Brother Bear (2003)

Brother Bear Poster 2

I grew up during the 2000’s, so my first ever exposure to Disney films were the Post-Renaissance era works; a time when Disney tried to move away from their once popular Renaissance era formula that had officially grown tired and stale in “Tarzan” with a string of surreal, experimental films. These days I admire the ambition and creativity of films like “Atlantis: The Lost Empire”, “The Emperor’s New Groove”, “Treasure Planet” and “Lilo and Stitch”, more so than later films from the second half of the same decade, but the movies in question were a mixed bag, ranging from solid to good to terrible. My favorite of the bunch was always “Brother Bear”; it was the only one to have a real lasting impact on me and it still holds up strongly today. Michael Eisner’s frequent attempts at the time to make a “boy’s movie” finally paid off, though not without a few drawbacks. “Brother Bear’s” structure can catch you off guard the first time through. The first act is essentially twenty-four minutes of well-done, immersive set-up with the story really beginning on Kenai’s first day as a bear, swapping the human world and the human cast for an animal’s perspective for the rest of the film. It also has one of the world’s most obvious plot twists involving Koda’s mom. The only reason it isn’t more of a problem in the film is because the movie’s focus is on building Kenai and Koda’s friendship and not waiting for the other shoe to drop on that revelation for the next two acts. Really though, a large decider in how much you like this film – even more than your average Disney movie – is how much you like the main characters, Kenai and Koda, since their relationship ultimately forms the emotional core of the film. And I can safely say that I like them. I like them a lot.


The youngest of three Native brothers, Joaquin Phoenix’s Kenai is a brash, fun-loving, hotheaded hunter who’s looking for his place in the world, and not that fond of the local predators (our fellow omnivores) bears. Kenai’s fear grows into prejudice after his eldest brother is killed in a lethal bear attack, so Kenai slays the beast for revenge only to be turned into an animal by the local spirits, so he can walk in a mile in a bear’s shoes and learn a lesson in empathy. For the first half of the film, Kenai is an immature, self-centered person still hurting from the loss of his brother, but through a spiritual journey he starts to broaden his perspective, bit by bit, make peace with his brother’s passing, and in time regain who he used to be through friendship and grow into someone better. His character arc progresses naturally for the kind of guy he is, and I found myself very invested in it, especially since this movie can get damnably intense. Interestingly enough, despite there being no real ‘villain’ in “Brother Bear”, one can easily argue Kenai is the real antagonist of this movie, since he sets off everyone’s problems, including his own. When Kenai grows enough as a person to make this discovery himself, he despairingly finds he’s dug himself into quite a hole and hurt everyone closest to him (indirectly causing Sitka’s death, making Koda an orphan, planting the seeds for Denahi’s madness) with nary a thing he can do now to fix any of it. It something that helps Kenai stand out as a protagonist, very few Disney characters hit this low of a point. And in a nice subversion of the usual liar revealed plot, Kenai chooses to come clean to Koda about everything, despite what it’ll do, because his young friend deserves to know the truth about his mother. In the end, Kenai redeems himself in a manner that begins to mend his bond with Koda and pushes him the way to being a man – owning up to one’s mistakes and doing whatever you can to fix them is after an important part of being an adult after all. It’s an ending that’s the very antithesis of “The Hunchback Of Notre Dame” and like Katejohns619 stated, a fairly optimistic ending to one of Disney’s darker stories.

