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There is an external plot (and external subplot), and they’re resolved in unexpected (and maybe just slightly too-neat, but it’s an animated film, so hey) ways. I’ve defined character-driven before as “When the basic story is more about the character’s internal growth and change.” In my opinion, Brave did none of these.Īctually, it seemed like Brave was an animated version of a character-driven story. An unfocused story features subplots that don’t support or influence the main plot, focus on characters who are superfluous (okay, the younger brothers did kind of seem that way, but weren’t in all that many scenes), and either no theme or competing themes. Just no.Įvery event either developed the conflict or moved the story forward, often by showing character changes.

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(Come on, like they really wanted to see an Ariel Goes to Scotland retread.) But to call the movie plotless or unfocused? No. So some dislike the movie for not following a clichéd trope that we’ve already seen at least half a dozen times. But violating audience/genre expectations can result in unhappy audiences. One of Brave‘s greatest strengths was the fact that it’s fresh. But then the story turns very dramatically, and about halfway through, you figure out, Hey, this movie is about mothers and daughters, not finding true love (which is a scary obsession encouraged by a lot of animated movies-do 4-10 year olds really need romance and marriage marketed to them?). (Exactly the message we need to send to our children!)ĭollars to donuts, that’s the movie people were expecting when they walked in, or at least as we approached the end of Act I. The trope is repeated in several movies: princess rebels, gets what she wants, was right all along, shows evil parent how wrong they were.

She was right and her dad is punished by being separated from her forever (though they still love and forgive one another, at least nonverbally). Yeah, Ariel’s rebellion causes problems, but in the end, she wins. So far, so good: Brave‘s Merida follows the same path right down to her hair color. She goes to a witch and gets a spell to get what she wants.

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So let’s look at the trope established by these movies, using another rebellious red-headed princess who wants to be free to follow her heart but her oppressive parent tries to force her to do her duty: Ariel from The Little Mermaid.

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It seems like the only kind of princess Disney knows how to write. Viewers have seen variations on the princess who wants to (to quote her father King Fergus’s assessment ) “let my hair flow in the wind as I ride through the glen firing arrows into the sunset” before. I think part of the problem starts right there.

To me, focus in film or fiction is defined very simply: do most of the scenes support the central theme and plot? Brave‘s central theme and plot is a mother-daughter relationship: how Queen Elinor wants Merida to behave (like a lady) and how Merida wants to be free. I’ve seen a few people call the movie “unfocused” or even “plotless.” Brave hasn’t been quite as universally loved as previous Pixar classics, and the darkness inherent in “real” fairytales might be part of it.īut I have to say, when I see people criticizing the form of the film, I’m very confused. Wikipedia says that some people have likened it to a Grimm or Andersen fairy tale, and that seems very accurate. I enjoyed Brave, but it’s very different from Pixar’s other movies. They’re a great excuse to go to animated movies, and last month we went to see Brave. It just looks like a post about the movie Brave.