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Batman The Dark Knight - Should We Fear Imitation of the Joker?

The film could easily be seen to portray good as a weakness used and repeatedly exploited by evil

 

Editorial by John-Henry Westen

I finally saw the movie which has grossed $400 million in its first 18 days - well on its way to overtaking Titanic as box-office champ.  The movie was visually and viscerally stunning but deeply disturbing, even diabolic.

My concerns were confirmed when LifeSiteNews.com co-founder Steve Jalsevac told me he had also just seen the film and shared my unease.

Some have pointed to the extreme violence in the film, but my concerns go well beyond that.  In a Canwest News Service review Jay Stone refers to Joker as a “psychotic butcher”; Jenny McCarthy in her August 2 review in the London Telegraph wrote, “The greatest surprise of all - even for me, after eight years spent working as a film critic - has been the sustained level of intensely sadistic brutality throughout the film.” One reviewer even called the film “torture porn.”

The story’s focus is the Joker, played by the late Heath Ledger of Brokeback Mountain fame.  The Joker is portrayed as a man engaging in a purity of evil rarely seen.  An anti-Christ type figure, he engages in evil for evil’s sake and not for any material motive, and is totally unconcerned about his own well-being. 

So youth seeing the film will see the evil of the Joker, be repulsed by it and turn away from it, right?  Wrong.

There are two supermen in this film - Batman and the Joker. 

One problem, however, is that while Batman is a somewhat distant figure - a multi-billionaire whose money is largely the source of his being a superhero - the common man can relate more to the Joker who is a man dealing, in his own intensely cruel way, with a rough past.

In one scene the Joker describes the way he got his ’smile’ - the two obvious scars which run up from both corners of his mouth.  He describes domestic violence in his home where his father attacked his mother and then turned on him as a child, saying, “Why so serious? Let’s put a smile on that face,” and carved one in.  As sick and scary as that scenario is, it is nevertheless one with which a great many of today’s youth - deeply scarred internally - will easily identify as they too have been subjected to domestic violence.

And if that’s not enough, Joker changes the scenario half-way through the film.  He explains that his ’smile’ is the result of an incident stemming from a disagreement with his wife who would thereafter have nothing to do with him.  Hence, Joker’s psychosis is portrayed as being a response to the all-too-common experience of domestic turbulence, whether involving one’s parents or one’s spouse.

The Joker and Batman are both presented as virtually invincible; indeed, if anything, the Joker is presented as being more powerful in many respects. He is completely unrestricted in terms of his actions, while the film clearly portrays Batman as hampered by his conscience.  Batman The Dark Knight could easily be seen to portray good as a weakness which is used and repeatedly exploited by evil - the Joker.  The corruption of the good in people is one of his main aims - it is in fact the only purpose which can be discerned in the Joker’s otherwise completely chaotic acts.

But for all the power of this anti-Christ portrayal, there is no portrayal of an equally pure Christ figure.  An heroic man in public power, one of the main characters, is eventually corrupted by the Joker’s devices, and the only two good guys left - Commissioner Gordon and Batman himself - are themselves corrupted in that they must foster and live with a lie to maintain the illusion that the one who thoroughly succumbed to evil was actually the hero of the day.

Batman, meant to be the hero of the film, is far less morally consistent in his pursuits than is the Joker.  As Bruce Wayne the billionaire, he is portrayed as a jealous, spiteful ex-lover, insulting his rival and using other women (even three at a time) to inspire jealousy in his ex-lover.  The portrayal of Batman is weak and conflicted compared to that of the Joker.  The Joker’s character dominates the screen and the brilliance of Ledger’s performance in this role serves to highlight this difference.

It should also be noted that many have pointed to Ledger’s Joker role as possibly having a role in the 28-year-old’s death by an overdose of drugs including sleeping pills and anti-anxiety medication shortly after filming of the movie was completed.

The suspicions are not unfounded as his final interviews indicate Ledger was very troubled during and after the filming.  A New York Times interview which took place during the filming noted that Ledger’s Joker role was “physically and mentally draining”. Ledger described the Joker as a “psychopathic, mass-murdering, schizophrenic clown with zero empathy”.  He also revealed he was having trouble sleeping and the reporter noted his bizarre restless behaviour.

Reported the New York Times:

“Last week I probably slept an average of two hours a night,” he said. “I couldn’t stop thinking. My body was exhausted, and my mind was still going.” One night he took an Ambien, which failed to work. He took a second one and fell into a stupor, only to wake up an hour later, his mind still racing.