Kenai and Koda 2

Jeremy Suarez has impeccable comic timing as Koda. Right from the off, when he’s beating our lead with a stick, he’s hilarious (“It’s no use. The only way to get down is to chew your own foot off.”). Koda is a worldly, precocious, talkative young bear cub who doesn’t much like being alone. I think the thing I like the most about him isn’t just the chipper presence he has in the film (which feels needed after how dark the first act became), but how plainspoken he is. He’s type to tell it how it is, and that’s exactly the sort of friend Kenai needs (if not the one he wants at first). It soon becomes clear Koda loves having the older bear around: someone to tell stories to and play on tricks on and share adventures with. In time, despite how macho he is, Kenai warms to the cub and starts treating him much the way I imagine his own brothers treated him when he was young. In fact, the budding friendship between Kenai and Koda is the reason why “Brother Bear” resonated with me for over a decade when other Post-Renaissance films didn’t. It’s funny, it’s sweet, and at the time I had never seen anything like it before in a Disney movie. Sibling love, conventional or otherwise, is something Disney’s begun to explore in depth since the new millennium, in films like “Lilo and Stitch”, “Brother Bear”, “Wreck It Ralph”, “Big Hero 6” and “Frozen“, and I have to say, I love this trend. Because I adore the bond that forms between our two leads, smallish bear and his adoptive big bro, the last act is one of the saddest and most touching things I’ve seen from Disney. In a rather painful parallel to Kenai conquering his fear of bears and learning the world isn’t as simple as he thought, poor Koda discovers his traveling buddy is really one of the big bad hunters he fears and has cost him dearly. He’s forced to see him as either a heartless killer or a friend who fucked up, and when the time comes he spares him the fate of being gutted by his brother (one many wouldn’t begrudge him of) because he doesn’t want to lose anyone else important to him (also because he’s a badass). Koda too gains the gift of nuance, which ultimately helps the cub to move forward.

Kenai and Koda 4

McKenzie moose, Rutt and Tuke, are really too good for this world at times. They strike a nice balance between being affable and being self-involved, living in their little own world for most of the movie and being largely uninterested in the main plot, and while this attitude can be annoying for some, I love it, especially when they’re bored or taking the piss out of Kenai. The Canadian moose also tie into the movie’s main theme of brotherhood and wind up saving Kenai’s ass without really trying at the end. The older I get, the more I feel bad for Sitka. Kenai and Denahi look like they’re teens but they act more like twelve year olds that he has to deal with, and then he dies in the first ten minutes of the movie. I think it’s a nice touch that Sitka manages to influence the entire plot, even after death. Despite caring for them deeply, after blood has been spilt Sitka decides to show his bros some tough love and let their pair fight it out for most of the movie so they can both grow from the experience (while keeping tabs on them of course). It gives this already wise, benevolent character a stern edge and the film another interesting element to pay off at the end. Acting as a sort of darker mirror to Kenai and a physical consequence of his actions, middle brother Denahi is also lost for most of the film, struggling to live up to his totem and believing he’s lost both of his brothers to the wilderness, that he’s failed them, causing him to go even more insane than Kenai had for much longer. As a consequence to the movie devoting most of it’s second and third acts to Kenai and Koda, “Brother Bear” threatens to lose Denahi’s plot thread from the first act several times before bringing it home for the climax. I actually think Denahi is the least interesting character of the bunch, but to the dude’s credit, he adapts to magical transformations and his brother leaving him to go live with bears a lot better than you would expect him to.


Wilderness of danger and beauty.

While the background work in the first act is already impressive, from Kenai’s transformation onwards, “Brother Bear” has a rich, warm, earthy color palette that’s suitably picturesque and quite soothing for a wilderness film. All the shimmering, encompassing artwork of the Aurora Borealis is especially beautiful, including a shot at the end of Sitka and Koda’s mother returning to the Northern lights. It’s also around the salmon run scenes that I start to realize how much I like the film’s sense of humor (the animals in the “Brother Bear” universe are all very sociable and opinionated, aren’t they?). Phil Collins, Tina Turner, and the Blind Boys Of Alabama provide the songs for the movie, and they’re very effective for the most part; sometimes powerful. Collins singing with Kenai and Koda’s inner voices works well for “On My Way” and “Welcome”, but not as much for “No Way Out”, which, for a moment, makes Kenai’s confession feel like a Phil Collins music video. I think the most distinctive and memorable song is the passionate, ethereal Native chant by the Bulgarian Women’s Choir that accompanies Kenai’s transformation (both of his transformations) and represents hope for change and enlightenment. In addition to the songs, Phil Collins and Mark Mancina compose a riveting, percussion-laden score for the film with stirring, woodwind renditions of the songs cropping up from time to time, marking the characters’ progress. The strongest number of the lot, “Look Through My Eyes”, is the end credits song, which manages to cap off the film’s message with just the right amount of warmth and sappiness I described liking earlier.

