There are a few times I’ve been genuinely frightened
during an animated film. The first time occurred during Maleficent’s entrance in
Sleeping Beauty. She’s always frightened
me, and it is because of her that it took me so many years to finally watch the
full film. I was rightfully frightened of Scar as he plots and executes said
plot for Mufasa’s death in The Lion King.
I say ‘rightfully’ because Scar kills Mufasa, and murder is quite scary to me.
The villain from The Princess and the
Frog is frightening because his evil was simply too real for me—making deals
with the devil is beyond frightening. Now, thanks to The Black Cauldron, I have another villain to give me nightmares:
the Horned King (who quite frankly resembles the devil, which must have been
intentional).
Why yes, I do find this villain TERRIFYING. |
I had heard that this film is the darkest in Disney’s
canon, and I have to say I agree. At one point, when the princess and Taran are
escaping and you’re expecting the princess to round to corner and instead it’s
a castle guard, I jumped. It’s also Disney’s first PG rating for animated
films. The other six films were all released in the 2000’s and 2010’s, when the
MPAA decided arbitrarily (like they always do) that animated films are PG. How
is it, then, that films like Tarzan with
bloody paw prints, dead bodies, strangling, and animal violence are rated G,
while Lilo & Stitch and Tangled are PG? (Atlantis, Treasure Planet, Home on the Range, and Bolt are the other PG ratings). There’s
protecting innocence and then there’s ludicrous over-protection. I think the
MPAA has officially passed into the ludicrous spectrum. They’re that parent who
buys a plastic bubble, attaches a backpack-leash to it, and puts their kid
inside it. Except they affect, to some degree, the entire U.S. with their
censorship—I mean, decision making.
Don’t get me wrong, I think a system that fairly evaluates
films based on a set of regulated and published standards would be incredibly
helpful. However, the MPAA refuses to give the reasoning behind their ratings,
nor do they have a rubric that states what’s allowable for each film. And that’s
my rant against the MPAA.
I was completely absorbed into The Black Cauldron, even if I did find a prophesizing piglet a bit hard
to swallow (prophesizing pigs trouble me but singing lions don’t—I can explain
my logic, so please don’t ask that of me!). I was genuinely concerned for Hen’s
safety at numerous points, because of the darkness of the film. In previous
Disney films, favored characters often escaped the axe because of the possible
traumatic effect it may have on children. But The Black Cauldron is an entirely new type of animated film. I mean,
it has zombies! No other animated film I have seen thus far in my life (and as
an animation connoisseur I’ve seen a LOT of animated films) has included
zombies.
Zombie-Army. |
The last few films had been musicals, but Black Cauldron stands apart in that
respect as well. The score is lovely and fitting and just about perfect with
the plot, but characters don’t randomly break out into song. Of course, they
are kind of running for their lives, or trying to save the world, at just about
every point in the film, so I could see how they might not spontaneously combust
musically.
BC is different
from the rest of Disney animation. That isn’t a bad thing; as I’ve touched on
before, ‘different’ and ‘bad’ are not synonymous for me. Once again, the story
is adapted from a book. I’m not sure how much the book is aimed towards
children, or if it was meant for adults. The style of language and plot are
much more adult, but Walt always emphasized that children at not to be talked
down to nor should material be dumbed down. Every moment can be a learning
moment. What differentiates this particular film is the prevalence and
prevailing force of evil. Evil is winning almost the entire film. Except for a few
rare moments, like when Taran leads the escape, the Horned King is succeeding.
Prophetic piggy |
The Horned King, with his army of brutes and evil powers,
has been winning for some time. He only needs to Black Cauldron to cinch his
victory and make overthrowing him impossible. For that, he needs little pig Hen
to show him where the cauldron is. Taran, always trying to be a hero, loses
little Hen when he’s supposed to be leading her to safety. That’s when he meets
Gurgi, the little furry friend who is neither human nor animal. He can’t be
solely an animal, because he can talk and no other animals can talk, yet he can’t
be human because he doesn’t look or act it. He’s adorable, if a little annoying
at times—especially to Taran.
