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Daveed Diggs

Soul: Jazzing through Life Together

December 25, 2020 by Steve Norton Leave a Comment

Every now and then, Pixar releases a film that is not just enjoyable or even powerful but truly special. 

Soul is one of those films. 

Directed by Pete Docter, Soul is a film that admittedly feels like it’s been made for adults but kids should still love as well. While Docter’s previous hits Monsters Inc. and Inside Out targeted the fears and dreams of children and youth, Soul takes a more mature approach that places the emphasis on the middle-aged Joe Gardner. While the film makes every effort to incorporate Pixar’s trademark sense of humour and joy, the film’s focus on Joe’s journey makes it noticeably different in its tone. As a result, this is arguably Pixar’s most ambitious piece since Inside Out by attempting to grapple with the spiritual realities of the afterlife in a way that feels authentic but still remains relevant to kids. 

Now airing on Disney+, Soul tells the story of Joe Gardner (Jamie Foxx), a middle-school band teacher who yearns for something more. Passionate about jazz music, Gardner wants to be on stage yet he feels stuck. After his sudden death, Joe meets 22 (Tina Fey), a soul who has yet to begin her life on Earth and seems unable to find her ‘spark’. Together, the two fight to help Joe reclaim his life while also helping 22 discover why life is worth living in the first place.

Featuring endearing performances from Foxx and Fey, Soul’s characters feel true to life. As Gardner, Foxx brings a relentless ambition to the character yet never loses his earnestness in the process. Meanwhile, Fey bring an innocence and enthusiasm to 22 that counterbalances Gardner’s cynicism. However, despite solid work from its leads, the stand out performances stem from secondary characters played by icons Angela Bassett and Phylicia Rashad. At every opportunity, Bassett and Rashad steal their respective scenes as they embed their characters with their own unique blend of gravitas and confidence. 

As one would hope, the music of Soul is one of the film’s most inspiring aspects. Featuring a stellar soundtrack by John Batiste, Trent Reznor and Atticus Ross (?!), the film is a testament to the power of music and its spiritual qualities. In each musical number, Soul showcases music as a transcendent experience that speaks to the very… well… soul of the performer. To Gardner, music isn’t just something he plays. It releases a deep joy within him that transports him into a higher plane. In this way, Gardner interacts with spiritual realm, unleashing an inner creativeness. that (literally here) points to the Divine.

Co-written by Kemp Powers (One Night in Miami), the film is willing to engage African American culture in New York. Beyond the music itself, Soul makes sure to celebrate everyday moments like a quick stop at the barbershop or buying a new suit. Coming in the midst of a year when racial conversations have been brought to the forefront, these subtle inclusions provide the film with an additional layer of importance that inspires the viewer.

In fact, that spirit of the everyday speaks directly into the heart of the film. Though portions of the film take place in the afterlife, Soul is most interested in the way that we interact with the world around us. (In fact, much of the afterlife depicted within the film is shown as either a place of transitioning between realms or preparing for their new life, rather than eternity itself.) By partnering the two souls together, Gardner has the opportunity to reclaim his sense of wonder for the world around him while 22 continues to grow in strength about her new journey. Emphasizing the value of ‘jazzing through life’, Soul understands that there’s beauty in experiencing the moments around us, whether it’s helping a friend or grabbing a slice of pizza. In essence, this is a film which wants to encourage kids to step out and engage their lives while, at the same time, encouraging adults to support them along the way.

What’s most interesting about Soul, however, is the film’s more grounded take on realizing your dreams. For a company that calls us to ‘Wish Upon a Star’, Soul takes an almost anti-Disney approach by pointing out that one can’t always bank on their hopes and dreams to come true. For example, though he yearns to play on stage, Gardner cannot seem to get his ‘big break’. Struggling as a Jr. High music teacher, he lives his life in a constant state of waiting, making endless backup plans in an effort to be ready when his chance at success finally comes. However, in doing so, Gardner is never satisfied with the impact he makes on the lives of others. As a result, he fails to recognize the true beauty of the moment and his place within the world. While never stating that one shouldn’t have ambition, this is a staggeringly sober realization for any animated film, especially from the House of Mouse. (In fact, the film even goes so far as to suggest that those who remain trapped by their dreams can become ‘lost souls’ who never realize their potential on Earth.)

Ambitious and poignant, the spiritual journey of Joe Gardner feels relevant to anyone who has ever felt like their dreams remain out of reach. Though Soul feels more appropriate for adults than youth at times, it’s passion for embracing life is appropriate for all ages. As Joe and 22 work together to find their ‘spark’, the spiritual bedrock bubbles to the surface, challenging and encouraging families at the same time.

In other words, this is a film which knows the power of a Soul.

To hear our conversation with director Pete Docter and producer Dana Murray, click here.

Soul is available on Disney+ on December 25th, 2020.