“Brother Bear” is one of Disney’s more divisive movies – par for the course for the era of which it came from – and I proudly fall in the camp of people who enjoy this movie and recommend it to others who have never seen it. After all these years, I’m also glad that the concept of bears and brotherhood has unexpectedly lived on in “We Bare Bears“.

We Bare Bears

As you can see, I had fun with this entry.

Rating: 9.10.

Side Notes:

Rutt and Tuke

* Bambi, Bambi’s mom and Lilo all make cameos early on.

* “Your totem is… love!” “…Wut?”

* Can’t you just feel the love?

* “I don’t blame the bear, Kenai!” Oh damn, son!

* Man vs Nature, Round Two.

* This movie has so many laughs at Kenai’s expense. Karma’s a bitch, hon.

* “That bear… over there… he’s crazy…” “I am not CRAZY!” “Wha- whoever said you were?”

* “You swear?” “Yeah“.

* “Are you sure your mom didn’t ditch you, Kod-duh?” Oh wow, Kenai and Koda must just look back on that memory and cringe.

* Rutt and Tuke track down Kenai and Koda for protection from the hunter, unaware that 1. they suck at fighting just as much they do and 2. they’re the ones Denahi is actually after. More irony.

* I never knew I wanted to see bears riding mammoths until this movie.

* “What was your brother’s name?” “Sitka” “Thanks Sitka, if it weren’t for you, I never would have met Kenai” Daw. I really do enjoy this first talk about Sitka. It’s a nice reminder that Kenai’s brother died only a few days ago and he hasn’t really dealt with it yet. You’ll notice this is the point in the film where he starts to become less surly.

* “Tree” “No, you have to-” “Oh, it counts” “No, it-” ‘It counts!” “Fine” “…Tree” “Let’s just play something else”.

* “Enough with the stories, I don’t care about the time you and Binky found like, ‘the world’s biggest pine cone ever!'” “Okay, first, his name’s Bucky, not ‘Binky’. Second, it wasn’t a pine cone, it was a pine nut, and it was huge, even bigger than your fat head!”

* Denahi screeching ‘NO!’ is unintentionally hilarious.

* Kenai’s screams of terror. Bless.

* “This has to be the most beautiful, the most peaceful place I’ve ever been to, it’s nothing like I’ve ever seen before. When I think of how far I’ve come I can’t believe it, yet I see it. In them I see family, I see the way we used to be!”

* “This year, I lost my dear husband Edgar-” “Quit telling everyone I’m dead!” “Sometimes I can still hear his voice!” The birth of a meme.

* “If only Edgar was alive” “I told you, woman, I’m right here!”

* Kenai actually hits his lowest point twice in this movie, for different reasons. Once when he commits bear murder, and again when he has to tell Koda why his mom is dead.

* “Sorry, you’ve been replaced by my dear brother… oh gee, I forgot your name. What’s your name, little bear?”

* Bear hugs are even sweeter with actual bears.

* Bear-fu and moose yoga.

* Poor stupid rams.

* “All the things that you can change, there’s a meaning in everything, and you will find all you need, there’s so much understand!”

* Y’know, there might actually be an in-universe explanation for why “Brother Bear” is a goofier film whenever Denahi’s not around. He’s telling this story, including the parts he couldn’t possibly know because he wasn’t there and his brothers never told him anything (one of them was dead and the other one was busy at the time). He would have had to have filled in some blanks, including what he imagined the animal kingdom to be like. For all we know, the old man has been bullshitting us the whole time.

* Nicely played, Pixar.

Further Reading:


Northern Lights


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Character Analysis: Ariel

Part Of Your World

“Bright young women, sick of swimmin’, ready to stand!” – Ariel.

Disney Princess Ariel gets plenty of criticism when it comes to her being a questionable protagonist: she’s slammed by feminists for giving up everything for a man, she’s slammed by parents for being spoiled, disobedient, and ungrateful, and she’s slammed by critics for not defeating the villain in her own movie and redeeming her mistakes, which yeah, that last one is disappointing. Other than that, I don’t really have a problem with Ariel. In fact, she’s one of my favorite Disney ladies, alongside Mulan, Anna, Lady, Belle, Esmeralda and Nala. She’s brave, exuberant, kindhearted, and has a real zest for life. All her life she’s been told humans are simple, amoral demons, but over the years she’s begun to realize they’re a lot more complicated than that, that they carry all sorts of potential, and sometimes they’re wonderful. Her crush, Eric, confirms all that for her.

