Psycho's Movie Reviews #253: Moana (2016)

Moana (also known as Vaiana or Oceania in some markets) is a 2016 American 3D computer-animated musical adventure film produced by Walt Disney Animation Studios and distributed by Walt Disney Pictures. The 56th Disney animated feature film, the film is directed by Ron Clements and John Musker, and co-directed by Don Hall and Chris Williams, the film introduces Auliʻi Cravalho as Moana and features the voices of Dwayne Johnson, Rachel House, Temuera Morrison, Jemaine Clement, Nicole Scherzinger, and Alan Tudyk. The film features original songs written by Lin-Manuel Miranda, Opetaia Foa'i and Mark Mancina, and an orchestral score also composed by Mancina.

The film tells the story of Moana, the strong-willed daughter of a chief of a Polynesian village, who is chosen by the ocean itself to reunite a mystical relic with the goddess Te Fiti. When a blight strikes her island, Moana sets sail in search of Maui, a legendary demigod, in the hope of returning the relic to Te Fiti and saving her people. The plot is original, but takes inspiration from Polynesian myths.

Moana was released theatrically in the United States on November 23, 2016, to positive reviews from critics, with particular praise going towards its animation, music, and vocal performances. The film went on to gross over $645 million worldwide. Along with Zootopia, it marked the first time since 2002 that Walt Disney Animation Studios released two feature films in the same year, since Lilo & Stitch and Treasure Planet. At the 89th Academy Awards, the film received two nominations for Best Animated Feature and Best Original Song ("How Far I'll Go").

Plot

On the Polynesian island of Motunui, the inhabitants worship the goddess Te Fiti, who brought life to the ocean eons ago using a pounamu stone as her heart and the source of her power. Maui, the shape-shifting demigod of the wind and sea and master of sailing, steals the heart to give humanity the power of creation. However, Te Fiti disintegrates, and Maui is attacked offshore by Te Kā, a volcanic demon. He loses both his magical giant fishhook and the heart to the depths of the sea.

A millennium later, the ocean chooses Moana, daughter of Motunui's chief Tui, to return the heart to Te Fiti. Tui and Sina, Moana's mother, try to keep her away from the ocean to prepare her to become the island's chief. Sixteen years later, a blight strikes the island, killing vegetation and shrinking the fish catch. Moana suggests going beyond the island's reef to find more fish and escape the blight, but Tui forbids it. Moana tries conquering the reef but is overpowered by the tides and shipwrecked back to Motunui.

Moana's grandmother, Tala, shows her a secret cave of ships, revealing that their people were voyagers until Maui stole Te Fiti's heart; the ocean was no longer safe without it. Tala explains that Te Kā's darkness is poisoning the island, but can be cured if Moana finds Maui and has him restore the heart of Te Fiti. Having been given the heart of Te Fiti by the ocean, Tala gives it to Moana. Tala later falls ill and, on her deathbed, tells Moana that she must depart to find Maui.

Setting sail on a camakau from the cavern along with the hen named Heihei, Moana is caught in a typhoon and shipwrecked on an island where she finds Maui, who boasts about his achievements. She demands that Maui return the heart, but he refuses and traps her in a cave. She escapes and confronts Maui, who reluctantly lets her on the camakau. They are attacked by Kakamora—coconut pirates—who seek the heart, but Moana and Maui outwit them. Moana realizes Maui is no longer a hero since he stole the heart and cursed the world, and convinces him to redeem himself by returning the heart. Maui first needs to retrieve his magical fishhook in Lalotai, the Realm of Monsters, from Tamatoa, a giant coconut crab. While Moana distracts Tamatoa, Maui retrieves his hook, only to find himself unable to control his shape-shifting. He is overpowered by Tamatoa, but Moana's quick thinking allows them to escape with the hook. Maui reveals that his first tattoo was earned when his mortal parents abandoned him as an infant, and the gods, taking pity on him, granted him his powers. After reassurance from Moana, Maui teaches her the art of sailing, regaining control of his powers, and the two grow closer.

