Extended Essay

Language A: Language and Literature — English

Category 3

An Exploration of Communist Theory Through the Storytelling of Ratatouille

How does the film Ratatouille address themes of capitalism,

class struggle, and fundamental Marxist-Leninist values?

Word Count: 3998

Candidate Number: hrb390

May 2022 Session

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Contents

I. Introduction 2

II. Body 4

A. Use of Allegories and Symbolism to Illustrate Social Classes 4

B. Portrayals of Human Capital and Division of Labour 7

C. Utilisation of Dialectics 9

D. Implementation of Social Mobility 12

III. Conclusion 14

IV. Works Cited 16

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I. Introduction

Brad Bird’s animated film Ratatouille is unique to other children’s movies due to its

ability to be viewed from a sociopolitical perspective. Though not apparent at first glance, an in-

depth analysis of the film allows deeper insight into the nature of the concepts promoted by the

movie. Fictional chef Auguste Gusteau quotes, “... you must not let anyone define your limits

because of where you come from” (qtd. in Bird 15). These words are a reflection of the

overarching theme of the film, in which a rat named Remy dreams of becoming a chef but finds

himself challenged by the innately unpleasant relationship between rats and humans. Inspired by

Gusteau and his motto “Anyone can cook” (Bird 1), Remy chases and eventually fulfils his

culinary aspirations through the help of human friend Alfredo Linguini. Ratatouille’s title itself

is a nod not only to the species of the main character but also to the French dish described to be a

“peasant dish” (qtd. in Bird 150).

It is apparent at the beginning of the film that Remy is different from the rest of the rats

in his colony. He is interested in the culinary arts, desiring to create his own flavours by

becoming a chef and only eating high-quality food. Unfortunately, the rest of the rats do not

share this same interest; especially his father, Django, who has a more conventional approach to

food — that is, to eat for sustenance, and not enjoyment. This is the way of living for rats, in

which they must eat anything and everything for their survival. His difference from the rest of

his species makes him and his goals exceptional, ultimately requiring him to go to lengths more

outstanding than the average rat in order to fulfil his ambitions. Thus, he embarks on a journey

filled with altercations with figures of authority and confrontations with his inner self regarding

his purpose and existence as a rat.

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It is through this journey that themes such as teamwork and collaboration become

evident. These are ideas meant to educate children, seeing that the target audience of the film is a

younger generation. However, the means of achieving these goals can be interpreted through a

politically leftist lens; one that has been developed by philosophers Karl Marx and Vladimir

Lenin. Communism is an economic and sociopolitical ideology that strives for the abolition of

class distinctions and private property. It is defined by philosopher Frederick Engels as “the

doctrine of the conditions of the liberation of the proletariat” (1). It is argued that the working

class can not be free from exploitation so long as competition exists in the industry. It must

therefore be replaced with association, and a key step in the course of the Communist revolution

requires proletarian unionisation.

The stigma surrounding communism gives significance to this topic. The ideology is

infamous as a result of capitalist propaganda following various global conflicts. Despite this,

Ratatouille is able to present communist ideals in a non-discriminatory manner, while being

suitable for all audiences. Additionally, the film serves as a critique of consumerism both

concerning modern times and with context to its setting. At the time of the film’s release, the

film’s setting Paris was ranked as the thirteenth most expensive city in the world (CNN,

“World’s Most Expensive Cities”). Furthermore, France has a history of socioeconomically

motivated overthrows, such as The French Revolution of 1789-1799 and The Paris Commune of

1871.

Studying communist theory allows insight into different perspectives regarding the routes

taken by Remy throughout the film. The promotion of collaboration between members of society

with different backgrounds yet similar mindsets parallels the fundamental Communist concept of
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alliances. Additionally, the conflicts faced by the two main characters are allegoric to social

mobility.

