Death is not the first subject that comes to mind for an animated film, yet Jorge R. Gutierrez’s adventure-comedy, The Book of Life, presents the dead (and also the living) in a manner that is appropriate and fun for families to watch.
The film’s fascination with death makes sense in its Mexican setting, where people honour their dead ancestors on a holiday called the Day of the Dead. The movie opens on the Day of the Dead; the two rulers of the dead — La Muerte (Kate del Castillo) and Xibalba (Ron Perlman) — are wagering as to which of the two leading male characters will marry Maria (Zoe Saldana). The two young men in question are Manolo (Diego Luna), who wishes to become a musician rather than follow the traditional path in his family of becoming a bullfighter, and Joaquin (Channing Tatum), a dashing hero with a cache of medals.
Maria falls for Manolo, but the plot takes a turn when Xibalba cunningly gets Manolo killed in order to win the bet, prompting Manolo’s journey through the Land of the Remembered and the Land of the Forgotten. In the living world, Maria faces the hard choice of whether or not to marry Joaquin, who would protect their town from a group of bandits threatening to invade.
One of the most impressive things about the film is its visual presentation. Every character or object in each scene is drawn with such incredible detail and vibrant colours that it truly looks as though there is a Mexican fiesta taking place on the screen.
The depiction of the world of the dead is particularly noteworthy. While the Land of the Remembered is even more colourful and elaborate than the world of the living, the Land of the Forgotten provides a striking contrast with its grey colour scheme and lack of detail.
The lead characters, specifically Manolo and Maria, are unlike the archetypes historically presented in animated films. Maria’s character is refreshing in its disruption of gender stereotypes. She is not a damsel in distress, but is often shown to be even more courageous and physically adept at fighting than the male characters. Manolo is not a macho hero; he wishes to win the heroine’s heart through music rather than demonstrations of strength.
That is not to say that there are no problems with the film. The American accents of some characters sound a bit jarring in the Mexican setting. The plot also seems to be filled with too many conflicts, such as the question of who will win Maria’s heart, Manolo’s journey through the afterlife, Manolo’s desire to choose his own life path, and the threat of invasion lingering over the town. Children, who make up a significant portion of the film’s audience, might have a difficult time following the film’s storyline.
Despite these issues, The Book of Life’s focus on Mexican folklore and its colourful visual presentation offer adults and children something unique and enjoyable to watch on Halloween.
