Soul (2020) – Movie Review

The Low-Down: Of the mainstream animated studios out there, Pixar has a reputation for generally making more sophisticated fare than its competitors. With Soul, Pixar tackles a question no loftier than “what makes you who you are?”

The Story: Joe Gardner (Jamie Foxx) is a middle school band teacher and an aspiring jazz pianist. Just when he’s about to get his big break performing with the Dorothea Williams (Angela Bassett) quartet, he falls down a manhole and goes into a coma. Joe’s soul, bound for The Great Beyond, escapes to the You Seminar, formerly known as “The Great Before”. This is where souls live and gain defining characteristics before they enter corporeal bodies on earth. Joe meets 22 (Tina Fey), a soul who has spent thousands of years evading becoming human. As Joe fights to return to his body on earth, 22 gains an unexpected understanding of, and perhaps an appreciation for, the life she has been trying so hard to avoid.

The Good: Soul is hugely ambitious, a metaphysical, existential odyssey that is challenging and sometimes satisfying to embark upon. It is a lively, funny creation; obviously the effort of artists and technicians who have poured their hearts and, well, souls into their work. Director Pete Docter, who co-wrote the film with Mike Jones and Kemp Powers, gives Soul a poignancy that is difficult to describe.

Soul also faces the immense challenge of creating a view of the afterlife (and the ‘afore-life’) that is compatible with multiple belief systems. Great care was taken in shaping the world of the film, with the filmmakers consulting with various religious and cultural experts. The result is something vaguely new-agey and spiritual, but never explicitly religious.

Soul’s design is also often eye-catching, with some clever ideas at play. To convey the ephemeral, intangible nature of a soul, the designers were inspired by the low-density material aerogel. There’s a lot going on here, and a lot of it immensely clever. Soul is, naturally, an intensely emotional film that left this reviewer in tears. It is especially resonant for anyone who’s tried to make a living doing anything creative.

The Not-So-Good: Soul does not seem like a movie made primarily for children and might be Pixar’s least accessible film yet. It is perhaps more difficult to get into than Inside Out, Docter’s previous Pixar film. This does not mean that it doesn’t have elements in it that children will enjoy, but it is going to be difficult for parents to explain what the movie is about. Soul also feels like a movie that is often in search of itself, which befits its themes, but also means it sometimes goes off in many directions. This is a film that demands to be engaged with, but its take on heady philosophical matters can seem a little simplistic or reductive at times.

Soul sounds: There are few things as universally moving as music, so it is a canny move to centre the movie on a musician. Soul’s soundscape is a richly textured one, with jazz at its core. Co-writer Powers is, like the protagonist Joe, a Black man from New York in his mid-40s and was a journalist and music critic. Jon Batiste wrote and performed the original jazz tracks in the score, in addition to providing the animators reference for Joe’s piano playing. There is great attention paid to the cultural significance of jazz, with jazz legend Herbie Hancock and anthropologist Dr Johnnetta Cole being two of the consultants on board. Trent Reznor and Atticus Ross, known for scoring David Fincher films like The Social Network, The Girl with the Dragon Tattoo and Gone Girl, seem like unlikely candidates to score a Pixar film, but they deliver moving, uncharacteristically gentle work that is still the right amount of haunting.

Speak your soul: Pixar’s films are generally cast well, and Soul is no exception. Jamie Foxx effortlessly essays passion and earnestness, while Tina Fey is endearing as the cynical 22, world-weary despite having never lived. Fey contributed to her character’s dialogue; 22 makes a great throwaway dig at the New York Knicks. Phylicia Rashad breathes life into the relatively small role of Joe’s stern yet loving mother and Angela Bassett is as commanding a presence as ever, voicing a legendary saxophonist. Talk show host Graham Norton brings a friendly quirkiness to hippie sign-twirler Moonwind and Rachel House is funny as the tightly-wound bureaucrat Terry, a soul-counter.

Recommended? Yes. Younger children might not readily understand Soul, but older audiences will readily connect to it.

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