Again we have the cynical, potentially villainous, figure, this time in the shape of Hank (played by Ed O’Neill), an octopus, or septopus as Dory calls him, due to his loss of a tentacle – again this figure is as essential in the development of Dory’s growing sense of agency as Gill was in Nemo’s. Most of these themes are revisited and elaborated further in a story which focusses on Dory’s gradual recognition of her own value almost a coming of age story for Dory – a rare female disabled protagonist. The impairment and disability-based narratives are there in both Finding films, most obviously in the case of Dory.
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Like the Toy Story trilogy, Finding Nemo and Dory seem to have difficult life issues at their core and, in that sense, Finding Dory is a reprise of themes of family, home and parent/child relationships – almost a treatise on how to care for others in ways that meet their real needs. Unlike Finding Nemo, it is highly unlikely that a film viewer will leave Finding Dory without thinking about disability, especially as the whole film is premised on Dory’s impairment – writ large. And, of course, his travelling companion was the inimitable Dory (played by Ellen Degeneres), star (fish) of this film, a female whose personality is characterised by trust, warmth and loyalty when she can remember who she or anyone else is, due to her ‘short-term memory’ difficulties (cause unknown). Gill teaches him about the strength and benefits of collective identity and solidarity with other fish – as part of their bid to escape captivity. Gill is portrayed initially as a villain, perhaps the Pixar equivalent of a (disabled) James Bond villain, replete with scars and a deeply cynical attitude but plays a central role in aiding Nemo in claiming a more independent, fearless identity before becoming reconciled with his father. A quick reminder Nemo has a smaller right fin, no surviving siblings and an over-protective father, Marlin, and gets lost, thereby meeting a key character, Gill, a captive of a fish tank in a dentist’s surgery. Most of these young people had lost count of how many times they had seen the film before, and all of them thought a sequel was long overdue, but few had considered Finding Nemo to be about disability. The reeds, and other images of ‘nature’, were memorable aspects of both films and arguably fulfilled similar purposes for the viewer, especially in the treatment of nature as a ‘comfort zone’ from emotional pain, and as a contrast to other rhythms of the film.īefore the release of film, I did research with thirteen-year olds, which involved watching and discussing Finding Nemo. In an odd twist of synchronicity, I saw Tarkovsky’s Solaris (1972) the same week and some of the animation of the sea in Finding Dory reminded me of the quiet beauty of the slow shots of flowing reeds in the opening and closing sequences of Solaris. This didn’t disappoint, particularly if you like fish.
There are some givens with Pixar film – one of these is that you will expect and get a beautiful aesthetic experience. This was perfect viewing then for a four year-old, but I’d recommend it to everyone. It also provided basic information to the audience about ‘fun facts’ on fish. This film was ‘a blessing and a curse’ in its occasional use of text to understand the story hence I found myself reading out narrative signposts such as the signs Dory was following to reach her destination, but then again, the inclusion of some textual information may have increased Tilda’s desire for reading fluency. Tilda questioned my laughter on a few of these occasions, entering an age group where she is becoming increasingly curious about other people’s responses which don’t fit with her own understanding. Predictably, Pixar excelled in their creation of art which has content designed for adults (including references to ‘grown-up’ films), whilst appealing to children on other levels.
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It was a film full of humour, although she didn’t laugh as loudly and as frequently as she did at the scatological visual jokes and language of the BFG.
I took my four year-old grand-daughter to see Finding Dory directed by Andrew Stanton for Pixar – she was of course, a feeble excuse to see the film.
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