They arrive at Te Fiti's island, only to be attacked by Te Kā. Moana refuses to turn back, resulting in Maui's hook being badly damaged. Unwilling to lose his hook in another confrontation with Te Kā, Maui abandons Moana, who tearfully asks the ocean to find someone else to restore the heart and loses hope. The ocean obliges and takes the heart, but Tala's spirit appears, inspiring Moana to find her true calling. She retrieves the heart and sails back to confront Te Kā. Maui returns, having had a change of heart, and buys Moana time to reach Te Fiti by fighting Te Kā, destroying his hook in the process. Upon being unable to find Te Fiti, Moana realizes Te Kā is Te Fiti, corrupted without her heart. The ocean clears a path for Moana, allowing her to return the heart to Te Fiti, who heals the ocean and islands of the blight. Maui apologizes to Te Fiti, who restores his hook and gives Moana a new boat before falling into a deep sleep and becoming a mountain.

Moana bids farewell to Maui, returning home where she reunites with her parents. She takes up her role as chief and wayfinder, leading her people as they resume voyaging with Maui flying over them in Hawk form.

In a post-credits scene, Tamatoa, still stuck on his back, addresses the audience, knowing they would help if he was named Sebastian.

Production

Development

After directing The Princess and the Frog (2009), Clements and Musker started working on an adaptation of Terry Pratchett's Mort, but problems with acquiring the necessary film rights prevented them from continuing with that project. To avoid a recurrence of that issue, they pitched three original ideas. The genesis of one of those ideas (the one that was ultimately green-lit) occurred in 2011, when Musker began reading up on Polynesian mythology, and learned of the heroic exploits of the demigod Māui. Intrigued with the rich culture of Polynesia, he felt it would be a suitable subject for an animated film. Shortly thereafter, Musker and Clements wrote a treatment and pitched it to John Lasseter, who recommended that both of them should go on research trips. Accordingly, in 2012, Clements and Musker went on research trips to Fiji, Samoa, and Tahiti to meet the people of the South Pacific Ocean and learn about their culture. At first, they had planned to make the film entirely about Maui, but their initial research trips inspired Clements to pitch a new idea focused on the young daughter of a chief.

Clements and Musker were fascinated to learn during their research that the people of Polynesia abruptly stopped making long-distance voyages about three thousand years ago. Their navigational traditions predated those of European explorers, beginning around 300 CE. Native people of the Pacific possessed knowledge of the world and their place in it prior to the incursion of foreigners. For example, Kānaka Maoli (Native Hawaiians) were well aware of the existence of far away islands, had names for these places, and were interested in exploring them to benefit their societies. This voyaging heritage was made possible by a geographical knowledge system based on individual perspective rather than the European cardinal direction system. The reasons for the halt of this voyaging tradition remain unknown, but scholars have offered climate change and resulting shifts in ocean currents and wind patterns as one possible explanation. Native peoples of the Pacific resumed voyaging again a thousand years later. Clements and Musker set the film at that point in time, about two thousand years ago, on a fictional island in the central Pacific Ocean, which drew inspiration from elements of the real-life island nations of Fiji, Samoa, and Tonga.

Over the five years it took to develop and produce the film, Clements and Musker recruited experts from across the South Pacific to form an Oceanic Story Trust, who consulted on the film's cultural accuracy and sensitivity as the story evolved through nine versions. The Trust responded negatively, for example, to a depiction of Maui as bald, and to a proposed scene in which Moana threw a tantrum by throwing coconuts. In response, Maui was reworked with long hair and the coconut scene was scrapped.

During the 2015 D23 Expo's panel for Disney's slate of upcoming animated films, Moana's last name was given as "Waialiki", but that name was not retained in the final film.

Writing

Taika Waititi wrote the initial screenplay, but went home to New Zealand in 2012 to focus on his new-born first child and What We Do in the Shadows. Years later, Waititi joked that all that was left of his original draft was "EXT: OCEAN – DAY". The first draft focused on Moana as the sole daughter in a family with "five or six brothers", in which gender played into the story. However, the brothers and gender-based theme were deleted from the story, as the directors thought Moana's journey should be about finding herself. A subsequent draft presented Moana's father as the one who wanted to resume navigation, but it was rewritten to have him oppose navigation so he would not overshadow Moana. Instead, Pamela Ribon came up with the idea of a grandmother character for the film, who would serve as a mentor linking Moana to ancient traditions. Another version focused on Moana rescuing her father, who had been lost at sea. The film's story changed drastically during the development phase (which happens with most Disney films), and that idea ultimately survived only as a subtle element of the father's backstory.

