Film Review: "Soul" is a very unimaginative and racist film!

STARRING

PRODUCED BY

DIRECTED / WRITTEN / EDITED BY, ETC.

Jamie Foxx as Joe Gardner, jazz pianist and music teacher
Ramone Hamilton as young Joe Gardner
Tina Fey as 22, a "soul" trapped in the Great Before
Graham Norton as Moonwind, a spiritual sign twirler Rachel House as Terry, a "soul" counter in the Great Beyond
Alice Braga, Richard Ayoade, Wes Studi, Fortune Feimster and Zenobia Shroff as five soul counselors in the Great Before who are all named Jerry
Phylicia Rashad as Libba Gardner, Joe's mother, who works as a seamstress.
Donnell Rawlings as Dez, Joe's barber
Questlove as Lamont "Curley" Baker, a drummer in Dorothea Williams' band and a former student of Joe's
Angela Bassett as Dorothea Williams, a respected jazz musician and saxophone player

Executive Producers
Kiri Hart
Dan Scanlon

Associate Executive Producer
Valerie LaPointe

Associate Producer
Michael Warch

Produced by
Dana Murray (p.g.a.)

Development Producer
Jonas Rivera

Directed by
Pete Docter (White, 52 years of age)
Kemp Powers (co-director) (Black, 48 years of age)

Pete Docter - story by &
Mike Jones - story by &
Kemp Powers - story by

Pete Docter - screenplay by &
Mike Jones - screenplay by &
Kemp Powers - screenplay by

Edited by
Kevin Nolting

Cinematography by
Matt Aspbury
Ian Megibben

Art Direction by
Paul Abadilla (art director: sets)
Bert Berry (additional shading art direction)
Tim Evatt (additional sets art direction)

THE STORY: Joe Gardner, a Black man (again, a Black man) with an extremely big-nose, wide mouth, and huge lips is a middle school music teacher while sporadically looking, against direction from his nagging mother, for his "big break" into music business as a jazz pianist. Then, on the occassion of his "big break" he accidentally he falls down a manhole, dies, and hopes to earn his way back to the living to realize his dream of becoming a professional jazz musician.

UNIMAGINATIVE?

The story and screenplay are a blatant ripoff (plagiarism) of much better stage plays and films. Hopefully, prior to making "Soul," Disney obtained license from 20th Century Fox, and/or Columbia Pictures, and/or Paramount Pictures. There are at least three-(3) films that cover the same story, and they are all much better than, "Soul."

Here Comes Mr. Jordan (1941)	Heaven Can Wait (1943)	Heaven Can Wait (1978)
A boxer, Joe Pendleton, is mistakenly taken to Heaven before his time, is given a second chance back on Earth. (Produced and distributed by 20th Century Fox)	A lecherous, conniving, disgruntled old man begs Satan for permission to enter hell, but is denied. (Produced and distributed by Columbia Pictures)	(A re-make of "Here Comes Mr. Jordan") Joe Pendleton, a backup football quarterback for the Los Angeles Rams, is mistakenly taken to Heaven before his time, and is given a second chance back on Earth. (Produced and distributed by Paramount Pictures)


Down to Earth (2001)
This is the third film based on Harry Segall's stageplay "Heaven Can Wait," preceded by "Here Comes Mr. Jordan (1941)" and "Heaven Can Wait (1978)." The film stars Chris Rock as Lance Barton, a comedian who is killed before his time on Earth is through. He is given another chance at life, but only in the body of a rich middle-aged white man. (Produced by Village Roadshow and distributed by Paramount Pictures)	That's right, a "Black version" of "Heaven Can Wait" was released back in 2001; nevertheless, we're supposed to believe "Soul" is imaginative, really?

As an animated film, some people will wrongly consider "Soul" as nothing more than a film for kids; please don't insult the intellegence of your children. Clearly, the concepts of "achievement" and "realizing potential" are taught to children, and equally important, as represented in "Here Comes Mr. Jordan" and "Heaven Can Wait" these concepts are manifest by adults; these are never-ending concepts that loop back and forth from parent to child, child to adult, adult to parent, parent to child, etc.

The mistake with "Soul" is there's really nothing "soulful" about the film.

RACIST?

Did the leftist-leaning "social justice warrior" media giant Disney intentionally not only make an unimaginative film, but did they also make a racist film? Yep, absolutely!

