Pixar’s “WALL-E” paints a picture of a dying planet through a dystopian sci-fi romance where a rusting, refuse-collecting robot falls in love with a sleek white probe. This is arguably Pixar’s boldest and perhaps saddest project to date, rivaled only by “Grave of the Fireflies.”
Despite its bleakness, the film’s textured and inventive nature shines through. The opening third, devoid of dialogue, is particularly striking as WALL-E navigates a desolate planet, collecting remnants of a bygone era. His encounter with the pristine EVE leads him to a space station inhabited by human survivors who have evolved into sedentary, semi-conscious beings. These humans, who converse via screens and occasionally tumble off their floating recliners, provide a touch of humor amidst the film’s melancholic atmosphere.
“WALL-E” is a rich, intriguing film, blending elements from classics like “Silent Running,” “Metropolis,” and “Robinson Crusoe.” The silent, stoic pursuit of EVE by WALL-E evokes the spirit of Charlie Chaplin, while the central romance mirrors the Genesis story with a modern twist.
However, some doubts linger. While WALL-E, the character, is endearing and human-like, the film itself feels more like EVE—beautiful, flawless, and serious, yet somewhat distant. It is an impressive aesthetic achievement, but one might question if it offers more than just visual brilliance.
For those seeking traditional Pixar fun, the film is preceded by “Presto,” a delightful short about a magician and his mischievous rabbit. As WALL-E and EVE journey through space with a precious cargo hinting at hope for Earth, one might miss the warmth and spontaneity of earlier Pixar works. Nonetheless, “WALL-E” represents a bold step forward for animation.
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