This begs the question: “How does the film Ratatouille address themes of capitalism,

class struggle, and fundamental Marxist-Leninist values?” This paper will answer the research

question by examining the film’s exploration of communist theory through its use of allegories

and symbolism to illustrate social classes, portrayals of human capital and division of labour,

utilization of dialectics, implementation of social mobility, and how all of these components are

used to warn its audience of the dangers of authoritarianism and capitalism. The research

question allows for a study of the unbiased portrayals of politics in children’s media in order to

prepare them for the dangers of capitalist exploitation in the real world, thus giving it

significance. Ultimately, this paper will serve as a Marxist critique of Ratatouille, making use of

direct extractions of both dialogues and descriptions from its screenplay written by Brad Bird.

Secondary references pertaining to the fundamental Communist values by its proponents such as

articles and pamphlets will be used as well in order to substantially support the ideas that make

up the essay.

II. Body

A. Use of Allegories and Symbolism to Illustrate Social Classes

The natural rivalry between humans and rats is not unknown. It is observed throughout

the film and serves as the main conflict that prevents the main characters from achieving their

ambitions. Just as in reality, rats are shown to be filthy and sordid. Their uncleanliness can be

attributed to peasantry, and can thus be allegoric of the impoverished lower class. It can then be

said, as humans have privilege over rats, and as the presence of the lower class in the film is
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absent in human form, that humans are anything but. They, therefore, are symbols that represent

the proletariat and the bourgeoisie, both of which are portrayed in the film.

The rats make up the entirety of the lower class, eating solely for sustenance and not

being able to partake in any luxuries. They do what they must to survive at the expense of their

freedom, leading them to become “thieves [...] And what [they’re] stealing is-- let’s face it,

garbage” (qtd. in Bird 5). This creates a challenge for Remy, who has dreams that exceed the

abilities of his species. He has talents and aspirations that are unattainable due to the limitations

of his economic status, represented by his species as a rat. He is thus perceived as dirty and

conniving and is treated as such. This aligns with society’s perception of the poor; thieves who

are unclean and primitive, therefore below the rest of civilization. The impoverished are so

dehumanized that they cannot even be considered humans, and thus the most evident class

distinction in the film is the separation between man and rat. Remy knows he’s “supposed to hate

humans. But there’s something about them — they don’t just survive, they discover, they create”

(qtd. in Bird 7-8). His admiration for the “enemies of rat kind” (qtd. in Bird 29) lead him to

collaborate with Linguini, a staff member at Gusteau’s.

The kitchen staff make up the proletariat class, those who work without owning the

means of production. They are the cooks who work to serve their boss Skinner and the

consumers of Gusteau’s, labouring under stressful and time-pressurized conditions. In a scene

where one of the cooks, Colette, is training Linguini, she criticizes him for working too slowly.

She exclaims in one breath:

You think cooking is a cute job, huh? Like mommy in the kitchen? … Well mommy

never had to face the dinner rush when the orders come flooding in and every dish is
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different and none are simple and all have different cooking times but must arrive on the

customer’s table at exactly the same time, hot and perfect! (Bird 44).

The pressures of fulfilling the meticulous needs of their boss and customers create a

stressful environment in the kitchen of Gusteau’s causing many of the cooks to have indifferent

or short-tempered attitudes. Despite this, they all work hard to produce the best quality haute

cuisine for the restaurant’s consumers. Further, viewers never see them reap the fruits of their

labour. This exploitation of the working class is emphasized through the asymmetric power

dynamic between them and their employer.

The capitalist takes form in the main antagonist Skinner. He is dictatorial in nature,

manipulating his authority over his employees by forcing them to work under such pressurized

circumstances and verbally abusing them. He is particularly prejudiced against Linguini, who is

implied to be the poorest amongst the workers:

You are COOKING? How dare you cook in my kitchen! … Where do you get the

gall to even attempt something so monumentally idiotic? I should have you drawn and

quartered! I’ll do it!