Even as he spoke, Mr. Ledger was hard-pressed to keep still. He got up and poured more coffee. He stepped outside into the courtyard and smoked a cigarette. He shook his hair out from under its hood, put a rubber band around it, took out the rubber band, put on a hat, took off the hat, put the hood back up. He went outside and had another cigarette. (see the full Times interview: http://www.nytimes.com/2007/11/04/movies/moviesspecial/04lyal.html?_r=1&oref=slogin )

A video interview available on YouTube, which took place just after the filming finished and is billed as one of the last interviews before Ledger’s death, visually demonstrates that bizarre restlessness. See: http://www.youtube.com/watch?v=uKa-aDga1fE&feature=relat…

Are there going to be imitators of the Joker portrayed in The Dark Knight? There already are.  Just look on YouTube for the number of videos where teens are dressing up as and imitating the lines of the Joker.  Even more seriously, however, there have been crimes committed since the film’s release where the criminals have dressed in Joker makeup.

The film would likely not be dangerous for those well-grounded in morality; but for the many in today’s world who have not received the moral training that would allow them to clearly distinguish between good and evil, Joker character and philosophy of “anything goes” presents an all-too-appealing alternative way of attaining power and recognition. 

Seeing the film only a few days after the very disturbing and unexplainable beheading of a passenger on a Canadian bus, I could not help wonder if the perpetrator had seen the Batman film.  The description of the killing and decapitation as having been carried out in a calm manner, entirely without emotion, and the killer taking the head of the man and glibly showing it to horrified witnesses, seemed to fit with the Joker’s character.  Media screen shots of the film showing the Joker holding up his “calling card” (a Joker playing card with a decapitated head dripping blood) added powerfully to the association.

Superheroes in films normally generate imitation. Joker is every bit a superhero in The Dark Knight - but a super-evil one.

If your children have seen the film, talk to them about it.  If they have not yet seen it I would tactfully discourage it.

For a parental review of the film see Screenit’s very detailed information (the Internet’s most useful movie information website for those concerned about ethical content):
http://www.screenit.com/movies/2008/the_dark_knight.html#v

See other reviews noted above here:
“This is a movie that turns its heroes into villains and its villains into immortals. It’s a haunting mess.” A ‘psychotic butcher’
http://canada.com.dose.ca/topics/entertainment/story.html?id=15088ff6-3494-4761-8a69-e51c37a2beb9

Torture Porn Aimed At The Kids by Jenny McCartney National Post, August 2, 2008
http://www.orwelltoday.com/batmanbewaredark.shtml

Space Chimps

“Space Chimps” (Fox) is a lively computer-animated children’s adventure that, despite some obvious limitations, provides warm family entertainment and offers lessons about maturity, resourcefulness and self-sacrifice.
 
The fanciful story has its roots in some memorable real-life events. On Jan. 31, 1961, a Cameroonian chimpanzee named Ham — an acronym for the Alamogordo, N.M.-based Holloman Aerospace Medical Center where he trained — was launched into space as part of NASA’s Mercury program. A little more than 15 minutes later, he splashed down in the Atlantic and was safely retrieved.

Having helped pave the way for astronaut Alan Shepard’s successful flight less than four months later, Ham was rewarded with an apple, and went on to grace the cover of Life magazine. He died in 1983 and lies buried in the front lawn of the International Space Hall of Fame, also in Alamogordo.

Within the context of the film, this champ of a chimp is known as Ham I, a source of pride, but also of intimidation for his happy-go-lucky circus performer grandson, Ham III (voice of Andy Samberg).
 
When a $5 billion space probe goes astray, the researchers behind the project — under pressure from the smarmy senator who controls their funding (voice of Stanley Tucci) — include the unfocused Ham in the rescue mission’s all-simian crew, hoping to exploit his heritage. Rather than concentrate on his training, however, Ham busies himself with tweaking his pompous commander Titan (voice of Patrick Warburton), and flirting unsuccessfully with sensible Lt. Luna (voice of Cheryl Hines).
 
After a perilous journey, the trio arrives on the planet Malgor to discover that control of the probe has enabled overbearing alien Zartog (voice of Jeff Daniels) to become its dictator. Zartog quickly takes Titan prisoner, leaving Ham and Luna with only one, unlikely ally. Kilowatt (voice of Kristin Chenoweth), a tiny fugitive from Zartog’s power, has a head that starts to glow and a voice that turns operatic whenever she’s frightened, which is much of the time.
 
