I was especially fond of the references to the dancing skeletons that seemed to pop up constantly in cartoon shorts from the 1930s. Like most Pixar productions, this one is filled with homages to film history in general and animation history in particular. Michael Giacchino's score is unsurprisingly excellent, as are the original songs-in particular, the future Oscar winner " Remember Me," the greatest tear-eruption mechanism to accompany a Pixar release since the " Toy Story 2" centerpiece "When She Loved Me." The film’s stable of voice actors reads like a Who’s Who of Latin-American talent: the ensemble includes Edward James Olmos, Alfonso Arau, Ana Ofelia Murguia, Alanna Ubach and, in a small role, to my surprise and astonishment, playwright Octavio Solis, who was one of my teachers in high school back in Dallas. It assumes a non-American point-of-view on spirituality and culture-not in a touristy or “thought experiment” sort of way, but as if it were merely the latest product of an alternate universe Pixar Mexicano that has existed for just as long as the other one. “Coco” opened in Mexico a month before it opened in the USA and is already the highest grossing film of all time there. What’s freshest, though, is the tone and outlook of the film. Somebody’s face has been torn out there’s a guitar that proves to be important later, and there are other ways in which visual information has been withheld from Miguel (and us) so that it can be revealed or restored when the time is right, completing and correcting an incomplete or distorted picture, and "picture.”
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The deployment of the photo is a great example of how to tell a story through pictures, or more accurately, with a picture. Many of them are conveyed through a stolen family photograph that Miguel brings with him to the Land of the Dead. I’m reluctant to describe the film’s plot in too much detail because, even though every twist seems obvious in retrospect, Molina and Matthew Aldrich’s script frames each one so that seems delightful and inevitable. Suffice to say that Miguel gets there, teams up with a melancholy goofball named Hector ( Gael Garcia Bernal), and has to pose as one of the dead with the aid of skeletal facepaint, but that (like Marty McFly returning to the 1950s to make sure his mom ends up with his dad in “Future”) the longer Miguel stays on the other side, the more likely he is to end up actually dead. The machinations that get Miguel to the other side are too complicated to explain in a review, though they’re comprehensible as you watch the movie. In her old age, she has become a nearly silent presence, sitting in the corner and staring blankly ahead, as if hypnotized by a sweet, old film perpetually unreeling in her mind. The title character is the hero’s great-grandmother (Renee Victor), who was traumatized by her dad’s disappearance.
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At least that’s the official story passed down through the generations it’ll be challenged as the film unfolds, not through a traditional detective story (although there’s a mystery element to “Coco”) but through an “ Alice in Wonderland” journey to the Land of the Dead, which the hero accesses through the tomb of his ancestors.įamily and legacy as expressed through storytelling and song: this is the deeper preoccupation of “Coco.” One of the most fascinating things about the movie is the way it builds its plot around members of Miguel’s family, living and dead, as they battle to determine the official narrative of Miguel’s great-great grandfather and what his disappearance from the narrative meant for the extended clan. But Miguel has to busk in secret because his family has banned its members from performing music ever since Miguel's great-great-grandfather left, abandoning his loved ones to selfishly pursue his dreams of stardom. He’s a goodhearted child who loves to play guitar and idolizes the greatest popular singer-songwriter of the 1920s and '30s, Ernesto de la Cruz ( Benjamin Bratt), who was killed when a huge church bell fell on his head. The film's hero, twelve-year old Miguel Riviera (voice by Anthony Gonzalez), lives in the small town of Santa Cecilia.
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