The 2017 film Coco serves as further corroborative evidence to the profound, masterful dexterity Pixar demonstrates in the writing and presentation of their diverse compendium of stories. Coco specifically excels in the deferential portrayal of Mexican cultural traditions as well as its visuals and vivid coloration, the pacing of its narrative, and the accessible erudition evident in its themes. Despite being garnered towards a younger audience, the film consistently explores poignant ideas while precisely modulating the expression and attenuation of its tone throughout emotional sequences. Essentially, Coco refuses to oscillate from seriousness to immediate levity and irreverence for the sake of its audience, nor does it prematurely truncate its heavier scenes with the intrusion of humor to temper the intensity of the circumstances just witnessed. Converse to other media primarily focused on the entertainment of children, the film allows for the natural conclusion of these sequences to transpire after the effective duration and experience of the intended pathos, which resultantly contributes to the bolstering and clarity of the overarching thematic discussions.
Concerning these aforementioned inspired conversations, Coco subverts a rather common propensity in children’s films to create a dichotomous dynamic between parents and kids, whereby the older generations are defined by an infallible sagacity that is usually recognized and retrospectively regarded by the culmination of the narrative arc. Coco, instead, imbues its characters with a breadth of complexity, and familial traditions are shown to comprise a facet of irrationality while Miguel harbors veracity to his sentiments that family should represent reasonable support and love without restrictions or enumerated parameters. In addition to more accurately portraying the complicated interrelations that exist within familial bounds, Coco is also cognizant of the potential damage that can be wrought from promoting a lesson which argues for the obsequious and unquestioning adoption of the inculcated ideals and perceptions that have been promulgated across generations. Such a mentality could maintain the capacity to be quite pernicious towards the advancement of societal progressivism if the views are bigoted against a certain group of people or abusive in the ferocity of the imposed and enforced restraint. The writers of Coco were therefore rather evidently aware of the necessity for all individuals to listen to one another and attain reciprocity in respect and support without accidentally encouraging children to resign themselves to damaging familial situations. As manifested for Miguel’s specific circumstances and perspective, his family initially serves as the paramount antagonist impeding his attainment of creative and musical liberation, though this disdain for music is explicably originated from past anguish and promulgated through time due to their exceptional deference to the traditions and beliefs of past generations.
The existence of a suddenly emergent villain is a somewhat questionable decision and arguably an unnecessary inclusion in order to orchestrate a more compelling, action-oriented climax. In its execution, the confrontation with the exposed villain is a bit cliched and predictable in certain instances, for example, when the villain, Ernesto, admits the entirety of his contraventions while this confession is surreptitiously broadcast to a considerable audience. Structurally, it would be possible to avoid this unambiguous, murderous characterization of Ernesto and instead arc his personality on the eventual realization of the deleterious effect his arrogance wrought upon the consequently forgotten Héctor. The rationale for the conceptualization of Ernesto as a narcissistic murderer to be ceremoniously defeated could possibly be attributed to the desire to recalibrate the predominant antagonist in the audience’s mind, shifting this imposing force from Miguel’s family to this sole individual. Without Ernesto requiring the family to join together in support of Miguel and Héctor, the prior memory of their chase and obstinance against music might persist and taint a young audience’s perception of the family. Essentially, electing for the final act antagonist to be the intangible concept of time and complicated circumstances might not erase or fully exculpate for their mistakes and impediment to Miguel. Should Ernesto have received a redemptive arc, perhaps the emotional significance of the family’s apology and reconciliation with Miguel may have been diluted in its potency and the intensity of its focus and presentation.
In its entirety, Coco represents one of the most accurate and tactful portrayals of familial relations, whereby arguments and dissonant opinions arise, yet the true profundity of the resilient dedication and love towards one another transcends these occasional life stressors and emerges more solidified and intimate than ever before.