Big Hero 6
(2014)
(SPOILERS) Disney’s Manga/Anime-styled, Marvel-adapted
animation was one of the biggest hits of 2014, and it’s reasonable to have
fairly high expectations of Mouse House animated fare, particularly since John
Lasseter assumed oversight (when he’s not pumping out Cars sequels, that is). But Big
Hero 6 is merely adequate. Stylistically it’s different, but not different
enough, while the story is surprisingly dead-set, lacking the wit and fun of
Pixar’s The Incredibles. What it does
have is an adorable robot. But that’s requiring a lot of robot to go a long
way.
Don Hall and Chris Williams don’t have the most illustrious
animation CVs, although Williams has a story credit on the (for Disney)
leftfield Emperor’s New Groove. He
co-directed the decent but unremarkable Bolt
(which pretty much sums up Big Hero 6),
while Hall delivered the most recent Disney
the Pooh (whatever the content of stories, they’re still cursed with that
wretched non-A A Milne cutesy animation).
Inspired by the Marvel comic of the same name (the details
are liberally changed), this is an origins move in which a bunch of science
geeks (or nerds as they are defined here) transform themselves into superheroes
with the aid of technology (the most miraculous aspect is that they are blessed
with boundless budget and resources, and presumably an extraordinarily
effective 3D printer). The villain is
also science geek, just an older one (even though this isn’t part of the
official Marvel roster, it retains the classic Marvel failing of matching its
heroes against similarly capable villains, as George R R Martin recently opined).
Some of the ideas here are quite neat; the Japanese/American
future city of San Fransokyo is integrated far more subtly than 90% of the
exposition clumsily introducing the characters and their situations (it
highlights how Pixar have honed this sort of thing so finely, when it’s done as
clunkily as this; “They died when I was
three, remember” says Hiro of his dead parents). Generally the background suggests
a future world where on the one part resources aren’t a problem (one can enrol
in university at the drop of a hat, and a kid living with his café-owing aunt
has the aforementioned unlimited resources) while on the other there’s an
underworld where robot fighting for money is illegal. It’s a more interesting
environment than anything Hall and Williams subsequently follow through with.
The only surprise character-wise is that they introduce
Hiro’s brother Tadashi, attending the robotics class at the local university,
only to kill him off and provide Hiro some motivation. It isn’t a surprise in the Disney tradition
(see Bambi, The Lion King etc.) but in the Marvel universe of dying and never
staying dead it’s actually permitted a degree resonance (of course, every other
character, including the villain’s daughter and loveable huggable robot Baymax,
is subject to resurrection).
Tadashi’s death fuels Hiro’s quest for revenge against the
rather dull bad guy (James Cromwell as Professor Callahan) in a rather lame
Kabuki mask who caused the fireball that killed his brother. What motivates the
Professor? Why, only that he too wants revenge against Krei Tech, and more
specifically Alistair Krei (Alan Tudyk) for losing his daughter in a teleportation
experiment that went wrong. Do you see, kids? It’s a moral lesson in not being
ruled by your darker emotions. The problem is, there’s no modulation here, and
it comes across as patronising, underestimating the target audience’s ability
to digest such ideas.
The motley assortment of science geek pals of Hiro are
unmemorable cardboard cut-out types; the tough athletic tomboy (GoGo), the
whacky dipstick (Honey Lemon), the stoner dude (Fred) and the scaredy cat Mr Normal
(Wasabi). There’s no real journey for them to become heroes; it’s a quick
montage and an initial setback (“We can’t
go against that guy. We’re nerds”) and they’re there. If this is a rallying
cry to nerds everywhere, well, it’s a long-since thoroughly mined seam. They’re
all a bit too hyper and irritating, like they’ve consumed too many E numbers.
The worst offender is Aunt Cass (Maya Rudolph).
Science geeks nerds as heroes might have be seen as a
rallying cry encouraging the adults of tomorrow to enrol in chemistry and
physics classes, except the science here is a magic wand waving as it comes. It’s
also convenient. Hiro invents the entire tech used by the villain, yet as the
creator seems to have no means of taking back control of his inventions. The
fast-paced approach of animations means this is at least not bloated, but this
also makes its attempts at advancing the plot and providing emotional content
rudimentary or one-note.
That said, Baymax is a deceptively simple but superb
piece of design. A Staypuft/Michelin inflatable medical robot designed by
Tadashi, Hiro imbues him with superhero skills. His medical related lines and
diagnoses are, courtesy of Scott Adsit, consistently the highpoint of the
picture, from his quest for diagnoses (“On
a scale of 1 to 10, how would you rate your pain?”) to his slurred drunk
act when his battery is running low (treating the family cat as a “hairy baby”) It’s easy to see on that
basis why this became such a big hit; he’ll go down in the pantheon with Wall-E
and R2D2.
Big Hero 6 is fine
enough. It’s pleasant, frenetic, and wholly run-of-the-mill, with comedy that
one-sidedly springs from its most appealing character. It’s mystifying that
this one scored Best Animated Picture Oscar over the laudable How to Train Your Dragon 2, a movie that
actually managed the whole “loss of a loved one/revenge” character arc with a
sense of depth and refinement.
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