Since its foundation, Pixar has been responsible for producing animated features that raise the bar for emotional depth to create several modern masterpieces. Whether it’s understanding the functions of emotions in Inside Out (2015), delving into an adult’s hunt for purpose in Soul (2020) or exploring what comes after life in Coco (2017); no concept is too heavy to explore. With bright colours, wide-eyed characters, and charming yet profound stories, these films have delighted us, made us cry, and taught us some very valuable lessons. However, the studio’s latest endeavour, Luca (2021), feels like an exception, and I mean that in the best possible way.
In a welcome change of pace, Luca is not as action-packed, epic or even as philosophical as recent Pixar features. It’s more modest, but there is a lot of heart in its simplicity and that is its greatest strength. Luca is a tale about friendship and a personal project for filmmaker, Enrico Casarosa, while celebrating the childhood summers we enjoyed lounging in the sun and by the sea. It’s a coming-of-age film that, while not as ambitious as other Pixar movies, still tells an endearing story that keeps you invested and makes you smile in nostalgia as you revisit your summer memories. Set on the Italian Riveria, the film follows Luca (Jacob Tremblay), a sea monster boy who can assume human form on land, exploring the town of Portorosso together with his new best friend, Alberto (Jack Dylan Grazer). Think The Little Mermaid (1989) and Ponyo (2008) meet Stand By Me (1986).
Luca is a self-described ‘good kid’, living a sheltered life as a shepherd on his family’s farm in a cove off the coast of the Italian Riveria. He lives with his overprotective mother, Daniela (Maya Rudolph), his absent-minded father (Jim Gaffigan) and his chill Grandma (Sandy Martin). Luca is fascinated by the “Land Monsters” on the surface, but his parents warn him they are violent predators, and he should stay away from them. However, like his older cousin Ariel, Luca becomes enamoured with various human artefacts that drift to the ocean surface: an alarm clock, a phonograph, a wrench, and his eagerness to explore the surface gets the better of him.
This leads Luca to meet Alberto, a free-spirited kid and collector of sunken human treasures which he hoards his home on the surface. After a couple of meetings, Alberto coaxes Luca up to land where Luca discovers he can transform into a normal human boy above water – but only if he stays dry. Alberto and Luca become fast friends who bond over their love of the different objects in Alberto’s home. Though they don’t know everything about the surface, they are certain the Vespa is the greatest thing humans have ever made. This eventually leads them to the idyllic seaside village of Portorosso, a town notorious for two things: its hatred of sea monsters and annual triathlon, the Portorosso Cup.
Luca and Alberto figure out the only way to obtain a real Vespa is to win the triathlon. To complete the race, the pair befriend a human girl, Giulia (Emma Berman), a tomboy fisherman’s daughter whose personal mission is to win the Portorosso Cup and beat local bully, Ercole (Saverio Raimondo) and end his “reign of terror”. Thus, the team of underdogs must train by eating pasta, biking through the hills and, of course, swim. With the help of Guilia and her burly, one-armed father, Massimo (Marco Barricelli), Luca and Alberto have to win the Vespa to live their life of freedom. This proves to be less easy than they first think as any time they get wet, they turn back into their true selves, which spells bad news in a town full of sea monster haters.
As mentioned earlier, there are obvious parallels to The Little Mermaid in this story about a fish-person dreaming of life ashore, however, Luca is more about friendship than a dramatic tale of romance between two worlds. Luca is ultimately a story about self-discovery. Though not officially queer, Casarosa welcomes this interpretation of the film with themes of diversity, acceptance, and inclusion present in the main character arcs. Alberto and Luca run away to Portorosso after Luca’s parents send him to live with his deep-sea-dwelling Uncle Ugo (Sacha Baron Cohen). When they arrive, they have to remain human to be accepted and it’s made clear several times, they may be persecuted if they are discovered.
To be free, Alberto desires a Vespa so he and Luca can go on a never-ending road trip, never tied down to one area and away from anyone who would stifle their freedom. Luca, however, wonders more about the human world and if there is a place that will accept him, fascinated by Guila’s books and her tales about school. As cute as it is, there’s a turning point in the film that comes as a surprise – a dark but ultimately satisfying one – which has to do with concealing your identity to be accepted into a society and what you may have to sacrifice to do so. Though Luca centres around a fish-boy living in a fictional Italian coastal town, there are a lot of surprisingly down-to-earth scenes. It’s a charming and heart-wrenching tale that teaches kids about being open to others and their uniqueness rather than rejecting it because of past prejudices.
However, the real magic of Luca is its visuals. The character designs are so appealing in the marine world and on land. The colour palette uses cooling aquamarine tones when underwater and dusty chalk and ochres when on land. The underwater scenes have a pastel shimmer as the play of the light on the blue water’s surface feels so photorealistic, it makes you want to be there. Likewise, with Portorosso, its terracotta walls and lush green fields, capture the essence of summertime, creating a gorgeous setting that always enraptures you. There’s a timeless, rustic quality that contrasts with the fantastic underwater world. If you’re an animation lover, you may spot a few references to Hayao Miyazaki and Casarosa has said the Japanese animation veteran was a major influence. Whenever the shimmering scales turn into freckled skin is reminiscent of the dimorphic nature of Ponyo’s fish-girl heroine while Portorosso pays tribute to the Studio Ghibli film Porco Rosso.
Though they have their flaws and weaknesses, this makes the three kids more believable as they grow as a group and individuals. Luca is a sheltered kid who gets a much-needed lesson in moving past his overprotective parents towards the life he wants. It’s a familiar journey many children can relate to. As the film progresses, Luca becomes more confident, willing to explore the surface and open himself up to those who accept him. He’s an endearing character, but perhaps the most compelling character is Alberto. He comes across as a proud know-it-all who makes things up as he goes, but Grazer laces his voice with enough insecurity to suggest a multi-layered personality. He makes mistakes but does so to protect Luca, his first real friend. I’m glad he got a happy ending as some scenes made me worry for his safety. The pair’s adventure is rounded out by Giulia who represents Casarosa’s efforts to combine a Pixar character with the personality of Italian film stars. Giulia is not a love interest but another friend who introduces the pair to the surface and helps them train through the triathlon, becoming fire-forged friends.
Luca may look modest compared with the more extravagant films Pixar is known for; including last year’s Oscar-winning Soul (2020)., but that doesn’t make it less enjoyable to watch. If you’ve seen Casarosa’s Oscar-nominated short La Luna, you know he can craft storybook images designed to channel childlike wonder. With a charming story, crisp animation, and wonderful characters, Casarosa combines memories of his childhood with the magic of Disney to make Luca a masterwork that teaches children to accept and embrace the differences of others rather than persecute them for it. However you read it, as a fantastical comedy or a heart-warming adventure about friendship with nods to Italian cinema and Japanese animation, Luca is a summertime treasure that isn’t afraid to be different.
Jacobs Reel Reviews 