First of all, I’m proud of my joke, which goes like this: Will I still enjoy Encanto if I haven’t seen 1 to (n-1) Canto?
Anyway, one thing I like about Encanto is that I got to watch it on Disney+. I was wrecked by the end of this movie, and I’m kind of tired of having emotional breakdowns in public movie theaters. Magic of cinema, sure, I’m all for it I guess, but I’m 100% behind home streaming for first-run movies1As long as the studio takes that into account when negotiating contracts with their actors who’ve been a prominent part of several of their films for almost a decade, instead of, say, being a multi-billion dollar company hypocritically trying to shame actors for being greedy during a pandemic..
But that’s not the main thing I liked about the movie. There are actually two more things about Encanto that I liked a lot, and I was having kind of a hard time choosing which one was the most worth writing about. Then I realized that they’re both aspects of the same thing: the storytelling is straightforward, direct, and earnest, but without feeling simplistic, maudlin, or juvenile.
One example of that is the song “Surface Pressure.” I came into the movie after missing the first 30 minutes or so (I since went back and watched it), right as that song came on. I knew the basic premise of the story, and I already knew a surprising amount about the characters just from being on The Internet. I’d seen videos of people doing covers, and I was aware that the song “We Don’t Talk About Bruno” had become a meme, and I’ve seen lots and lots of musicals Disney and otherwise, so I thought I knew what the structure of the movie was. A song as confessional as “Surface Pressure” must come late in act 2 or so, after we’ve gotten to know the characters but then — twist! — we go deeper and learn more about the characters’ mental state.
So I was pleasantly surprised to see that this was more or less Luisa’s introduction. Or at least the most dialogue she’s had in the movie up to that point, by far. She goes from being “I’m the sister who’s strong” to having an entire song explaining exactly what stresses she’s under. The question “what’s bothering Luisa?” only lingers for about 5 minutes, tops.
The reason that pleasantly surprised me is because movies so often treat that kind of directness, even in musicals, as being too on-the-nose or too simplistic. You can’t just have characters who are self-aware; that’s basic! You’ve got to let the mystery and intrigue stretch out, so the audience can see the character’s arcs playing out as they happen. But here, Mirabel talks to characters, and they immediately tell her exactly what’s on their minds, what their crises are, what they’re dealing with.
It’s almost as if Mirabel’s magical gift is being able to listen and understand what other people are going through.
The other example is that the movie has no villain. Family animated movies have evolved past fairy tale storytelling — and even when they do tell fairy tales, they can focus on aspects of the story that make them feel contemporary — but they still often feel juvenile because of their need to make every conflict about good guys vs bad guys. I still say that the one thing that keeps Up from being a flawless movie is that it spends so much time building its characters and organic, interesting conflicts, then just turns it into a movie about defeating the villain.
Encanto does have an antagonist, but they’re not motivated by greed or evil; they’re motivated by love. The reason the characters can be so direct about their internal struggles is because the movie isn’t about finding out what’s wrong. Everybody knows what’s wrong, and they just don’t know what to do about it. The conflict is driven by the completely understandable belief that it’s the family’s duty to be stewards protecting the miracle, forgetting that the entire reason the miracle exists is to protect the family.
Even though Encanto is full of characters saying explicitly exactly what they’re thinking, that doesn’t mean that there are no layers to it. It has three metaphors that are carried throughout: the casita itself, the candle representing the family’s magic, and the butterfly. I really like that the first two are made explicit as soon as they’re introduced — another case of being direct and skipping any unnecessary obfuscation — while the butterfly quietly lives on Mirabel’s shoulder until the climactic song about finding protection in each other and then needing to break out of that cocoon.
Tangentially related: I keep going back to all of the internet memes about “We Don’t Talk About Bruno” and videos covering “Surface Pressure,” and realizing how I’m at least a couple of decades too old to be able to navigate modern social media. I can’t imagine being able to set up a camera and earnestly sing into it and then release it to the public without cringing. I can’t watch the short videos without being suspicious of exactly how many of them are “genuine” and how many are just part of a viral marketing campaign. Don’t people worry that they’ll look gullible or foolish for being taken in by Disney marketing?
But then, worrying about being taken in by marketing is an extremely Gen-X anxiety to have. I find it reassuring that there are people who don’t particularly care whether something they enjoy is coming from a “paid influencer” or not; all that matters is that they’re enjoying it. And there’s nothing to be lost by being fearlessly earnest and direct. The people who would turn up their nose at it were never going to like it in the first place, and as for the people willing to engage, telling or showing them exactly what’s on your mind and what you love is the best way to engage with them.
- 1As long as the studio takes that into account when negotiating contracts with their actors who’ve been a prominent part of several of their films for almost a decade, instead of, say, being a multi-billion dollar company hypocritically trying to shame actors for being greedy during a pandemic.