Te Kā was referred to in early drafts of the film as Te Pō, a reference to the Māori goddess Hine-nui-te-pō, who was originally the life-giving goddess Hine-tītama, but became the goddess of death upon discovering that her husband the god Tāne was also her father. Māui set out to defeat her in order to bring immortality to humans, but failed and was himself killed.

Aaron and Jordan Kandell joined the project during a critical period to help deepen the emotional story architecture of the film. They are credited with developing the core relationship between Moana and Maui, the prologue, the Cave of the Wayfinders, the Kakamora, and the collector crab Tamatoa (played by Jemaine Clement). Jared Bush received sole credit as the writer of the final version of the screenplay.

Several major story problems were identified in 2015 after the film had already transitioned from development into production, but computer-generated films tend to have much shorter production schedules and much larger animation teams (in this case, about 90 animators) than traditionally animated films. Since Clements and Musker were already working 12-hour days (and Saturdays) directing such a large team of animators, Don Hall and Chris Williams (who had just finished directing Big Hero 6) came on board as co-directors to help fix the film's story issues. The scene in which Maui and Moana encounter the Kakamora is an intentional homage to Mad Max: Fury Road.

Casting

After the filmmakers sat through auditions of hundreds of candidates from across the Pacific, 14-year-old high school freshman Auliʻi Cravalho was cast as the lead character Moana. At that point in time, the design of Moana's face and personality was already complete, and Cravalho's obvious physical resemblance to her character was simply a coincidence. During animation production, Disney animators were able to integrate some of Cravalho's mannerisms into Moana's behavior as depicted onscreen.

The majority of the film's cast members are of Polynesian descent: Auliʻi Cravalho (Moana) and Nicole Scherzinger (Sina, Moana's mother) were born in Hawaii and are of Native Hawaiian heritage; Dwayne Johnson (Maui), Oscar Kightley (Fisherman), and Troy Polamalu (Villager No. 1) are of Samoan heritage; and New Zealand-born Rachel House (Tala, Moana's grandmother), Temuera Morrison (Tui, Moana's father), and Jemaine Clement (Tamatoa) are of Māori heritage.

Animation

Moana is Clements and Musker's first fully computer-animated film. One of the reasons for using computer animation was that the environment, including the ocean, benefited much more from the use of CGI as opposed to traditional animation. The filmmakers have also suggested that three-dimensional computer animation is well-suited to the "beautiful sculpturing" of the faces of the people of the South Pacific. Eric Goldberg worked on the hand-drawn animation used to depict Maui's sentient tattoos. During early development, the filmmakers considered the possibility of making the film with hand-drawn traditional animation, but only a few early animation tests were made in that style. In the final cut, only Maui's tattoos are hand-drawn.

Moana was produced in makeshift quarters in a giant warehouse in North Hollywood (together with Zootopia), while Disney Animation's headquarters building in Burbank was being renovated. Musker observed that Moana was similar in that respect to The Little Mermaid, which was produced in a warehouse in Glendale. Production wrapped on October 20, 2016.

Music and Soundtrack

The film's soundtrack was released by Walt Disney Records on November 18, 2016. The songs were written by Opetaia Foa'i, Mark Mancina, and Lin-Manuel Miranda, while the score was written by Mancina. The lyrics are in English, Samoan, and the Tokelauan language. The soundtrack peaked at number two on the Billboard 200.

Localization

Moana was localized through Disney Character Voices International into 45 languages by its original theater release, to which 6 more languages were added in the following years. In many European countries, the name of the titular character, Moana, was changed to Vaiana due to a trademark conflict. The film was released in those countries to bear the alternative name in the title. In Italy, the film was released with the title Oceania: media outlets speculated that the name change was to avoid confusion with Italian pornographic actress Moana Pozzi, and Disney Italy's head of theatrical marketing, Davide Romani, acknowledged they were "thinking about the issue" at a meeting of Italian exhibitors in 2015.

Following the success brought by international productions of Disney's Frozen, which led to the release of a complete set album which included all the official versions of "Let It Go" released at the time, Disney decided to produce a special Tahitian dubbing for the movie. On October 25, 2016, at a press conference in Papeete, it was announced that the film will be the first motion picture to be fully dubbed in the Tahitian language. This marks the second time Disney has released a special dubbing dedicated to the culture which inspired the film: the first case was The Lion King (1994), for which the directors travelled to South Africa to cast voice actors for a Zulu-dubbed version. The Tahitian dubbing was made available in schools and institutions, but never for the public to purchase.

