RATATOUILLE

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 This movie was realeased in 2007 as an american computer animated film which was produced by pixar and realeased by walt disney pictures. It was written and directed by Brad Bird and produced by Brad Lewis. The movie is all about a rat who wishes to become a chef and tries to achieve his goal with some restaurant's garbage boy. 

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It's a type of movie which i revisited when i was going through the pandemic and social distancing mode. Its a film about a rat who becomes a chef in Paris. But, if we watch this movie it's not only about becoming a chef for a rat but its more than that. It's about how a great artist can build himself up and how he can achieve his goals. It has alot of comedy that relates realistically to life, fashioned not with dozens of hilarious jokes but with proper story telling.

One of the things I appreciated about this apparently food-based movie was that it offers a valuable allegory for the fate of criticism in our time. The character of the restaurant critic, Anton Ego, lives a solitary existence, having risen to dominate the revered coterie of newspaper criticism, obliged to do rhetorical combat with the overlords of Parisian cuisine, without any thought for those who produce the food in the first place. 


His world is a lonely one, populated by fearful and sycophantic victims. It is no accident that Ego has the imperious English accent of the Disney villain and the pale white skin of the vampire: he represents high bourgeois alienation par excellence, occupying his quasi-aristocratic sinecure in an increasingly commercialized world, and longing for integration into the proletarian body that he has himself fed upon. 


Criticism destines its practitioners to unhappiness, setting the critic in pursuit of the perfect object (meal, film, book etc.), which, it is assumed, he will never actually encounter. The critic, as his name indicates, plays the role of the Freudian Ego, longing for dissolution in the oceanic world market, but perpetually frustrated by his gift: an unhappily acute self-consciousness. The only psychic integration he can hope for is death, and the unkillable Ego seems to know this. 


(Plot spoiler:) However, the undeserving Ego turns out to be unusually fortunate: in a fate rare among critics, Ego discovers his ideal object, the perfect meal. That the food is served up by a gang of improbably dexterous rodents, who are probably allegories for the myth of cultural integration fundamental to the modern French state, is not Ego's concern. 



As he tucks into the fateful plate, he recalls a scene from his childhood where a woman, presumably his mother, cooks the eponymous dish for him; a vision of unalienated life that enacts in fantasy the transformation he is experiencing in reality. In the final scenes of the film, the critic is practically unconscious with delight, drooping over his plate, humbled with gratitude.

Click here to visit some amazing food blogs:Tummy cravings 
 

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