The only real novelty involved in the core conflict of Brave is the fact that both of the main characters are women, and, in this era of "more-manly-than-most-men" female action heroes, this wasn't a particularly daring leap into the unknown.Ī lot of people seem to have fallen out of love with Brave once the witch's spell caused Elinor to don her new "ursona." At this point, I think that the movie actually picked up a bit. Pixar has made its reputation by a willingness to challenge such overly conventional narrative setups and dish up such atypical notions as rats wanting to become French chefs, grumpy old men yearning for adventure, or superheroes shackled by lawsuits. The dynamics of the Merida-Elinor relationship - young would-be ruler wants to defy convention and go her own way, well-meaning but over-controlling mother gets in the way, leading to a violent and potentially permanent break - somehow seem much more pat. and her dilemma was given a little extra poignancy by the fact that she was defying a much less abrasive parental figure than Elinor. But you can't deny that Calla got there, or somewhere near there, first. This was only to be expected, since failure or acquiescence would have left her locked into a potentially loveless betrothal, as opposed to merely being annoyed by an unnecessary guardian. Now, it must be admitted that Merida's willingness to forego an elaborate disguise and face down the trio of bunglers (not to mention her imperious mother, Queen Elinor) herself was a sterner immediate test of her courage.
The story that was so nice, writers Katye Kuch and Sheryl Scarborough used it twice (even stretching it out to book length in the latter version! And I thought haggis was an efficient use of available resources).
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