(Bird 31)

Additionally, he exploits the legacy of Gusteau’s to produce cheap goods for the frozen

food industry for personal profit. He takes advantage of the image of the late Auguste Gusteau to

attract foreign markets and greedily increase his own revenue.

The rest of the upper class who are not explicitly shown to directly abuse the working

class are the consumers of the restaurant and food critic Anton Ego. Despite not being portrayed
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as abusive figures of authority, they still indirectly contribute to the exploitation of the working

class due to excessive conspicuous consumption. Their higher demands dictate the extent to

which the proletarians must labour. Furthermore, the role of Ego as a food critic serves as an

allegory for the free market as it signifies ‘luck’ — you are either lucky enough to appease a so-

called expert’s palate, or you are unlucky to be unable to satisfy him and are deemed unworthy

of appreciation. It expresses how simply one person may dictate the livelihood of many with

merely one approving or disapproving review.

The gap between the rats and the humans is disproportionate, as is the gap between the

working class humans and the bourgeois humans. These distinctions parallel the communist

assumption that “members of society are unequal only to the extent that their capitals are

unequal, that capital is the decisive power, and that therefore the capitalists, the bourgeoisie,

have become the first class in society” (Engels 11). These notions are conclusively emphasized

by the choices of species and occupation symbolism.

B. Portrayals of Human Capital and Division of Labour

It is made apparent during the introductions of the kitchen staff that the cooks are already

divided into different sections based on their capabilities. Each character’s division of labour

corresponds to their social class, despite them carrying different values of human capital. This, in

turn, reduces the wages of the workers as their work is minimized. This is because “the value of

labour-power is the value of the means of subsistence necessary for the maintenance of the

labourer” (Marx 121).

While a smaller workload does not equal less labour-power required, it does indicate that

the value of labour is reduced. Thus, despite carrying the legacy of Gusteau’s restaurant, the
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cooks have low value in terms of human capital. This is evident in the early state of Linguini’s

living conditions. Though the financial situations of the rest of the staff are not indicated, his are

implied through the portrayal of his home. A reflection of a worker living on the bare minimum,

it is illustrated in the screenplay:

INT. LINGUINI’S FLAT - NIGHT

Darkness. We hear KEYS fumbling in a lock. … [Linguini] turns on a light,

REVEALING a tiny, odd-shaped room; two doors in the wall; one a bathroom, the other

a closet, both tiny. One window, a table with two chairs. Hotplate. A minuscule, ancient

refrigerator.

A ratty couch doubles as a bed, a portable black & white TV rests precariously on

one arm.

LINGUINI. This is it. It’s not much, but it’s … not much … Could be worse; there’s heat

and light and a couch with a TV. (Bird 39)

The state of his living conditions, with consideration to his measly job as a garbage boy,

suggests that he must live only enough to just sustain himself. Even if these low-class conditions

are not experienced by his coworkers, exploitation is conclusively present within the workplace.

This is especially observed when comparing the division of labour between the cooks and

Skinner.

Despite being the head chef, Skinner is never observed to be cooking. In the kitchen, he

can only be seen berating his employees — especially Linguini, which seems to be motivated by

prejudicial bias. When he is not in his consistently agitated state around his cooks, he is in his
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office where he mainly focuses on his frozen food line, ‘Chef Gusteaus’ Frozen Foods’:

Skinner watches as ad man FRANCOIS DUPUIS finishes pitching his campaign for the

latest GUSTEAU’S FROZEN FOOD product. The trademark Chef Gusteau art has been

re-painted [...] Behind this are similar campaigns for GUSTEAU’S FRENCH PIZZA and

GUSTEAU’S MICROWAVE BURRITOS. Skinner is captivated. (Bird 52)

This line is another one of the capitalistic endeavours that he benefits from but does not

labour for. He instead allocates the work to the ‘ad man’ Francois Dupuis. Furthermore, it can be

seen that Skinner is exploiting the reputation and image of the late Gusteau for easy profit. This

can be exemplified by the parodic and mocking nature of the re-painting of Gusteau.

