Disney Tops Itself with ‘Moana’

Disney Tops Itself with ‘Moana’

Film Takes Company Further Out of the Prince-Saves-Princess Trope

By David Lynch

It’s been remarkable to see how Disney has been able to reinvent itself at the theater in recent years, doing away with decidedly outdated stories that could be summed up as Anglo prince saves Anglo princess.

The world has moved on from being constrained to such narrow-minded themes. Wisely, Disney’s films have followed suit.

Seductions

With “Moana,” Mickey Mouse’s house dispels once and for all the traditional notion that there can only be heroes, not heroines, and that the most rewarding connections with others are always heteronormative romances.

“Moana” is as grand and epic as “Frozen” was intimate and personal, without losing any of the latter’s ability to tell a story with universal themes and messages.

Whereas “Frozen” portrayed relationships in an unorthodox way (at least by Disney’s standards), there is, refreshingly, no romantic subplot of any kind in “Moana.” Instead, Disney spins a tale about finding our place in the face of uncertain futures, while subtly commenting on our duty to the environment.

It does it all through the strength of a monumental score and IMAX-worthy visuals. Lin-Manuel Miranda of “Hamilton” fame lends his songwriting talents to “Moana” to wondrous ends. Every tune fulfills a real purpose in the narrative while also managing to be compelling and emotionally stimulating.

The music works particularly well when complemented by the fantastic visual elements. At some points, I had to remind myself that what was transpiring on-screen wasn’t live action. The animation is simply that engrossing.

Moana herself sets a new mark for how far Disney has come with its female characters. She is endearing, but also captivatingly independent; at times too curious for her own good in her larger-than-life quest, but never crossing a boundary where the audience questions her actions.

Sixteen-year-old Auli’I Cravalho deserves acclaim for her turn as Moana, providing a grandstanding performance as a voice actor and singer despite having nary a single big-time acting credit to her name. The same goes for Dwayne “The Rock” Johnson as the demigod Maui (who knew The Rock could sing?), a character with an engaging and thoughtful story arc of his own.

“Moana” also has laughs (a surprising amount of them coming from Moana and Maui’s companion, a chicken) for both the younger and older crowd.

Parents, this is one you’ll want to watch with your kids, as the film also provides genuine thrills. One sequence in particular, a “Mad Max: Fury Road”-inspired affair, provides one of the best action action set pieces this year, lifting the film beyond the label of “just another kid’s movie.”

“Moana” has a lot to offer, with middle and concluding acts that are equally satisfying after a beginning that could have felt much more sluggish in different hands. Its biggest success, however, lies in how Disney can poke fun at itself for having been so reliant on one-dimensional stories of the princesses of yester-century, in a way that signifies a changing of the guard.

Moana would never call herself a princess. As this film shows, she doesn’t need to be one to aspire to something great.

David Lynch is an award-winning film critic.

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Albuquerque’s definitive alternative newspaper publishing an inquisitive, modern approach to the news and entertainment stories that matter most to New Mexicans. ABQ Free Press’ fresh voice speaks to insightful and involved professionals who care deeply about our community.

Latest posts by ABQ Free Press (see all)