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Ratatouille is a 2007 American computer-animated comedy film produced by Pixar and released by Walt Disney Pictures. It was the eighth film produced by Pixar, and was co-written and directed by Brad Bird, who took over from Jan Pinkava in 2005, and produced by Brad Lewis, from an original idea from Pinkava. The title refers to the French dish Ratatouille, which is served at the end of the film and also references the animal type of the main character, a rat. The plot follows a rat named Remy, who dreams of becoming a chef and tries to achieve his goal by forming an alliance with a Parisian restaurant’s garbage boy.

A rat who can cook makes an unusual alliance with a young kitchen worker at a famous restaurant.

A rat named Remy dreams of becoming a great French chef despite his family’s wishes and the obvious problem of being a rat in a decidedly rodent-phobic profession. When fate places Remy in the sewers of Paris, he finds himself ideally situated beneath a restaurant made famous by his culinary hero, Auguste Gusteau. Despite the apparent dangers of being an unlikely, and certainly unwanted, visitor in the kitchen of a fine French restaurant, Remy’s passion for cooking soon sets into motion a hilarious and exciting rat race that turns the culinary world of Paris upside down.

When a rat named Remy gets washed away from his family, he ends up in Paris and goes into Gusteau’s restaurant and meets a garbage boy named Linguini. A bunch of other chefs give him credit and give him a cooking job after thinking he made a soup delicious. Then Linguini takes Remy to the restaurant the next day. And Remy ends up controlling Linguini by pulling his hair. Can Remy be a great chef? and can Gusteau’s be the greatest restaurant in Paris?

Remy, a resident of Paris, appreciates good food and has quite a sophisticated palate. He would love to become a chef so he can create and enjoy culinary masterpieces to his heart’s delight. The only problem is, Remy is a rat. When he winds up in the sewer beneath one of Paris’ finest restaurants, the rodent gourmet finds himself ideally placed to realize his dream.

Remy, a provincial rat with a wonderful sense of smell, hates garbage and risks death to enter a human kitchen where he discovers real food and the cooking of five-star chef, Anton Gusteau, author of “Anyone Can Cook”. On the day Remy learns his hero has died, he is evicted and ends up alone in Paris. By luck, he discovers Gasteau’s restaurant, down to three stars and run by a frozen-food-hawking chef. As Remy enters, so does Linguini, a clumsy youth hired as a garbage boy. To save the soup that Linguini accidentally fouls, Remy throws in some ingredients; the soup is a success and Linguini’s career as a chef is born. Can Remy find a way to maintain the fiction and use his gift?

Remy is a rat, constantly risking life in an expensive French restaurant because of his love of good food, as well as a desire to become a chef. Yet, obviously, this is a rather tough dream for a rat. But opportunity knocks when a young boy, who desperately needs to keep his job at the restaurant, despite his lack of cooking abilities, discovers and partners the young Remy. Its up to the two of them to avoid the insane head chef, bring the rest of Remy’s family up to his standards, win his partner a girl, and, of course, produce the finest Ratatouille in all of France.

Remy is a highly intelligent and idealistic young rat with unusually acute senses of taste and smell who dreams of becoming a chef like his idol, the late Auguste Gusteau. However, the rest of his rat colony, including his brother Emile and his father Django, are interested in food only for sustenance. One day, when the colony is forced to flee their home, Remy is separated from the clan and eventually finds himself above the kitchen of Gusteau’s Restaurant in Paris.

When Remy observes a young garbage boy named Alfredo Linguini attempt to fix a soup he has spilled, he recognizes that Linguini is unintentionally ruining it and fixes his mistakes. Linguini catches him in the act, but does not reveal him to Skinner, Gusteau’s former sous-chef and new owner of the restaurant. Skinner confronts Linguini for tampering with the soup, but when the soup is accidentally served and proves to be a success, Colette Tatou, the staff’s only female chef, convinces Skinner to retain Linguini. Skinner spots Remy trying to escape, and orders Linguini to kill the rat, but Linguini decides to keep Remy instead. The two learn to communicate and devise a plan: Remy hides under Linguini’s toque at the restaurant and guides his movements like a marionette by pulling on his hair. Skinner, meanwhile, orders Colette to teach Linguini to be a cook.