The working class must work hard and for extended hours just to barely support

themselves; meanwhile, the capitalist class is able to order others around and reap their benefits.

This indication of a class struggle between the bourgeois and the labourers showcased in

Ratatouille correlates with the Marxist notion that the separation of classes will always result in

inequality.

C. Utilisation of Dialectics

Aside from the unequal relationship between the upper and working class, the dynamic

between the lower class and all classes above it is also illustrated in Ratatouille. The violence

faced by rats from humans suppresses Remy’s and all of rat kind’s liberty. Its most extreme form

manifests in an anti-pest shop, where “a variety of nasty looking metal traps, RAT TRAPS to be

precise” are displayed and “row after row of DEAD RATS” (qtd. in Bird 83) are hung.
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Witnessing such a shop instils fear in Remy, clearly expressed in his facial reaction as his “jaw

drops in horror” (qtd. in Bird 83).

This natural divide leads to suppression from both sides of the two species. If it is not

violence from humans from both social classes in their attempts to eradicate pests, it is the

traditional mindset of Remy’s father, Django, that hinders his advancement. Django firmly

believes that humankind is the greatest antagonist who must be avoided at all costs. This mindset

is the result of the violence inflicted upon rats; a close-minded yet understandable perspective.

He tells Remy, upon arrival of the anti-pest shop: “The world we live in belongs to the enemy.

We must live carefully. We look out for our own kind, Remy. When all is said and done, we’re

all we’ve got” (qtd. in Bird 83). Despite the horror newly witnessed, Remy remains steadfast, his

faith in progress unwavering. He convinces his father that he will not submit to the conventional,

subservient life of a rat, and it is here where dialectics are utilised.

Philosophically, dialectics can be defined as the discourse between two parties from

opposing perspectives seeking to investigate truths within each other’s arguments through a

discussion. Vladimir Lenin states Karl Marx’s definition of dialectics as “the science of the

general laws of motion, both of the external world and of human thought” (3). They are the

foundation of the conflict theory of change, a theory largely accredited to Marx as the major

proponent of it. According to sociologists Akujobi Chiedoziem Theophilus and Jack Jackson, the

theory holds the following:

...Conflict and social change are ubiquitous, normal, constant, and inevitable phenomena

in human society as it is a veritable tool in remedying social inequalities and injustice in

society […] In essence, it is this dialectic process of ideas that leads to change in society.

[...] It sees change as induced by the revolution induced by the exploited classes in
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society against the ruling class and their oppressors (“Social Change and Social

Problems”).

One of the fundamental postulations in Marxist dialectics is the presence of

contradictions. Contradictions are omnipresent in reality, manifesting as the presence of two

components that oppose each other yet cannot exist without one another. In a philosophical essay

regarding dialectics, Mao Zedong outlines its concept and real-world instances:

Changes in society are due chiefly to the development of the internal

contradictions in society, that is, the contradiction between the productive forces and the

relations of production, the contradiction between classes and the contradiction between

the old and the new; it is the development of these contradictions that pushes society

forward and gives the impetus for the supersession of the old society by the new. (“On

Contradiction”)

As stated, one such application of the notion of contradictions is the struggle between

conservative thought versus progressive thinking, as well as the struggle between differing

classes. Both oppositions have thus far been clearly illustrated throughout Ratatouille which

allows for the foundation of a dialectical conversation to be laid.

After Django attempts to sway Remy’s perception of humans by exposing him to the

anti-pest shop, Remy rebuttals. This turns their conversation from cautionary to dialectical:

His point made, Django turns to go. Remy stares up at the horrible window, then

softly says --

REMY. No.

DJANGO. (stops in his tracks) What?

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REMY. No, Dad. I don’t believe it. You’re telling me that the future is -- can

ONLY be (points at window) -- more of this?

DJANGO. This is the way things are. You can’t change nature.

