catapult magazine

We bought the Disney/Pixar “The Incredibles” for our son’s Easter present.

Didn’t like it as much as the rollicking, fun filled Shrek I and 2. And in some ways, the graphics (notably skin, hair, clothing) are not as good.

But the elegantly styled story (roughly like early 1960’s or late 50’s detective or adventure or crime fighting movies) of this family of “supers” i.e. superheroes, is worth the watch. And it grows on one! (Wrest a copy away from a younger sibling if you have to.)

Mr. Incredible is of that select group in society known as superheroes (or “supers”) who are happiest using their special powers to rescue humanity.

But unfortunately Mr. I is sued by persons who were saved by him but who still suffered injuries. (Sound familiar?) No “good samaritan” law protects him…He and all supers fall afoul of public opinion polls and the government relocates all “supers” and their families where “their secret identity becomes their only identity.” Will the supers adjust to just being average? Or will they (despite public opinion and government legislation) again save the day???

So Bob Paar works in a dreary insurance co. where his biggest deed is helping persons get their fair claims…and Helen Paar is home taking care of the 3 kids…Interesting family banter. Yet a villain and challenges await…

I read this, it sounds so dreary. How can I say more without giving away much of the effect and surprises of this stylish movie? [/b:44079f64da]

While my 6 year old likes it for the action, I enjoy the adult conversations—mainly while they are fighting villians or super robots (even realistic marital arguments) between Helen and Bob (formerly Mr Incredible & Elastigirl) who have married & have 3 kids…all super in their own unique ways.

)PS the end credits have great flat graphics of about every important movie scene. Great to watch on their own…for style.

Does it seem to anyone else that modernism is making a comeback? Not just in The Incredibles, but also Sky Captain and the World of Tomorrow, Aviator etc. There seems to be a longing for that old desire, of wanting to achieve great things. This is a desire that was sort of made fun of in the ironic nineties. But it seems to be coming back big-time, yes?

Grant, I noticed the same thing happening, and I have to admit that there is a part of me that really enjoyed it. I love seeing heroes who do great things. It’s exhilirating. I don’t know that this is all bad. After all, as God’s image-bearers, we are able to do some really great things (also really wicked things of course). Only I don’t think it’s a comback of modernism, except insofar as postmodernism is really just “most-modernism.” Doesn’t postmodernism claim the exact same thing as modernism (albeit in different senses): “WE did it!”?

Why do you think the ironic nineties made fun of acheiving great things?

I wonder whether it’s more a case that pop culture has reached a point where modernism doesn’t need to be rejected by hyper/post/liquid modernism. A fairly common theme in intellectual movements is that they go through extreme phases and then, as they become more pervasive, they can become more of an influence and less of a reaction.

The Incredibles seems to bear hallmarks of both modernism and its younger sibling. The heroic achievement certainly feels modernist, but at the same time the nostalgic/kitsch themes (so well observed) and critique of suburbanism don’t fit in that same niche.

From a ‘liquid modernism’ standpoint, you can probably fashion an understanding that says that the early period portrayed in the film is a time of clear structures within which superheroes had a well defined place and responsibilities, that that place was then brough crashing down, and that the latter phase shows a more malleable place for superheroes with new niches and options but not the same clear structure. Whether or not that plays out, we’ll have to wait for a sequel to say!