Filed Under: Disney+, Featured, Film, Reviews Tagged With: Angela Bassett, Christmas Day, Daveed Diggs, Disney, Disney+, Jamie Foxx, Pete Docter, Phylicia Rashad, Pixar, Soul, Tina Fey

Snowpiercer – Dantesque Train Ride

May 14, 2020 by Darrel Manson Leave a Comment

All of life has been reduced to the inhabitants of a 1001 car long train that continually circles the earth where the outside temperature is -119° C. In TNT’s new drama series Snowpiercer, that train becomes a microcosm for society. The series is based on the 2013 Bong Joon Ho film (Bong is one of the Executive Producers) and a series of graphic novels starting with La Transperceneige by Jacques Lob, Jean-Marc Rochette, and Benjamin Lagrand. The stories of all these manifestations differ. What they all have in common is this train traveling through a post-apocalyptic frozen world. I’ve had a chance to watch the first five episodes of the first season. The series has already been renewed for a second season.

The TV series takes place seven years after the world was frozen by scientists seeking to end global warming. But it went terribly wrong. The prescient Mr. Wilfort designed and built this train to save some of the people—mostly the rich and those needed to take care of them.

As the series opens, seven years after the train set off, some of those in charge come to the Tail of the train, where the dregs of this society are housed, to find Andre Layton (Daveed Diggs), who is one of the leaders planning a revolt. He is also a former police detective. There has been a gruesome murder on the train. Although the regular order keepers (The Brakemen) on board don’t really trust anyone from the tail, they need his expertise. It is through the investigation of the murder that we discover this rolling world. And what we discover is a world that is full of the same injustices and inequalities of our own society.

There is a very rigid class structure on the train, which corresponds with the closeness to the front of the train. The engine is the realm of Mr. Wilfort, who is something of a benign god who is the supreme authority. With a touch of almost religious reverence, authority is sometimes said to come from “the eternal Engine”.  People are told at one point that “the Engine will provide”. The engine’s decrees are mediated through Melanie Cavill (Jennifer Connelly), a sort of high priestess of the “faith” of Wilfort. She is the day to day hands on ruler of the train. (Although, [minor spoiler] by the end of the first episode we discover that Mr. Wilfort is a convenient fiction.)

Just behind the engine is the First Class area, where the people who had money to invest in the train live in the luxury, entitlement, and privilege they are used to. Think of them as the 1%. Next comes Second Class, the middle-class, white collar section of the train. This is life akin to the suburbs—comfortable but not luxurious. Third Class is the blue collar section of the train. Here is where all the workers who keep things going are housed. It’s a harder life here. They survive, but live in cramped quarters.

At the very rear is The Tail. These are people who forced their way on to the train without tickets. The rest of the train considers them freeloaders. They live in utter squalor. They have no windows, no privacy, and no rights. They are fed some gelatinous protein bars. And they want something better. As Layton moves uptrain, it seems almost a Dantesque ascension from hell to paradise (with a few glimpses of purgatory).

Because the story is told in all parts of the train, the series becomes a multilayered narrative with an large ensemble cast. In addition to the two main actors, Connelly and Diggs, look for Alison Wright as Ruth, a stick-up-her-butt assistant to Melanie; Mickey Sumner as Bess Till, a young brakeman who slowly warms to Layton and begins to sees him as a mentor; and Annalise Basso as LJ Folger, a First Class teenager who, well, spoilers should be avoided, but keep an eye on her.

The murder mystery is solved after a few episodes, but it lays the groundwork for the story of class struggle that is bound to erupt. Certainly the Tailies are being pushed to the point of insurrection. Layton had hoped to see enough of the train that he would be able to pass word back to the tail to aid in that insurrection. When the investigation is finished, however, he knows too much to be allowed to return to the Tail.

For those running the train, order is of the highest importance. This is not a democracy. It is more like a theocracy (but remember we know that the seemingly divine Wilfort is not what everyone thinks). In the film, this desire for order took on an almost Calvinistic sense of predestination. It is less so in the TV series. Still everyone has their assigned role and place in this society. But everyone wants more. The Tailies want access to the rest of the train. Those in Third Class want a voice. Even those in First Class are dissatisfied and are looking for their own advancement.

The injustice inherent in these class distinctions is especially evident in the episodes I’ve screened. Justice is shown to be subjective. The train has been set up as a trickle-down society. Each level has not only less comfort, but less influence. But even the one percenters don’t have control. They are also looking to get more, even though it seems they have all they could want. I expect, as I continue on in the series, to see this class struggle take on more and more importance. This inequality was also evident in the film, but was more centered on the Tail. In the series, this dissatisfaction is spread throughout the train. The revolution that seems to be coming will not have a single source, but will likely come from many sides.

You may have noted various somewhat religious references throughout this review. While this is not an overtly religious series, there are definite spiritual undertones. However, much of what sounds religious is in fact a façade to provide authority to those uptrain to maintain the social order as they see fit. That is not unlike the way some in our society confuse social structure with religion. But just because semi-religious authority is improperly used, doesn’t mean that the spiritual nature of the series is only about the misuse of religion. There are spots, even early on, that we see the spiritual side of come of the characters. This becomes most evident when we discover The Night Car—ostensibly a brothel, but in reality it provides something much deeper. This is at base a humanistic spirituality. It is in the way people relate to one another that brings out their spiritual natures. And it is those natures that will be essential to the unfolding story.

Snowpiercer airs on TNT beginning on May 17th, 2020.

Photos courtesy of Warner Media.

Filed Under: Reviews, Television Tagged With: based on a film, based on graphic novel, classism, Daveed Diggs, Jennifer Connelly, social justice, social struggle, TNT

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