It’s been getting great reviews since it was released last month in the States, but for me the signs preceding Inside Out weren’t entirely auspicious, as I’d been feeling pummelled by the sheer weight of all the hype, and the apparent blanket saturation of the marketing. Admittedly, it’s not been quite as aggressive as Minions, but it’s also somehow less obviously appealing (those yellow creatures are awfully cute). The short film that precedes it in cinemas (“Lava”) is also pretty anodyne and faintly annoying (a cod-Hawaiian song about heteronormative volcanoes), so that didn’t exactly help either. Plus there were clearly a few grumpy contingents at the screening I attended, judging from the brief bout of remonstration being levelled at the parents of a crying child (the man’s insistence that the crying child was too young for the film somewhat belied by the film’s U rating, and also hey non-parents get a goddamn grip if you’re going to a U-rated film, even if it’s in the evening).
But — and I sense you’re expecting this “but” — I needn’t have worried. The director Pete Docter comes to this project from his previous Pixar success Up (2009), and if you’ve seen that film, you’ll perhaps have a sense of the emotional tone deployed here. Sure there’s comedy (it’s a Hollywood animated film; there’s always comedy), but the register feels a lot more reflective and even melancholy at times. This is matched by the sound design, which isn’t afraid to jettison the musical score and embrace relative silence when it suits the story, which revolves around the emotional trauma of an 11-year-old girl, Riley, whose parents relocate the family from the Midwest to San Francisco. The particular device the filmmakers use to reflect this is to personify her emotions as individual characters (Amy Poehler voices Joy, Phyllis Smith voices Sadness, and there’s Disgust, Fear and Anger besides), sitting in a control tower in a colourful visual representation of her mind. The animation is crammed with little details that extend the central metaphor (it’s a very metaphorical film), and there are some delightful sequences that play out as Joy and Sadness must make their way back to the control tower from the outer reaches of Riley’s brain (the one that takes place in ‘abstract thought’ comes to mind, as well as the dream sequences).
It’s commendable that Docter and the screenwriters keep the story focused on Riley when it would have been easy to mine further laughs from the similarly-represented minds of those around her (a device sparingly but effectively utilised). It also all seems to work pretty coherently as a metaphorical representation of the mind and its emotional processes, with memories stacked up like bowling balls and colour-coded by the guiding emotion at play, then sent off for filing in a vast repository, which includes a dump for those discarded memories. Core memories stay in the control tower and are the foundations of various personality traits, imagined as outyling islands around the control tower (cerebral cortex, one imagines). The care thus shown to the creation of this interior world, and the film’s avoidance of excessive mawkishness, surely mark it out as one of the finer Pixar filmsm one that’s sure to become one of their audience’s core memories.
NEW RELEASE FILM REVIEW
Director Pete Docter | Writers Pete Docter, Meg LeFauve and Josh Cooley | Starring Amy Poehler, Phyllis Smith, Mindy Kaling, Bill Hader, Lewis Black | Length 94 minutes (+ 7 minutes for the short film Lava, dir./wr. James Ford Murphy) || Seen at Cineworld Wood Green, London, Tuesday 28 July 2015