There's a right way (positive) and a wrong way (negative) to draw caricatures of people, all people. As an artist myself, I'm well aware of the difference, and in particular, how racist and sexist caricatures are easily mitigated or avoided through effective use of perspective (bird's eye view, worm's eye view, etc.), depth, lightness/darkness, angles, etc. Given the large number of artists that work for Disney and Pixar, and the wealth of historical information, surely someone would have, should have guided the production to steer clear of "coon" caricatures.

And you really think there's a difference?

Soul (2020)	From the "Jim Crow Museum of Racist Memorabilia"

NOTHING CHANGES - As validated by Samual L. Jackson's character (below) in Disney's 2004 film, "The Incredibles," it's the demonstrated practice of Disney, throughout its history, to animate Black characters with extremely big noses, big lips, protruding "bug-like" eyes, distorted ears, and protruding jaws. Plus, except for Denzel Washington's appearance in "Remember the Titans," and the animated 2009 film "Princess and the Frog" it's rare or impossible for an "attractive" Black man or an attractive Black woman to be cast in leading role in a Disney film; and images of a loving Black family structure are rarely or never in the script.


Conversely, look at the size of noses for every White member of "The Incredibles." Note the waistline of the females versus Black women in "Soul." Disney loves racism!

Again, there's a right way (positive) and a wrong way (negative) to draw caricatures of people, all people. The "idea" behind a great caricature is to positively or humorously distort a prominent feature of a individual's face, body, or even gestures that are very distinctive, but without being sexist or racist. Arguably the best of the best of legendary caricature artists is Albert Hirschfeld (June 21, 1903 to January 20, 2003); he established the "standard" that defines caricature art to this very day! Talented artists are able to capture the uniqueness of individual "characteristics" without focusing on "ethnicity" or overt "sexuality." For example (click any image to enlarge):

MARX BROTHERS	THREE TENORS	CABIN IN THE SKY	DIANA ROSS	DUKE ELLINGTON

LARRY KING	QUINCY JONES	RICHARD PRYOR	SAMMY DAVIS, JR.	FRANK SINATRA

Hirschfeld created unique "characterizations" based on the physical "stylings" of individuals; and his very simple black and white pencil or ink drawings evoke "personality" on any color background; there's absolutely no need to color-in or shade-in the faces of Diana Ross, Duke Ellington, Quincy Jones, Richard Pryor, or Sammy Davis, Jr. to make them appear Black or to establish their gender - it's self-evident.

Conversely, Disney/Pixar did not create unique "characterizations" based on the physical "stylings" of individuals; no, they were too lazy and too racist to do that. Instead, the cinematic universe for "Soul" is defined by: (1) stereotypical images that dehumanize Black people (big noses, big lips, obese Black women, obese Black men, no strong Black male role models, etc.); and (2) pilfering from the creative genius of legendary Black artist, Ernie Barnes. What, you're not aware of Mr. Barnes? Oh, I'm sure Jamie Foxx, Phylicia Rashad, Questlove, and Angela Bassett know of Ernie Barnes' atmospheric album cover art on Marvin Gaye's epic album "I Want You." Here, take a look:

In "Soul" we find a stereotypical obese Black man, Lamont "Curley" Baker (who's bald, of course), is the drummer in Dorothea Williams' band and Joe's former student.

CLICK ABOVE IMAGE TO ENLARGE

In "Soul" we find a stereotypical obese Black woman, Dorothea Williams, is a respected jazz musician and saxophone player.

Conversely, what you never see in a Disney/Pixar film is a Black woman with the physique of Jessica Rabbit from Disney's 1988 film, "Who Framed Roger Rabbit." Why is that?

"Animation Standards of Beauty"

White women are "statuesque!"

CLICK ABOVE IMAGE TO ENLARGE

"Animation Standards of Beauty"

Black women are "frumpy!"

Posted on the mirror in Dorothea Williams' dressing room is a photo of legendary musician Duke Ellington, but without the distorted racist caricature of an extremely big-nose, wide mouth, and huge lips. Clearly, Disney/Pixar was aware of the racial distortions used throughout "Soul," but elected not to make a "coon" image of Duke Ellington. Oh, the hypocrisy.

CLICK ABOVE IMAGE TO ENLARGE

In "Soul" we discover the "Great Beyond" is a limbo place where people go before ending up in heaven or hell.

Representing a lack of imagination, the Pillsbury Doughboy-like (at right) "puffy" appearance of humans in the "Great Beyond" mirror the Pillsbury Doughboy-like "puffy" look of humans in Disney's 2008 film, "Wall-E."

