We’re missing a broader scope of familial love.
At the center of the remarkable montage near the opening of Pixar’s Up stands the sorrow of infertility.
On one side lie the joys of a budding marriage, and on the other the delights of its twilight. In the hour of crisis, Carl sees Ellie sitting in the garden facing the sun with a forlorn look, feeling the devastation of their joint barrenness. Neither character speaks throughout the montage, but here their silence is particularly apt: the wordlessness of grief weighs heavily upon them, and upon us. Relief begins when Carl, who is by no means immune to their sadness, places Ellie’s “adventure book”—which has many more pages in it for them to fill—in her lap. It is the most beautiful depiction of infertility I know of; it is among the most tender five minutes of film I have ever seen.
But the adventures Carl and Ellie are given in the latter half of their lives are not the grand, exotic drama they had wanted. They hoped to someday live on top of a waterfall. Instead, car tires go flat, the roof needs replacing, and bones are broken. At every turn, the ordinary challenges of living in this world prevent them from pursuing the dreams of their youth. Yet if their adventure book is incomplete when Ellie dies, it is not empty; we glimpse the fullness of their love and feel like it is enough. The sadness at their separation stems not from their inability to live out their dream, but from the reality that they are no longer together.
While the montage is widely regarded as one of the most moving parts of the film, it almost failed make the final cut. Director Pete Docter said the studio was leery of showing their infertility because it was “going too far.” But the filmmakers had no real …