Earlier today, I had the opportunity to see the latest Pixar movie Inside Out in the company of one of the film’s writers and its story supervisor Josh Cooley (a very nice man). And aside from receiving a lovely lecture about story development at the famed animation house, the connection afforded me an opportunity to appreciate the movie much more than I did on simple viewing.
To briefly bring everyone up to speed, Inside Out tells the story of the emotions that rattle around inside the mind of 11-year-old Riley as she struggles with a move across the country. Although we are introduced to 5 main emotions in Riley Headquarters (get it?)—Joy, Sadness, Anger, Disgust and Fear—there is no mistaking that Joy is numero uno in this space.
Joy (voiced by Amy Poehler) sucks the oxygen out of any room she’s in and proves that even the best intentioned of assholes is still an asshole. Her goal in life is to make every moment of Riley’s life a happy one and is not worried about shoving aside the others (ever so happily) to ensure that.
But where Joy has developed a respectful détente with Anger (Lewis Black), Disgust (Mindy Kaling) and Fear (Bill Hader), she firmly but gently has no use for Sadness (Phyllis Smith), practically ostracising the poor creature to the periphery.
With the upset of the move from Minnesota to San Francisco, though, Sadness seems to want to be more involved and in a fracas with Joy, the two get sucked out of headquarters and into the long-term storage hinterlands of Riley’s brain.
At this point, the story basically turns into the Odyssey as the two emotions struggle to return home before Riley falls completely apart at the hands of the others. (To say much more would be to offer spoilers.)
Joy and Sadness wander the hinterlands of long-term memories
The challenge I had was in trying to figure out exactly at whom Pixar was targeting the movie.
Superficially, this is a pure kids movie (ages 6 to 10, maybe), unlike many previous Pixar concoctions, which had elements for both kids and adults. Inside Out doesn’t have the depth of Toy Story or The Incredibles to truly speak to adults, much as the most mature 11-year-old isn’t ready for the adult world.
I’m not saying there aren’t adult-focused jokes interspersed throughout the film, but rather exactly that. They are interspersed, like small granules of sugar designed to feed the parents accompanying the kids to the theatre.
Up talked about loss and aging
There is no real adult storyline to this film to touch adults as there was in Up or Wall-E. Instead, the film has sweet, adorable moments of baby bums and first goals that might tug at a parent’s heartstrings but never engage the soul.
But as a friend suggested, it is not strictly a kids flick either because it touches on esoteric aspects of the psyche that kids that age would never be able to comprehend, such as abstract thought and the concept of forgotten memories. The problem is these aspects are more conversations of the mind and not the soul. So even here, the adult is largely passed over unless they have an interest in neurology and psychology.
Wall-E dealt with issues of love and environmental destruction
And as a writer, perhaps the biggest sin with Inside Out is there is no sense of what’s at stake.
Sure, Joy is losing her cool as she fights to get back to headquarters. For her, Riley having a down moment is a disaster.
And Sadness isn’t exactly having a picnic as she is routinely sideswiped or ignored by Joy in their efforts to get home. If anything, she increasingly takes the blame for everything onto herself.
But what’s at stake? What if they don’t get back to headquarters?
Does someone die? Is life no longer worth living?
I don’t know because that was never a question on the table. And without stakes, I find it difficult to root for the hero.
And this challenge is made all the more difficult by the fact that the hero (Joy) is also the villain, albeit passively. She is truly her own worst enemy, and so I quickly find myself irritated by her with no great concerns about the outcome.
The six hour conversation and lesson with Cooley helped me see a lot more of what the writers, animators, editors, directors and producers were trying to accomplish. And that did help me understand the movie better. The thing is, few others were going to get this kind of help.
The movie will do well at the box office. Of that I have no doubt. It is a wonderful vivid distraction for young kids.
But it won’t have the staying power of Pixar’s earlier efforts and likely won’t be spoken of again in a few years other than in possibly hushed whispers.