Pillsbury Doughboy

CLICK ABOVE IMAGE TO ENLARGE

What is a Racial Caricature?

Watch "Soul," or click here.

CLICK ABOVE IMAGE TO ENLARGE

Joe's mother (at right, white hair, glasses, orange top) is a seamstress, and is the rarely "featured" slender Black woman in a Disney animated film, but with flat, hanging, pancake breasts, and in her shop we find three stereotypical morbidly overweight and/or obese Black women.

Conversely, "featured" animated Asian women (Mulan) and "featured" animated White women (Frozen, Brave, Snow White, etc.) are typically slender.

Did the leftist-leaning "social justice warrior" media giant Disney intentionally make a racist film? Yep, absolutely!

CLICK ABOVE IMAGE TO ENLARGE

WHY DO IMAGES MATTER?

I've been known in some circles, for most of my life, not only as an artist, but also as a serious comic book collector, which also included conducting seminars and presentations at K-12 public schools, colleges, and community groups on the comic book industry. At one point I had over 30,000 books in my private collection, and I spent thousands of dollars every year collecting comic books and related paraphernalia. Back in 1989, I also periodically wrote a column in the "Lone Star Express" newsletter, published by Buddy Saunders, owner of Lone Star Comics and Science Fiction in Dallas, Texas. Back in 1989 and 1990, two comic books with race-based themes were published, "Ripper," (below) created and published by Barry Blair, Dave Olbrich, and Chris Ulm who are all White, and "Brother Man," (below) which was created and published by two brothers, Jason Sims and David Sims, who are Black. Given my "standing" as a serious collector and a Black man, I was asked by Saunders and by Toni Y. Joseph, Staff Writer of the Today Section for the Dallas Morning News for my review of these two comic books. I made the following observations in my review, as drawn and published by White men in "Ripper," all Black people have big coon-like lips, monkey ears, protruding jaws, and they typically speak with poor English and broken sentences, etc. Conversely, as drawn and published by Black men in "Brother Man," Black men have squared-off, solid jaw lines, Black women have narrow waistlines, and Black people speak with complete sentences, proper English.

So, these comic books were published thirty-one-(31) years ago, and Disney is still making money promoting negative, dehumanizing images of Black people. There's beauty, and grace, and talent, and intelligence and so much more in every race! Are Black people like Jamie Foxx, Phylicia Rashad, Questlove, and Angela Bassett too "brainwashed" or just too stupid to object to negative Black images, or do they consider it pointless to even try to be proud of their Blackness? Have they spent so much time in White-owned and White-controlled Hollywood that they've forgotten what "Black and Beautiful" means? Probably. Probably not. Who knows? Then, why is there so much . . . uncertainty, such indecisiveness that prevents Black people from collectively seizing control of their own images in print, television, and film? FACT: It's extremely rare, almost non-existent where White people do not own and/or control (Disney, AT&T, Comcast, Netflix, ViacomCBS, Microsoft, Google, etc.) every image of Black people seen in print, television, or motion pictures.

QUESTION: Was or is Disney/Pixar perpetually unable or unwilling to use as source material or "templates" the images of professional Black women and professional Black men routinely cast in the A-list films produced by Disney and all other major Hollywood studios? For example, the following Black actors and actresses do not have extremely big noses, big coon-like lips, monkey ears, protruding jaws, and they do not speak with poor English and broken sentences, etc.

BLACK ACTRESSES Given that these Black women do NOT have gargantuan noses, gargantuan lips, etc., why does Disney perpetually use negative racial stereotypes to dehumanize Black people? (click any image to enlarge)
Angela Bassett	Cicely Tyson	Cynda Williams	Diahann Carroll	Dorothy Dandridge	Eartha Kitt	Erika Alexander


Gabrielle Union	Gina Torres	Halle Berry	Iman	Ja'Net DuBois	Jada Pinket Smith	Jasmine Guy


Jayne Kennedy	Jenifer Lewis	Jill Marie Jones	Lisa Bonet & daughter Zoe	Lola Falana	Lupita Nyongo	Lynn Whitfield


Nia Long	Nichelle Nichols	Pam Grier	Phylicia Rashad	Regina King	Robin Givens	Rochelle Aytes


Rosalind Cash	Ruby Dee	Salli Richardson	Sanna Lathan	Sonequa Martin-Green	Tamara Taylor	Taraji P. Henson


Tawny Cypress	Teyana Taylor	Tracee Ellis Ross	Viola Davis	Vivica Fox	Zoe Saldana	Nancy Wilson


Black people have the greatest variety of skin tones, more diversity in skin complexions than any other race of people, but in Disney's "Soul" all Black people share the same skin tone; yet another example of Disney's racism. Instead of using any one or more of the above images of Black women as source material for its animation, Disney constantly elects to use negative, dehumanizing images of Black people.

