Did ‘bean mouth’ really kill Pixar’s Elio at the box office?

Pixar’s latest movie, Elio, faced a disappointing opening weekend at the box office, earning a mere $35 million globally. The reasons for its lackluster performance have been debated by industry professionals, with some attributing it to factors such as minimal marketing, a PG rating, and a competitive landscape for original stories. However, if you ask internet users, a far simpler issue emerges: the character design.

Critics of Elio have been vocal about their dislike for the “bean mouth” style of character design, a term that has become synonymous with a particular animation technique characterized by thin line-work, simplified features, and bean-shaped mouths and heads. This style, often referred to as the “CalArts style,” has sparked a wave of criticism online, with many viewers expressing their aversion to it.

The origins of the “bean mouth” style can be traced back to Ren & Stimpy creator John Kricfalusi, who criticized a certain art style that he believed originated from the California Institute of the Arts (CalArts). While the style’s association with CalArts is a simplification, it has become a catch-all term for a broader critique of animation as imitation rather than innovation.

Despite the widespread criticism of the “bean mouth” style, experts like animation journalist John Maher caution against dismissing a film solely based on its character design. Maher argues that focusing on aesthetics over substance is a misguided approach to critiquing art.

Maija Burnett, the director of the Character Animation Program at CalArts, dispels the notion that the school teaches a specific style of animation. She emphasizes the diversity of work produced by CalArts students and notes that studios like Pixar develop their own animation styles over time, rather than defaulting to a particular aesthetic.

While the “bean mouth” style may have its detractors, Burnett suggests that it is a product of contemporary animation techniques and will likely evolve with new technologies. She also acknowledges the role of nostalgia in shaping perceptions of animation styles and the importance of being able to identify and discuss trends in the industry.

In the end, box-office analyst Paul Dergarabedian believes that story and marketing are more significant factors in a movie’s success than its animation style. The idea that fans would reject a film based solely on its character design is deemed unlikely by industry experts, who emphasize the importance of understanding the substance of a film beyond its visual aesthetic.

In conclusion, the debate over the “bean mouth” style in Pixar’s Elio reflects a broader conversation about the intersection of art, technology, and audience preferences in the world of animation. While aesthetics play a role in shaping audience perceptions, they should not overshadow the storytelling and creativity that define the medium. Pixar’s Elio may have faced challenges at the box office, but its legacy will ultimately be determined by the depth of its narrative and the impact it leaves on viewers.