That’s a pretty powerful metaphor for repression, of course, and “Inside Out” turns a critical eye on the way the duty to be cheerful is imposed on children, by well-intentioned adults and by the psychological mechanisms those grown-up authorities help to install. At one point, Joy draws a small chalk circle on the floor and instructs Sadness to stand inside it, not touching anything lest she wreck the upbeat mood. These golden, shiny orbs will be ruined if they turn blue.
She thinks she needs to keep her gloomy co-worker’s hands off Riley’s core memories. As a manager, Joy is focused above all on controlling and containing Sadness.
But anyone who has been or known a child Riley’s age will understand that such mundane happenings can be the stuff of major interior drama.īut the insistence on happiness has its discontents. What happens to Riley on the outside is pretty standard: a dinner-table argument with Mom and Dad a rough day at school a disappointing hockey tryout. The story takes place mostly in the head of an 11-year-old girl named Riley (Kaitlyn Dias), who has just moved with her parents (Diane Lane and Kyle MacLachlan) from Minnesota to San Francisco. The movie, directed by Pete Docter, solves a thorny philosophical problem with the characteristically Pixaresque tools of whimsy, sincerity and ingenious literal-mindedness. One of the many accomplishments of “Inside Out” - a thrilling return to form for Pixar Animation Studios after a few years of commercially successful submasterpieces - is that it demolishes this assumption. We can look at faces in various configurations of pleasure or distress, but minds remain invisible, mysterious, beyond the reach of cinema. Literature, the thinking goes, is uniquely able to show us the flow of thought and feeling from within, but the camera’s eye and the two-dimensional screen can’t take us past the external signs of consciousness. Can movies think? This is a longstanding critical question, usually answered in the negative.
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