REMY. Change IS nature, Dad. The part that we can influence. And it starts when

we decide. (Bird 83)

The contradictory nature of the two rats’ mindsets forms the battleground with which

these dialectics are held. Though brief, this moment clarifies the stand that Remy decides to take

in order to unequivocally implement a change that will allow him to achieve his dreams. He

emphasises the words ‘only’ and ‘is’ and makes use of short but stern sentences in order to get

through to his father in an imperative manner. Furthermore, his reference to the dialectical basis

of change stresses the utmost importance of his demand for a reformation of the relationship

between rats and humans. Without Man’s help, he will never be able to attain his ambitions, and

rats as a whole will forever live in suffering and fear if their mentalities remain stagnant. The

impact of Remy’s words sparks a hint of change in mindset in his father, as he decides to let him

return to Linguini instead of arguing back as usual. With Linguini already open-minded to

cooperation with a rat, and now Django with an altered outlook, a real change in the dynamic

between human and rat ensues.

D. Implementation of Social Mobility

Arguably the strongest theme that correlates with Marxist-Leninist values is

collaboration. As the film follows Remy as he pursues his dreams, it is clear that he cannot
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achieve them on his own. His natural capabilities as a rat, or his abilities as an impoverished

member of society, can only go so far.

It is only when he is saved by the proletarian Linguini that he is able to make progress in

reaching his goals. Their method of collaboration is through Remy using Linguini as a

marionette, using his hair as puppet strings and controlling his movements which translate into

exquisite cooking skills. This alliance enables him to cook to his heart’s desires by using

Linguini’s state of being a human as a vessel. Remy’s skills and puppeteering allow Linguini to

maintain his job at Gusteau’s, which he needs to sustain his basic human needs. It is through the

success of this collaboration that the two parties involved can adapt to capitalist society and

improve their financial and class-based situations.

It is later revealed that Linguini is the illegitimate biological son of Auguste Gusteau, and

therefore the rightful heir to the restaurant. With this, he is declared the legal owner of Gusteau’s

and replaces Skinner as sous-chef. As a result of this inheritance, he is able to mobilize and

become much more affluent. A montage ensues, illustrating the events following Skinner’s

overthrow:

MONTAGE. SERIES OF SHOTS, to music, illustrating (A) Linguini’s rise, (B)

Skinner’s fall, and (C) the happy changes to GUSTEAU’S.

INTERCUT:

(A) Various NEWSPAPER headlines: “LINGUINI CANCELS FROZEN

FOOD” “GUSTEAU’S REGAINS A LOST STAR”. Linguini shows Remy their new,
larger apartment.

(B) A dishevelled Skinner alternates between spying on Gusteau’s (looking for

the rat in the kitchen) and stewing (over the loss of his little empire, and the glowing
press coverage of Linguini).

[...]
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In the alley behind the kitchen, the COOKS symbolically burn the GUSTEAU
STANDEES created to promote Skinner’s hated FROZEN FOOD line. All cheer as the
FLAMES rise higher. (Bird 114)

Without Remy’s help, Linguini would have never been able to receive the reputation that

he did. Although he did inherit the restaurant by means of nepotism, it was the rat’s cooking

skills that allowed him to remain in the food industry. Through this, the use of Remy as the

puppet master behind Linguini’s cooking is suggested to be symbolistic of blue-collar efforts that

are masked as white-collar successes. It is Remy who has the culinary skills, and he is the one

who labours; Linguini merely acts as the vessel yet is the sole receiver of fortune and fame.

Though this later results in an argument between the two, they eventually resolve as they realize

that they need each other to sustain their collaborative success. After all, it is their alliance that

revived the restaurant Gusteau’s legacy. Gusteau’s is now a successful 5-star restaurant, fulfilling

Remy’s chef aspirations and allowing Linguini’s financial situation to improve.

