Like many of you, I grew up on Disney’s animated films. While some have aged better than others, I still get Nostalgic enjoyment whenever the urge to watch one arises. Despite this, I have been lazy when it comes to watching their newer films. Bolt and Up I enjoyed in the theater, while Tangled and Princes & the Frog are still on my to watch list. However, when I saw the trailer for Coco I knew it was one I had to watch in the theater. Being from a Mexican family—on my father’s side—might play a part in my initial interest, but it alone does not summarize my enjoyment.
Set in a small Mexican village, Coco is the story of a boy named Miguel. Miguel loves music, but comes from a family of cobblers who despise the art because his guitarist great-great-grandfather abandoned the family; this disdain is so great that Miguel can’t even glance at a musician without his grandmother pulling off her sandal and committing assault. Dia de Muertos arrives, and while setting up the family shrine Miguel learns who his grandfather could be: his idol, Ernesto De La Cruz. This discovery eventually lands Miguel in the world of the dead, where he must acquire his family’s blessing or remain there forever.
Like all Pixar films, the animation is beautiful. From the character designs to the backgrounds, the team did their research. Some might find it basic to use skeletons to represent the dead, but I find it logical considering the holiday associates itself with skull imagery. Most—myself included—think of facepaint first, and the animators referenced this in their designs, small details included.
While I have never been to a Muertos celebration—unless one counts Mass—the celebration appeared accurate from what little I know. Now, I do want to research the celebration further, especially its native roots. That said, how Pixar integrated the spirits of the dead was interesting. Minor spoiler, but the dead only exist in their ethereal plane as long as the living remember them. This remembrance allows them to crossover during the celebration, but only if their pictures are placed in their family shrine. If no one living remembers them, they weaken and vanish. “Death for the Dead.” I wasn’t expecting this plot development, making it a pleasant surprise. It adds the right amount of drama during the film’s second half as Hector—our Deuteragonist—is in danger of fading away. At the risk of major spoilers, all I’ll say is that it’s tied into the film’s title. I don’t know about all of you, but going into this viewing I was questioning the significance, and that continued as the film progressed.
The ensemble cast voice their roles well. While I don’t recognize many voices, the ones I did made me smile. Benjamin Bratt was perfect as de la Cruz, his voice equal parts charm and charisma; one can easily see why his character was loved in life. Without spoiling anything, it also adds a finishing touch to the third act. Cheech Marin is always fun to hear, even if his role is a pithy cameo.
Given the subject matter, I wasn’t surprised the main theme was family, mainly its importance. Mexicans—and Hispanics in general—highly value the unit, and this came across well. From the post backstory scene to the credits, we see this family’s interactions and their love and concern for one another shines through. While they might not always get along—what family does—they are there for each other, no matter what.
Traditionalism vs Individuality is a secondary theme, interwoven with the first. Miguel and his family—mainly his grandmother—are at odds with the boys musical leanings, and this conflict carries the plot forward. Miguel wishes to follow his heart and live his dream while Grandma wants to keep her family safe and homogenized, which given the family’s backstory is understandable. We sympathize with both sides but ultimately side with Miguel and his struggle. He has an uphill battle against in both worlds, but he’s persistent, and persistence pays off. Miguel is the film's heart, and without him, it wouldn’t work as well.
With a run-time of 109 minutes, the film is well paced. At no time was I bored, as Miguel’s plight drew me in, and I found the characters he interacted with fascinating, even though a majority of them are brief and one-dimensional. The humor worked, and like always Pixar threw in a few for the adults. The knuckles one, in particular, popped the audience superbly. According to a co-worker, an interview she watched claimed one part was a shot at Trump. While it could be interpreted as such, I don’t get that out the scene. While it satirizes custom’s policies and officials, the humor is generalized, and thus less likely to age the joke as quickly. The only celebrity mentioned by name is Lucha Legend El Santo, which being a wrestling fan garnered a smile and pop from me.
If you’re a fan of Pixar’s film, definitely watch this one. While some might compare it to Book of Life, I don’t. While both films revolve around Mexican culture and the ethereal plane, both plots and goals are different; any similarities I chalk up to culture, and both having Cheech Marin.
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