Having quite literally written the book on computer animation, Pixar found itself in a sticky situation come the late 00’s. Their animation software, Marionette as it was know to the public, was starting to show its age after over twenty years of service. Despite still churning out some of the most visually spectacular animated films around the time of Marionette’s retirement, there was only so far the software could feasibly be stretched and the end was in sight if Pixar wanted to stay ahead of the curve.
Cars 2 marked the end of Marionette, and Pixar’s next feature, Brave, would debut their new animation software, Presto. It needed to dazzle and showcase some significant technological advantages to make its mark and justify the lengthy and expensive development. But just as importantly, Brave needed to be a great story and not rely on spectacular visuals alone.
Princess Merida of DunBroch (Kelly Macdonald) is now of age to be married off to eligible suitors determined by her parents, King Fergus (Billy Connelly), and Queen Elinor (Emma Thompson). The Queen has been preparing Merida for this moment her entire life, but Merida has always found more joy in following her own adventurous path. When the eldest sons of the neighbouring clans arrive, Merida and her mother come to loggerheads, resulting in Merida seeking magical assistance to change her mother’s mind. With the spell producing unexpected results, Merida and her mother face a race against time to repair their relationship or face tearing their family apart forever.
Cars 2 marked the end of Marionette, and Pixar’s next feature, Brave, would debut their new animation software, Presto. It needed to dazzle and showcase some significant technological advantages to make its mark and justify the lengthy and expensive development. But just as importantly, Brave needed to be a great story and not rely on spectacular visuals alone.
Princess Merida of DunBroch (Kelly Macdonald) is now of age to be married off to eligible suitors determined by her parents, King Fergus (Billy Connelly), and Queen Elinor (Emma Thompson). The Queen has been preparing Merida for this moment her entire life, but Merida has always found more joy in following her own adventurous path. When the eldest sons of the neighbouring clans arrive, Merida and her mother come to loggerheads, resulting in Merida seeking magical assistance to change her mother’s mind. With the spell producing unexpected results, Merida and her mother face a race against time to repair their relationship or face tearing their family apart forever.
Whilst the distinction between Pixar and Disney animation had always been a little hazy, Brave represents the first time that Pixar truly embraced their position as a Disney studio with this fairy tale story of a magical kingdom with a princess as the lead.
Whilst Merida was never originally a part of the Disney Princess brand (having joined the ranks a few years later), it was so refreshing in 2012 to see a Disney Princess that defied the typical conventions of the character. Disney’s princesses are always seeking to marry a handsome Prince and live a fairytale life, but Merida wants the exact opposite. She doesn’t want a man holding her back, she doesn’t want to be restrained by her duties, defined by her title. She wants adventure and danger, to discover new things, and to be as different to her mother as humanly possible.
The relationship between Merida and the Queen is the very core of the film, and the challenge they must overcome relies on them to settle their differences and see things from the other’s point of view. It may tug at the heartstrings in the same way that films such as Up or Toy Story 3 do, but Brave’s mother/daughter relationship is easy to invest in and gives the film real heart.
The problem lies in that the magical elements to the story feel underdeveloped and somewhat contrived. Merida’s spell transforms the Queen into a bear, and the only clue as to how to reverse the effects are to ‘mend the bond torn by pride’. Whilst this would seem to be to simply reconcile their differences, the reality is so much more obtuse than that, and the realisation Merida has in order to deduce what to do is such a leap of logic that it feels entirely unnatural.
The decision to tie it into the antagonist’s story also feels forced and arbitrary. In fact the film didn’t need an antagonist, and it feels as though the bear Mor’du has been put in to provide a bit of action and keep the kiddies interested.
Whilst Merida was never originally a part of the Disney Princess brand (having joined the ranks a few years later), it was so refreshing in 2012 to see a Disney Princess that defied the typical conventions of the character. Disney’s princesses are always seeking to marry a handsome Prince and live a fairytale life, but Merida wants the exact opposite. She doesn’t want a man holding her back, she doesn’t want to be restrained by her duties, defined by her title. She wants adventure and danger, to discover new things, and to be as different to her mother as humanly possible.
The relationship between Merida and the Queen is the very core of the film, and the challenge they must overcome relies on them to settle their differences and see things from the other’s point of view. It may tug at the heartstrings in the same way that films such as Up or Toy Story 3 do, but Brave’s mother/daughter relationship is easy to invest in and gives the film real heart.
