The Incredibles

In a world where super-heroes once saved the day, but are now outlawed and "relocated," what happens to a super who just wants to help people, and his equally-powerful wife who just wants to raise their family without any trouble?

It's funny. It's poignant. It's not terribly deep, but it's not just a laff riot. And it is freakin' beautiful.

The Incredibles.

I'm not going to go into the plot, simply because it's too much fun to watch it unfold unspoiled. It holds together quite well, though, without getting in the way of the action.

Influences
The influences behind The Incredibles' story are many. There's the whole super-hero comics genre, of course. Indeed, there are some superficial similarities with, of all things, Alan Moore's classic Watchmen.

More on the surface, the Fantastic Four are an obvious parallel — the super-family with a strong guy, a stretcher, an invisible girl with force fields, and a super-speedster ... well, make that three out of four. Toss in a mysterious younger child who appears to have no powers, and a final cameo villain appearance, and one has to wonder whether Marvel might not expand its suit against Disney (just kidding).

The other major media influence on the look and feel of the film is the James Bond movie series. Many of the villain's lair set pieces look to have bought surplus from Blofeld, Goldfinger, Stromberg and Drax, complete with cool monorail pods, huge modern rooms carved out of the living rock, volcanoes, rocket silos, and endless guards. The score by Michael Giacchino (Alias, Lost) evokes some of the quieter riffs of John Barry's work from those "Golden Age" Bonds (Barry's music from On Her Majesty's Secret Service was used in some of the trailers). It lacks a truly powerful action theme or anthem, but it works pretty well, especially in those less busy moments.

There's even an amusing homage (probably too subtle for most) to at least one Jonny Quest episode, "The Robot Spy."

Animation
The Pixar animation for The Incredibles is fabulous. This is the first major film of theirs with truly human (as opposed to, at best, toy) characters, and they do solid job of creating "solid cartoons." There are a few bobbles — the nostrils don't quite look right, and some movement feels strangely at odds with gravity — but overall it's quite good, and the expression of genuine emotion in such a cartoon form is eerily moving.

Article Author: Dave Hill

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