It only serves to show where my mind goes when I watch a movie. I couldn’t help but think of Harry Chapin’s elegiac and stirringly heart-wrenching tune “Mr. Tanner” as I was ambushed with some of the most revelatory notes of Coco. The most meaningful line out of that song relates how music made our eponymous hero “whole.” I feel the same guttural satisfaction blooming out of this picture.
Coco proves to be a film about many things. This is a film about music melded with family. The wholeness that comes out of music when you do it for sheer love and passion. Because you couldn’t live without picking up a guitar or throwing back your head to sing. Serenading family or penning a love song is just an extension of who you are. If you know anyone like that you can thoroughly appreciate what we have here.
In the best ways, it’s also about when families and our passions and the traditions that we’re taught to live by and that are passed down to us seem to collide — wholly impervious to any type of reconciliation on first glance — yet still somehow capable of fitting together.
Our hero Miguel (voiced by Anthony Gonzalez) is a precocious boy who lives with his family in Mexico as part of a shoe-making matriarchy where they have long been taught to despise music because their no-good great-great-grandfather left his family behind to pursue his dreams as a musician. The conflict is created right there.
Visually it’s another inventive landscape for Pixar to play with under the helmsmanship of Lee Unkrich because though the setting and storyline is planted in the present world of Miguel’s family, it’s infused with rich undertones of Mexican tradition. Not least among those is Dia De Los Muertos or The Day of The Dead.
Except instead of taking that as a mere tradition or a cultural practice the film translates that into a fully animated reality as Miguel experiences the “afterlife.” There the spirits of his ancestors exist in skeletal form making a yearly pilgrimage to commune with their still-living relatives. Family is still of the utmost importance to their lives and the most tragic reality is to have no one left to champion your legacy.
The hero’s journey laid out before Miguel is direct and compelling so we know what he is up against. He must receive the blessing of one of his blood ancestors before sunrise or else spend his days forever in the land of the dead. Even now he’s slowly losing more of his definition a la Back to the Future (1985). The stakes are obvious and his inner conflict stressed by the very fact that his relatives will only provide their blessing if he gives up his true love: music.
There’s so much else that could be lauded in the film for how it dares to explore it’s setting much in the way Inside Out (2015) did. It boasts some clever reversals akin to those found in something like Toy Story 3 (2010) and plays on the themes of hero worship in a similar fashion to UP (2009) with Miguel being charmed by mythical singer Ernesto de la Cruz (Benjamin Bratt). It’s also a bit of a Ratatouille (2007) tale of someone pressing against the currents around them to realize their individual gifts. But far from being to the detriment of the film, every one of these similarities is a genuine compliment. Could there be too many themes even? I’m not sure.
However, the idea I was most taken with deserves a bit more explanation. I’ve purposefully refrained from talking about Coco until now. If you were like me you probably assumed that our hero was named Coco or something like that, without giving it much forethought. However, we soon find out that she’s the fairly senile great-grandmother of our main character.
Because a major aspect of this film has to do with this idea that can best be described as transgenerational memory — where we pass down our recollections of the people that came before us to the younger generations. It’s no small coincidence that the lynchpin track is called “Remember Me.” Because in digging into his family’s personal narrative Miguel develops a deeper bond with his great-grandmother. It’s striking how even as we grow forgetful our long-term memory, the entrenched recollections of childhood or even muscle memory, often stay with us. That’s precisely how it is with Coco and Miguel aids in keeping her memories alive.
In these moments I could not help but reminisce about one of my favorite musicians Glen Campbell who passed away just this past year. He was a high profile casualty of Alzheimer’s and yet during his last tour though he could hardly remember the words anymore to his most famous songs, his fingers were just as nimble on the guitar frets as they were as a young man. Amazing. One of his final tunes was the brutally honest admission “I’m Not Gonna Miss You.”
And I mention it in passing only to suggest that if the idea is that you will only be remembered if other human beings remember you then that’s a terrifying world to be subjected to. As a writer that means that I will fade away unless someone actually unearths some of the mindless drivel I penned and shares it. If I’m single it means I better find someone quick and start a family so my children can not only pass on my gene pool but keep my name.
Even the pervasive theme that two people’s love for each other will live on forever, though a nice sentiment, still rings slightly hollow. Not to be a nitpicker but eternity is a long time. Even a blazing meteor burns out at some point. So if you’re like me maybe Coco will get you to think long and hard about your mortality. I’m not sure the answers are that easy to come by but they’re necessary to consider nonetheless.
In the context of this life at present, Coco fittingly rewrites the negative admonition to never play music with a more positive call to never forget family. Taking the restrictive and making it ripe with promise. That’s something most of us can probably get behind and share with our kids and grandkids as the years go by because we won’t be on this earth forever. The question remains, what do we do if we arent so lucky?