The film industry has us conditioned to certain expectations. When we see a film as A Todo Gas and leave excited room, the most frequent question is: when the sequel comes out?. This is multiplied when we see superhero movies, which include towards the end of the story, a nod to the possibility of a sequel. In a recent example as Wolverine, the pieces are placed for a second part. Specialists even argue that this type of films do not possess three acts as prescribed by Aristotle in his Poetics. They are rather episodic stories with mini-dramas juxtaposed, more akin to the serials they saw my parents in the fifties. Given this scenario, rather than the product of the need for the industry to generate money, appears a film like the Incredibles.
In it he plays with the idea of the aftermath from a more humorous point of view. This film is the sequel to a superhero of the 1950s, has been silenced by a paranoid Government impossible. As in any sequel, the hero has already sons, wife and family and has continued aging up to almost lose their identity. The curious thing about the incredible is that we have a sequel without source. I.e., it is like going to see hard kill II without having seen the I. This playful spirit slips for all aspects of the film: the Edna character reminds the Q of the Bond films, as far as the island of syndrome reminds the Islands take refuge where the enemies of Bond. The coincidences are not there.
Do see the films the incredible Mr. starred in during the 1950s within the film? s as well as the souvenirs of those times: posters, t-shirts, prizes and a rather outdated uniform. The talkative and fun Edna will be which move the film toward today, giving Mr. incredible already to his family, with uniforms modernized, according to current times. Humor for adults comes from there: from that observation that the heroes of our childhood may not be real and rather have a life beyond the screen. That this life behind the camera is the matter of the film is in itself already interesting. It is not the first time that this dramatic device is used on the screen and in fact there are emblematic films as Sunset Bulevard which use this sophisticated structure. What is new in the Incredibles is how this structure becomes an interesting vision of modern society capable of silencing their best talent in exchange for the controlismo of State. And more interesting, that a message still important come disguised as animated comedy and Hollywood. Art has never had another mission that reflect the current time of your viewers, and the complexities of its being-in-the-world. The Incredibles reveals to us, full of humour and good vibes, the reality of our acceptance of modernity: perhaps, after all, yes there is a space for our talents.