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With their first animated feature, 1998's Prince of Egypt, Dreamworks fired a large-caliber shot across The Mouse's bow. It was an achievement of grand cinematic scope and artistic excellence that was even endorsed by Jerry Falwell. So it's more than a little surprising that their second ink-and-paint outing looks so...average.
Don't get me wrong -- this tale about a couple 16th century Spanish con-men who stowaway to the New World in search of a fabled golden city is at times nice to look at and listen to, boasting bright tropical pastels not usually seen in animation and some catchy songs by Elton John and Tim Rice (including a title tune that's bound turn up in Cadillac commercials before long). It doesn't fall victim to all the designer-label PC zeitgeist so rampant in Disney's Pocahantas, set in the same period with similar colonial issues. It has a decent script pedigree, coming from the writers of Aladdin, and some of the best voice talent around. So what happened?
For one thing, this movie is a little schizo regarding its audience. In the opening scenes we meet Tulio (Kevin Kline) and Miguel (Kenneth Branagh), who seem -- admittedly I may be jaded by too many sitcom stereotypes -- awfully touchy-friendly for a couple straight Spaniards. In a rigged game of craps they win a supposed map to the titular resort, only to wind up sailing with Cortes and his conquistadors while fleeing the Spanish constabulary. Jumping ship, they get a lucky headstart and find El Dorado (after a rather eyebrow-raising jungle hot-springs scene), where, due to another fortuitous circumstance, they're mistaken for gods. With help from a shapely "just drawn that way" native thief named Chel (Rosie Perez), who will prove that at least Tulio likes girls, at least some of the time -- not that it matters if he doesn't, since this isn't Disney -- they plot to exact fabulous tribute in precious metal before heading back across the water.
Problem is, T. and M. have also wandered into a political struggle between the high priest (Armand Assante), who thinks a day without human sacrifice is like a day without sunshine, and the more pragmatic, even-tempered chief (Edward James Olmos). Moved by the people's plight, Miguel turns out to be more interested in altruism than gold or homegrown skirt. When the priest uncovers the scam, he conjures up a gigantic stone jaguar to run the scoundrels down, and if that ain't bad enough, dang it, Cortes goes and shows up for the finale.
I just can't figure out exactly who this movie is aimed at. Typically, success for an animated feature is dictated by how many grade-school kids go to the theater and scarf up the Happy Meal tie-in on the way home. But that group may likely be turned off by the sensuality, which although certainly understated is difficult to miss. Bracketing them, kindergarten-aged children, who like lots of color and motion, will probably find something to enjoy, as will adolescent kids who think the gay thing is funny and/or wanna ogle Chel's zaftig shape. Me, I was taken in by (in addition to Rosie's come-hither voice) the deft mix of computer-generated and traditional artwork, although the stunning visual depth of Prince of Egypt was noticeably absent. Too bad much of the humor was flat, too. And don't go looking for a history lesson; depending how you look at it, The Road to El Dorado is set either on the wrong continent (Cortes invaded Mexico, not Colombia, where the legendary city was said to be located), or with the wrong explorer in the wrong century (Sir Walter Raleigh sent out a couple expeditions a hundred years later).
Still, it's nice to see an homage of sorts to the old Bob Hope/Bing Crosby movies, down to one of their famous punch-up slapstick routines. Come to think of it, if something like The Road to Morocco were released today, we'd probably think they were gay, too. Geez, just because a guy wears a puffy shirt and likes bubble bath... C+
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