Tuesday 19 August 2014

WALL-E
(2008)

Also Known As:
Unknown
Year:
2008
Country:
United States…
Predominant Genre:
Adventure
Director:
Andrew Stanton…
Best Performances:
None
Premiss:
A waste-collecting robot inadvertently embarks on a space journey that will decide the fate of mankind.
Themes:
Alienation
Guilt
Loneliness
White culture
Similar (in Plot, Theme or Style) to:
2001: A Space Odyssey
Dark Star
ET: The Extraterrestrial
Hello Dolly
Inconvenient Truth
Logan’s Run
Rollerball
Silent Running
Review Format:
Cinema

Old Hippies Never Die…

Coming-on like an animated version of Al Gore’s overly-tendentious documentary An Inconvenient Truth, WALL-E (pronounced: Wally; meaning: Waste Allocation Load Lifter Earth class) delivers a heavyweight technical punch; taking movie CGI further than ever before. However, the story of a cute robot with human feelings is somewhat lacking on the emotional front.

Earth (Gaia) has become an uninhabitable rubbish-dump from which the entire human race has taken a giant, five year, spaceborne moonlight flit. Lonely WALL-E is tasked with collecting human-produced garbage - while humans are away - to compact it all (Goldfinger-like) into more manageable, skyscraper high chunks - ready for the return of humans. But he is the only working model remaining and five years turns into a septuacentennial as people become acclimatised to a life beyond Saturn in a space liner filled with all the necessities of life.

The dystopic vision of an Earth surrounded by a Van Allen belt of debris, along with vast abandoned cityscapes and even vaster desert landscapes, chill the mind in their foreboding of what might come about without proper recycling. The images are even more three-dimensional than computer-generated displays usually are - the eye fooled into believing they are real-world objects, ordinarily filmed. However, some of the humans are real; while those that are not prove computer-animated humans still have some way to go before becoming fully-convincing. These quite brilliant special effects are really what this movie is all about. Yet even these are let down by a film schizophrenically obsessed with the technological gadgetry it deplores - to the obvious detriment of any story concerning Man’s central relationship with Nature.

The only theme that really comes across is that of Man trapped by his inventions into losing His humanity (like the movie itself) - emphasized by the fact that the WALL-E and his girlfriend EVE (Earth Vegetation Evaluator) act more human than do the humans. Indeed, much of the humor here comes from obese humans surrounded by a technology that eliminates the need for manual work. Robots whiz around removing all traces of dirt in this pristine, twenty-ninth century world whose Olympian detachment makes contact with Nature and, indeed, each other, highly problematic. Yet, the behavior of the two, lover robots is largely-conveyed through silent comedy and discordant gunfire - loud and inappropriate aggression solely-designed to keep the audience awake in case it should realize it is being fobbed-off with such poor dramaturgy.

The plentiful visual imagination here does not compensate for the lack of a theme that makes any real sense. The thematic absurdity of humans wasting vast resources leaving Earth when vast resources have already been wasted creating vast waste piles is exacerbated by the oddity of creating a cinematic dystopia about cynical corporations - the kind who make movies like this.

The ecology issue is, therefore, never adequately explored in case the multinational, globalizing and commercial sponsors of such entertainment realize their feeding hands are being bitten. The poverty of imagination also extends to throwbacks to the visual and aural worlds of earlier, better science-fiction movies. Stealing ideas from: ET: The Extraterrestrial (WALL-E’s cuteness), Dark Star (computer voice), Rollerball (corporate state), Logan’s Run (sloth), Silent Running (ecology), 2001: A Space Odyssey (murderous computer & The Blue Danube) &, inevitably, the original tv series of Star Trek (sound effects). This is ameliorated by the more surprising scoring selections from the Hollywood musical Hello Dolly and musician Peter Gabriel - the former repetitiously used to numbing effect like an old-fashioned LP stuck in an old-fashioned groove.

Ultimately, the film contains no solutions to the ecological problems raised; simply suggesting that all you need is love. A movie that proves that old hippie dreamers did not die out, they just went to work for Disney/Pixar.

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Science:



No science is immune to the infection of politics and the corruption of power.



Jacob Bronowski… (1908 - 74), British scientist, author. Encounter (London, July 1971).


Sleep of Reason:



The dream of reason produces monsters. Imagination deserted by reason creates impossible, useless thoughts. United with reason, imagination is the mother of all art and the source of all its beauty.



Francisco José de Goya y Lucientes… (1746-1828), Spanish painter. Caption to Caprichos, number 43, a series of eighty etchings completed in 1798, satirical and grotesque in form.


Humans & Aliens:



I am human and let nothing human be alien to me.



Terence… (circa 190-159 BC), Roman dramatist. Chremes, in The Self-Tormentor [Heauton Timorumenos], act 1, scene 1.


Führerprinzip:



One leader, one people, signifies one master and millions of slaves… There is no organ of conciliation or mediation interposed between the leader and the people, nothing in fact but the apparatus - in other words, the party - which is the emanation of the leader and the tool of his will to oppress. In this way the first and sole principle of this degraded form of mysticism is born, the Führerprinzip, which restores idolatry and a debased deity to the world of nihilism.