New Beginnings in Soul
Words by Liam Horgan
After his second Oscar win for Best Animated feature in 2016, Pixar’s Pete Docter was left pondering what to do next? At this point Docter had proven himself as one of Pixar’s foremost creative talents having previously helmed the sublime Up, Monsters Inc. and Inside Out. Indeed it could be argued that there was no need for Docter to do much else, with his previous work a tried and tested formula for smash hits (both critical and commercial) had been created. Despite this Docter had begun to think of a new idea, a film focused on the nature of the human soul. Focusing in on the philosophical arguments found in determinism, Docter (like many philosophers before him) pondered the existence of the human soul and the traits that make us human. Determinism is the philosophical view that all actions, including personality traits, are determined completely by previously existing causes. Essentially it seeks to answer the nature versus nurture argument, landing solely on the nature side. Managerial changes in Pixar did not affect Docter’s determination to complete his film, despite filling the shoes of outgoing chief creative officer John Lasseter in the wake of numerous harassment allegations following the #MeToo movement.
It is fitting then that Soul came about from a period of searching for a new direction, as one of the core themes at the heart of the film is new beginnings. Soul focuses on protagonist Joe Gardner a middle-school music teacher who longs for something more. Joe is unsatisfied in life, seeking to pursue Jazz as a career despite lack of financial security and the disapproval of his over-bearing mother. In an act of cosmic irony so unfair, it could be found in an Alanis Morisette song, Joe dies just as his dream is achieved. In death Joe winds up in the Great Beyond, a giant staircase (an nod to Powell and Pressburger’s A Matter of Life and Death) leading to a new path, one which Joe is unwilling to take. On finding that Joe’s physical body is in a coma, he must find a way to get back to earth and make it to his first professional show. This is the basic set up of the film, and one which starts of the theme of new beginnings.
Indeed Soul is a turning point for Pixar, it is the first film to debut exclusively on a streaming platform for the company, the second film to be released with Docter as chief creative officer. Following the aforementioned departure of John Lasseter, Pixar needed a new direction. An intolerable work culture and over-reliance on established franchises showed a company that looked to be past its prime. However under Docter’s new leadership things seem to be changing. At the recent Disney Expo, Pixar announced a slate of new films including Turning Red directed by Academy Award winner Domee Shi. With her new film Shi is the second female and second Asian director to helm a Pixar film. Alongside Soul co-director Kemp Powers, Pixar seems to be pointing towards a new more diverse future. In the wake of the Covid-19 pandemic, Pixar forged ahead. Though the film was designed with cinemas in mind, Docter decided to release Soul on Disney plus. Pixar made a documentary on their efforts to finish the film during the pandemic, chronicling seven weeks left of production (this is also available on Disney plus). Soul is also the first film to feature an African-American protagonist, as well as to be co-directed by one (the highly acclaimed Kemp Powers). For the thirty four year old company, protagonist Joe was an overlong but much needed step in representation. As the main character Joe posed a problem for the white Pixar writers. To combat this Pixar hired Powers as co-writer and director to help bring a unique voice and perspective to the production. The company also set up a ‘cultural trust’ composed of black employees so that the film would be able to portray the life of African-American Joe realistically. Alongside this the team worked diligently to avoid racist stereotypes often found in animation. Arrival cinematographer Bradford Young was even brought in as a lighting consultant to help give the film a realistic look and feel, especially in the scenes featuring earth. Despite the protracted nature of Joe’s inception, Pixar’s efforts managed to curb racist caricatures and lean towards a protagonist emblematic of African-American life.
In the film as Joe explores the ‘great before’, the birthplace of all human souls, he becomes a mentor to rambunctious soul No. 22 (brought to life by Tina Fey). Through their meeting Joe and 22 discover new things about themselves as well as each other. Joe helps 22 to take the next step by going to earth and experiencing the world as he lives it. In tandem, 22 helps Joe improve his daily life. A touching sequence sees the pair repair Joe’s relationship with his mother and open up to his barber (something which would not have existed without Power’s input). The beauty of Soul is the way in which it integrates normal life into its story. It’s no secret that Pixar can convey complex themes and emotions in its stories, but often they do this through a veneer of unreality. Unlike previous hits, Soul’s protagonist really is just ordinary. This is shown rather bluntly to us when 22 and Joe look at the moments of his life, something which neither character is impressed by. However, what the film does so well is showing us how even the mundane can be beautiful if you give it the chance. With Joe, 22 experiences everyday life and in doing so gets their ‘spark’ for it. Both characters eventually begin new adventures, but the lessons learned during the film will define this next chapter for them. Typically Joe’s story would end with returning to his body and playing his first pro-gig, but in keeping with its theme this never feels like the end for Joe. Rather it is the beginning, Joe changes direction but through his adventure has become a better person.
Throughout its runtime Soul shows us that life can be scary, beautiful, stressful and fun all while reminding us to live our life to the fullest. At a time when the global pandemic is limiting everyone, this message is a welcomed one. These themes are best summed up by its last line of dialogue. As Joe is given literally and figuratively a new lease on life, he is asked how he will spend it. His response:
“I’m not sure, but I do know I’m gonna live every minute of it.”
Pixar’s new film may be taking the company in a new direction but if that means that the animation giant will continue to make bold new choices both on and off screen then it is a welcomed change of pace.
