Series Report Card: Disney Animated Features (2021) - Part Two

59. Encanto

The partnership Lin-Miranda Manuel formed with Disney has clearly been fruitful. “Moana” was a success, with the soundtrack being especially acclaimed. It made perfect sense for the studio to re-team with the mega-popular song smith again. While “Moana” drew from Hawaiian mythology, their next collaboration would be an almost entirely original story. When premiering in theaters last autumn, “Encanto” would not make much of an impression. After appearing on Disney's streaming service, soon afterwards, it would become a viral hit on social media. It has easily overshadowed the other Disney Animated Feature in 2021, seeming to be the studio's biggest hit since “Frozen.” With the film on the path to winning the Animated Feature Oscar in a few weeks, the question must be asked of whether “Encanto” deserves its success or if it's overrated.

For three generations now, the Madrigal family has lived in an enchanted home in a valley situated in the Colombian rain forest. The mystical powers of the house spring from a magical candle gifted to the family's grandmother years ago. Every new child in the family is given a magical ability and a corresponding enchanted room in the building... Except for Mirabel, the youngest daughter of Abuela's youngest daughter. Mirabel has always felt like an outsider in her family, without a power. As she has a vision of the family's miraculous candle burning out, and the encanto crumbling, Mirabel goes on a journey to save her home. Which also has her uncovering the secrets and origins of her family. 

Whether it's out of a genuine desire to represent people and places previously unseen in animation, or simply a cynical attempt to exploit new markets, Disney has continued to explore diverse cultures in their animated features. After “Raya and the Last Dragon” drew extensive inspiration from Southern Asian countries, “Encanto” is rooted in the specific culture of Colombia. South American and Afro-Latino faces and skin colors are on display all throughout the film. The food, fashion, and architecture of the area is in every frame of the movie. The rain forest setting allows the unique wildlife of the era – like tapirs, jaguars, capybara, and coati – to put in numerous appearances. The music draws from different Latin music genres, like salsa, tango, and Spanish rock. The film is a joyous celebration of this country and culture. 

With “Moana,” Lin-Miranda Manuel adapted his style to the typical Disney Animated Feature tropes. In “Encanto,” almost the reserve is true, as the movie feels a lot like a Broadway music at times. While most Disney musicals explore all over a magical land – this was definitely true of “Moana” – almost all of “Encanto” is confined to the Madrigal's magical home. It's easy to imagine the house being rendered as an elaborate stage set. The musical structure of the film recalls Broadway more than your typical Disney cartoon as well. The opening number, “The Family Madrigal,” feels very Broadway in the method it introduces the cast of characters. Meanwhile, the last numbers “All of You,” combines many of the film's previous songs in the manner of a stage musical's grand finale.

That structure gives “Encanto” a distinctly different feel from your typical Disney Animated Feature. In some ways, this is representative of how the movie breaks from the studio's traditions. “Encanto” lacks the expected Disney villain, the conflict arising more out of misunderstandings in the family than a clearly defined antagonist. The cute animal sidekicks and wacky comic relief often occupy the margins of the story, instead of taking focus. Yet “Encanto” respects other expected aspects of the Disney formula. Such as “Waiting for the Miracle,” Mirabel's stirring I Want song that hits all the beats you expect from that premise. “Encanto” nicely respects tradition while challenging some other long-held ideas. 

It's twin fidelity to Broadway aesthetics and Disney musical tradition means “Encanto” is full of showstoppers. The film often pairs its explosive musical numbers with elaborate visuals, that take full advantage of the limitless potential of animation. As Mirabel belts it out to the heavens during “Waiting for the Miracle,” she dances around her family and home as it's frozen in time. The scene climaxes with fire works. “Surface Pressure,” the super-strong Luisa's number, revolves around a number of involved visual metaphors. The sisters dance around a number of gags that illustrates Luisa's feelings and anxieties. “We Don't Talk About Bruno” has characters moving in and out of the story, via expertly choreographed dance numbers, among exaggerated fantasies. “Encanto” wants its songs to be as visually catchy as they are lyrically.