Remy witnesses Skinner’s discovery that Linguini is Gusteau’s illegitimate son and rightful owner of the restaurant, and gives the evidence to Linguini, who forces Skinner out. The restaurant thrives as Remy’s recipes become popular, though as Linguini and Colette develop a relationship, Remy begins to feel left out. He reunites with Emile and the clan, but is rejected by Django over his admiration for humans.

The dour world-renowned food critic Anton Ego, whose negative review had indirectly led to Gusteau’s death, announces he will dine at the restaurant. After an argument with Linguini, Remy leads his clan to raid the restaurant’s pantries in revenge, but Linguini drives them out. Remy is captured by Skinner, who intends to use his talents to create a line of frozen food products, but is promptly freed by Django and Emile. Linguini apologizes to Remy, having been unable to cook without him, and reveals the truth to his staff, but they all leave in disbelief. Colette returns after recalling Gusteau’s motto, “Anyone can cook.”

Impressed by Remy’s determination, Django and the clan offer to help, and cook under Remy’s direction while Linguini waits tables. Skinner and a health inspector attempt to interfere, but are bound and gagged. Remy creates a variation on ratatouille which reminds Ego of his mother’s cooking. Humbled, Ego asks to meet the chef, so Linguini and Colette wait until the other diners have left before introducing Remy. Ego is stunned and writes a glowing review, saying how he now understands Gusteau’s famous motto, and calling Remy “nothing less than the finest chef in France.”

Despite the review, they are forced to let Skinner and the health inspector go and the restaurant is shut down due to the presence of the rats, causing Ego to lose his job and credibility as a critic. However, he now funds and frequents a popular new bistro, La Ratatouille, run by Remy, Linguini, and Colette as the rat colony settles into their new home in the bistro’s attic.

Wikipedia

 

Reviews

 
 
Conner Ries

In many ways, the work of a critic is easy. We risk very little, yet enjoy a position over those who offer up their work and their selves to our judgment. We thrive on negative criticism, which is fun to write and to read. But the bitter truth we critics must face, is that in the grand scheme of things, the average piece of junk is probably more meaningful than our criticism designating it so. But there are times when a critic truly risks something, and that is in the discovery and defense of the new. The world is often unkind to new talent, new creations. The new needs friends. Last night, I experienced something new: an extraordinary meal from a singularly unexpected source. To say that both the meal and its maker have challenged my preconceptions about fine cooking is a gross understatement. They have rocked me to my core. In the past, I have made no secret of my disdain for Chef Gusteau’s famous motto, “Anyone can cook.” But I realize, only now do I truly understand what he meant. Not everyone can become a great artist; but a great artist can come from anywhere. It is difficult to imagine more humble origins than those of the genius now cooking at Gusteau’s, who is, in this critic’s opinion, nothing less than the finest chef in France. I will be returning to Gusteau’s soon, hungry for more.

aimee cowan-wang
 

I have had the pleasure of experiencing this cinematic delight over 250 times over the course of my time here on Earth (in my current life). A visually stunning masterpiece, with foods so titillating that the lamb sauce could be forgotten and not even Chef Ramsay would notice (not that the lamb sauce ever would be forgotten in Gusteau’s kitchen). The mellifluous musical compositions that sing directly to my heart invigorate the strong emotions I hold so dearly for Little Chef. Truly a transcendent piece; the magnum opus of film. I hope to enjoy it many times more in this, and my other lives.

Slightly Ricest
 

One of my favourite films that Disney and Pixar made. That line from Ego at the last scene was phenomenal. “Not anyone can become a great artist. But, a great artist can come from anywhere”. It doesn’t have an emotional depth like other Disney-Pixar movies but there is something in this movie that captivates me and inspires me to cook. I give this 9/10

Larry Cooper
 

I was always a Fan of Disney, but I think I will always enjoy Disney Pixar more. They have made good movies like this one for instance. Ratatouille gives you a lesson to not doubt you self because of your looks. That is what Remy tries to do in this ENJOYABLE movie. What this movie has is a good ending, funny characters, and food that I really would like to try. I can safely say that I will always love Ratatouille from the bottom of my heart.