Rescuing Eric

Something I really like about Ariel is that her greatest strength is also her fatal flaw. She’s the type of person who’s not afraid to take risks and that’s a trait that’ll get her very far in life, but she’s also very stubborn and reckless, and like all good character flaws that comes back to bite her in the ass later. When it comes to her fascination with humans, her longing to be part of that world, and her dissatisfaction with the sea, I just want to say right now that there’s nothing inherently wrong with wanting more out of life than everything you’ve ever known. It’s what we all want really, otherwise we’d spend the rest of our lives living with our parents. The problem comes when she goes about following her dreams the wrong way, believing it’s the only way, and one mermaid’s dreams grows into something so much bigger than her and puts everyone in danger. And all it could have been avoided.

Kiss The Girl

Just when Ariel’s ready to give up on her ambitions, she meets Eric. He’s the spark who relights the flame and makes it burn brighter and hotter than ever before in “Part Of Your World (Reprise)”.

Ariel often clashes with her father, King Triton, because they’re both stubborn souls and prone to doing foolish things; Triton from his closemindedness and Ariel from her impulsiveness. Ariel fears that no matter how old she gets, her father, the king, will never let her live her life the way she chooses, and instead she’ll be stuck where she is, filling the role he wants for her until she’s old and grey. It’s the same moral dilemma Disney would revisit with Remy and Django eighteen years later in “Ratatouille” *. A parent always wants to protect their child, but does that desire cross over into selfishness when the child comes of age and the parent wants to keep them from leaving the nest and taking the risks that always come with branching out; instead wanting them to remain where they are and spend years of their life pleasing the parent’s desires until the child grows to resent them? It’s definitely a grey area. Ariel is far too reckless and Triton does care for her, a lot, but she can also see that his prejudices are clouding his judgment and it’s having an unfair effect on her (which is a recurring thing with him. If you’ve seen “Ariel’s Beginning” and consider it to be canon, then you’ll know that Triton has a habit of pushing his issues onto everyone around him, including his own children, and making them miserable).

Ariel's Voice

When Triton crosses a major line and smashes Ariel’s hopes and dreams in front of her, breaking her heart, she responds by doing something stupid and insane in return: selling her soul and her voice to a witch so she can get some legs, move out of the house and live her life the way she chooses. And it goes exactly the way you’d expect it to (though it really was fun while it lasted). Ariel and her daddy’s feud almost dooms us all. Both of them pay the price for their actions and in the end, neither of them solve the Ursula problem. Eric has to bail them out. And Eric wouldn’t have been there if Ariel hadn’t rescued him earlier, so “The Little Mermaid” balances itself out quite nicely for me in terms of heroism and lessons learned. Eric learns that waiting for the perfect individual is foolish. If you spend all your time thinking about what could be, you could miss all the wonderful things in front of you. Triton learns that if you punish your kids by destroying their dreams, then you are a bastard and you feel ashamed of yourself. And Ariel learns that if your friends tell you not to sell your soul to someone, you fucking listen to them, or you’re an idiot, a suicidal idiot (turning to a witch for your problems never helps, as Merida also learned).

In conclusion, Ariel is one of my favorite Disney characters because she’s one of the most flawed and interesting both to watch (she darts around the sea, she sings like an angel, she combs her hair with a fork!) and to read into. Enjoy that honeymoon, girl.

Happy Ending

* Remy and Ariel are two different characters, but they’re very much cut from the same cloth. In fact, Remy is actually a more arrogant character than Ariel, and makes many of the same mistakes she does, costing his entire colony their home and almost killing them because he couldn’t leave the humans alone, but you don’t see people calling him a stupid, spoiled, and ungrateful rat, do you? Perhaps there is something to the theory that female characters are judged more than harshly than male ones, including by other women.

Further Thoughts On Ariel:

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