Musicals on Streaming - Weird: The Al Yankovic Story

The Roku Channel, 2022

Starring Daniel Ratcliffe, Evan Rachel Wood, Rainn Wilson, and Toby Huss

Directed by Eric Appel

Music and Lyrics by Al Yankovitz and others

Let's get weird this week with a pair of musical biography spoofs. Our first entry began life as a satirical trailer for a fictional biography of Yankovitz, famous for his parodies of hit pop songs, released by online comedy video specialists Funny or Die in 2010. The real Weird Al liked the idea and started shopping around a spoof biography. The studios figured it would be more like a Zucker Brothers movie of the 80's and passed. It didn't finally find a home until January 2022, when it was announced for streaming company Roku's free channel. Inspired by the success of recent rock bios like Rocketman and Bohemian Rhapsody, Al director Appel took a few little creative licenses with Al's life. Is this wacky look at one man's need to play the accordion as goofy as Al's songs, or should they be dropped in that nameless factory? Let's begin as Al (Ratcliffe) on a stretcher recalls his troubled childhood and find out...

The Story: Al loves satire, from radio personality Dr. Demento (Wilson) to MAD Magazine, but his father Nick (Huss) disapproves and wants him to join the factory where he works. Al truly believes spoofing pop songs is his destiny, especially after his mother Mary (Julienne Nicholson) buys him his first accordion from a traveling salesman (Thomas Lennon). His father destroys it after a wild polka party, leading for Al to get fed up and move out.

Living with three other guys, he comes up with "My Bologna" for "My Sharona" while making a bologna sandwich. Tony Scotti ("Weird" Al Yankovic) will only sign him to a contract if he has more experience. He and his buddies form a band and play in a biker bar. They catch the eye of Dr. Demento himself, who agrees to be his manager and promoter. He brings them to a party, where they meet some of the most beloved celebrities of the early 80's...and DJ Wolfman Jack (Jack Black), who challenges Al to come up with a spoof of "Another One Bites the Dust." Al thinks up "Another One Rides the Bus" on the spot. 

Now Al's world-famous, but it's not enough. His parents still reject him. He wants to write his own music, coming up with "Eat It." It attracts the attention of pop queen Madonna (Evan Rachel Wood), who begins a relationship with him in order to bump up the popularity of her songs. He's furious when Michael Jackson comes out with the identical "Beat It" as a parody, and everyone assumes Jackson's version comes out first. He thinks Madonna is all he has, but she has other ideas. After he returns home, he joins the factory...only to learn his parents understood his ambitions better than he believed.

The Song and Dance: Just as strange and hilarious as Al's songs often are. Radcliffe is just adorable as Al, whose wide-eyed, energetic naivety contrasts delightfully with the more over-the-top personalities around him. For a last minute replacement, Wilson's also having a good time as his mentor and father-figure in lunacy Dr. Demento. Look for funny cameos by Jack Black as Demento's rival Wolfman Jack and Lin-Manuel Miranda as the doctor at the ER where Al and Madonna come up with "Like a Surgeon."  

Favorite Number: Teen Al (Corey Pestauro) impresses all the kids at that wild polka party with "Beer Barrel Polka" and "Helena Polka." "My Bologna," played in a men's bathroom when Al's friends suggest he get a recording out right away. "I Love Rocky Road" galvanizes the crowd at the biker bar and convinces Dr. Demento that this crazy kid should get a chance. He comes up with "Another One Rides the Bus" on the spot to take on that challenge at Demento's party. 

"Eat It" is the result of an amazingly surreal LSD computer animation sequence. It's certainly one of the most colorful pieces of imagery I've seen in a while. "Like a Surgeon" is the result of his partnership with Madonna, and it's a riot onstage, with Al in full surgeon costume. The film ends with Al's computer-backdrop "Amish Paradise." Never mind this one is a satire of a rap song from the mid-90's, and the movie is set in 1985. It's funny enough to finish things off with bright-colored bang.

Trivia: Amazingly enough, some incidents in the film are based on real-life. Al did buy his first accordion from a traveling salesman. He recorded "My Bologna" in a men's bathroom. Madonna did want him to parody one of her songs, and she came up with the idea for "Like a Surgeon." "The Weird Al Effect," in which the songs he's parodying often get a bump in popularity, is also real. 

And while Al wasn't asked to replace Roger Moore as James Bond, he did perform the title song for the 1996 action spoof Spy Hard. 

What I Don't Like: Like the movies it's making fun of, it's overlong. The sequence with Al rescuing Madonna from the drug lord seems to have been dropped in from an early 80's action film and has almost nothing to do with the rest of the movie. It probably could have been trimmed with none the wiser. Not to mention, there's that oddly dark ending that doesn't really jive with the rest of the movie. (Or what it's making fun of - Rocketman, at least, ends happily.) Also, this obviously isn't for you if you're not into movie spoofs or Weird Al. Having seen the movies it's making fun of is helpful as well. 

The Big Finale: If you love movie satire or Weird Al, this is one trip into the mind of a truly unique performer that's well worth taking.

Home Media: Currently a Roku Channel exclusive, but like most of their content, it's free with commercials. 

