I think Gore Verbinski has found his true calling as a
director. I don’t know why I didn’t see it from the Pirate of the Caribbean movies, but he is most suited to directing
animated adventures. After all, the exploits of Captain Jack Sparrow are
nothing but cartoon action using live actors amid a whole bunch of CGI. But
last year’s Rango, Verbinski’s first
stab at an animated feature, is a marvelous little gem of a movie.
Johnny Depp gives full life and voice to the title
character, a chameleon who gets lost in the desert and unwittingly becomes
sheriff to a dying town replete with rats, muskrats, lizards, tortoises and
other desert vermin. It begins with Rango staging heroic plays and tableaux
with literally lifeless supporting characters. This is because he’s a pet in a diorama
being transported by car along the highway. It suddenly occurs to him that in
order for his stories to be more interesting, to give his eponymous hero more
depth of character, there needs to be an ironic twist that flings his
protagonist into an unexpected situation. Then what do you know? His cubicle
home gets flung from the car and smashes on the highway leaving him to fend for
himself in the desert.
Like most animated films these days, it’s computer
animated with non-human characters. As far as I know this is Nickelodeon
Studios’ first computer animated film since Jimmy
Neutron: Boy Genius. Boy have they come a long way, although Industrial
Light and Magic is primarily responsible for the animation this time. Still,
great animation is nothing without a good story and screenplay to support it.
And this story by Verbinski, John Logan and James Ward Byrkit with a screenplay
by Logan (who also recently gave us Hugo)
is the stuff that Western heroes’ dreams are made of. In Rango’s first 20
minutes lost in The West he makes a daring escape from one of the many hazards
in the world, meets a no-nonsense female lizard named Beans (Isla Fisher), tells
wild tales of his fictional exploits as a gunslinger, meets the Mayor of Dirt
(Ned Beatty) and gets appointed sheriff. Not bad for a day’s work.
If I had to guess, I’d say Verbinski, Logan and Byrkit
have studied the Pixar oeuvre to get a feel for the cadence and timing of
adult-oriented jokes and references. As with Pixar’s films, these things will
fly over the kids’ heads, but then with its depictions of smoking and the occasional
character death and some colorful language, Rango
isn’t an all-ages family film anyway. It will most appeal to aficionados of the
western genre, particularly spaghetti westerns and Clint Eastwood. References,
some general and many specific, abound. To begin with there’s Hans Zimmer’s
exciting score that calls to mind just about every western you’ve ever seen
without outright stealing from other composers. Then there are the moments that
could be out of any western like when Rango orders a water in the saloon to the
jeers of all the other patrons or the clock tower that strikes high noon and
signals an impending gunfight. There’s also the real Injun character Wounded
Bird, who speaks in the stereotypical broken English, two or three word
sentences prevalent in old westerns. The coup de grace however if the appearance
of the Spirit of the West coming in the form of none other than the Man with No
Name and voiced by Timothy Olyphant doing a convincing enough Eastwood that I
had to check the credits to be sure.
The animation too is on a par with the incredible
rendering that Pixar has achieved in recent years. The amphibian and reptile
characters have beautiful almost tangible texture to their skin. Especially
good is the universally feared black hat villain Rattlesnake Jake (Bill Nighy,
relishing every slithery word he utters). Then there are the furry friends with
almost photorealistic hair. It’s the sand and water that most captured my
attention. The detail in terms of the granular qualities of the desert sand and
the way it pours from a bottle demonstrates probably years of high quality
production. The water, which is central to the plot, is equally impressive in
the way it flows.
You see, the town of Dirt is desperate for water. There’s
none flowing, Beans is about to lose her father’s ranch if she doesn’t get
some, and the bank is near run dry (literally). Rango promises the townspeople
he will get their water back. “Whoever controls the water, controls everything,”
the Mayor tells him. When you realize that with his hat and suspenders, the
Mayor looks an awful lot like Noah Cross and that this is a story about water
being siphoned off, you should have a pretty good idea who’s responsible. And
if you’re completely baffled by what I just wrote, then nothing’s been spoiled.
If you know who Noah Cross is, then you’ll get it as quickly as I did watching
the movie and I’ve still spoiled nothing.
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