Rango tells the story of a domesticated chameleon with an identity crisis who has his terrarium (and his life) abruptly shattered when he is ejected from the backseat of his owner’s car. Left dehydrated and abandoned on a desert highway, the lizard stumbles upon an Old West-style town called Dirt, inhabited by a collection of rustic creatures who rely on a steady economy of water for business and survival. As the lizard infuses himself into Dirt’s society and becomes the town Sheriff, the water runs dry and it’s up to him to find out where the water has gone, and discover who he really is beneath his camouflage.
Rango’s plot is not terribly original or unique – when the town’s water supply disappears, Rango rounds up a posse and discovers a sinister plot to control the town’s water supply in order to build and monopolize a sprawling city. However, along the way it draws upon a variety of staples in film, effectively forming a mosaic of homage and referential gags that never feel stale or ham-handed, instead creating quite an interesting blend of genres; the general persistent one, of course, is the Western, but there is also an action sequence strikingly comparable to Pirates of the Caribbean (PotC shares the same director, as well as the musical composer and two of the films’ stars), a handful of direct references to Fear and Loathing in Las Vegas and a sequence in the third act reminiscent of films like Lost in Translation or Garden State. More so, the Western genre’s pervasiveness is constantly brought to the forefront; there are characters and costumes directly influenced by classic Westerns as well as a damn near cameo by one of the genre’s biggest legends. All of this is brimming just under Rango’s surface, and I'm sure for most it will make or break the film. Perhaps my opinion is biased by my positive reception to it all, but I don't think the breadth of Rango's scope can be ignored.
The protagonist of the film is unnamed and never once referred to as a chameleon, but plainly as ‘lizard’. This is a really clever device, because although the plot revolves around his attempts to blend in, Rango clearly has no idea who he actually is. The movie opens inside the terrarium, the lizard reciting Shakespeare to his toys. From that point on his delusional self-declared thespianism thrusts him into the imaginary role of “Rango”, big bad gunslinger from the Far West, but paradoxically this elaborate disguise actually serves as the mechanism for the revelation of his true identity. It’s a wonderfully plain and clever metaphor and it’s one of many smart Easter eggs dangling throughout the story.
The visuals in Rango are incredible. This is to be expected from Industrial Light & Magic, a company that has had a hand in nearly every special effects project in recent memory. However this movie goes beyond convincing realism (although there are a few specific shots that could easily be mistaken for real life). The film has a distinct and gorgeous visual style, consistent to the very last detail, and believe me there is a whole lot of detail. I’m glad I returned to the theatre for a second viewing because the first time around I often found myself hypnotized by the screen, especially during some of the more fantastic, ethereal moments. There is more to the visuals than eye porn though; the movie features some of the most believable anthropomorphism in any animated feature to date and it is essential in capturing the subtlest of defining features in the many characters, some of which are tight-lipped and communicate mostly through facial expressions and body language.
Hans Zimmer scores the film and the music involves much of the same varied structure as the film itself, primarily following a strong Western theme but including some pieces out of left field, such as a ruralised medley of Ride of the Valkyries and The Blue Danube. There is even a quartet of mariachi owls, musically narrating Rango’s inevitable death throughout the film. It all comes together more fittingly than you’d think.
The voice acting is pretty strong, involving a substantial cast of big names. There are barely any moments where an actor’s voice reminds us we’re watching fictional characters. For Rango himself, this is probably benefitted by Johnny Depp’s ever-changing voices in his movies over the years, but down the line from Isla Fisher to Abigail Breslin the voices are full of vibrant country twang and considerable character. It’s almost easy to forget these are talking CGI rodents and reptiles shambling around in spurred boots and not real people.
A unique blend of comedy, action and animation that covers a lot of ground in its hour and fifty minute runtime, Rango is a difficult beast to put a finger on. Combining a straightforward hero’s journey with moments of abstract surrealism, some surprising emotional gravity and a variety of both adult humour and childish gags, it’s easy to get lost in the desert. It's equal parts comedic kid's romp and a tip of the hat to countless films before it. Go see Rango, but take a bottle of water. You’ll leave the theatre thirsty.
good stuff
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