By the end of the film, Remy, a rat by species, is finally able to symbolically become the

equivalent of a human and share the same opportunities that humans do. Every conflict of the

film has led to this moment — social mobilisation propelled by collaboration, in which

becoming human was Remy’s ascension. This form of pathetic fallacy is seen through the

reopening of a new bistro by the conclusion, where Remy can cook for both humans and rats,

free of discrimination. “A long line of customers has formed outside, waiting to get in. An

elegant METAL SIGN comes into view, featuring a rat wearing a CHEF’S TOQUE, along with

the bistro’s name LA Ratatouille” (qtd. in Bird 162). With the ability to work alongside humans

without needing to hide, and even a bistro to his name, Remy’s dreams are finally a reality.
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III. Conclusion

Through its portrayals of the struggles of the working and lower class, Ratatouille tells a

cautionary tale of capitalism’s consequences while promoting fundamental Marxist-Leninist

ideas. The film goes to show the extremities faced by marginalized social and economic classes

that demand a call for action. Real-life instances such as the extensive historical wars,

revolutions, conflicts, and even the use of cheap labour in modern times must, too, be put to an

end. These instances fill history books and news headlines with calamity, generational poverty,

countless casualties, and the endless suffering of those under the boot of oppressors looking to

get a quick buck. These cruelties are components that contribute to the notion of the film being a

cautionary tale of capitalist society. Technicalities such as symbolism, allegories, and pathetic

fallacies all contribute to the bigger picture wherein the implementation of Communist methods

of change leads to accomplishing dreams.

Remy’s identity of being a sordid rat being representative of the lower class reflects

society’s perception of the impoverished both in the film and in real life. Yet, he is still able to

become amongst the finest chefs in Paris. He would never have been able to achieve such dreams

had it not been for the help of Linguini, his proletarian ally. And without Remy, the chances of

Linguini’s financial situation improving would have been slim. Moreover, the kitchen staff and

Anton Ego would never consider a rat to be equal to them; nor would Django have ever opened

his mind to the idea of cooperating with humans. The pair’s collaborative union is what moved

all parties, and a real change for the better was finally seen.

The end of Ratatouille illustrates hope, in both a literal sense for the humans and rats of

the film, as well as in a symbolic sense for all classes involved in real life. As said by the little,
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optimistic rat with dreams bigger than his own existence, “Change IS nature [...] And it starts

when we decide” (qtd. in Bird 83).

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IV. Works Cited

Bird, Brad, director. Ratatouille. Screenplay by Brad Bird, Pixar, Disney, 2007. Disney HotStar,

www.hotstar.com/id/movies/ratatouille/1260016855. Accessed 26 July 2021.

Engels, Frederick. “The Principles of Communism.” Marxists.org, 2021,

www.marxists.org/archive/marx/works/1847/11/prin-com.htm. Accessed 20 August

2021.

Lenin, Vladimir. “Lenin’s Karl Marx: II: The Marxist Doctrine.” Marxists.info, 2021,

www.marxists.info/archive/lenin/works/1914/granat/ch02.htm#fwV21P054F01.

Accessed 20 August 2021.

Marx, Karl. “Capital: Volume I.” Marxists.org, 1999,

www.marxists.org/archive/marx/works/download/pdf/Capital-Volume-I.pdf. Accessed 6

November 2021.

Sahadi, Jeanne. “World’s Most Expensive Cities.” CNN, June 18 2007,

money.cnn.com/2007/06/15/pf/most_expensive_cities/. Accessed 26 July 2021.

The Local. “Why Rats Are Central to the Race for Paris Mayor.” The Local France, 12 March

2020, www.thelocal.fr/20200312/why-rats-are-central-to-the-race-for-paris-mayor/.

Accessed 29 August 2021.

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Theophilus, Akujobi & Jack, Jackson. (2017). SOCIAL CHANGE AND SOCIAL PROBLEMS.

Mao, Zedong. “ON CONTRADICTION.” Marxists.org, 2019,

www.marxists.org/reference/archive/mao/selected-works/volume-1/mswv1_17.htm.

Accessed 6 November 2021.