Building the past, brick by brick
When I was a young boy, my first Lego model I had was a (yellow) castle with a drawbridge (and not unlike Corfe Castle before its 'slighting') with a group of medieval soldiers modelling painted-on tunics and horses whose only movable part was their head. This was the mid-1980s, before customisation became the norm. As I grew older, I expanded to ships (police craft, firemen craft and container ships), more medieval out-workings (including a tavern and, in one of the final iterations of my Lego-mania, a dragon-style siege engine), a railway station, 18th-century admiral's ship, pirate's cove, airport (with helicopter, aircraft, baggage vehicles and security scanner) and space vehicles. At my grandfather's, there was the 18th-century governor's Caribbean fort. One of my own constructions, I stuck a partially crushed raspberry in the pilot's seat of a small spacecraft to represent an alien. I then stuck it in a closet to see how the raspberry would develop (or rather devolve) and found it five years later, after forgetting about it, a mixture of fossilised seeds and dry mould. I also did a few missile-launch vehicles. This is not to forget about the rival Tente (where I built ships that could detach from their sterns, like the Disco Volante in Thunderball). Then I disassembled it all and stuck it in a large suitcase and shoved it under my bed, occasionally dipping into it to build something.
Hollywood periodically dips into nostalgia, thirty years on. Now those in charge are remembering their salad days of the 1980s, especially through franchises like Transformers. The Lego [with registered trademark] Movie is an altogether different beast to Michael Bay's lunk-headed flicks. From such an unpromising title (any film that explicitly recognises itself as such is playing with fire, recently the lamentable The Harry Hill Movie), the final result emerges as an intelligent, witty festival of the past, to appeal to modern generations and older Lego builders. Yet pleasing and coherent as it was, I didn't feel it justified the 'movie of the year' hype, probably suffering from a second viewing as Skyfall did. There would be more items of meticulous homage tucked away in the scenes to spot but it is still a kids' picture and so the narrative must remain linear, with no switchbacks or divergent turns (it is though a film student's dream thesis). There is also the danger where tribute descends to the derivative and, in many ways, we've seen it all before (e.g. The Matrix, The Lord of the Rings). The satire is biting and subtle but also nothing new (lampooning the homogeneity and manufactured nature of modern life, for example).
It certainly has assembled a stellar cast. Will Ferrell plays two separate characters, who are cross-hybrids: Lord/President Business - a mixture of Lex Luthor, Sauron and a bank manager - and The Man Upstairs. Morgan Freeman plays the Wise Old Man-type again, albeit with some excellent comic timing (later Freeman has a neat line skewering the mythology of all these kind of stories, actually confirming Lord Business' suspicions). Liam Neeson has three funny roles as both bad cop/good cop and as father to the split-personality son. Elizabeth Banks is kick-ass heroine, Wyldstyle, who wanted to be The One, but still has (a perpetually brooding) Batman (Will Arnett) for a boyfriend, even if he still operates as if next to no-one knows he's Bruce Wayne. Despite Marvel's predominance on television and in the cinema, DC Comics has exclusivity here with Superman (Channing Tatum), Green Lantern (Jonah Hill), Aquaman and Wonder Woman , the latter voiced by Cobie Smulders (surely Smoulders?) in a nod to being touted for that role in the past, though she could still do it after proving her superhero franchise credentials as S.HI.E.L.D. agent Maria Hill in the Avengers-linked smorgasbord. Shaquille 'O'Neal (as himself) makes a cameo, as do Star Wars legends Anthony Daniels (as C-3PO) and Billy Dee Williams (as Lando Calrissian), though as Williams was Harvey Dent in 1989's Batman maybe a bit more could have been made of that. The main protagonist Emmet though is portayed by a relative unknown (Chris Pratt), in keeping with his screen personality and making the immersion more credible.
The non-Lego props from a bygone age (e.g. the floppy disc) are amusing and something to which I can relate. There is a brief overview of failed Lego worlds, acknowledging the rise of the Danish giant hasn't always been inexorable, though Purple Lego, that appeals to girls while instilling 1950s values in them (cooking, ponies, having one's hair done, none having jobs), is strangely missing. The big irony for a film that celebrates diversity and innovation (even while accepting that conformity has a place) is that modern Lego themes have customised characters and scenarios (abetted by media link-ins) to the point where little is left to the imagination. One can still mash it up but there is a certain sterility to the designs of today where a child's fiction-making has certain locks upon it and their minds do not need to be stretched as they were in the past. Phil Lord and Christopher Miller, the people behind The Lego Movie can't be held responsible for the commercial direction of the brick progenitor behemoth though . They have done themselves proud. Seven out of ten.