Ratatouille as an Exploration of Elitism versus Creativity

Speaking of liking and not liking things...

The plot of Ratatouille is complex as is the dialog. There is no attempt to "talk down" the dialog or even, as in Toy Story and Shrek, to keep the plot dialog basic while throwing in funny and more complex subtext. All of Ratatouille's dialog demands close attention. Still, it is possible that for young children, the images carry most of the story. And I happen to believe that while a child may get bored with an overly complex work (i.e., War & Peace), complexity doesn't automatically hurt a child's appreciation of a film or book: even if the child doesn't understand every plot point, innuendo, or theme, the child still responds to the film or book's created world and the human tensions within it.

Likewise, I think a child can appreciate the rather complex theme of Ratatouille, especially since the theme has multiple levels. When I first saw the movie, my English-teacher's brain was mislead by Gusteau's slogan, "Everyone can cook." I jumped to the conclusion that the movie was another one of those Disney films about someone trying and trying and trying until he or she achieves her goal! The Little Engine That Could, version 3,000.

But really, Gusteau's slogan should be "Everyone may cook" or, rather, "Everyone with talent should have the right to cook." In other words, Gusteau's point is not "hey, if you just try, try, try again, you can make it" (after all, Linguini freely admits at the end of the movie that he has absolutely no talent); rather, Gusteau is challenging the position of elitists.

"Everyone can cook" as in EVERYONE. Although Remy is the ultimate example of this, there are constant and sometimes subtle references to Gusteau's slogan throughout the entire movie: Colette challenges Linguini to doubt her talent (and her chutzpah) because she is a woman in a "man's world"; Skinner deplores Linguini's achievements because he is (1) a garbage boy and (2) untrained. Elitism--specifically the elitism that claims superiority for reasons other than talent (I have the right schooling; I know the right people; I belong to the right class/clique/political party)--is being questioned. In this context, Ego's name, of course, is a dead giveaway. His critiques (until the very end of the movie) aren't about enjoyment, pleasure, the fun of the thing; they are all about ego.

What makes Ratatouille, like so many Pixar films, unusual is that the issue of anti-elitism is not allowed to stop there. Yes, attacking elitism is great, but the writers force Remy to examine his budding anti-elitism. Will it (like it has for so many angsty college graduates) simply make Remy an anti-elitist elitist? Because Remy's family doesn't really understand or care about his talent does that mean they are stupid, capitalist, thieving philistines who should be shoved out of his life as quickly as possible?

Not at all. Remy's brother Emile will never lose his taste for Ramen noodles, tater tots, and Hostess cupcakes. The guy just isn't a gourmet. But he loves his brother, and his brother loves him, so...what does it matter? In fact, Brad Bird, the writer and director of Ratatouille, attempts to answer that question: Why does Remy's talent matter (if not for elitist reasons)? His answer: Remy's talent isn't about being better than other people; it's about doing something that will add to the world.

I like that because it bypasses the whole elitist versus self-esteem-for-everyone argument. (I dislike the first position and consider the second counter-productive.) In my thesis, I argue that people enjoy artistic works because those works enable them to use their creativity, but I also argue that creativity is a very broad desire.

Creativity is not a specialized right-brained activity, reserved for artists, poets, and performers. People want to create all kinds of things: loving families, good filing systems, decent web sites, tasty treats, well-groomed animals, a trusty lesson plan. How that desire plays out may very well be influenced by social, cultural environments and institutions but votary theory [my theory that I present in my thesis] postulates its existence regardless of external frameworks. The creative desire like any human desire (envy, hate, love) exists throughout time and history. The modes of its expression are influenced by context but context does not determine the desire. A contemporary Shakespeare would not, perhaps, write plays (unless he teamed up with Andrew Lloyd Webber); that a contemporary Shakespeare would have creative impulses I have no doubt.

In any case, all this thought about what constitutes talent and how it should be handled is extremely impressive for a movie that is, ostensibly, a light children's film, but then I have always found designations for films and books to be more confining than truthful.