http:\/\/www.imdb.com\/title\/tt2096673\/<\/figcaption><\/figure>\n<\/p>Pixar seems to have found that little spot behind the collective ear that we like to have scratched.<\/strong> <\/em><\/p>\nIts first 2015 release,\u00a0Inside Out<\/em>, follows the same inimitable story-telling recipe it served up to great applause with films such as\u00a0Up, WALL-E<\/em>, and\u00a0Ratatouille<\/em>. Pixar films are captivating\u2014artfully done\u2014without losing the story in the process. And let\u2019s give the studio credit for taking the high road, leaving sexual innuendo and scatological humor to its competitors.<\/span><\/p>\nBut\u00a0Inside Out\u00a0<\/em>is something more; it\u2019s a bit of a revelation. You see, that\u2019s precisely what the story is supposed to provide\u2014insight into the mental workings of a prepubescent girl named Riley. But by showing us that, Pixar gives us more than a peek inside the mind of an eleven-year-old; it also reveals what it thinks of you and me\u2014the viewing public. Pixar has given us its doctrine of man.<\/span><\/p>\nInside Out<\/em>\u00a0from the Outside\u00a0<\/b><\/p>\nOn the surface, Riley\u2019s story is pretty straightforward. She is an only child, and at the beginning of the story she lives in Minnesota with her mother and father. She loves her parents, her friends, and hockey. But her idyll comes to an end when her father enters a partnership to establish a business in San Francisco.<\/p>\n
Riley is then plopped down into a comfortless world: Her friends are now a thousand miles away; her father is preoccupied with the demands of his new job, and their new house is a dilapidated walkup located on a narrow and cheerless back street. And to make matters worse, the moving van containing all of her favorite things has somehow been misrouted to Texas and will be delayed for a week. Riley is forced to sleep on the floor in a dirty attic room. After breaking down in tears on her first day of school, she decides to run away to Minnesota. She steals her mother\u2019s credit card and sneaks off to the bus station. After the bus pulls out of the station, Riley comes to her senses and gets off the bus just before it pulls onto the highway going out of town. She goes home and is received with gladness by her worried parents. There is a group hug and the story ends happily.<\/p>\n
But all of that is just the occasion for the real story. That drama unfolds inside Riley\u2019s head.<\/p>\n
Inside Out<\/em>\u00a0from the Inside<\/b><\/p>\nWhen we enter Riley\u2019s mind, we step into a high-tech amusement park crossed with a video library. Everything is coordinated from a control room (the actual name for it in the film). This room resembles the bridge of the starship\u00a0Enterprise<\/em>. It has a large control panel and even a wall-sized video monitor.<\/p>\nThe video library is for Riley\u2019s memories. Her experiences are recorded on what appear to be crystal balls\u2014resembling the one from the castle of the Wicked Witch in\u00a0The Wizard of Oz<\/em>. These are generated in the tens of thousands and must be sorted out in order of importance. The most important become the \u201ccore memories\u201d that constitute Riley\u2019s personality. These get stored in a special compartment and, through an unexplained process, they generate the various \u201ctheme islands\u201d of Riley\u2019s amusement-park mind. These include: Family-Island, Honesty-Island, Friendship-Island, Hockey-Island, and Goofball-Island. Less important memories go to a vast library known as Long-Term Memory. Since even its capacious shelves are finite, they must be cleared out periodically to make room for new memories. When this happens, the old memories are thrown into a bleak valley known as Memory Dump, where they disintegrate into nothing.<\/p>\nThere is more to the theme park than this; there are also back lots, infrastructure, and personnel to keep it all running. And everything connects via a rail line known as The Train of Thought. It\u2019s all very cleverly and artfully rendered, and populated by sundry creatures that personify Riley\u2019s fantasies or fears. When it comes to fantasies, there is her old imaginary friend Bing-Bong, and a one-dimensional, pop-culture-generated, imaginary boyfriend whose vocabulary is limited to the phrase, \u201cI would die for Riley!\u201d When it comes to fears, there is a giant birthday clown that lives as a nightmare. All these characters play important roles in saving Riley from herself as the story is told.<\/p>\n