With the path ahead lying through the Valley of Really Bad Things, the moment has arrived for Ham, under the inspiration of his distinguished ancestor, to exchange high jinks for heroism.
 
The quality of the animation may be less than stellar, and the plot trajectory easily predictable, but director and co-writer (with Rob Moreland) Kirk De Micco’s lighthearted film has enough humor and spirit to divert young viewers. As they await the 1970s musical joke included just for them, meanwhile, parents will find the content unobjectionable.

The USCCB Office for Film & Broadcasting classification is A-I — general patronage. The Motion Picture Association of America rating is G — general audiences. All ages admitted.

USCCB

New Film Chronicles Both the Funny and Tragic Moments in the Lives of Four Top Comedians

NASHVILLE, Tenn., July 25 /Christian Newswire/ — “Someone once said, ‘comedy is not funny,’ and they’re right,” says comic Ron Pearson, one of four comedians to star in the new film, Apostles Of Comedy: The Movie, set for release September 9 from First Look Studios. Co-star and controversial social commentator Brad Stine agrees. “Everybody endures life,” says Stine. “Some people deal with their problems with drugs, alcohol, or sex - we chose comedy to mock our pain.” 

While their comedy is showcased at length in Apostles of Comedy: The Movie, the lives of these four award-winning comedians are also explored. In documentary fashion, the comedians are shown at home with their families, as well as in unrehearsed conversations with each other behind-the-scenes. Each comedian has a unique background and style of comedy, yet Jeff Allen, Brad Stine, Ron Pearson and Anthony Griffith share a common thread - they are all family-friendly in their approach, keeping their comedy free of raw language or crude themes, but without losing their edge. 

“We chose comedians who specifically do comedy that appeals to all ages, something that the whole family could sit down and enjoy together,” says Executive Producer Lenny Sisselman, who has worked with performers such as Jay Leno, Jerry Seinfeld and Tim Allen. Sisselman teamed up with Emmy-nominated producer Mitchell Galin whose credits include Sci-Fi’s Emmy award winning miniseries Dune; CBS’ miniseries A Season in Purgatory; ABC’s Stephen King’s The Langoliers, among others. 

“We wanted to produce something that was counter- culture; something that would not only be funny, but move people emotionally,” says Jeff Allen, who has been seen on Showtime, Comedy Central, VH1, HBO, among others. Allen starred in a sitcom pilot on PAX- TV entitled “Happy Wife, Happy Life,” and authored the book My Life as a Bystander. 

Brad Stine, known for his edgy social commentary, has been featured on CNN, Fox News, MTV, New Yorker Magazine, as well as Evening at the Improv. Emmy-Award winner Anthony Griffith has been a frequent guest on The Tonight Show as well as HBO, Comedy Central, and The Bernie Mac Show. Ron Pearson has made a name for himself appearing on various television sitcoms such as Malcolm & Eddie, The Drew Carey Show, That 70s Show, The George Lopez Show, among others. 

For a sneak preview of the DVD, visit: www.ApostlesofComedy.com.

Dark, Dark Knight

by Brian Fitzpatrick, Senior Editor, Culture and Media Institute
 
Biff!  Bam! Ka-Pow!
 
Oh, for the halcyon days of the old ’60s Batman TV series, campy as it was.
 
Adam West’s portrayal of Batman was resolute, noble, brilliant, brave, and emotionally – healthy.  He was self-sacrificing, a wealthy man willing to risk life and limb to protect the people of Gotham City. Batman was a genuine superhero brimming with character, Superman in a black cape. 
 
Robin, his faithful, idealistic sidekick played by Burt Ward, was strong enough to punch out The Penguin’s henchmen, yet young enough for a third grader to identify with. The serious Commissioner Gordon was forever imploring Batman to handle yet another criminal menace that exceeded the coping powers of lovable Chief O’Hara. I couldn’t figure out why the Commissioner didn’t fire the hapless police chief, but I was too young then to understand the power of the civil service. 
 
I wasn’t too young, however, to understand that Good must triumph over Evil.  After all, Batman proved it every week. 
 
