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Like many childhood films, “The Voice in the Head” tells about the difficulties of a girl’s absorption in a new school, but this time the story is experienced from the inside.
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In other words: everything Disney knows how to do, with extras. And alongside all of these there are moments of existentialist connection to nature that took inspiration from Miyazaki’s films, and they contribute to “Moana” a pinch of rest. The great songs written by Lin Manuel Miranda (“Hamilton”) are harmonious, danceable and make you want more. The animation is beautiful, and the folkloristic context allows it to occasionally deviate from the typical realistic line. The dumb-as-a-shoe rooster that accompanies them is also an atypical sidekick.
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The curious and stubborn girl is a great protagonist, and the relationship between her and the arrogant and muscular Maui is not romantic as usual – the narrative is more “Buddy Moby”, including matching jokes. It’s a fable about a Polynesian girl who rebels against her fearful father, and with the encouragement of her “crazy” grandmother, sets out to sea to look for the shape-shifting Maui (Dwayne Johnson, in a role adapted to his size) in the hope that he will help her return the heart he stole from her to the goddess of the islands and repair the ecological disaster he caused. This dialogue is not only clever at the expense of the Disney princess films, but also makes it clear that “Moana” wants to continue the brand, but also to turn to a new path, like its bold heroine. It’s enough to make a Disney fan think that we don’t have to market these wonderful movies by making girls invisible - but judging from the Moana teaser, we’re not there yet.“I’m not a princess,” Moana defies, “I’m a chief’s daughter.” “If you wear a dress and have an animal as a sidekick, you are a princess,” Maui explains to her. And the trailers for Finding Nemo sequel Finding Dory (in theaters Friday) unapologetically celebrate its piscine protagonist. Last year’s Inside Outpromotion didn’t skimp on the film’s multiple female characters. Brave, released two years after Tangled, featured the princess Merida (and her complicated relationship with her mother) front and center in the trailers. There’s just one exception: Disney Pixar’s Brave, which gave female characters more lines than male characters.Īnd interestingly, Pixar doesn’t seem to have this same marketing concern about girl-centric films. Even though the protagonists of these movies are girls, they exist in a world of male sidekicks and supporting characters who get the last word. The bait-and-switch of the trailers is also indicative of an issue with the princess films themselves: Since 1989’s The Little Mermaid, male characters have had the majority of dialogue in Disney fairy-tale movies. Maybe the full-length trailer will be a little more balanced? So it’s disheartening that the first teaser essentially excludes Moana. The first image released from the film featured the princess and the demi-god side by side and a video posted online in October introduced actress Cravalho to the world. To its credit, Disney hasn’t excluded the main female character in its marketing to the extent that it did with Frozen and Tangled. Here’s the first trailer, released in 2010, which barely includes Rapunzel at all. Instead of Rapunzel, it would be called Tangled, and the marketing would center on the princess’ love interest Flynn Rider. With that in mind, Disney Animation’s next princess-centric feature went through an image makeover. That film had a few notable issues - like a meandering story, in which the princess spent most of her time being a frog - but per the Los Angeles Times, Disney execs came to the conclusion that The Princess and the Frog didn’t attract an audience because boys didn’t want to see a movie about princesses. This all began after 2009’s The Princess and the Frog underperformed at the box office. Related: Dwayne Johnson Has an Insane Number of Movies in the Works - Here’s a Rundown Because a movie for the female half of the population is a “niche” film, whereas a movie aimed at boys is fun for the whole family! Or so the thinking goes. It’s just the latest example of a very specific Disney marketing strategy, designed to broaden the appeal of its fairy-tale movies by making them appear less girl-centric. It’s not because Dwayne Johnson is the biggest-name star in the film, although that is true.