Pixar is a studio that always seems to do no wrong, and they always seem to remain ahead of the curve. Brad Bird’s “The Incredibles” is a prime example of that, a film that exemplifies a level of maturity and sincerity while exhuming the entertainment and sheer fun that a family of superheroes inherently possesses. So the film does no wrong, but it also showcases Pixar’s ability to stays ahead of the curve in that many think the sequel that will hit theaters in a matter of days is a movie that feeds of the recent sweeping movements of female prosperity in both film and society.
That is not the case, Brad Bird’s screenplay is one that follows superheroes in the traditional 1950’s mold that Stan Lee and Jack Kirby made famous during the golden age of comics. These are heroes seemingly existing in the same time frame as the civil rights movements, and a time period that presets the women and peace movements of the 1970’s. It’s a film that parodies the age of heroism and patriotism coexisting with one another while supporting that notion in the most progressive of mannerisms.
It focuses on one man, Mr. Incredible (Craig T. Nelson). He’s the prime example of that kind of superhero; he’s brave, super strong, and dashingly handsome. The film opens with him, Elastigirl (Holly Hunter), and Frozone (Samuel L. Jackson) being interviewed on what it's like to be a superhero, being asked questions like: "do you reveal your secret identity to other heroes, or do you keep it secret?" That kind of questioning that is meant to be more fun than anything else, as Mr. Incredible (Craig T. Nelson) delivers the most charismatic interview of the rest, because he’s that guy, until one day he’s not.
After he rescues a man attempting to commit suicide by catching him mid-air and spearing him through a building window, Mr. Incredible (Craig T. Nelson) finds himself on the end of a hefty lawsuit. One that blames him for saving someone that didn’t want to be saved, whose rescuing attempt led to this man being broken physically. This act inspired many others to go after superheroes, blaming them for unlawful rescuing and inadvertent damages, costing the government millions, and sending every hero into the superhero relocation program.
Mr. Incredible (Craig T. Nelson), now going around as Bob, finds himself living in the suburbs, working at an insurance agency. He married fellow superhero Elastigirl/Helen (Holly Hunter) and had two superpowered children and a newborn: Dashiell (Spencer Fox) who can run fast, and Violet (Sarah Vowell) who can turn invisible and manifest force fields, and Jack-Jack (Eli Fucile) whose superpowers haven't revealed themselves just yet. They attempt to blend in with everyday citizens by going to school, showing up to work every day, and continually keeping their powers hidden away from the public.
Mr. Incredible (Craig T. Nelson) is someone who feels the weight of that burden, emotionally. He’s a metaphorical representation of the dad who’s lost himself to boredom and unfulfillment; he misses the glory days of heroism. He does what he can here and there, teaching his clients the in’s and outs of insurance policies, providing them with every loophole possible.
That’s not enough though, he and Frozone (Samuel L. Jackson) go out on Wednesday nights and listen to the police scanner to find somewhere to intervene, to relive the glory days and do some low-profile superhero work. Placing a lot of hardships on his wife, who stays at home and takes care of the kids. She’s continuously burdened with the responsibility of cleaning, cooking, and parenting more often than her husband. Everything seems to be a struggle to fit in until Bob (Craig T. Nelson) is brought back into the life by a woman named Mirage (Elizabeth Pena), who gives him a mission to stop a massive, self-thinking, and an impenetrable robot named Omnidroid 7.
After this successful venture, Mr. Incredible (Craig T. Nelson) finds himself with a gig that pays lots of money, forces him back into shape, and towards the life he once knew. All of this is unbeknownst to his wife though; she’s kept in the dark, fearing that her husband is having an affair. Bird’s screenplay sets up that family dynamic brilliantly, in which Violet (Sarah Vowell) is a girl struggling to be a superhero going through puberty. She wants to be normal, but how can you be ordinary when you can make your head disappear? Dash (Spencer Fox) wants to play sports but knows he could beat everyone without even trying, but he doesn’t care, he just wants to be apart of something.
Which seems to be the core theme of these children’s admirations, they want to be apart of something. Someone who wanted that same thing as a kid was Syndrome (Jason Lee) who, as a boy, would follow around Mr.Incredible (Craig T. Nelson) attempting to become his sidekick, dubbing himself with the name “Incrediboy.” He just wanted to be apart of the club of heroes, but he wasn’t gifted with superpowers, and Mr. Incredible (Craig T. Nelson) wanted nothing to do with him because he works alone. All of this comes to ahead when Helen (Holly Hunter) learns everything that has taken place, and Mr. Incredible (Craig T. Nelson) finds himself tricked by this child turned supervillain.
His past is no longer something he looks on with benevolence, but now with great regret, because he inadvertently fabricated a villain who has spent his life creating weapons and killing off every superhero. His plan? To bring superheroes back to their glory by fooling everyone into thinking he is one of them. He plans on accomplishing this by fighting off a robot that he constructed himself, and with no superheroes left to stop him, he’ll teach everyone that you don’t have to be super to be a hero. Everyone can be a superhero after that, making superheroes unnecessary. It’s a plan that you understand and get behind, and one that argues the core message of Bird’s screenplay.
Exteriorly, “The Incredibles” is a satire of superhero comics. Underneath that, Bird is critiquing the reality of American uniformity, which back in 2004, was as prevalent as ever. He’s arguing against that notion that we’re all equally special, which as Dash says at one point “that just another way of saying no one is.” It’s arguing against a society that “celebrates mediocrity” as Mr. Incredible (Craig T. Nelson) states. It’s not that no one’s unique, but some of us are more special than others, which shouldn’t spark a negative feeling, it should inspire us to try harder.
Visually, he borrows much more from the Bond films of the sixties and the comic book panels of the fifties. There are secret entrances, giant robots, and flying jets that look like something out of a detective comics book panel. Everything has that touch of a time we’ve all seen before, and one that echoes with the vibrancy and energy of that time, a time where life was always on the brink of change it seems. The red matching suits are also something fun to watch as well and look a little tight to fit in to.
They seem to be latex fabricated tights, created by their very own fashion designer, Edna Mode who’s voiced by Brad Bird himself. She lectures Mr. Incredible (Craig T. Nelson) on why capes lead to accidents far more often than acts of heroism, and she hilariously inspires Helen (Holly Hunter) to find her husband later on in the movie.
She’s that one essential character to make a Pixar movie feel right, like a Marvel movie with its levity. Alongside the talented ensemble, Bird brings these animated figures to life, whose animated texture has not aged near as badly as I would’ve thought.
In the end, Helen (Holly Hunter) has to come to save her husband, even doing the whole hero thing better than he did, which wasn’t something done on accident I think.
She was purposefully designed to say that women can do whatever the man can do, even saying at the beginning of the film when she’s asked if she’d ever considered settling down she responds: “Settle down, are you kidding? I'm at the top of my game! I'm right up there with the big dogs! Girls, come on. Leave the saving of the world to the men? I don't think so.” So, her saving the world alone, while the super strong man stays at home should be nothing surprising. She’s been wearing the pants in this family since the beginning.
It shouldn’t be surprising to see a Pixar movie that does that, with films like “COCO,” “Inside Out,” and “Up” residing on their resume, it should come to no surprise that Pixar created a film that underlies societal relevance and forward thinking with the entertaining spectacle of superheroes, which was kind of ahead of the curve as well. It begs the question, did Pixar foresee the superhero golden age that we reside in today? If so, what will Pixar do next? How do they stay so far ahead of everyone else?