Alright all you cinema lovers you’ve got a Netflix assignment before watching “Rango.” Knowledge of the following should enhance your viewing enjoyment ten-fold: Francis Ford Coppola’s “Apocalypse Now,” Sergio Leone and Clint Eastwood’s “The Good, the Bad, and the Ugly,” at least the first chapter of Hunter S. Thompson “Fear and Loathing in Las Vegas,” the chapter “Red Queen” from Marc Reisner’s “Cadillac Desert,” and most importantly Roman Polanski’s “Chinatown.” It also wouldn’t hurt if you’ve familiarized yourself with the walking style of John Wayne, the Indian from "One Flew Over the Cuckoo's Nest," the Eye of Mordor from “The Lord of the Rings,” the wheelchair movement of the Big Lebowski, cursory knowledge of desert flora and fauna, Shakespeare’s “Twelfth Night,” and any and all Looney Tunes parodies or something to do with a “New Sheriff in Town.” You don’t need to have seen any of these to enjoy “Rango,” but then again you won't be in on some of the jokes. Unlike most movies that dumb themselves down to the lowest common denominator in order to appease the ignorant, “Rango” has absolutely no shame for looking peculiar, channeling classic movies, and counting on the audience to appreciate the quirky references not to be turned off by them. Overall, “Rango” is a good movie that was made by people who love great movies for people who love great movies.
“Rango,” is about a pet chameleon wannabe thespian that spends his days in his glass case acting out Shakespeare with inanimate props. Then a crisis occurs, the speeding convertible transporting his case hits an armadillo, and he is thrown out of the back where he subsequently almost hits a red shark and lands in a desert wasteland in the middle of nowhere. Actually circumstantial evidence suggests he is somewhere around Barstow on the edge of the desert on the road to Las Vegas. We don’t know the chameleon’s given name although again circumstantial evidence suggests he’s one of those “Goddamn Animals!” Anyway in search of water, he comes upon a town aptly named Dirt. The place looks like a Spaghetti Western inhabited by Ralph Steadman drawings. The characters are various desert animals dressed in western attire, all of them looking like there hasn't been enough water for showers in years. The amount of detail that went into the visual aspect of Rango suggests somebody put a lot of love into this thing. Gore Verbinski, who previously directed the “Pirates of the Caribbean” franchise, is at the helm here. It may be a few movies too soon to say this, but I think one day he may be regarded as an equal among such other great artistic directors like Tim Burton, Terry Gilliam, and Guillermo Del Toro. Animation in general has reached such a level of sophistication that I wonder if movies like this will ever be recognized by the Academy for Art Direction or Costume Design. I mean most of the design in last year’s “Alice and Wonderland” was entirely CGI. Why wouldn’t “Rango” be considered?
Johnny Depp continues his career long quixotic quest to not look attractive by voicing the odd-looking chameleon with different size eyes and a potbelly. Upon coming to the town, he decides to put his acting skills to the test. Instead of simply admitting he’s lost, he calls himself “Rango” and tells a far out story about how he killed seven members of the same family with one bullet. He must have seen “True Grit.” I liked that movie too. This chameleon has good taste. Unfortunately for him, the town is in an enormous water crisis and actually needs a really good sheriff, what with the last one getting killed and all. So you can see where this is going.
The dialogue in “Rango,” is verbose and witty. The level of vocabulary in “Rango” is on the level of “Pirates of the Caribbean.” It should be. John Logan (Aviator, Gladiator) wrote the screenplay but Gore and James Ward Byrkit both straight from “Pirates” also get story credit. The Pirate accents have been switched for Western accents, but everything is still gruffly poetic delivered in a slurred multisyllabic rough and ready converse. Isla Fisher voices a lizard named Beans, giving us the least romantic name for a love interest ever. Abigail Breslin provides the voice of Priscilla, who I think might be some sort of Jewish possum. Bill Nighy is Rattlesnake Jake with suspiciously familiar eyes. Ned Beatty continues his dominance in evil cartoon voices (see Toy Story 3) with the Mayor. This time he's channeling John Huston in “Chinatown.” The Spirit of the West also shows up to counsel Rango in the form of Clint Eastwood in his Man-with-no-name garb driving a golf cart with a bunch of Oscars in the carriage. It’s a scene on par with Ed Wood getting advice from Orson Welles in “Ed Wood.” Unfortunately Eastwood didn’t voice himself. It was Timothy Olyphant. That’s too bad. It would have been so cool if he did.
The story of “Rango” is a movie cliché and one well-versed in movie knowledge will perhaps guess all the plot points before they happen. That didn’t bother me at all really because the movie itself is counting on me knowing everything anyway and instead spends its enormous energy in making all the old memories fresh and new. This movie is a great example of what the difference is between rip-off and homage. A Rip-off is a cynical attempt to capitalize on a popular trend. Homage is a nostalgic callback to something remembered fondly. Actually in practice they are exactly the same thing. What makes a movie one or the other is how deserving it is to be in the same class as that it is imitating. If a movie is lazy and dumb, then it is almost an insult to the classic to see itself in the inferior product. However, when the movie is creative and smart, as is Rango, a callback can be a compliment between artists who are on an equal level. “Rango” does not rely on its references. Take out every homage and it still would be funny and look great. That’s why it is full of homages and not rip-offs. Depp and Verbinski aren’t riding any coattails here.