But for all its color and charm, a little reflection can\u2019t help but reveal that Riley\u2019s mind is entirely artificial. Nothing truly living actually resides there\u2014nary a tree, nor a blade of grass, not even a dog.<\/p>\n
What animates Riley, and what is clearly the most important part of her, is her emotions. There are five, each characterized by a corresponding color. There\u2019s Anger, he\u2019s red; Sadness, naturally she\u2019s blue; Disgust, she\u2019s green; Fear, he\u2019s purple (for some unexplained reason); and Joy, Riley\u2019s chief emotion, she\u2019s a radiant golden-yellow. It\u2019s worth noting that the emotions are gendered, and that in Riley\u2019s case there is a mix: three female and two male. Nothing is made of this. But it is also worth noting that when we are given brief glimpses into the minds of her parents, we discover that all the emotions in her mother\u2019s mind are female and all the emotions in her father\u2019s are male. (We also see that the chief emotions in her parents differ from Riley\u2019s. For her mother it is Sadness, and for her father it is Anger.)<\/p>\n
Gendered emotions aside, it is what is left out of all this that troubles me. There is nothing in Riley that could be said to personify moral judgment. Riley doesn\u2019t have a conscience.<\/p>\n
To the classical way of thinking, this makes Riley a slave. She is entirely subject to her circumstances and the emotions these generate. She has no basis for moral judgment. She is not a moral agent.<\/p>\n
Lots-O-Hugs<\/b><\/p>\n
But\u00a0Inside Out<\/em>does have a moral. What could that be? This: Embrace your sadness.<\/p>\nEarly on, we see that each of those memories that go into storage is tinctured by the color of an emotion. Since Joy\u2019s overriding imperative for Riley is happiness, there appears to be no use for Sadness in her life. From Joy\u2019s perspective, whatever Sadness touches is ruined. But Joy has a eureka moment later on; at a critical moment in the story, she realizes that Riley can only be saved if she is allowed to be sad.<\/p>\n
That may be a real insight for helicopter parents. Generally, life isn\u2019t as brightly colored as a Pixar film, no matter what parents do. Learning to bear up under a little adversity is part of the maturation process. But Pixar is not promoting a stiff upper lip here. According to\u00a0Inside Out<\/em>, the reason you must embrace your sadness is that it will make you an object of pity. If you\u2019re sad, you may find yourself at the center of a group hug.<\/p>\nCome to think of it, group hugs seem to come in at the end of just about every Pixar film.\u00a0Finding Nemo, The Incredibles, Toy Story<\/em>\u2014it\u2019s the hug that sends you out of the theater saying, \u201cWhat a wonderful film; five stars!\u201d<\/p>\nI don\u2019t think it is too much of a stretch to say that there is something of the French philosopher Jean-Jacques Rousseau in a typical Pixar story arch: We possess a pure and inner goodness, yet it is fragile. And the worst thing that could possibly happen to someone is rejection. It deforms him; and that\u2019s where evil comes from. We see it when Mr. Incredible rejects Buddy Pine when he volunteers to be Incredi-Boy, Mr. Incredible\u2019s sidekick. Later, that turns Buddy into Syndrome, Mr. Incredible\u2019s arch nemesis. Then there\u2019s the Lots-O-Huggin Bear (irony here), the murderous toy that went bad when he was replaced by his owner Daisy in\u00a0Toy Story\u00a03<\/em>. To sum up: We\u2019re not judged because we go bad; we go bad because we\u2019re judged. So it is imperative that the community never judge anyone; otherwise, there will be hell to pay. But for that to happen, the conscience must remain submerged\u2014it may be relied upon, but only tacitly, because if its importance is admitted, we could run the risk of judging things we shouldn\u2019t judge.<\/p>\nThe Gospel of\u00a0Pinocchio<\/em><\/b><\/p>\nI cannot help but compare\u00a0Inside Out\u00a0<\/em>to another, much older film\u2014Disney\u2019s classic,\u00a0Pinocchio<\/em>.<\/p>\nRecall how the latter begins. An old woodcarver named Geppetto longs for love and companionship. So he crafts a wooden puppet and names it Pinocchio. Then he makes a wish; he wishes that his puppet would become a living boy. A fairy miraculously grants his wish while he sleeps. But once the puppet comes to life, one of the first things it asks is, \u201cAm I a\u00a0real\u00a0<\/em>boy now?\u201d The fairy\u2019s response sets contemporary teeth on edge. \u201cNo,\u201d she says, \u201cyou will only be a real boy once you have proved yourself to be brave, truthful, and unselfish.\u201d<\/p>\nIn order for Pinocchio to prove himself, he will need guidance; he\u2019ll need a conscience. This is where Jiminy Cricket famously steps in. The Cricket has been eavesdropping all along, but once Pinocchio asks, \u201cWhat\u2019s a conscience?\u201d he can no longer contain himself, and he launches into a little sermon on the subject. Delighted with his performance, the fairy awards him the job of being Pinocchio\u2019s conscience.<\/p>\n