And, boy, they are catchy. Lin-Manuel Miranda came to fame for the way he combined pop radio-friendly hooks with the expected structure of a stage musical. He does something similar here, making nearly every song in “Encanto” as big and expressive as possible. “Surface Pressure” is packed full of crowd-pleasing catchiness, seemingly designed to be a breakout radio hit. It has been but “We Don't Talk About Bruno” has been the real pop culture phenomenon to come out of the movie. And it's not too surprising as, in addition to being insanely catchy, that song also effortlessly combines elements of tango and hip-hop beats. The movie is so packed with bangers that the more low-key numbers, like the thematically significant “Dos Orugitas,” stand out. That's a sweet, quiet number that nicely weaves in and out of the story. 

Allowing the musical numbers to explode into such fantastical images was a wise way to get around the movie's limited location. Even the more grounded sequences, at least by the standards of this film, are loaded with visual spectacle. “What Else Can I Do” is packed full of color and includes its heroines zipping through the air around the house. Yet even when people aren't singing, “Encanto” is happy to include big set pieces. Mirabel's climb into Bruno's tower is the film's most traditionally action-adventure scene and it's a good one. Later, Bruno's vision is also full of interesting, bright color choices. If Disney is in the business of making movies that operate as much like theme park rides as motion pictures, “Encanto” fully embraces this philosophy. 

If you think a film packed so full of ear worms and stunning visuals is thematically empty, “Encanto” is actually a little more complicated than that. By abandoning the traditional Disney villain idea, the film is allowed to explored more nuanced ideas. Abuela wants the best for everyone. She wants to protect her family because she understands too keenly what it feels like to loose someone you love. She's so determined to protect her family, to hold what they have together, that she's smothering them. She's passing her issues onto her grandchildren, who are shaking up under the pressure to be what Abuela wants them to be all the time. Yes, “Encanto” is a kids movie about intergenerational trauma and how neurosis in the family can pile up. They have to sing out their problems because therapists don't exist in Disney cartoons.

Struggles within the family, and the weird hang-ups of parents being unknowingly passed onto their kids, is really a universal theme. That's not the only idea within “Encanto” that is easily related too. A story of family naturally brings with it other ideas. Mirabel is the outcast in her family, her lack of magical powers making her the odd girl out. She's always had to struggle to prove herself. Her sister Isabela, meanwhile, has seemingly a perfect life. She was gifted with the photogenic ability to create flowers, along with beauty and natural grace. Mirabel can't help but resent her sister, who everything seems to come to so easily. Without getting too personal, I relate a lot to this. I think anyone with an overachieving older sibling, that you've always been in the shadow of, might feel similarly. It definitely added another layer to the movie for me.

Ultimately, Disney movies are most successful when they bring with them a number of memorable characters. “Encanto's” extra large cast makes room for a number of colorful supporting players. The parade of aunts, uncles, and cousins here are all pretty endearing. The jittery weather-controlling Pepa shares a wonderful love with the passionate Felix. Dolores' super-hearing lends itself to a number of amusing gags. As does Camilo's mischievous shape-shifting. Obviously, neurotic Bruno – with his alternate personalities and rat friends – ends up walking away with a big portion of the movie. Not all of these characters are given a lot of depth but their obvious eccentricities only intrigues the audience further. I'm not surprised “Encanto” has developed a faithful fan-following based on this. 

It helps that the voice cast is pretty strong too. Stephanie Beatriz will hopefully become a bigger star based on the strength of her performance here, as Mirabel. She nails al the singing without loosing any of the character's endearing nerdiness or personality. John Leguizamo is allowed to be goofy and awkward as Bruno, a nice side of the beloved performer we don't see often enough. Maria Cecilia Botero is perfectly attuned to Aubela, a stern matriarch that doesn't mean to be as cruel as she comes off at times. Jessica Darrow affects a maybe goofy gruff voice as Luisa but that sets up a pretty good reveal later, when her veneer of toughness cracks up. And, really, those are just the highlights. “Encanto” is full of good vocal performances.

”Encanto” came pre-packaged with all the usual Disney cartoon merchandising and tie-ins. There's plenty of highly marketable cute animals in the film, that can be turned into adorable stuffed toys. The magical house, which has a personality of its own that it expresses in many amusing ways, is custom made for a doll's play set. Yet I still think the movie pulls off some surprising challenges. It tackles family-friendly themes like love and acceptance but also more complex ideas, like neurosis and resentment. I think that makes it a cut above a lot of other big budget animated movies and even a few of Disney's other offerings. Whether the Mouse Factory will market it to death in the coming years remains to be seen but I have enjoyed revisiting this one. [Grade: B+]