‘Treasure Planet’ Is Teetering on the Lines of a Good Movie and a Disney Classic.
An ingenious concept that needed a little more concentration and refinement.
Treasure Planet bombed the box office. A mere week after it released in November 27th, 2002, it was (righteously) usurped by “Harry Potter and the Chamber of Secrets.” As of March 27th, Rotten Tomatoes ranks the Disney movie as a solid 69% among critics and a similar 72% among audiences. It is no secret that the movie’s undeniably talented directors, Ron Clements and John Musker, have tried to pitch their passion project several times. In fact, I doubt anyone has the gumption to label their efforts as “lazy.”
There was a lot of work put into it, like…
The animation
Even using today’s standards, the seamless blends of 2D and 3D animation is phenomenal. The most ambitious, yet flawless, examples of these blends can be found on a 2D character, namely John Silver’s 3D arm. Plus, the animators don’t shy away from utilizing Silver’s bionic arm to its fullest extent.
Note: There are probably lots more examples of these 3D/2D blends in this scene alone. Knowing this and still not being able explicitly pin-point each example is just a testament to how well-fitting these blends are in relation to the environment.
These 3D and 2D blends are well-utilized in the vivid, breathtaking scenery as well. For instance, this shot:
Whoops! I must’ve accidentally included a picture of a boring moon, unless...
Woah! A meticulously crafted model of a spaceport?
Coupled alongside the stellar direction of this scene, it is impossible not to feel awestruck as the moon is revealed to an intricate metro city. Considering the 77-minute predecessor, Toy Story, needed 800,000 machine-hours to produce the final cut, I cannot begin to comprehend how much time it took to render this scene alone.
It is also worth mentioning that the city does not offer another parody of New York or Chicago or Tokoyo. Rather, it offers the audience something that is much more valuable:
Originality.
The Sheer Creativity
According “Oh My Disney’s” official blog, almost all aspects of the movie operated under the 70/30 Law where 70% of the film would be traditional while 30% would be sci-fi. The mix of 19th century steampunk and 25th century sci-fi was certainly risky and divisive move, especially considering how unconventional it sounds aloud.
In my opinion, the world-building was impressive and heart-stopping as result of the meticulous planning and detailing.
The most obvious of these effects is with John Silver’s multi-functional bionic arm and the map that leads to Treasure Planet.
But the filmmakers also visually explain the workings of their world. For instance, since the sails of the ship were illuminated/activated with the solar rays, the audience can assume that the advanced architects of this world have somehow managed to garner solar power for their spaceships.
Even this hardly notable moment helps to sell the interesting setting by combining an antique locket with holograms.
Admittedly, the filmmakers implemented the aesthetic significantly better in its first half than the second half, but more on that later…
This Scene Alone
WOOOOOOOOOOOOOOOOOOOHOOOOOOOOOOOOOOOOOO! What an adrenaline rush!
The Score
If that wasn’t enough excitement for you, James Newton Howard’s whimsical (yet adventurous) musical score adds to the thrillingly fast-pacing. Even from the first viewing, the music stood out to me.
While I do not have the skills necessary to analyze the intricacies of the compositions, I can always count on the soundtracks to pump me up for tomorrow’s challenges.
The Character Designs
The other endearing aspect of the movie is the visually striking characters.
From Captain Amelia’s thin, orderly posture to the round-eyed, rumpled, bumbling Dr. Doppler to the sometimes lovable and sometimes overwhelming presence of the fierce pirate, John Silver, this movie nails the distinctiveness of each of its characters.
But… The Message?
The filmmakers value the story over the message, which is fine.
Until it isn’t.
Story-wise, the inclusion and prioritization of John Silver’s internal dilemmas and roughness made him one of the most captivating characters in Treasure Planet. Despite his initial reluctance to undertake Jim as an apprentice, John Silver learns to empathize with Jim’s struggles. He chooses to fulfill the missing paternal figure in Jim’s life by teaching him the inner-workings of life as a pirate. Silver even offers one of the most legitimate, heartfelt pep-talk in Disney history.
Yet, that doesn’t stop John Silver from manipulating Jim for the map and the treasure during the second-half of the movie. Sure, the movie explains early-on that Silver is the forefront of the coup against Captain Amelia. However, the fact that he is presented as a father figure to Jim makes this behavior seem abusive of Silver’s role as a “parent.” Jim eventually forgives Silver and finds his own path. Keeping in mind the main demographic of the movie, the film may unintentionally dismiss abusive behavior and leave nasty impressions among younger audiences who identify with Jim.
The LACK of Creativity (In The Second Half)
Don’t get me wrong: There were plenty of interesting moments on Treasure Island. The map’s double-usage of finding the treasure and as a mechanism to unlock the treasure was a beguiling ending. The final chase scene among the treasure was mesmerizing, grand, and well-deserved.
That’s basically it.
The rest of the titular island is anti-climatic in contrast to the other locations in the movie. Just leafy greens for miles and miles. I couldn’t help but feel disappointed and slightly bored after the engaging, preceding scenes.
Women In Treasure Planet
No, Treasure Planet does not pass the Bechdel Test. There are only two prominent women in Treasure Planet: Jim’s mother and Captain Amelia. They never meet each other. Captain Amelia has significantly more screen time than Jim’s mother.
Regardless, I was initially impressed with how well they were able to write female characters, especially considering their lack of solid representation in fantasy. (Apparently, it is easier for the genre to include unicorns, dragons, and superpowers than it is to dismantle misogynistic tropes and overtly sexist systems.) The leading ladies are not overly sexualized or identical copies of one another. Captain Amelia was also able to display such a range of emotions, despite her “strict” persona.
But by the second-half of the movie, Captain Amelia was re-written to give Dr. Doppler his “happy ending.”
After Captain Amelia becomes delirious, she falls in love with Dr. Doppler. Was this supposed to be a sweet sentiment? To me, it is just creepy. Plus, the romantic subplot only starts half-way through the film, after Captain Amelia becomes delirious. Even by the end, their dynamic makes very little sense.
The filmmakers failed her as a character. But it gets worse, when you consider she’s the only women in the story with importance.
If someone had pointed out these fatal flaws and reworked them before Treasure Island’s first screening, we could have been able to garner another Disney classic. Alas, in my book, the movie is a 7/10, complete with a look of longing for the film we could have gotten.