The problem lies in that the magical elements to the story feel underdeveloped and somewhat contrived. Merida’s spell transforms the Queen into a bear, and the only clue as to how to reverse the effects are to ‘mend the bond torn by pride’. Whilst this would seem to be to simply reconcile their differences, the reality is so much more obtuse than that, and the realisation Merida has in order to deduce what to do is such a leap of logic that it feels entirely unnatural.
The decision to tie it into the antagonist’s story also feels forced and arbitrary. In fact the film didn’t need an antagonist, and it feels as though the bear Mor’du has been put in to provide a bit of action and keep the kiddies interested.
Despite these somewhat small issues, Brave does present an engaging story with great characters, particularly in that of Merida. So, most importantly, Brave doesn’t feel like a tech demo for Presto, no matter how lovely it looks.
I think two of the biggest things that Brave brings to the table are hair and water physics, but lighting is also a real stunner. First up, the hair. Merida’s long red locks bounce realistically as she moves through the world, it appears as an extension of her body rather than a solid element or something with a mind of its own. It’s constantly getting on her way, and the way it reacts to other stimuli such as water puts it years ahead of the completion. Merida is obvious not the only character with hair, her mother’s stint as a bear is memorable too for the sleek and shiny black fur, that does appear detailed enough to see individual hair strands during close-ups.
Water is another big improvement and whilst Pixar have always been upping their water physics since Finding Nemo, in Brave you’d be hard pressed to distinguish it from the real deal at times. The way it flows, ripples, bubbles, and glistens is really quite something; and a lot of that is down to the lighting. One of the opening shots sees the camera pan through a dimly lit forest, the morning sun hardly visible through the mist rising from the dewy grass, and the way that mist refracts the light from behind it is far beyond anything I could have imagined from computer animation at that time, even now that’s something many of Pixar’s competitors would struggle to emulate.
Brave’s Scotland is beautifully lit to best showcase the landscape, and similarly to how Cars showcased a huge leap in lighting technology in 2006, Brave’s improved lighting means that the rolling hills and dense forests look positively gorgeous.
These beautiful visuals are so delicately complimented with a superb score from Patrick Doyle. It sounds exactly as you would expect medieval Scotland to sound, and it’s so lovely to hear. Honestly, I’d listen to this score on its own any day.
Brave is not one of Pixar’s best efforts, but it’s certainly not bad. The story may be a bit lacking in places, but for the most part it presents a fun fantasy romp that kids and adults alike will get some fun out of.
It is Presto that steals the show however, and brings the future of computer animation to life in startling stunning detail. Whilst the story is definitely a bit take it or leave it at times, Brave is sure to have your jaw on the floor as your eyes feast on a spectacle quite unlike anything computer animation has been able to achieve before this point.
I think two of the biggest things that Brave brings to the table are hair and water physics, but lighting is also a real stunner. First up, the hair. Merida’s long red locks bounce realistically as she moves through the world, it appears as an extension of her body rather than a solid element or something with a mind of its own. It’s constantly getting on her way, and the way it reacts to other stimuli such as water puts it years ahead of the completion. Merida is obvious not the only character with hair, her mother’s stint as a bear is memorable too for the sleek and shiny black fur, that does appear detailed enough to see individual hair strands during close-ups.
Water is another big improvement and whilst Pixar have always been upping their water physics since Finding Nemo, in Brave you’d be hard pressed to distinguish it from the real deal at times. The way it flows, ripples, bubbles, and glistens is really quite something; and a lot of that is down to the lighting. One of the opening shots sees the camera pan through a dimly lit forest, the morning sun hardly visible through the mist rising from the dewy grass, and the way that mist refracts the light from behind it is far beyond anything I could have imagined from computer animation at that time, even now that’s something many of Pixar’s competitors would struggle to emulate.
Brave’s Scotland is beautifully lit to best showcase the landscape, and similarly to how Cars showcased a huge leap in lighting technology in 2006, Brave’s improved lighting means that the rolling hills and dense forests look positively gorgeous.
These beautiful visuals are so delicately complimented with a superb score from Patrick Doyle. It sounds exactly as you would expect medieval Scotland to sound, and it’s so lovely to hear. Honestly, I’d listen to this score on its own any day.
Brave is not one of Pixar’s best efforts, but it’s certainly not bad. The story may be a bit lacking in places, but for the most part it presents a fun fantasy romp that kids and adults alike will get some fun out of.
It is Presto that steals the show however, and brings the future of computer animation to life in startling stunning detail. Whilst the story is definitely a bit take it or leave it at times, Brave is sure to have your jaw on the floor as your eyes feast on a spectacle quite unlike anything computer animation has been able to achieve before this point.