For anyone who has grown up in the 20th century and the decades after it, the power and influence of Disney has been enormous. Be it the wondrous realms of classic princesses such as Cinderella, Snow White and Belle – where their existence truly revolved around the princes, or the era of modern Disney girls, whose aim had changed from finding true love to finding their destiny, the world of Walt never disappoints, and their most recent effort, Moana, is yet another beautiful Polynesian example.
CINEMASCOPE
The new animated feature is a perfect example of post-modern feminism that is slowly becoming a much-needed part of Disney’s culture.
Moana****
Dir: John Musker, Ron Clements
*ing: (voices of) Auli’i Cravalho, Dwayne Johnson, Alan Tudyk and Rachel House
For anyone who has grown up in the 20th century and the decades after it, the power and influence of Disney has been enormous. Be it the wondrous realms of classic princesses such as Cinderella, Snow White and Belle – where their existence truly revolved around the princes, or the era of modern Disney girls, whose aim had changed from finding true love to finding their destiny, the world of Walt never disappoints, and their most recent effort, Moana, is yet another beautiful Polynesian example.
While we were always taught that princesses came in all shapes, races, and sizes, Disney’s latest veers away from the title and calls herself ‘Moana of Motu’nui –the daughter of a Pacific Island chief.’
Voiced by Hawaiian actress Auli’i Cravalho as the eponymous Moana, we find the narrative quickly revolving around an ancient tale of Maui (Dwayne Johnson) –a demi-god of land and sea, whose trickery and thievery has lead to a demise of nature’s gift to humans after he steals a necklace known as ‘the heart of Te’fiti’.
Ending up trying to search for the demi-god who’s as old as time itself, we see Moana taking up a trip beyond the reefs of her island and into the unknown deep horizons of the Pacific.
However, two things never leave her side; the water, which has chosen her as the one who will mend the problems of the island, and of course, her worthless sidekick rooster, HeiHei.
Creating a world that truly those living on this side of the planet do not get to witness, Moana takes one onto a journey of emerald isles, crystal blue waters, the magic of nature, and the world of gods, demons and demi-gods, all the while sitting in front of the cinema screen munching on pop-corn and listening to the soothing tracks of the film, sung by Broadway’s breakthrough performer, Lin-Manuel Miranda, amongst a number of ethnically Polynesian singers.
The story revolves around the struggles of Moana and her eventual search for Maui. From her subsequently befriending him and going through her own tribulations along the way, the film is yet another turn away from the original classics and the renaissance of Disney films with its problems of perpetuating certain stereotypes, becoming a perfect example of post-modern feminism that is slowly becoming a much-needed part of the Disney culture.
Set on the deep blue sea, Moana creates a perfect equilibrium between a story that doesn’t stagnate and laughter that is sure to ensue at the various antics of HeiHei, who by now would be everyone’s favourite Disney sidekick! That being said, the story may be considered slightly different for anyone who is accustomed to the archaic style of Disney storytelling, simply because there’s an uncomplicatedness to the plot here that feels like a step back from the narrative complexity of some other recent films by the studio.
In short, while you may go to the cinemas and find nothing interesting to watch, given the recent circumstances, Moana has the potential to serve up as an invigorating narrative for children and adults alike.
*Not on your life ** Hardly worth the bother ** ½ Okay for a slow afternoon only *** Good enough for a look see *** ½ Recommended viewing **** Don’t miss it **** ½ Almost perfect ***** Perfection
