The year has been great for animated films, from stellar shorts (if you’re a Disney+ subscriber and don’t sleep on their shorts collection) to the area of features that span both narrative and documentary. There have been so many animated features that I had to remind myself as I sat down to write this review that The Mitchells vs. The Machines only came out in April and that Disney has three features vying for award contention. The latest, and focus of this review, is Encanto the only musical entry of Disney’s trio.
I grew up on the animated Disney musicals of the 90s, so I’m more than familiar with the caliber to which they deliver “I want” songs, and “Waiting on a Miracle” is no outlier. What I’ve always loved about musicals is how the songs convey both story and character. Often solo or duets derive when characters reach an emotional breaking point, and the song is an outlet to release what they otherwise would not express. Ensemble songs can also serve the same purpose but tend to be more of a way to deliver copious exposition in a small but memorable time frame. In Encanto examples of expository ensemble numbers are “The Family Madrigal” and “We Don’t Talk about Bruno.” They are catchy, and “The Family Madrigal,” like another Disney opener “Belle” from Beauty and The Beast, does a great job of establishing Mirabal’s position in her community. Mirabel (voiced by Stephanie Beatriz) is a member, but an outsider (for reasons I’m not spoiling), of the magic-wielding family The Madrigals, who the villagers all love and adore. Those familiar with the music of Lin-Manuel Mirada will be able to tell he wrote the songs. There were certain breaks in songs that gave me major déjà vu to In The Heights (the music of his I’m most familiar with).
The film reminded me a lot of The Mitchells vs. The Machines. I like the kinds of themes that 2021 seems to be open to exploring. How our perceived imperfections can be our strengths and that just because we have strengths doesn’t mean we have to be strong all the time. While the cracks in the foundation are shown early, they come on full display in another number, “Surface Pressure” delivered by Luisa (voiced by Jessica Darrow). This was my favourite song in the piece. The animation work reminded me of sequences from Mulan and Hercules, and the lyrics hit me right in the gut. Disney’s done a lot of musicals where the protagonist is an orphan (Cinderella, Dumbo, Aladdin, The Lion King), but the current animated musical that’s risen to prominence since the success of Frozen that has centered on family, Moana, Coco, and now Encanto, has allowed them to draw from a deeper and more relatable well. Perhaps it’s just because I’m an older sister so it sang to me, but it was during “Surface Pressure” that I knew this would be a film I’d revisit.
The film is also very funny. A lot of the best one-liners and comedic visual looks come via Dolores (voiced by Adassa), whose family gift is super-hearing, which as far as powers go always seemed like more of a burden than a gift to me, but Dolores doesn’t seem to mind, and likes having all the secrets (and sharing them when she wants).
John Leguizamo, who voices Bruno, once again reminded me why he’s always a delight when he’s in a project, especially ones that allow him to do more theatrical/character work (be it live-action or voice work).
For the 94th Academy Awards, the score and the non-diegetic (not sung by characters) song “Dos Oruguitas,” are shortlisted.
Encanto is still in theatres but is now also available on Disney+