Pinocchio famously ignores all of the cricket\u2019s advice. But he pays for his sins: a show of vanity brings imprisonment; when he lies, his nose grows; sensual indulgence partially transforms him into a jackass. But in the end, when it matters most, Pinocchio proves himself brave, truthful, and unselfish when he saves Geppetto from Monstro the whale. It\u2019s Pinocchio\u2019s love for Geppetto that awakens the virtues that have lain dormant all along. Conscience is no longer a small voice chiding him from the outside\u2014it is now internal and strong. But in the course of proving himself brave, truthful, and unselfish, Pinocchio drowns in the act of saving others.<\/p>\n
Nevertheless, there is a great reward. The fairy returns and raises Pinocchio from the dead. And she gives him a new body. He is a real flesh-and-blood boy at last. And then he is given to the mournful Geppetto. There is more than a hug when that happens\u2014there is a true celebration; the music begins and they dance!<\/p>\n
Pinocchio\u00a0<\/em>is a gospel story: It begins with the vivification of a lifeless puppet, and ends with his revivification and transformation. True gospel always includes moral transformation. And it is present in\u00a0Pinocchio<\/em>. We have the\u00a0ordo salutis<\/em>: new birth, sanctification, and finally,\u00a0resurrection.<\/p>\nInside Out\u00a0<\/em>could generously be called a prodigal son tale. Riley leaves; she comes to herself; she comes home again. There is a sort of resurrection, but not a moral one. Presumably she is changed, for her emotional palate now includes blue. But there\u2019s nothing morally praiseworthy here. Instead, we are given an object of pity.<\/p>\nA Not-So-Happy-Ending for Me<\/b><\/p>\n
Years back, in the benighted 1970s, we had a scare. There was a rumor that many of the most popular rock bands were back-masking Satanic messages on vinyl albums. People spent hours listening to Judas Priest backward to see if something could be made out in the garble. A wise preacher told me amid the panic, \u201cYou don\u2019t need to play Black Sabbath backward if you want to hear a Satanic message; all you need to do is play Barry Manilow forward.\u201d<\/p>\n
His selection of Manilow amused me; even then I knew what he was getting at. Nothing can be pinned down as overtly evil in a Manilow song. That\u2019s because his back-masking is right there for all to hear in the forward playing. His lyrics assumed the wisdom of popular culture.\u00a0No reflection was required; instead, you could just wallow in the bathos of \u201cCopacobana.\u201d<\/p>\n
I\u2019m no killjoy. I intend to hand over my money to Pixar with each new release. But if I\u2019m right, and Pixar\u2019s doctrine of man is there for us to see in\u00a0Inside Out<\/em>, I know what I\u2019m buying: something sweet, like a cupcake, but nothing morally fortifying.<\/p>\nThis is an adaption of an essay that originally appeared in\u00a0<\/em>Touchstone: A Journal of Mere Christianity<\/a>\u00a0(May\/June 2016).<\/em><\/p>\n<\/body><\/html>\n","protected":false},"excerpt":{"rendered":"Pixar seems to have found that little spot behind the collective ear that we like to have scratched. Its first 2015 release,\u00a0Inside Out, follows the same inimitable story-telling recipe it served up to great applause with films such as\u00a0Up, WALL-E, and\u00a0Ratatouille. Pixar films are captivating\u2014artfully done\u2014without losing the story in the process. And let\u2019s give […]<\/p>\n","protected":false},"author":2522,"featured_media":1312,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[167,260,7,59],"tags":[241,240],"class_list":["post-1874","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art","category-creativity","category-cultural-apologetics","category-film","tag-inside-out","tag-pixar"],"yoast_head":"\n
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<\/a>