Soul
Disney PixarEver since their 1995 arrival with Toy Story, a paradigm-shifting event in the history of animation in its own right, the men and women of Pixar Studios have continually striven to offer something more than escapist entertainment. Elevated by clever narrative mechanics – what if toys/cars/ants/fish had feelings? – and imbued by a hefty dose of nostalgic references to the filmmakers’ own formative years, Pixar animations have helped to set the bar for others to follow, making sure their films have always had something for everyone. Easy-to-follow archetypal storytelling, flashy imagery, likable characters and fundamentally positive take-home messages have consistently enchanted children, whereas the adults in the room could feast on pop-cultural winks, nostalgic Easter eggs and subtle innuendo while they were trapped in the cinema with their offspring.
Directed by Pete Docter (Up, Inside Out, Monsters Inc.) and co-written together with Mike Jones and Kemp Powers, Soul subverts this balance of focus and reharmonises the Pixar model of family entertainment, as – in contrast to the vast majority of their offerings – it is not an adult-friendly kids’ film, but rather a kid-friendly animation written with the adult in mind. It follows Joe (voiced by Jamie Foxx), a down-on-his-luck music teacher who one day receives an opportunity of a lifetime to play the piano with one of his jazz idols. Unfortunately, he suffers an accident on his way home and dies, but not entirely. Joe’s soul ends up trapped somewhere in the netherworld and eventually teams up with an old soul (Tina Fey) in the quest to reclaim his body and fulfil his lifelong dream of becoming a successful jazz pianist.
Admittedly, this narrative premise should sound familiar to anyone versed in Pixar films. In fact, it is principally symmetrical to many of their films because it is built on the tried-and-true foundation of a hero’s journey, which is what should endear the younger viewers. Well, that and the hilarious comedy. However, beneath the artifice of familiarity, Pixar filmmakers sculpt in with stunning ease. Soul carries an entire universe of thematic depth which is more than likely to glide right over children’s heads and stir the hearts of the adults in the room. This seemingly archetypal narrative about a quest to understand one’s place in the universe, appreciate the value of human interaction and even simple joys of living is not aimed at kids, but at their middle-aged parents who have long forgotten that their lives used to be weightless and joyful. They have pocketed their dreams or aspirations and focused on chasing success, making ends meet or simply surviving. In the rush to put food on the table or to reach a career milestone, they have unlearned the skill of noticing the beauty of the world around them and let their lives become overwhelmed by quiet desperation.
Much like Up, one of Docter’s previous exploits which smuggled a stirring exploration of grief underneath its primary narrative structure, Soul catalyses a more far-reaching discussion about identity, sense of purpose and a broadly-defined meaning of existence within its core. However, it doesn’t necessarily hide this commentary in between the lines of dialogue. In fact, even the primary plot seems to orbit this central set of ideas, which perhaps renders the film somewhat unsuitable for younger audiences. After all, the story occasionally gets very dark in the way it portrays anxiety, obsessions and even the fundamental concepts surrounding mortality, but it nonetheless is a film the world needs right now as the year 2020 is slowly drawing to a close.
Locked down, quarantined and home bound, the world at large needs an urgent reminder that, pandemic notwithstanding, life is worth living. Granted, many have had to put their lives on hold, make sacrifices or even deal with unspeakable tragedies. What Soul successfully demonstrates is a simple notion that life is about much more than just making money or even pursuing dreams. It might inspire some viewers to dust off their old guitars, easels or writer’s notebooks in a bid to reconnect with their long-abandoned passions because the film itself does pay due homage to the pursuit of artistic expression as a means of connecting with something greater than what the Earthly existence can offer. However, it is most importantly an invitation to slow down. To listen for the chirping of birds. To taste the food you eat. To feel the wind wash over your face. To remember the warmth of human embrace that has been consistently discouraged by the powers-that-be.
As Joe’s character summarises so perfectly: it is a reminder to appreciate ‘the plain-old living.’ As such, Soul is the perfect antidote to the malaise of 2020, a poignantly uplifting experience that wows with its artistry and most assuredly enraptures with the warmth it carries in . . . its soul.