CALEB JORDAN
 

One of Disney’s best computer animated movies ever. The French culture is very accurate and gives us a look into what it really means to be a French Chef, each character is entertaining in their own way and although the food is animated and isn’t real I always get hungry when watching this movie. The animation is also extremely well done and still holds up to todays standards in animated movies.

Funkmoshark Senior
 

I really like how informative this movie is. I really get a good glimpse into the french culture and feel like I can speak french after watching this movie. My biggest complaint, though, is that Remi’s brother didn’t get enough screen time. He was a really complex character and I really would have liked to see his devolution into the world of crime. He was so smart and charismatic; he really understood that there was more to life than cooking.

Bjorn Carlson
 

 Outstanding film. I’ve seen many great animated movies but this one takes the cake. Soundtrack and artwork is insane. Many different memorable moments and the characters have good names. The Ratatouille meal in the scene with Anton Ego is amazing. The meal looks incredibly delicious. Also good that they haven’t made some let-down sequel that would ruin the original story. Must watch

Deeva Sued
 

Brad Bird… great fricking job dude. Solid movie. The amount of rats was not adequate, needed more rats but other than that, solid! I’m a little mad that you convinced me that keeping a rat in my hat would be a good idea. I was expelled for this. Also, the misleading scene of Remy making ratatouille made me believe it was a pasta dish. I was severely disappointed when I bit into vegetables. Stop making vegetables look so appetising! Other than that, good.

WHAT’S THE STORY?

RATATOUILLE follows the culinary adventures of Remy (voiced by comedian Patton Oswalt), a unique rat who can’t stomach eating garbage. He wants the good stuff — truffle oil and fine artisan cheeses — which brands him the snobby black sheep of his crew. After Remy’s family is driven from their habitat by a gun-toting grandma, he emerges onto the streets of Paris, where he’s visited by the ghost of renowned, recently deceased uber-chef Gusteau (Brad Garrett), who was famous for the populist saying “Anyone can cook.” Remy is drawn to Gusteau’s now three-star restaurant (it lost a star after Gusteau died), where he feels right at home … before being sighted and nearly killed by flying knives. Remy, quick with the spices, saves young kitchen helper Linguini (Lou Romano) from ruining the soup of the day, and the two form an odd-couple bond. From then on, Remy becomes part Mister Miyagi, part puppeteer as he helps Linguini cook up delicious specials that put Gusteau’s back on the culinary map. But as Linguini soaks in his new fame as the chef du jour, Remy grows increasingly bitter that someone else is taking credit for his recipes. The film’s nemeses are Gusteau’s new head chef — an angry little dictator (Ian Holm) who wants to make millions selling a line of prepackaged frozen foods — and Anton Ego (Peter O’Toole), a food critic who loves writing negative reviews.

IS IT ANY GOOD?

The story doesn’t have the emotional depth of The Incredibles or Finding Nemo, but the animation is every bit as dazzling. Every scene of the chefs shredding, peeling, dicing, and stirring is vibrant and layered. And the moment Ego tastes the titular dish is so delicious a visual reference that it deserves to be a surprise. Kids may ultimately favor the child-centric appeal of Toy Story or the vroom-vroom adventure of Cars, but grown-ups will find a reason to ask for seconds of Ratatouille. At this point, it’s pretty much a given that families and young children will line up to see anything made by Pixar, which seems incapable of producing a dud. But Ratatouille, like director Brad Bird’s family adventure The Incredibles, is the rare animated film that could just as easily captivate an audience full of childless adults. Granted, the world of haute French cuisine is an unlikely setting for a kid-friendly flick, but Bird makes it irresistible.

 

 

Remy (Oswalt), a country rat, has an exceptional sense of taste and wants to be a chef in Paris. When he meets inept human Linguini (Romano), newly installed on the bottom rung of top chef Auguste Gusteau’s restaurant, they hatch a plan to bring Remy’s creativity to the table.
 

