"The Road to El Dorado" makes DreamWorks' animation mission perfectly clear: to be like Disney. Unfortunately, the somewhat-new company has found that a hit movie requires more than the music of Elton John, big-name voices and computer animation.
The story opens with the heroic duo of Tulio (Kevin Kline), a character with a jarring American twang, and Miguel (Kenneth Branagh), who exhibits an out-of-place English accent. As the movie continues, the story proves to be based largely on the two characters' interactions as they play off one another in a style best described as an animated attempt at the comedic chemistry of oldies Crosby and Hope.
The movie starts when Tulio and Miguel win the map to a city of gold, El Dorado. After being caught for cheating, however, they display the practiced routine of blaming one another until they escape, landing on the deck of Hernando Cortes' ship bound for the New World. Continuing their witty interactions, the two men, with the help of Cortes' warhorse, Altivo, abandon ship with the horse in a rowboat. This all occurs quickly, although not before the two men exclaim the crude but amusing phrase, "Holy ship!" as the bow of one of the Spanish galleons bears down on the heroes, almost ending the movie prematurely.
The characters drift at sea and somehow land on the beaches of the New World before Cortes' fleet. Coincidentally, as Tulio realizes, they land on the exact starting point of the map to El Dorado. As one event leads to another, the unlikely threesome find their way into the golden city and meet the cigar smoking Chief (Edward James Olmos) who believes Tulio and Miguel are gods. Also within the city lies the movie's underlying antagonist, Tzekel-Kan (Armand Assante), speaker to the gods.
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The film exhibits amazing animation as is illustrated when Tzekel-Kan uses his powers to take control of a giant stone jaguar that chases the duo around the city. The film's coloration, however, is so extreme that it is at times blinding, rather than visually pleasing.
In Disney-like fashion, "El Dorado" attempts to compose its own musical score à la Elton John but falls surprisingly short. The music is less than memorable and is certainly not Elton John at his best. The best part about the musical sequences in this animated tale is that they are few in number.
The plot is a bit overdone and does not surprise the audience with any new circumstances. To the film's advantage, it is composed of supporting characters rather than based on a concentrated look at anyone in particular. This characteristic allows for a more relaxed atmosphere in which the characters' sarcastic humor is showcased instead of smothered in an in-depth focus on the troubles of a single character.
The film offers no serious themes, leaving the viewer with an uncertain sense as to whether it is intended for an older or younger audience. It has mature witticisms but also exhibits goofiness and cute side characters who cater to children.
Overall, "El Dorado" is a stepping stone for DreamWorks, a company that put itself on the animation map with 1998's "Prince of Egypt." However far off from true animated success the film may be, it is definitely worth a rental. Who knows - maybe DreamWorks' next film will work its way to the ranks of big screen must-sees.
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