In June 2017, a Māori-language dubbing of the movie was announced, premiering in Auckland on September 11, with 30 theatres screening it for free as part of Māori Language Week. Rachel House, Jemaine Clement, Temuera Morrison, and Oscar Kightley reprised their respective roles in this version, directed by Rachel House herself. In contrast to the Tahitian dubbing, the Māori version was made available for purchase in Australia and New Zealand, and the soundtrack was uploaded on Disney's official Vevo channel.

In November 2017, a Hawaiian-language dubbing was announced to be under way, with Auliʻi Cravalho reprising her role as Moana. The movie premiered on June 10, 2018, and, like the Tahitian version, it was later distributed for free in Hawaiian schools, but it was never released for sale on any home media form.

Release/Relationship/Box Office

On October 20, 2014, Walt Disney Pictures announced that it would be releasing the film in late 2016, and hinted that it might be the November 23, 2016, release window previously announced by the studio in March 2014 for a then-untitled film. In November 2014, Disney confirmed that it would be releasing the film on November 23, 2016. The film is accompanied by the short film Inner Workings. The film's world premiere was held at the El Capitan Theatre in Los Angeles on November 14, 2016.

On January 27, 2017, a sing-along version of Moana was released in more than 2,000 theatres in the United States, featuring on-screen lyrics.

On review aggregator website Rotten Tomatoes, Moana holds an approval rating of 95% based on 283 reviews and an average rating of 7.90/10. The website's critical consensus reads "With a title character as three-dimensional as its lush animation and a story that adds fresh depth to Disney's time-tested formula, Moana is truly a family-friendly adventure for the ages." Subsequently, the film is also listed as number 18 on the website's "90 Best Computer Animated Movies" list. On Metacritic, the film holds a weighted average score of 81 out of 100, based on 44 critics, indicating "universal acclaim". Audiences polled by CinemaScore gave the film an average grade of "A" on a scale ranging from A+ to F, while PostTrak reported filmgoers gave an 89% overall positive score and a 79% "definite recommend".

Joe Morgenstern of The Wall Street Journal proclaimed that "Moana is beautiful in more ways than I can tell, thanks to the brilliance of more animators than I could count." Animator Eric Goldberg received praise from critics and audiences for his hand-drawn animation of Maui's tattoos, which they claimed "stole the show" from the actual CGI-animated motion picture. Wai Chee Dimock, writing in the Los Angeles Review of Books, compared the ocean in Moana to the one in "The Water Baby", a short story by Jack London, saying that both are animated: one, by the tension between digital and analogue animation, and the other, by the tension between an encroaching future and a past in retreat still capable of pushing back.

Christy Lemire of RogerEbert.com gave the film three-and-a-half out of four stars, stating "...its dazzling visuals, catchy tunes, enjoyable performances, clever running gags and overall sense of fun. It's all there, and—except for a few scary moments—it'll delight viewers of all ages." Peter Debruge of Variety praised the film, calling it "a return to the heights of the Disney Renaissance".

Moana grossed $248.7 million in the U.S. and Canada, and $442.1 million in other countries, for a worldwide total of $690.8 million. On January 22 and March 16, 2017, respectively, the film reached the $500 million and $600 million marks, becoming the fourth consecutive Walt Disney Animation Studios film to reach both milestones after Frozen (2013), Big Hero 6 (2014), and Zootopia (2016). Although Disney has not disclosed the film's production budget, most of its animated films cost around $150 million. Deadline Hollywood calculated the net profit of the film to be $121.3 million, when factoring together all expenses and revenues for the film, making it the 12th-most profitable release of 2016.

Budget $150–175 million

Box office $645 million

{More awesome concept art!}

My Review

Despite being a lifelong Disney fan, that is not to say that everything they've done is great. They've done many classics, their best revolutionary, though they had hit and miss periods in the 80s and the 2000s.

'Enchanted' and 'The Princess and the Frog' saw a return to form, while the likes of 'Tangled', 'Wreck It Ralph', 'Zootropolis' (aka 'Zootopia') and 'Frozen' were even better and there was a lot to like too about 'Big Hero 6'. Of the "2nd Renaissance"/"Disney Revival" period, 'Moana' is up there with the best of them and as one of Disney's best in about twenty years.