 

Describe the plot of Ratatouille to most and they’ll likely turn up their nose as if assaulted by a bad smell. It’s about a rat who yearns to be a chef. That’s not cute, that’s not flip and postmodern. Couldn’t we make it a giraffe who wants to play golf, or a hippo who dreams of being a stunt-hippo, or a gerbil who aspires to play lead guitar in a heavy-metal band (please note, second-tier animation studios – these concepts are copyright Empire)? What’s cool about a rat in a kitchen? Isn’t it, like, kinda gross?

Au contraire, mes amis. After five minutes of Ratatouille you start getting excited about the time when you can buy it on DVD to use as life therapy, like a soothing bath or a dose of Librium. It may be Pixar’s masterpiece, but why quibble over niceties when they keep delivering stories this rich?

Even amongst the Hawaiian-shirted big brains of the Pixar think-tank, Brad Bird is taking on an auteurish hue for the fabulousness of his creations (The Incredibles being the last).

He remains intent on interpreting the foibles and grace notes of the species to which he belongs, even if it is through the medium of a rat. His latest quest is to decipher the soul of an artist who rises from the lowliest place: quite literally the sewer. Remy, not content to eat garbage like his brothers, has the very un-rat-like urge to soothe his palate with extraordinary tastes. He is a gourmand and, having spied the cooking programmes of famed but recently deceased Parisian chef Auguste Gusteau (Brad Garrett), is now entranced with the idea of creating transcendent meals that mix flavours like the giddy riffs of jazz. Gusteau is of the opinion

that “anyone can cook”. And a rat is listening.

To Remy, humans are an inspiration (“They taste…” he marvels. “They discover…”). To humans, Remy is vermin. A complicated state of affairs, especially when fate washes the talented rat into Paris, right next door to the late Gusteau’s classy eatery, currently suffering a downturn in fortune. Vulpine food critic Anton Ego (a character designed with Peter O’Toole’s Gothic tonsils fully in mind)

has been less than favourable, but Remy is drawn to the bustling kitchen like a pilgrim to the Holy Land.

Impeding his nascent greatness, apart from being a rat, are Gallicly tempered and vertically restricted head chef Skinner (Sir Ian Holm), and Remy’s sceptical rat-father (Brian Dennehy), who is determined he pursue more rat-like endeavours (like eating garbage). But as Brad Bird has it, art will out. Remy is slave to his own genius.

Scampering fretfully among the whirling ladles, carving knives and angry spurts from the gas burners, his delicate nose sniffs out the insulting scent of compromised soup and he can’t help but risk life and paw to remedy the dish. To leave it would be a sin against his soul.

The answer to his troubles is to go undercover, or under-toque, in cahoots with the supremely untalented new garbage boy Linguini (Lou Romano). This presents Bird and his animators with an awkward challenge – how does their world actually work? Their answer is anthropomorphic sleight-of-hand. Remy doesn’t talk: well, he does, but only in rattish, and it just so happens that we’re fluent. Linguini, his partner, doesn’t. All this bumbling fool can make out are the tinny squeaks of rat-kind. To confer the rat-chef’s talents to his goofy human sidekick, Bird goes one fictional step further, making Remy capable of operating a human being by tugging his hair follicles like puppet strings. The animated are now doing the animating.

It’s an inspired concept, transforming the cooking sequences into astonishingly animated slapstick homages to Mack Sennett, Buster Keaton and, in keeping with the French setting, herky-jerky French farceur Jacques Tati (a kind of proto-Bean), as Linguini is manipulated to concoct paradise in dish form.

Appropriately, this is also a riff on Cyrano De Bergerac, replacing one large-conked poet’s adoration of his cousin Roxanne with a large-conked foodie’s adoration of haute cuisine; both being forced to use an imbecilic intermediary. In one further really-shouldn’t-work device that Bird slips without a care into the spinning narrative,

we have the portly Gusteau as a floating figment of Remy’s overactive imagination to chivvy the little fella along. Remy, like many European artistes, is a whisker away from madness.