The plots were, to put it graciously, consistent.  The Riddler or Catwoman would be cackling with glee, seemingly victorious, as Batman lay strapped to a table. Our hero writhed mightily against the bonds – Never Give Up! – as a massive blade swung above him like a pendulum, dropping a fingerbreadth lower with every arc, promising to send the Caped Crusader to his doom.  The announcer’s anxious voice breaks in: “Will Batman escape Egghead’s fiendish scheme?”  You never doubted he would. Batman always managed somehow to wriggle a finger free, ease a Bat-gadget out of the Bat Belt, and before you knew it Egghead would be locked away in Chief O’Hara’s hoosegow.
 
Yes, the show was self-consciously ironic. Yes, the stories were predictable morality plays and the satire was lost on younger children.  But in a cultural sense, the show provided great value.  Batman delivered the reassuring message, so important for Cold War kids to hear, that courage, fair play and a dash of superior technology would overcome evil.
 
Adam West’s virtuous superhero has long since departed, relegated to the backwaters of cable reruns.  Reflecting Hollywood’s rejection of moral absolutes, various Batman films have remade the champion of law and order into a dark, emotionally disturbed soul willing to break the law himself.  One of the movies even suggested smarmily that Batman and Robin were more than friends. 
 
The latest Batman movie, The Dark Knight, has reduced the franchise to a subterranean clash of neurotic versus psychotic.  Against dark, forbidding cityscapes, a not-so-noble hero crosses swords with a purely evil psychopath, a man whose soul is black as pitch.  You might enjoy a cup of coffee with The Joker as portrayed by Cesar Romero in 1968, but keep your distance from Heath Ledger’s deranged Joker of 2008.
 
As much a crime drama as a superhero cartoon brought to life, The Dark Knight combines the inevitable morality play with an intricate plot and spectacular special effects and action sequences.  Critics are gushing, describing the movie as “brilliant” and a “milestone.”
 
Some parents, however, don’t see the movie the way the critics do.  Apart from its somber, film noir tone, the movie seems to overreach its PG-13 rating with excessive violence.  A Sacramento dad who regretted bringing his 12-year-old son to the theater told USA Today, “There has to be a way to tell parents that someone is going to get a pencil in the skull.”  This is the stuff of nightmares, a far cry from a – Pow! – old-fashioned clout on the jaw. 
 
Hauling in $158.4 million, The Dark Knight broke the record for the biggest opening weekend box office haul in history, so Batman is providing top-flight entertainment to millions of adults.  Sadly, something more valuable has been lost to the culture.  Adults have plenty of action movies to choose from.  Kids have lost a hero who helped them understand the difference between right and wrong.
 
Baylor professor Thomas Hibbs, a film critic for National Review Online, detects in many of Hollywood’s recent dark movies a search for moral order.  Perhaps Hollywood will climb out of the abyss of moral confusion. But how many more kids will be tormented by nightmares before Hollywood’s nightmare is over?

Kung Fu Panda

An out-of-shape, awkward bear has martial arts greatness thrust upon him in the winning animated fable “Kung Fu Panda” (DreamWorks).

As the son of Mr. Ping (voice of James Hong), a humble noodle maker in ancient China, Po (Jack Black) spends his days waiting tables and his nights dreaming of spectacular victories over hordes of fleet-fisted opponents. Learning that Oogway (Randall Duk Kim), the sagacious turtle who invented kung fu, is to identify the long-prophesied Dragon Warrior, he hurries to the Jade Palace to be a witness.

Instead, of course, he himself is chosen, much to the consternation of the presumed candidates, the fighters known as the Furious Five (Angelina Jolie, David Cross, Seth Rogen, Lucy Liu and Jackie Chan), whom Po has long admired. Equally baffled and intent on getting rid of the intruder is their master, Shifu (Dustin Hoffman).

As Po strives to make up for his physical shortcomings by sheer endurance, a threat approaches in the shape of villainous snow leopard Tai Lung (Ian McShane), newly escaped from the distant prison to which Oogway had consigned him decades ago. Since prophecy also holds that only the Dragon Warrior can defeat Tai, Po is under the gun to gain Shifu’s confidence and get on with his self-transformation.

Co-directors John Stevenson and Mark Osborne’s wholesome film, by turns amusing and spectacular, features impressive computer-generated special effects and promotes determination and self-confidence.

The film contains mild fantasy violence. The USCCB Office for Film & Broadcasting classification is A-I — general patronage. The Motion Picture Association of America rating is PG — parental guidance suggested. Some material may not be suitable for children.

