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Muntz lives with a legion of talking dogs with which he has been hunting a rare bird whose gaudy plumage echoes the palette of Carl’s balloons.At the turn of the 21st Century, animation studio Pixar had established themselves at the forefront of computer animation having released three films co-produced with Disney. Carl comes face to face with his childhood hero, Muntz, an eccentric with the dashing looks and frenetic energy of a younger Kirk Douglas. Docter’s visual imagination shows no signs of strain here the image of Carl stubbornly pulling his house, now tethered to his torso, could have come out of the illustrated Freud the story grows progressively more formulaic.
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In time Carl and Russell, an irritant whose Botero proportions recall those of the human dirigibles in “Wall-E,” float to South America where they, the house and the movie come down to earth. Especially lovely is the image of a little girl jumping in giddy delight as the house rises in front of her large picture window, the sunlight through the balloons daubing her room with bright color.
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When the multihued balloons burst through the top of his wooden house it’s as if a thousand gloriously unfettered thoughts had bloomed above his similarly squared head.
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But before that happens there are glories to savor, notably the scenes of Carl having decided to head off on the kind of adventure Ellie and he always postponed taking to the air. Those thrills begin to peter out after the boy, Russell (Jordan Nagai), inadvertently hitches a ride with Carl, forcing the old man to assume increasingly grandfatherly duties. As in their finest work, the Pixar filmmakers have created thrilling cinema simply by rifling through its history.
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Docter and the co-director Bob Peterson, with whom he wrote the screenplay, are looking back to the silent era, as Andrew Stanton did with the Chaplinesque start to “Wall-E.” Even so, partly because “Up” includes a newsreel interlude, its marriage sequence also brings to mind the breakfast table in “Citizen Kane.” In this justly famous (talking) montage, Orson Welles shows the collapse of a marriage over a number of years through a series of images of Kane and his first wife seated across from each other at breakfast, another portrait of a marriage in miniature. Passages of glorious imagination are invariably matched by stock characters and banal story choices, as each new movie becomes another manifestation of the movie-industry divide between art and the bottom line. Though the initial images of flight are wonderfully rendered the house shudders and creaks and splinters and groans as it’s ripped from its foundation by the balloons the movie remains bound by convention, despite even its modest 3-D depth. It’s as if he were sagging into the earth.Įventually a bouquet of balloons sends Carl and his house soaring into the sky, where they go up, up and away and off to an adventure in South America with a portly child, some talking (and snarling and gourmet-cooking) dogs and an unexpected villain. Even the two corners of his mouth point straight down. He’s 78, for starters, and the years have taken their toll on his lugubrious body and spirit, both of which seem solidly tethered to the ground. Voiced with appreciable impatience by Ed Asner, Carl isn’t your typical American animated hero.
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Its on-screen and unlikely escape artist is Carl Fredricksen, a widower and former balloon salesman with a square head and a round nose that looks ready for honking. In its opening stretch the new Pixar movie “Up” flies high, borne aloft by a sense of creative flight and a flawlessly realized love story.