It’s farce and poetry both, able to make thrilling gearshifts from poignant characterisation into madcap as the film spills onto the streets to create chase sequences worthy of Chuck Jones or Fred Quimby. Visually, nothing is beyond these guys. From the fineness of Remy’s fur to the rain-slicked cobbles of the City Of Lights, they somehow grant synthesised surfaces the textures of life. Yet, the animation is at once extraordinary and hardly the point. So deft is the hand of Pixar that you are allowed to take their raptures of detail for granted – the incidental art is slave to the story. Pixar are not really animators at all, but storytellers par excellence whose carving knife happens to be a computer mouse.

By the third act, the standard recipe would be for Linguini to be de-toqued, the diminutive hero exposed and the villainous Skinner to be felled. That, though, is just one of the plot strands Bird has woven. Amid the flurry of impeccably timed disaster, Anton Ego will emerge from his coffin-shaped parlour to test this unforeseen turn-around at Gusteau’s and prove a salutary lesson for any critic as to their own worth. “Surprise me,” he sneers to the waiter, with the kind of disdain normally associated with Lady Bracknell or Daily Mail readers. So fully have you sunk into this animated world, so blurred are its joins with real life, that the resulting dish (designed with the help of hip chef Thomas Keller) lifts the film to rank alongside Babette’s Feast, Big Night or Ang Lee’s Taiwanese trilogy as literally mouth-watering. Although it rather takes the Happy Meal

tie-in off the agenda.

It is impossible not to read Remy as a straight metaphor for Bird or Pixar as a whole. They are unable to let the soup sour when the perfect mix of flavours can be reached. But the message may be more democratic – not everyone can be a great artist, but true art can come from anywhere. Bird is an artist who looks deep into humans (even in rat form) and sees something magic. His films feel like gifts.

That feeling you have as you leave the cinema – that buzzing in the fingers and lightness in the heart – is called joy.
 
 

MOVIE REVIEW

Young Remy wants to cook. He’s enthralled, consumed, obsessed with the idea of someday becoming a great chef. Remy has a problem, though: He’s a rat. A Parisian rat with a heightened sense of smell, a discerning palate and a natural skill in the culinary arts … but, still a rat. His family members are content to scavenge and steal any tidbit of garbage they can find, but when Remy is accidentally separated from them he realizes that he needs to seek a higher path. So he crawls out of the sewer and into the restaurant of the famous chef August Gusteau (the author of Remy’s favorite book, Anyone Can Cook). In the restaurant, Remy narrowly avoids destruction and, by happenstance, ends up befriending Linguini, a clumsy kitchen boy. The young man desperately wants to keep his job. But, like Remy, Linguini also has a problem. He can’t cook. Together, the unlikely duo make a fine team. And the food world goes wild. Linguini even catches the eye of the kitchen’s only female chef, Colette. But their splendid soufflé begins to fall when the restaurant’s head chef smells, well, a rat. And Remy’s multitudinous clan shows up wanting an all-you-can-eat buffet. And a famous food critic decides to separate the mice from the men.

POSITIVE ELEMENTS

Remy imagines a miniature chef Gusteau who pops up whenever the little rat needs a nudge from his conscience. Gusteau encourages the fricasseeing rodent to work for his dream: “Why not here? Why not now?” Gusteau admonishes Remy to do the right thing instead of stealing food like his rat brethren: “A cook makes. A thief takes. You are not a thief.” In fact, the message that stealing is wrong is repeated several times. And when Remy finds himself betrayed by a friend and decides to get even by allowing his rat friends to steal from the restaurant, his choice is met with harsh consequences. Good also eventually comes of Remy’s father chiding his son for pursuing un-rat-like dreams. “You can’t change nature,” Dad argues. Remy retorts, “Nature is change, Dad. The part that we can influence. And it starts when we decide.” Indeed. The two go their separate ways with the issue unresolved, but later Remy’s father admits he was wrong when he sees his son’s achievements and watches him receive the respect he deserves. Dad then decides to call in all the rats to help his son, saying, “We are family.” By the end of the movie, all the central characters agree to make upright choices, even though they recognize that it will mean losing something they value greatly. A man enjoying a good meal has a flashback to the days of his childhood; he recalls how his mother prepared a special dish for him that was simple but filled with love.