USCCB

Review of Kit Kittredge: An American Girl

Yes, Virginia, there was life before cell phones. For proof, see “Kit Kittredge: An American Girl” (Picturehouse/New Line).

This charming chronicle of a 10-year-old aspiring reporter’s (Abigail Breslin) experiences during the Great Depression in Cincinnati brings the titular series of dolls and children’s books to the big screen (three made-for-television films about other characters have aired since 2004).

As Kit surveys the world of 1934 from the safety of her backyard treehouse, a number of adult-size problems are headed her way. Having lost his job, her car salesman father (Chris O’Donnell) departs for Chicago to look for work. To stave off foreclosure, her calm, level-headed mother (Julia Ormond) takes in a collection of colorful boarders (Joan Cusack, Glenne Headly, Zach Mills and Colin Mochrie, among others), relegating Kit to the attic.

When indigent teen Will (Max Thieriot) and his younger traveling companion, Countee (Willow Smith), arrive in town, Kit befriends them and her mother feeds them in exchange for their doing odd jobs. This exemplary compassion comes despite the disapproval of some of her friends and the suspicions that fall on hobos generally after a recent crime wave.

Will introduces Kit to the social life and moral code of the local homeless camp, giving her fodder for the series of articles she’s hoping to sell irascible newspaper editor Mr. Gibson (Wallace Shawn). But after a robber makes off with her mother’s meager savings, and the police accuse Will, intrepid Kit devotes her considerable energies to clearing him.

“Little Miss Sunshine” Oscar nominee Breslin, who starred most recently in “Nim’s Island,” continues to prove why she’s one of the most appealing of child performers, whether she’s standing her ground with sourpuss Shawn or quietly mourning her father’s downfall and subsequent absence.

Director Patricia Rozema’s warm adaptation — as scripted by Ann Peacock from stories by Valerie Tripp — presents a somewhat sanitized, Waltons-style view of the era. But this pleasingly innocent tale of a quieter, though hardly carefree time, which has Julia Roberts as co-executive producer, fosters persistence in pursuing goals, opposes stereotyping and will likely hit a bull’s-eye with targeted tweens.

The USCCB Office for Film & Broadcasting classification is A-I — general patronage. The Motion Picture Association of America rating is G — general audiences. All ages admitted.

USCCB

Actor Joseph Campanella reflects on Fr. Peyton during Guild meeting

July 2, 2008

Veteran actor Joseph Campanella, who performed in several Family Theater Productions’ programs for its founder, Servant of God Father Patrick Peyton, CSC, reflected on the legendary priest on June 10 at St. Charles Borromeo Church Chapter of the Father Peyton Guild. The worldwide Guild supports the cause for canonization of Servant of God Father Patrick Peyton, CSC.

Some 35 people listened in the church’s Social Center in North Hollywood, Calif., as Campanella recounted story after story of Father Peyton, including the time they shot a biblical drama that necessitated long robes, outdoors, in the summer in Arizona.

Father Peyton never interfered with the director and the production team, he said. He would consult regarding theological aspects but not interfere in the production, he added.

The participants watched A World at Prayer: The Vision of Patrick Peyton, CSC, a biographical film on Father Peyton that Family Theater Productions produced in 1997. They also attended a Mass celebrated by Monsignor Robert Gallagher, the parish’s pastor.

A few participants briefly recalled their memories of Father Peyton. One of them was Dennis Roverato, who retired as Administrator of Family Theater Productions last June after nearly 34 years of service in various capacities. Dennis worked very closely with Father Peyton from October 1973 until June 3, 1992, when the Rosary priest/media pioneer died. Dennis will be the guest speaker at the next St. Charles Borromeo Guild Chapter meeting in September. Mary Beth Legg is the chapter’s coordinator.

There are 45 chapters of the worldwide Guild, including at St. Monica’s parish, Santa Monica, Calif., and St. Catherine’s by the Sea, Ventura, Calif. Chapters meet three to four times a year to learn more about Father Peyton, to pray for his beatification and to spread his message to others. To find out if there is a Guild chapter in your area, call Brother Joe Esparza, CSC, at 1-800-299-7729.

On June 10 at the St. Monica chapter meeting, Father Willy Raymond, CSC, National Director of Family Theater Productions, celebrated Mass and gave his testimony about knowing Father Peyton.