The message of the film concerns, partially, not letting
images of honor and glory cloud your eyes and cause you to lose focus and
purpose—and your pig, too. It also touches on the consumptive nature that is
evil, as the Horned King, his minions and brutes, are all consumed by the evil
purposes at hand and take part in every available vice. We see them drinking,
partying and even see a dancer’s panties (that was a jaw dropper for me). Other
than Esmeralda’s not-so-subdued sexuality, this glimpse—also a woman dressed as
a gypsy—is the first (chronological) mention of sexuality. Sure, characters
fall in love all the time. But this evocative dance and the whole plot of Hunchback are the only times we see
temptation and women viewed as sexual objects.
Although it’s reported that the author of the book
series, Lloyd Alexander, didn’t intentionally weave Christian allegory into his
series, it is present in some capacity. Gurgi, the woodland animal that Taran
meets repeatedly, sacrifices himself to the Black Cauldron to save the world
and stop the Horned King’s zombie army, purely out of love for the people he’s
come to know recently. The Horned King (who bears a strong resemblance to the
devil) is then consumed by the cauldron (a fairly frightening sequence by
Disney standards—heck, by my standards! Oh, wait, I’m a scaredy cat and you
know it. Hmm, by pre-gory-movie standards). Not only does Gurgi sacrifice
himself whole heartedly, but he’s resurrected by the love of Taran, the
princess and the minstrel. When the witches want the now-defunct cauldron back,
they bargain for it. They first offer the sword they took from Taran, but he
says he’d rather have Gurgi back. Then, miraculously, Gurgi comes back.
Gurgi, immediately prior to being resurrected. |
Gurgi, Taran, Hen and the minstrel are all interesting
characters. But my favorite would have to be the princess, whose name I can’t
hope to pronounce nor spell, so I will simply call her the princess (though the
Horned King does refer to her as a scullery maid during the film’s climax,
which I found a bit confusing). She is a strong character, and rescues Taran
from the dungeon. It is she who leads him to the catacombs, wherein he finds
the magic sword (which is why I’ve always confused this film with The Sword in the Stone—they both have
swords!) that saves them multiple times and which he trades for the Black
Cauldron. She doesn’t ever really need rescuing, she does so herself. Yes, the
magic sword came in handy, but she played a large hand in that. She also stands
up for herself when Taran starts being a big meanie face, which I like. I like
the message that young girls should stand tall in their beliefs and use logic
and reasoning to win their word wars.
The unique and well developed characters couple with the well
thought out plot to make the film enjoyable for all ages (though I don’t know
at what age my kids will be able to watch it—I suppose it depends on if they’re
afraid, like me, or brave, like James). At first, while saying I liked it, I
also stated that it wasn’t one I thought I’d find myself watching again. But
the more I ponder it, the more drawn back to it I am. There are many layers to
the film, and I think I’ll discover something new each time I watch it.
It’s now a dreary, rainy day in early-summer Alaska. When
we first moved here in late winter of 2011, we experienced a very mild winter
(yes, snow on St. Patrick’s Day is mild up here) and an exceptionally amazing
summer. If this past winter (record breaking snow) is any indication of this summer,
our weather will be cooler and wetter than usual. I think if anyone has earned
a really terrific summer, it’s the Alaskans who just dealt with this year’s
overwhelming winter.
Yet it’s the Lower 48 summers that I miss: running
through the sprinklers; weekends spend on a beach towel, sprawled on a deck or
lawn or driveway, soaking up the sun while someone cooks hot dogs and
hamburgers on the grill; afternoons spent sitting, sundress-clad, under trees
in sun-dappled shade; holidays spent on a pool float, one hand trailing lazily
in the water; fireworks lighting up the night sky on Independence Day while the
whole family, cousins, aunts, uncles, parents, grandparents, stop what they’re
doing and stand amazed. Basically, any scene from The Sandlot details what I think of as perfect summers. In
South-Central Alaska, the water that comes out of the hose is glacier cold
making sprinkler runs more like pneumonia runs, spaghetti-strapped sundresses
have to be worn with leggings and jackets due to the cool air, there are no
outdoor pools, and the midnight sun (it is light all night, but not sunshine-y light,
cloudy-day light) prevent those spectacular fireworks from being so
spectacular.
Alaska in the summer-- beautiful, but there's still snow on the mountains (that means it's cold-- notice the long sleeves and pants of the person in the photo) |
No comments:
Post a Comment