This past weekend I saw Pixar’s Inside Out—
**SOME MILD SPOILERS– NOT REALLY BAD AT ALL, BY MY STANDARDS**
Sometimes I see a film and it takes me some time to integrate what I have seen. Such is the case with Inside Out— there is a lot going here, and I needed a few days to figure it out. Snap judgments are not my strong suit.
Part of the problem is that this sort of allegorical adventure has never been quite my cup of tea– perhaps not surprising in someone who thinks Aliens is close to the acme of film-making. Inside Out reminds me a bit of Alice in Wonderland, another allegorical fantasy I have never really cottoned to.
That’s probably unfair, as Alice in Wonderland was probably not at all an influence on director Peter Docter. Inside Out has a lot in common with his previous work (Monsters, Inc., Up, etc.), in that it is inventive, funny and fast-paced (in fact, pay attention, because some important stuff goes by pretty quickly), with many little touches that bring the film to life (the Mind Workers are a hoot). But it also has the sort of emotional depth we saw most particularly in the silent prologue of Up— a wisdom about the ups-and-downs of life and how things don’t always work out the way you expect.
The central allegory of the movie is that five core emotions– Joy, Anger, Disgust, Fear, and Sadness, all personified in the movie by different characters– represent the controlling aspects of our mind and personality. The movie mostly occurs in the mind of 11-year-old Riley Anderson (although we get often hilarious glimpses inside the heads of other people along the way), who has just moved from Minnesota to San Francisco with her parents, and who is not happy about the change. The problem is that Joy, who has largely been the emotion in charge all of Riley’s life, doesn’t want to allow Sadness to play a role in this transition– and thereupon hangs the tale, as Riley’s emotions fall in to conflict, things become discombobulated, and Sadness and Joy are accidentally thrown out of “Headquarters” (Riley’s consciousness). They then have to undertake an epic journey through Riley’s personality and memories to get back to Headquarters. In the end, balance is restored as Riley’s emotions are reintegrated with deeper empathy and a restored sense of self– even though the emotions are puzzled by the big, red button on their new control console that reads “PUBERTY” (as obvious a set up for a sequel as Darth Vader’s escape at the end of A New Hope).
I will not spoil the movie more than that. I have a few quibbles about one or two pieces of business in the film, but they are just that, quibbles. Suffice to say that it is imaginative, funny and loaded with insights into how human beings are put together, how we grow and become fully realized individuals. Personally, I am looking forward to see it again, and soon. Recommended.