Father Peyton died at the Little Sisters of the Poor retirement/convalescent facility in San Pedro. His room is enshrined there, with his books and other personal belongings still there. He is buried in Holy Cross Cemetery in North Easton, Mass., very close to the Father Peyton Center, a pilgrimage and visitor’s center and the international headquarters for Holy Cross Family Ministries.

Holy Cross Family Ministries

Review of Disney/Pixar’s Wall-E

Directed by Andrew Stanton. Ben Burtt, Elissa Knight, Jeff Garlin, Fred Willard, John Ratzenberger, Kathy Najimy. Disney/Pixar.

From a National Catholic Register review

By Steven D. Greydanus

In a barren wasteland of endless towers and canyons of refuse, a single creature stirs: a small robot chugging tirelessly about, almost imperceptibly bringing order out of disorder. His boxy body is a portable trash compactor into which he scoops load after load of the sea of trash stretching in all directions, producing cubes of compressed detritus which he neatly stacks in heaps growing to the scale of skyscrapers. He is the last of his kind, and “WALL-E” (an acronym for Waste Allocation Load Lifter Earth-Class) is effectively his name as well as his make and model.

WALL-E has a job, but he also has a life… an inner life. He works with his body, but he lives with his mind. Amid the rubble he efficiently disposes of, WALL-E finds oddments and curios worth salvaging: a hinged ring box, a plastic spork, a Zippo lighter. The pride and joy of his collection is an old VHS copy of Gene Kelly’s Hello, Dolly!, which wouldn’t be many people’s top choice for a desert island movie, but beggars can’t be choosers.

Actually, the naive enthusiasm of “Put On Your Sunday Best,” which WALL-E plays obssessively while acting out Michael Crawford’s hoofing, ideally expresses the robot’s spirit of hopeful wonder — probably because he absorbed it from the film in the first place. Isolated for centuries amid the rubble of human waste, WALL-E has become a wide-eyed romantic. Such is the ambivalent legacy of mankind in Pixar’s WALL-E, directed by Andrew Stanton (Finding Nemo).

Without warning, WALL-E’s world is shattered from outside by an event as incomprehensible and momentous as the appearance of the primordial monolith in 2001: A Space Odyssey. Awe, panic and ecstasy pull WALL-E hugger-mugger in all directions at once. All is changed. The words of Dante catching his first glimpse of Beatrice apply: Incipit vita nova, “Here begins the new life.”

The new life is irrevocable; to go back to being no more than a salvager of curiosities and compactor of trash would be unthinkable. When, to his alarm, WALL-E realizes it could come to that, he unhesitatingly turns his back on his whole world, risking everything for what he has found. Love has opened the universe to him, in all its splendor, terror and ugliness.

Although I suppose most readers will have seen at least the trailers if not the film, I recount the import of these events without mentioning specifics, in part because I figure viewers who know what happens don’t need me to tell them, and the few who don’t deserve a chance to see these scenes for the first time as I was lucky enough to, not knowing what was coming.

Beyond that, though, it’s the import, the effect, that is so striking, that is worth highlighting. Slapstick, adventure and love are all familiar elements in animated family films. Awe, existential themes and wholesale worldbuilding are not, at least in mainstream American animation. Even Pixar has never attempted anything on a canvas of this scale. From Monsters Inc.’s corporate culture to Finding Nemo’s submarine suburbia, previous Pixar films have never strayed too far from the rhythms of real life. WALL-E creates a world that, despite clear connections to contemporary culture, looks and feels nothing like life as we know it, with unprecedented dramatic and philosophical scope.

True, animation master Hayao Miyazaki has done all this and more, with vigorously imagined worlds as evocative and haunting as Tolkien’s Middle-earth. On the other hand, WALL-E’s achievement is realized with fable-like simplicity, with little dialogue throughout and virtually none at all for the better part of the first hour. In addition to 2001, the nearly wordless first act recalls the childlike wonder of early Spielberg and the silent comedy of Chaplin, with WALL-E’s blend of curious naivete and pathos at once reminiscent of E.T. and the Little Tramp. (WALL-E’s “voice,” such as it is, is the work of sound designer Ben Burtt.)

As the story transitions from this magical beginning into the very different second act, in which we learn more about the fate of the human race as well as the cause of the earth’s sad status, it’s not immediately clear that the film will be able to live up to the perfection of the first act. In a sense it doesn’t quite, though continual invention, creative boldness and visual wonder keep the bar high.

