the studios waltdisney they always relied on the classic old wives’ tales of the 16th and 17th centuries to at least give rise to an empire whose extent, today, is inexplicable. However, literary nostalgia is not the only one to appear in the impeccable arsenal, since, with the arrival of 2012, the company made use of a remarkable product in the lives of several children from the 1980s and 1990s – and that until remains until the present day in several amusement parks: the arcades. Endowed with an incredible variety of games and adventures, it’s very difficult to find someone who doesn’t remember buying the chips from the owner of the establishment and the anxiety to finally press the button. start.
In a very likely tribute, it was from these unforgettable memories that ‘Detona Ralph’ emerged. The plot revolves around a villain of the games arcade that lends its name to the title, and who is tired of being treated as a fearsome antagonist, excluded from the other characters in his game, mainly by Felix Jr.’s false modesty. (Jack McBrayer), the hero revered by all who repairs the damage of his “sworn enemy”, so to speak. For these and other reasons, Ralph (John C. Reilly) sets off in search of the only thing that can earn him a little more recognition and respect: a gold medal. However, he can only achieve this in another game, and it is precisely this unbridled ambition that drives the film’s incredible plot.
First, we must mention the director’s thoroughness Rich Moore and its more than competent artistic team in creating a cosmos unlike any we had ever seen. different from the subtle ones easter eggs thrown into Disney’s fantastic universe, here the references spring up everywhere. The three main scenarios already carry a considerable nostalgic load – only the game inhabited by Ralph and Felix brings back memories of “Donkey Kong”. However, as the narrative unfolds, we see well-known characters out of their comfort zone and humanized in a precious and practical way, bringing humor and drama in the right measures. Sonic, Dr. Ivo Robotnik, Pac-Man and Bowser are just some of the familiar faces that bring us a delicious sensation and involve us even more, even supporting the protagonists’ journey.
In a failed attempt to break into the newly installed Hero’s Duty to get the medal, Ralph ends up invading another game titled Sugar Rush and meets the rebellious and docilely ironic Vanellope von Schweetz (Sarah Silverman), who finds our anti-hero’s trophy and realizes that he can also change his own life with that object. It turns out that, to the extent that the destructive character wants a better future, his newest companion also wants the same. Vanellope is an aspiring runner who is gifted with a strange ability: when in uncontrolled excitement or anger, she falters. In other words, it is a system bug that sometimes reveals its problems – and, for this reason, it is rejected by the other competitors and by the Candy King himself (Alan Tudyk), commander of the sugary world.
We are dealing here with two outcasts, whose belonging to the respective cosmos enters into constant negation. By refusing to keep the the status quo force, they threaten even the functioning of their games, since the owner of the establishment can turn off the machines and destroy them forever. However, we can’t help but hope that they achieve what they aspire to, especially with dialogues as delicious as those outlined by Ralph and Vanellope. A priori, meeting by chance and going into crisis due to the conflict of interests, the two realize that they can help each other and end up building bonds of friendship that last until the final moments – and much beyond that.
The plot disguised by graphic perfection, incredible color palettes and childhood feeling actually hides a classicism already seen in countless other ventures by the studios in question. The hero’s journey, reread and readjusted in the most diverse ways, finds an incredible perspective and paradoxically modernized with retro touches. Moore finds a perfect scope to explore all possible aspects of the infinity of games from then and now and, to achieve the desired maximization, he fearlessly dives into three distinct and powerful environments. The first, corresponding to Ralph’s, talks to the vintage; the second, from the unscrupulous warrior Calhoun (Jane Lynch), draws parallels with futurism and the productions of the new generation. This opposition finds a middle ground with Sugar Rush and, setting itself at its own pace and guided by a fabulous imagery architecture, it opens up margins for whatever the idea of the director and his collaborators may be.
The feature is not just about atmospheric support, but makes good use of the diversity of elements and plots to create perfect occasions. Whether accompanied by a competent soundtrack or twists in the script, the animation is much deeper than it appears. The Manichaeism of good and evil bids farewell to show the people, even composed of mere codes and virtual algorithms, are not driven by a compulsory unidimensionality and are capable of change. Even the omnipotent Candy King is part of a much denser plot that makes up one of the most shocking twists in the Disney pantheon.
‘Detona Ralph’ marks another hit for the famous animation empire. Between an admirable artistic conception and an exciting story, the film will definitely be hard to forget.