[warning: spoilers below]

The path to seeing Pixar’s latest, Ratatouille, was a diversion from the usual process for me. Previously it has gone something like this:

1. Pixar releases a teaser trailer that depicts the general setting (A Bug’s Life pans across leaves, Finding Nemo dives through oceanscapes) and the characters, usually in a situation that will not appear in the film (Monsters Inc introduces a grating Billy Crystal as an easily-offended giant green eyeball stumping for sympathy; The Incredibles features Mr. I dressed for action struggling to fasten his belt for supper). Not hooked, I wonder if this is the one I finally won’t love.
2. Full trailer comes out, giving highlights (typically of the humor) but leaving the story mostly opaque. I figure I will go see it eventually, once the crowds die down, but it still can’t be as good as my favorite, [insert previous Pixar movie]. The humor seems to pin on characters/voices I find a little offputting (Mike Wazowski, Mater, Marlin).
3. I encounter very little other media revealing aspects of the movie other than repeats of the trailer, which is now very familiar.
4. Movie comes out, and I go see it a bit earlier than anticipated.
5. (sigh) I love it. The characters win me over immediately (even the irritating ones become ingratiating), the story whips me around at its whim, and at some point (usually the emotional climax near the end) I get choked up.
6. Possibly I go see it again. Certainly the DVD gets bought immediately on release, a Deluxe Edition if available. The rest of the family is put through viewings.
7. It does pretty well at the box office, so they will probably get to make another one.

So, what was different about Ratatouille?

1. Teaser trailer comes out, establishes the story is set in Paris and features a rat fond of haute cuisine (particularly the cheese course) and his less-discriminating brother Emile. Yet I am already curious and amused.
2. Full trailer comes out, and the overall story arc is suggested (rat dreams of becoming chef, succeeds at said dream because it’s Pixar - how else could it be so?). I am looking forward to the release date and mark it on the schedule.
3. Somehow I find myself running across other promotional media. An interview with Brad Bird on NPR. A comedy routine by Patton Oswalt, the voice of Remy. I also discover the video podcasts released by Pixar and watch the lucky staff prepare (go to Paris! take cooking lessons!).
4. Movie comes out, and I go see it on opening weekend.
5. I still love it. But…while watching I do find myself at times trying too hard to predict the story to match up with what I anticipated, and even thrown a bit that the movie does not even begin in Paris. The ending is a little abrupt and unsatisfying, wrapping up too many threads too quickly.
6. I watch more podcasts. I plan another viewing. Meanwhile the knowledge that the blog is here, waiting for posts, keeps me analyzing my reactions.
7. I start watching box office reports, hoping that the reported difficulties in marketing it (an unusual name, rats, a children’s movie set in Paris about French cooking) do not hinder its widespread viewing. Marketing reportedly hopes for good ‘word of mouth,’ which is akin to saying ‘there’s nothing more we can do but hope for the best.’

So is it worth seeing? Absolutely. Technically, they achieve most everything they attempt, especially the challenge of attractive CG food and the ambience of a working kitchen. Wet skin is still a bit plasticky, but an improvement over The Incredibles (where it was the only real disappointment). Both hair and clothing on the relatively large cast of human characters are well done, and the slight caricature style (e.g. Skinner’s exaggerated facial features) makes them appealing without giving up their base realism - and in the case of Horst, the strong resemblance to Jean-Pierre Jeunet mainstay Dominique Pinon is fitting, since he is practically a caricature himself. Also laudable is the believability of the romantic interplay between Linguini and Colette, even a lengthy kiss, when the close association of human bodies is so easily rendered clumsy.

Yet I am still uncertain whether it will achieve the instant classic status for me that both Monsters Inc and The Incredibles did if only because the ending is a little less satisfactory (compared to Monsters Inc and a small voice saying “Kitty!”, which still gives me chills). What happens to Gusteau’s? Why is La Ratatouille not subject to the same restrictions? Where did the rest of the kitchen staff end up, or even Skinner? What becomes of the relationship between Linguini and Colette in the wake of Remy’s revealing? The voiceover segue from the climax with Anton Ego to the dénouement happens essentially offscreen, so we are given very little to go on. The final scenes are pleasing enough, but the unsettled aspects weigh on it. And yet perhaps that is ultimately just one more compliment to the Pixar crew: that these characters are so sympathetic that we want to know the rest of their stories, not just the tale of Remy in pursuit of an impossible dream.

(Special note: I resisted the obvious pun in the last sentence. You’re welcome.)