One of the best bits involves WALL-E’s quirky destabilizing effect on other robots he encounters, such as M?O (Microbe Obliterator), a fastidious little ’bot determined to sterilize every surface grimy WALL-E has marred. There’s also a lovely, balletic outer-space pas de deux between WALL-E and EVE (Extra-terrestrial Vegetation Evaluator, voiced by Elissa Knight), the sleek probe droid with big blue eyes and a deadly draw.

Where WALL-E’s lonely life on earth had a level of science-fiction realism to it, when we finally meet mankind WALL-E turns broadly satirical, targeting mindless consumerism with Swiftian savage hyperbole. Now living in a corporate space cruiser, mankind has completely succumbed to the total lifestyle package of the all-powerful BuyNLarge (or BnL) corporation, degenerating into a grotesque parody of couch potato conformity so debilitating that the human spirit is effectively comatose.

Despite one touch with a reasonable sci-fi basis, this conceit doesn’t bear scrutiny. For one thing, the human spirit is pretty irrepressible; for another, a 100 percent couch-potato society wouldn’t be economically sustainable. As Swiftian satire, though, it’s a bold, vivid image. I’m reminded a little of the poem TeeVee by Eve Merriam:

In the person of the Captain (Jeff Garlin), WALL-E does give mankind a chance to improve, a little, and to take some baby steps on the road to redemption. While I might have liked a more textured vision of humanity, ultimately the story belongs to the robots, especially WALL-E and EVE.

While the film’s themes of consumerism and environmental carelessness are unmistakable, unduly political spin on the film is probably more related to election-year hypersensitivity than the film itself. WALL-E is not about left or right, liberal or conservative. Rather, it is about living thoughtfully, about what traditional Christian language calls good stewardship of resources and the environment.

If the filmmakers demand a lot of themselves, they have high expectations of their audience too. As with Ratatouille, Pixar has decidedly not set out to make the most broadly audience-friendly film they could have. This isn’t Kung Fu Panda, or even Cars— not by a long shot.

Will kids sit for long stretches of visual and aural storytelling with little or no dialogue? Why not? As I write this review my three older kids are watching a silent Douglas Fairbanks swashbuckler on DVD. Will viewers be willing to immerse themselves in a story with bleak, oppressive surroundings, without familiar parent–child or other domestic relationship dynamics, without fuzzy protagonists, without familiar lessons about believing in yourself and so forth? Those who will will be rewarded with one of the most enthralling, exhilarating films in years.

P.S. The new Pixar short playing with WALL-E, “Presto,” is as brilliantly hilarious as anything they’ve ever done.

Mild animated menace. (“Presto”: Looney Tunes–style slapstick.)

Kung Fu Panda

By John Mulderig
Catholic News Service

NEW YORK (CNS) — An out-of-shape, awkward bear has martial arts greatness thrust upon him in the winning animated fable “Kung Fu Panda” (DreamWorks).

As the son of Mr. Ping (voice of James Hong), a humble noodle maker in ancient China, Po (Jack Black) spends his days waiting tables and his nights dreaming of spectacular victories over hordes of fleet-fisted opponents. Learning that Oogway (Randall Duk Kim), the sagacious turtle who invented kung fu, is to identify the long-prophesied Dragon Warrior, he hurries to the Jade Palace to be a witness.

Instead, of course, he himself is chosen, much to the consternation of the presumed candidates, the fighters known as the Furious Five (Angelina Jolie, David Cross, Seth Rogen, Lucy Liu and Jackie Chan), whom Po has long admired. Equally baffled and intent on getting rid of the intruder is their master, Shifu (Dustin Hoffman).

As Po strives to make up for his physical shortcomings by sheer endurance, a threat approaches in the shape of villainous snow leopard Tai Lung (Ian McShane), newly escaped from the distant prison to which Oogway had consigned him decades ago. Since prophecy also holds that only the Dragon Warrior can defeat Tai, Po is under the gun to gain Shifu’s confidence and get on with his self-transformation.

Co-directors John Stevenson and Mark Osborne’s wholesome film, by turns amusing and spectacular, features impressive computer-generated special effects and promotes determination and self-confidence.

The film contains mild fantasy violence. The USCCB Office for Film & Broadcasting classification is A-I — general patronage. The Motion Picture Association of America rating is PG — parental guidance suggested. Some material may not be suitable for children.

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Mulderig is on the staff of the Office for Film & Broadcasting of the U.S. Conference of Catholic Bishops. More reviews are available online at www.usccb.org/movies.

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