Why is "Raya and The Last Dragon" a clever movie?

You must have seen a lot of Disney princess movies. One of them is very special because I think it is a rather smart film. I'm talking about "Raya and The Last Dragon".

Drawing on the success of the mass production of minority princesses in the 1990s, this "Raya and The Last Dragon" based on Southeast Asia, has added imagination to the basis of the local material. China, Vietnam, Malaysia, Thailand, India, and other Asian countries can see the shadow of their own countries in this film. They together form both the tropical and desert temperaments of the film. Combining fantastical imagination with magnificent scenes, and there is an indescribable harmony and sense of epicness.

Not only that but from all angles of view, the film is shot very cleverly.

1. Perspective of Feminism

This time, the heroine Raya got rid of all the rules and regulations of the past princesses. She has the fighting skills and combat power of Merida from "Brave", Elsa's determination and leadership from "Frozen", and Moana's heart to save the world from "Moana". This combination describes a very aggressive "warrior", rather than a "hothouse princess" waiting for males’ salvation. Who can resist being swept off their feet by this self-improving and daring "big heroine" image?

2. Perspective of Rebellion Against Tradition

This is another Disney princess film that completely removes the prince's part after "Moana". And even the male characters, who may have a little sense of love for Raya, are all eliminated. The film inherits the double heroine model pioneered in "Frozen". The plots of sisters loving and killing each other are vigorous. At the same time, the film completely abandons the singing and dancing scenes and replaces them with two signature fights, yet still satisfies the audience.

3. Perspective of Cultural Integration

Whether it's the clothing, modeling, the names of the characters, or the storyline of "Raya and the Last Dragon", it's a typical Asian story with many Asian voice actors such as Kelly Marie Tran, Awkwafina, Sandra Oh, etc.

The last dragon Sisu is also given a combination of East and West, getting rid of the biological attribute that western dragons must use wings to fly. It uses the gesture of running in the air, which is quite cool!

The modeling combines the Kylin, unicorn, and Southeast Asian water dragon into one while retaining Disney characteristics through the upward eye line, flexible eyebrows, and mouth shape. With the further intermingling of global cultures, Asian cultures are gradually moving away from the "Western fantasy" and can bring western audiences a different experience of the mysterious East, while also letting the original world of these cultures resonate.

4. Perspective of Social Orientation

The "Male gaze" in this film almost disappears without a trace. The design of the two main female characters Raya and Namaari are very different from the traditional Disney princess temperament. They have healthy wheat-colored skin, strong muscle lines, and powerful movements. Even the characters’ clothes are no longer deliberately highlighting female characteristics. The muscle lines on the arms are looming and resilient, presenting an androgynous and gender-ambiguous sense of beauty.

As a routine movie, "Raya and The Last Dragon" can reach above the line of standard and it also does a very smart job!

1. The film combines five wonderful elements

The film unfolds on an imaginary fantasy continent Kumandra. The main elements include five city-states that hate each other, a shattered crystal ball, a raging plague, and the last dragon.

The storyline is very simple and straightforward. The post-apocalyptic heroine looks for a way to save the world and follows the map to start an adventure. She gathers teammates and collects equipment along the way, fighting and upgrading all the way. She gradually approaches the truth and finally has another reversal followed by the usual happy ending.

With a road movie formula + game challenge settings, it can be said that all the plots are a combination of Hollywood-style formulas. Just as I knew that there would be a lovely pet in it, I also knew that Raya would be able to find the last dragon. The crystal ball would be put back together, and the team to save the world would finally be able to overcome the plague.

2. The Film contains plenty of punch lines

But the cleverness of the film is that, even if these American "contrast" settings have long been used, and the plot progression is expected, but it does not prevent it from being a constant source of laughs for the audience to enjoy watching!

For example, Sisu is teased as "Neither fish nor fowl". But its realistic expressions and movements, coupled with Awkwafina's "soulful dubbing", have allowed this grounded character to make you laugh. So, people can’t hate it.

3. The film has very rich emotions

In addition to the likable characters, another highlight of the film is the portrayal of the character's feelings. With almost all members of the production team being women, this makes the film's "delicate" and "superb" production to an unprecedented level.

Disney's top-notch technology is amazing in commanding micro-expressions, and the scene that impressed me most is the first encounter between Sisu and Namaari:

Only in ten seconds, the emotion change between a dragon and a person is immaculately conveyed through the eyes and facial expressions, without a line of dialogue. A series of evocative emotions instantly rush to the audience.

Most of the time, Sisu is preoccupied with being funny. But it is its innocence, kindness, and even awkwardness that constitute its divinity, which is why those few seconds in the film, the gaze full of sincerity, compassion, trust, and forgiveness, makes me feel the power of penetrating into the heart.

The core of "Raya and The Last Dragon" is very simple – "trust". It means not trust between people and dragons, but between people and people. The plague is the biggest villain in the film, like the monsters caused by human abuse of technology in "Godzilla". It derives from hatred and division between people. What can dispel the plague is not the dragon's magic ball, but people coming together again.

The last dragon is a symbol of the last trust and hopes among humans, and the success or failure of the result depends on whether Namaari can save her, or rather, save herself, with her own hands.

Concluding Remarks:

Although I think there is a small shortcoming in the film, that is the character Namaari is divisive. Throughout the whole film, she is obviously a person who loves dragons and believes in them from the bottom of her heart, why does she choose to shoot Tuk Tuk at the end? It seems that her actions are too reckless and contradictory, with a strong sense of fragmentation. This leads to some deliberate and far-fetched plots that fail to achieve the ambition of presenting an "epic".

But the defects cannot obscure the virtues. The princess's complete rebellion, the colorful five city-states, the master-level picture aesthetics, the magical animals, and the beautiful soundtrack are enough to make this rebellious Disney fairy tale reach above the commercial film standard.

In addition, there is almost no trace of dull and lengthy paragraphs, coupled with accurate rhythm control, which makes the film full of highlights.

Well, do you like princess movies like "Raya and The Last Dragon"? Let me know in the comments!