SPIRITUAL CONTENT

When asked, Linguini reports that his mother has died, but goes on to say, “It’s OK. She believed in heaven. So she’s covered.” Remy states that cleanliness is next to godliness. Remy’s father says, “Thank God.” One of the cooks, with a Haitian background, says (during a stressful moment), “This is bad juju.”

SEXUAL CONTENT

Linguini and Colette share a long kiss. In his travels through an air shaft, Remy passes a room in which a French couple is arguing. After she brandishes a gun and fires it into the ceiling, the two end up in a brief-but-passionate embrace. It’s also mentioned that Linguini may be Gusteau’s out-of-wedlock son (an important plot point that’s handled fairly discreetly and not overemphasized) and that a colleague was once fired from the circus for “messing around” with his boss’s daughters.

VIOLENT CONTENT

Remy and his brother are struck by lightning while standing on the roof of a house. An old woman finds Remy in her house and starts firing her shotgun at him (destroying her home in the process). Rats and kitchens don’t mix, so when Remy is spotted in the restaurant, everything from mops to pots and pans to knives get hurled in his direction. Remy is almost fried by a flame erupting from the bottom of an oven, and later he’s accidentally put in the oven with a roast. Colette pins Linguini’s sleeve to the table with large kitchen knives. And she slaps his face several times. Remy is separated from his family and pulled down into a drainage ditch by fiercely rushing water. Linguini hits Remy as the rat runs around on the boy’s body underneath his shirt. With each blow, Remy nips at Linguini’s chest, and we see red bite marks. Dead rats are seen hanging from traps.

CRUDE OR PROFANE LANGUAGE

The English vulgarity “bloody” is used once. “Shut up” and a smattering of mild insults (“idiot,” “garbage boy”) are all that are left to report here.

DRUG AND ALCOHOL CONTENT

As might be expected, wine is served with every meal in the restaurant. The head chef keeps pouring glasses of wine for Linguini (who says he’s not a drinker), getting him tipsy in order to find out about his rat friend. The kitchen crew drinks wine and champagne in celebration.

OTHER NEGATIVE ELEMENTS

Colette teaches Linguini the ropes of running a kitchen and clearly states that bribing the grower is the best way to get the first pick of vegetables. Other chefs are said to have been gamblers, gun-runners and convicts. The head chef mockingly “welcomes” Linguini to “hell.”

CONCLUSION

Moviegoers feast each summer on a banquet of blockbusters. So far, the summer of 2007 has served up mostly second and third helpings of big-name franchise sequels (Fantastic Four: Rise of the Silver Surfer, Spider-Man 3, Shrek the Third, Pirates of the Caribbean: At Worlds End). Will a first-round animated flick about a French rat in Paris be worth anyone’s notice, then? Especially given the fact that it wasn’t long ago this particular Pixar picture was in such trouble that they had to bring in director Brad Bird to try to patch things up? Bird’s past creations have been both unique and popular (The Incredibles, The Iron Giant), but there was still some doubt in my mind walking into an early screening of Ratatouille whether he could bring that same, shall we say, savoir faire to a movie that wasn’t his own brainchild. The answer, in a word, is oui.

Ratatouille probably won’t be placed atop the menu with some of Pixar’s other savory classics, such as Toy Story or Finding Nemo. It has one too many shotgun-wielding grannies and that distasteful bit concerning Linguini’s questionable parentage (a character who tended to grate on me like a lemon zester, anyway). But its animated presentation is appealing and its furry epicurean delightful. On top of that is the positive story garnish of giving respect (and credit) to others, working hard and not giving up on your dreams, sticking together as a family, admitting when you’re wrong and making right choices even in the face of possible negative ramifications. Once the pot is fully stirred and seasoned, then, the end result is a simple dish, but one that may well deserve to be considered as a first course, leaving all the seconds and thirds for another day.

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