Film Name: 疯狂原始人 / The Croods
As layer upon layer of new scenery unfolds before your eyes; as one new invention after another brings convenience to life; as caves cease to exist and primitive people emerge from the caves within their own hearts—those conservative, stagnant perceptions of the world—not only the primitive people, but even the audience embraces a concept: humans must overcome their fear of change.
My heart still lingers at that moment when the cavemen reached the treetop summit, and Gai blew out his torch—revealing a sky bursting with stars and a magnificent Milky Way stretching before them. For the Croods, who regarded nighttime excursions as a death sentence, this spectacle was likely the most breathtaking sight they had ever witnessed. Breaking free from rigid dogma not only granted them practical benefits—like painlessly walking over sharp coral—but also revealed a spiritual landscape: life could shine as brilliantly as the star-filled sky. Existence isn’t merely about “survival”; it’s about embracing the journey.
Another scene that struck me deeply unfolded within a labyrinthine stone formation. While the rest of the Croods found their way out through innovative methods—approaches they’d never attempted before—the father alone kept circling endlessly, trapped within the maze. Deep down, he must have been terrified. On the surface, it was fear of getting lost in the maze, but fundamentally, it was the fear of losing faith when his old methods and beliefs proved ineffective. At that moment, a new belief naturally stepped in to fill the void. In truth, America’s cultural indoctrination of the world operates much the same way: first placing people from other civilizations within a labyrinth, causing them to distrust their original beliefs, then seamlessly implanting its own ideas.
Of course, the above is merely my humble speculation. However, the film’s portrayal of the father, Gua Ge, does feel somewhat overly symbolic—as if it strives to make him a figurehead representing the shift from conservatism to innovation. To achieve this symbolism, the film takes for granted that Gua Ge—a lifelong traditionalist—would suddenly abandon his old ways and embrace innovation solely to maintain his authority within the family, lest he be supplanted by the upstart newcomer Gai. In my view, this transformation feels like an abrupt 180-degree turn, fundamentally at odds with the character’s core traits. A more fitting portrayal would show him struggling with the inability to innovate or adapt easily, rather than being troubled by the apparent uselessness of new ideas.
Communication studies categorize audiences into innovators, early adopters, latecomers, and laggards—a framework that resonates within this film. Guy is the innovator, the source of new ideas and creativity; his daughter Eep is the early adopter, driven by the strongest desire and motivation to grasp and practice new concepts; the mother, the other two children, and the grandmother are all followers. They wait until the purpose of something new is clear before adopting and accepting it, representing the more cautious type of consumer; Finally, Grug represents the laggards. Even when most have embraced the new, these individuals persist with old ways, resistant to change. From this perspective, “The Croods” forces a laggard to evolve into a follower—and ultimately transcends even that role to become an innovator. This idealized character arc serves, at its core, to reinforce the didactic role of American ideals and culture.
Setting aside the symbolic significance of Brother Gua in the film’s central theme of change, his role in the family and kinship segments remains commendable. Especially when he ultimately carries each family member to safety one by one, choosing to remain behind in peril—even as the world’s most backward laggard, his figure stands towering! His sacrifices for his family alone are enough to define a noble character. Why must we insist he leap from laggard to innovator, becoming a “complete person”? He loves his family so deeply, shielding them with his own strength and hands. Even with his rigid, conservative mindset, shouldn’t we still admire him? From a character arc perspective, the film’s portrayal of Brother Gua’s ideological shift may be inevitable. Yet from life’s perspective, I believe his persistence in conservatism might have offered greater depth. For life demands not only innovation but also preservation; children need not just so-called new ideas, but sometimes also their parents’ traditional nagging.
Another character who left a deep impression on me was the grandmother. This lively old lady held a lowly position within the family—unlike in many Chinese households where elders command respect with age. Brother Gua even frequently fantasized about family life without her, dismissing her as “useless” since she couldn’t hunt or discipline the children. To these primal people who prioritized practicality, she was clearly superfluous. But look—was she superfluous in the end? No! Was she useless? Not at all! She delivered a weighty statement to her son Gua Ge: “You’ve made me look at you with new eyes.” Beyond her comedic role, she ultimately transformed into a true elder figure, judging the protagonist’s actions with the voice of a wise person and the perspective of a benevolent soul. In the end, we see she was also a kind-hearted and wise individual.
The film features many adorable creatures. Here, the creators employed an interesting method to create cuteness: hybridization. Upon closer inspection, each animal is a blend of two or three real-world creatures. For instance, the baby elephant combines mouse and elephant traits; the flying fish merges shark and bird characteristics. Crafting an entire fantastical world is challenging, especially when populating it with such a diverse array of creatures. This hybrid approach might just be a technique worth studying for aspiring directors.
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