BLACK ACTORS Given that these Black men do NOT have gargantuan noses, gargantuan lips, etc., why does Disney perpetually use negative racial stereotypes to dehumanize Black people? (click any image to enlarge)
Billy Dee Williams	Boris Kodjoe	Calvin Lockhart	Charwick Boseman	Chris Tucker	Clavon Little	Danny Glover


Denzel Washington	Dwayne Johnson	Fred Williamson	Giancarlo Esposito	Ice Cube	Ice T	Idris Elba


James Earl Jones	Jamie Foxx	Jeffrey Wright	Jim Kelly	Keith Hamilton Cobb	Larenz Tate	Ludacris


Mahershala Ali	Michael Ealy	Michael Jai White	Mike Colter	Moses Gunn	Omar Epps	Ossie Davis


Robert Hooks	Sammy Davis, Jr.	Shemar Moore	Sidney Poitier	Stephen Curry	Sterling K. Brown	Taye Diggs


Terrence Howard	Tyrese Gibson	Vin Diesel	Wesley Snipes	Will Smith	William Marshall	Woody Strode


Black people have the greatest variety of skin tones, more diversity in skin complexions than any other race of people, but in Disney's "Soul" all Black people share the same skin tone; yet another example of Disney's racism. Instead of using any one or more of the above images of Black men as source material for its animation, Disney constantly elects to use negative, dehumanizing images of Black people.

RESPONSE: Yes, Disney/Pixar is perpetually unable or unwilling to use as source material or "templates" the images of professional Black women and professional Black men routinely cast in the A-list films (Black Panther, Falcon and the Winter Soldier, Avengers, Iron Man, etc.) they produce and distribute and A-list films produced by other Hollywood studios. Why? Because it's the legacy and active practice of Disney to animate Black people with extremely big noses, big coon-like lips, monkey ears, protruding jaws, and they do not speak with poor English and broken sentences, etc.

Therefore, please consider the following photo as an in-your-face reminder of how Disney's "characterization" of Blackness in "Soul" absolutely ruins an honest appreciation of Black beauty.

Film runs a little long, and should be trimmed from 100 minutes to 90 minutes. Animation and editing involving city-related visuals is sharp, but film looks cheap, often too dark (both cinematography and art direction), and drags whenever the ""Great Beyond" is on screen. At the 93rd Academy Awards, "Soul" was nominated in three categories, winning Best Animated Feature and Best Original Score. The film also won Best Animated Film and Best Original Score at the Golden Globe Awards, BAFTA Awards, Critics' Choice Awards, and Annie Awards. That's right, Disney/Pixar is "rewarded" for it's racism, for promoting negative, dehumanizing images of Black people. You got that? So, what? No matter, the film still sucks.

Recommendation 1: If you're so inclined as a member of the "general public," and have an active subscription and nothing else to do, watch "Soul" on Disney+. Otherwise, do nothing.

Recommendation 2: If you're Bob Iger, Executive Chairman of Disney and Bob Chapek, Chief Executive Officer of Disney, and the producers, writers, and directors of "Soul," I strongly recommend Disney hire me, as a subject matter expert in all human resource disciplines, to conduct on-site seminars on diversity (racism, sexism, etc.) to "educate" Disney why it must stop its perpetual use of racial stereotypes that promote negative, dehumanizing images of Black people.

WHY DO IMAGES MATTER?
Animated films are for "children," right? And a Black animated film is for "Black children," right? As mandated by White people, in addition to generations of genocide and oppression, Black people have been brainwashed by White people NOT to be proud, NOT to have self-esteem, and to literally hate themselves. Click the image above to read the film review for "12 Years A Slave."	In the landmark Brown v. Board of Education of Topeka, 347 U.S. 483 (1954), educational psychologists Kenneth B. Clark and Mamie Phipps Clark used a "doll test" to successfully validate before the U.S. Supreme court how Black children have been brainwashed by White people to literally hate themselves. A Girl Like Me - Directed by Kiri Davis

Disney, people
of color,
and women, did
NOT conceive, engineer, and promote negative, dehumanizing
images of themselves, or execute acts of "inhumanity" against themselves.