Adorable Encanto Deleted Scene Has Me Wishing for More Onscreen Non-Magical Madrigal Bonding
More scenes with these dads please.
When Encanto was released on Disney+ late in December, the film also became available to rent or own digitally. With that, people began to share deleted scenes and featurettes from the movie. You may have even seen this viral clip of dancers performing to the song “We Don’t Talk About Bruno.” The choreography helped the animators bring the movement to life.
Merry Christmas/Feliz Navidad🎄! Have you seen @encantomovie yet?! It’s streaming on @disneyplus We Don’t Talk About Bruno!!!!
From Dance Reference to finished product! Cheers to everyone involved in the making of this magical film! #encanto #dance #choreography pic.twitter.com/NwVwHC2tSf
— Kai Martinez (@kai_martinez__) December 25, 2021
I love this, but I’ve found the most enjoyment watching deleted scenes from the film such as “Chores!” The description reads, “Abuela has sent most of THE FAMILY to town on various assignments that bring them acclaim, while Mirabel, her father and uncle are asked to clean the house.” Since both Mirabel’s father and uncle are non-magical family members, this scene provides an insight into the dynamics of living with these differences as adults.
Despite the freezing January temperatures, this scene (like the entire movie) warmed my heart.
Pepa, Dolores, and Félix used to look a lot different.
It was also fascinating to see how characters’ basic elements like names and powers changed.
First, we have to mention how important it was that by the end of production, Félix was undeniably Black. While he had a wide nose (like half the family) in this mockup, it wasn’t as clear as his final form that he’s Afro-Latinx. A storyboard won’t reflect the deep brown color of his skin, but it’s obvious that the hair depicted there isn’t the coily 4a to 4B hair texture in the final movie. In a film focused on the family, Félix and Pepa’s love created more Afro-Colombian faces on the screen, including fan-favorite Dolores. (Not my fave Madrigal, but she’s getting the most love in fan art circles.)
Upon the film’s release, what we got was so richly layered and thought out—not to say the original powers weren’t interesting, but the new powers better fit familial dynamics. For example, Tía Pepa’s abilities were that of a daredevil for this storyboard, later switched to her emotions affecting the weather. This was an excellent change not just because her emotional state better fit as the person in the family that feels the most, but because only one character had an attack-geared power (Luisa, with her strength), prevented it from feeling like a superhero story.
Though Dolores ended up downgraded from a town healer to a person with great listening skills (and zero f***s given), an older Madrigal having the cooking healing powers (Mirabel’s mother Julieta) also made more sense because people don’t think how well their peers in the family cook; it’s about someone whose cooking they grew up on. While Dolores’ powers weren’t as interesting outside of the visuals they provided onscreen, it’s okay that they take a backseat considering the large cast.
Sadly, there’s no place for it in the final film
As much as I loved this scene, there’s no place it fits in without disrupting the movie’s flow. Based on the fact that little Antonio already has a room (unless he was going to be another character) in the scene, this would’ve happened sometime after that, but when? The moment little Antonio gets his powers, the story moves quickly. Everyone rushes into his new room, takes the photo without Mirabel (including both non-magical uncles), and that sadness begins Mirabel’s solo musical number “Waiting on a Miracle“—then, Casita cracks.
Once Casita cracks, the main story is set in motion, and there is no logical sense to slow momentum for a moment. Mirabel has moments with both her parents (Agustín and Julieta), but both expressions of love are not bonding like “Chores!” A scene like this would need to happen sometime before Antonio’s ceremony … a scene that takes place 15 minutes into the 1.5-hour movie.
Instead, this adorable scene was deconstructed for its essential parts and sprinkled throughout. Mirabel’s relationship with Félix fell to his son Antonio, and she still had two bonding moments with her father. I wish it could’ve worked, though, because the parents’ generation (even before accounting for Bruno’s fallout after Mirabel’s ceremony) is fascinating. There is so much Disney could do here.
When the audience comes to the story, this family has built something cracking under the pressures like generational trauma and familial expectations. This scene has us wanting to see more of original magical triplets (Pepa, Bruno, and Julieta) and non-magical in-laws (Agustín and Félix), wondering what their lives were like during the initial building process, how the town first responded to them, or when their family began to grow.
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