Later on you’ll be able to read my in-depth interview with Wreck-It Ralph‘s Rich Moore, conducted across a couple of months in a couple of different countries. That’s the big one and it’s where we try to dig quite deep into what makes the film work and just what a director from The Simpsons brought to the Disney system – and vice versa.
I think you’ll find a lot of interesting things in that bigger piece, but first, a little run-up. Here’s the video appetiser.
Regarding that politics question, which I opened with when speaking to both Moore and Sarah Silverman, here’s my basic argument:
This film is about a social structure. Ralph is marginalised, and this is manifest in him being kept out of Niceland, the luxury apartments that are portrayed as an All American middle class paradise.
The villains in this film are looking to rule and to control the status quo, but they’re finally disrupted at the end when there’s a new president who is rather more egalitarian.
Those are just the broad strokes. I’m not saying there’s a parallel to a particular political situation, let alone a Party Political situation, but that the issues are political. I very much believe it to be the case – and at the same time, I completely believe Moore and Silverman that the film isn’t intending to be a political statement.
But the film was built to be resonant, and those resonances can be framed in a political fashion.
Wreck-It Ralph works on many levels. Forget the politics if you want, they’re just one sliver and they’re not going to get in your way. The film opens across the UK now and comes with Bleeding Cool’s full recommendation.