, vediamo quanto ci quotano su eBay”). Per errore, anziché in cantina finiscono regalati a un asilo: non solo vengono orribilmente maltrattati da piccoli mocciosi ma sul piano della vita segreta dei giocattoli l'asilo – governato da un orso di peluche che è una specie to mafia boss - is a lager. And 'this application to toys brilliant film concentration camp with all its connotations (including a horror twist him into monkey musician who controls the surveillance monitors).
In general, the accuracy and inventiveness of the "Toy Story 3" are miraculous. The concept of humanizing toys describing their secret life when we humans do not look at them is by Andersen, of course, but is also found in the classic cartoon (Disney and Warner). Here it becomes a sociological comment, with the new entry Ken, which is dissected in cultural terms. It 'obvious that you fall in love at first sight Barbie (note the double meaning of "We made for each other ") but beyond this the film starts from the objective data to give a perfectly plausible psychology and guessed. "I'm not a toy for girls !!!", s'incazza at a poker table with other toys that mock him and later, the game on its head with a devastating psychological vulnerabilities insulting" You're not a toy you are an accessory ". The film transforms the wealth of her wardrobe, as a real product, in narcissism (the page of his "fashion show" for Barbie!). The charge
inventive film skillfully draw a logical basis of reality. It 's normal that a toy speaker has, in addition to English mode for English, but when you accidentally Buzz Light year is reprogrammed in this way, not only speaks English but gains feelings and gestures of a true hidalgo - not without delight of his girlfriend, who promises to exploit this discovery in the future. All characters, starting from the bear Lots (Broderick Crawford or a Sidney Greenstreet plush, complete with melodramatic biography of abandonment), have a concrete characterization comparable to that of the live action film . "Toy Story 3" is masterful at both the script and language. See for example the doll with one eye destroyed: the first appearance, this deformity is played a pathetic fact, when the bear turns out to be a bodyguard evil, the same deformities assumed a gangster from movies, and then slip horror, further, when the doll is sitting back and hearing a noise turn your head ninety degrees on the neck, style "The Exorcist".
The concept of "dangerous movement" - which is present throughout the series, with the ingenuity and stunts - has never been explored in this episode as well. Not without a particular mood of gloom. I am anguished sense of danger and spectacle of death: see page terrifying the landfill, they're finally burned in an forno, e il particolare autentico e toccante dei giocattoli che si prendono la mano l'un l'altro davanti alla morte. Anche i pupazzi più infantili e ridicoli – il signore e la signora Potato – raggiungono nel film un'imprevedibile umanità.
Al fondo di tutto c'è un'elegia malinconica del tempo umano che trascorre, dell'amico-padrone che invecchia e della necessità di passare la mano. Come in Andersen, i giocattoli possono perire, ma la loro condizione esistenziale è immutabile. Se ci si pensa, c'è in questo loro “tempo bloccato” una tristezza - e insieme una felicità.
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