Maybe the momentum dips ever so slightly going into the final act, Maui's change of heart is a touch rushed and for me there was no real point to the pig character that induced more unintentional awkwardness than amusement. It was however difficult to fault 'Moana', because of how many things it did right and how brilliantly the things it did right were executed. There have been criticisms regarding a formulaic story, HeiHei the chicken being irritating and the portrayal of Maui being stereotypical, but these were criticisms that didn't bother me at all.

This synopsis might sound very strange and confusing… and it's best you just see the film for yourself. Suffice to say, it is a real crowd pleaser due to an interesting, stunning computer animation and very original story as well as some interesting characters. I particularly liked Moana as she was strong and likable …and not someone needing rescuing. But she also wasn't harsh or stereotypical… just determined. I also loved her pet sidekick, as this chicken is nothing like any Disney sidekick …and you'll soon realize this animal is possibly the dumbest in Disney history …as well as very funny.. As for Dwayne Johnson ('The Rock') he was also very good… and I was surprised that he had a decent singing voice in the film. As for the singing in general, however, this is the weakest aspect of the film. While most of the songs are enjoyable, a few are quite forgettable and none have that sing ability you look for in a full-length Disney cartoon. You'll almost certainly not be singing or humming the tunes once the film has concluded.

I'd like to point out that I really loved the look of the film. I've visited the South Pacific and New Zealand and the movie really does a great job of capturing the look and spirit of this part of the world. It's also nice that kids in this part of the world now finally have their own Disney princess…, one who isn't a carbon copy of other Disney females.

Firstly, the animation is phenomenal. Disney's best-looking film in a long time and one of their best-ever looking films, not just this but perhaps the most visually exquisite animated film this year in a year that also saw 'Your Name', 'Kubo' and 'Zootropolis' and even one of the year's best-looking films. The attention to detail is impossible to fault, whether it's the water, the trees or even Maui's tattoos, while the colours just pop out at you and everything is immaculately detailed with not an ounce of artificiality in the backgrounds, further boasting visually stunning sequences such as the climax, "We Know the Way", "Shiny" and with the coconut pirates.

The soundtrack has garnered a huge amount of praise, and for good reason. Love the evocative orchestration and instrumentation, with its seamless blend of South Pacific Culture, pop and Broadway. Likewise with the songs, which are along with 'Frozen' the best and most consistent set of songs from a Disney film since 'The Hunchback of Notre Dame'. "How Far I'll Go" is an "I want" sort of song that's infectious, heartfelt and inspiring. "You're Welcome" sees Dwayne Johnson showing a quite wide range of emotions through a surprisingly good singing voice. "Shiny" is deliciously kooky and like something that David Bowie would be proud of, Jemaine Clement sings the heck out of it. "We Know the Way" sends chills up the spine.

Scripting-wise, 'Moana' encompassed a wide emotional range within me. There is something for everybody, never too complicated for children and never too childish for adults, tonally it's focused throughout, and it's very witty and thought-provoking. Throughout there are many opportunities to laugh, cry and be inspired. The story is, while not exactly original, beautifully paced and enthralling.

The whole Polynesian culture, faith and seafaring traditions included and explored generously but in a way that feels part of the story rather than just thrown in, and while there are elements that reminds one of Disney past and present this feels more affectionate than Disney just running out of ideas. The coconut pirates scene may seem like filler, but instead of being incidental and dull filler it was entertaining and visually dazzling, while the musical numbers bring the storytelling forward and say much about the characters' motivations and the climax is hair-raising.

Moana is has now joined the list as one of my favourite female Disney characters, while Maui is a fun, compelling character and the chemistry between the two being a large part of the film's humour and heart. Personally found myself entertained by HeiHei and that his existence and role in the story were justified. If anybody does find him dumb or annoying, this is a rare of those not being bad things for a character clearly intended to be that way from reading up about the film. The voice acting is top notch, with Auli'i Cravalho making a startling debut (voice and singing, goodness she has pipes). Dwayne Johnson, on paper an unlikely and eyebrow-inducing choice, is also splendid, as an actor he's grown a lot, while Alan Tudyk is amusingly zesty and Jemaine Clement bringing gleefully kooky menace.

In summary, knocks it out of the park in visual beauty and sheer entertainment value, Disney does it again with their latest classic 'Moana'. 9/10

{Shiny is still best song though...}