What if the grandmother with the gun that we see at the beginning of the film was none other than the mother of food critic Anton Ego? While “Ratatouille” is broadcast tonight on M6, return to this improbable theory developed by the fans.
We are at the end of Ratatouille. The ruthless and cadaverous gastronomic critic Anton Ego, visiting Gusteau to assess the quality of the restaurant, asks the chef to surprise him. Against all expectations and to the astonishment of his fellow cooks, Rémy decides to serve him … a ratatouille.
A simple and rustic dish, certainly, but the first bite of which instantly transports the intractable critic to his most distant childhood memories, when his mother consoled him for a fall from his bike with a plate of ratatouille. To this magnificent sequence – the icing on the appetizing cake that is the Brad Bird film – some fans have tried to add an extra dimension with an exciting theory.
According to their hypothesis, if Anton Ego is so touched by Rémy’s dish, it is quite simply because the latter learned to cook at his mother’s, in the same place as him. Indeed, if we compare the furniture visible in Ego’s flashback and that which appears at the very beginning of the film, in the country house occupied by the colony of rats, we can realize that several objects are exactly the same, especially in the kitchen.
The sink, the kettle, the saucepan, the vegetable basket or the chair … There are many elements that can be found identically from one scene to another.
Once this observation has been established, the theory presents itself: is the grandmother who hunts Rémy and his gang with rifles at the beginning of the film in fact the mother of Anton Ego, several years after the departure of his son? Did Rémy learn to cook ratatouille by leafing through his recipe books?
Unfortunately, even if some directors sometimes confirm certain theories (like Ron Clements and John Musker on the Genie of Aladdin, for example), others are keen to set the record straight, and to bring back to earth fans who are a little too dreamy. This is the case of Brad Bird, director of Ratatouille, who denied all this pretty story on Twitter, even if it means disappointing some.
“I would love to confirm to you that we thought things extremely deeply, and that there was a story behind the story, but …
When I picked up the film, we had an impossible deadline, and only two of the many sets had been designed. The truth is, we just try to reuse the props when we can. “
An answer which in any case has the merit of being honest, even if it cuts short a rather pleasing theory.
(Re) discover the hidden details of “Ratatouille” …