The Roku Channel

Family Fun Saturday - Doctor Dolittle (1967)

20th Century Fox, 1967

Starring Rex Harrison, Anthony Newley, Samantha Eggar, and William Dix

Directed by Richard Fleischer

Music and Lyrics by Leslie Bricusse

The enormous success of Mary Poppins in 1964 opened the floodgates for a tidal wave of epic family musicals. Doctor Dolittle may have been the most problematic of the movies that followed in its wake. Fox had tried to adapt the Doctor Doolittle book series since the 1920's. They finally got to it in 1963, when producer Arthur P. Jacobs bought the rights and convinced Rex Harrison it would be a splendid follow-up to My Fair Lady. Does it reach the heights of Harrison's previous musical, or should it be tossed into the loony bin? Let's begin at Puddley-On-the-Marsh, England, as young Tommy Stubbins (Dix) tries to find someone to care for his injured duck, and find out...

The Story: Tommy's introduced to Dr. Dolittle (Harrison) by his good friend, animal food peddler Matthew Mugg (Newley). Dolittle is an animal doctor who had once tended to people, but found animals to be far more congenial. Victorian beauty Emma Fairfax (Eggar) doesn't share his sentiments initially after her uncle General Bellows (Peter Bull) accuses Dolittle of stealing his horse. Dolittle actually fitted it with glasses. Emma doesn't appreciate how he treats humans, but Matthew thinks she's wonderful. 

Dolittle's real interest is funding an expedition to find the Giant Pink Sea Snail. A friend from America sends him a rare llama-like animal with two heads on either side. He sells it to the circus, where it's the star attraction. Also at the circus is Sophie, a seal who misses her mate badly. He dresses her in women's clothing and tosses her into the sea. Fishermen think she's an actual human and accuse him of murder. Dolittle talks to Bellows' dog to convince them he's only trying to help animals, but now they think he's crazy and send him to an insane asylum. 

The animals help Dolittle to escape. They join Emma, Matthew, and Tommy on the expedition to the Atlantic Ocean. They choose the floating Sea Star Island as their destination...and wash up there anyway during a storm. The well-read natives think Dolittle is the reason their animals are all sick, but it turns out to be the chilly waters. Dolittle's attempt to have them pushed further south first nearly gets them killed, then treated like gods. And then there's where the Pink Sea Snail turns up...

The Song and Dance: No matter how much Harrison complained, Bricusse did come up with a very charming score. There's some lovely cinematography, too, especially on the island and in England, and absolutely stunning costumes. Richard Attenborough, later known as a director, has a great cameo as the head of the circus who buys the two-headed llama. He even gets one of the film's best numbers. Some of Dolittle's interactions with the animals are genuinely funny, like his discussions with Polynesia the Parrot or how Rufus, Bellows' dog, is able to tell him details of his master's life at the trial. And I really don't know of many movies set during the early Victorian era; most tend to skip to the Civil War period or the years immediately following. 

Favorite Number: Newley kicks things off with "My Friend the Doctor" as he tells Tommy what a wonderful man Dolittle is. Harrison gets two big patter numbers with his menagerie, "The Vegetarian" as he explains why he doesn't eat meat, and the Oscar-winning "Talk to the Animals," which shows how he can do just that. Alfred Blossom the circus owner is thrilled that "I've Never Seen Anything Like It" as he and his performers build the two-headed llama into the biggest animal attraction in England. 

Matthew and Emma describe a world of "Beautiful Things" as he shows her around the circus and starts to fall for her. Dolittle's not nearly so lucky as he tries to tell the magistrate why humans should behave "Like Animals." Matthew's "After Today" has him boasting of what he'll do when he takes off for adventure, while all five leads sing about the "Fabulous Places" they hope to visit after they're on the ship. Dolittle and Emma dance around the idea that "I Think I Like You" once they get on the island. Matthew has more fun telling the kids stories of "The World of Doctor Dolittle."

Trivia: Filming this movie was an unpleasant experience for all concerned. Both England and the tropical island had constant rain delays. Harrison spent the shoot behaving like a jerk to everyone in firing range, insulting his co-stars, cutting down their roles, and making unreasonable demands. The animals were unruly and refused to pretty much do anything. Polynesia kept yelling "Cut!" and making people think she was directing. A goat ate Fleischer's script. Ducks couldn't swim and had to be rescued. The residents were even worse, with one almost blowing up the set. 

20th Century Fox thought so much of the movie, they launched a huge merchandising campaign behind it, then treated the Academy Awards voters to huge dinners in order for the movie to get a Best Picture nomination. All they got out of it were Oscars for "Talk to the Animals" and the special effects and millions of dollars lost on unsold merchandise, including a million copies of the soundtrack. 

Newley and Harrison were supposed to have a song reflecting their growing feelings about Emma, "Where are the Words," while Harrison had a ballad on his relationship with her, "Something In Your Smile." "Something In Your Smile" and Newley's version of "Where are the Words" are on the soundtrack album, but Harrison's vocals for "Words" and all of the footage has since been lost. 

Richard Burton and Richard Harris were in contention for Dolittle early-on. Christopher Plummer was almost called in as a replacement when Harrison balked at the demands of the role. Other possible Dolittles included Peter Ustinov, Peter Sellars, Alec Guinness, Peter O'Toole, and Jack Lemmon. John Huston and Vincent Minnelli were in the running to direct. 

What I Don't Like: People online have praised Harrison as Dolittle, but I think he and Newley are miscast. The doctor's supposed to be shy with humans and warm with animals, not cold and inconsiderate to both. Newley's trying way too hard to be upbeat with a man he didn't like and a bad Irish accent. Some of the antics with the animals push from "goofy" into downright idiotic, like Dolittle singing the sweet love ballad "When I Look In Your Eyes" to Sophie the seal dressed as a woman. His "Talk to the Animals" sounds nearly funereal for such a sprightly song. (Newley and Sammy Davis Jr., among others, would do it much better in later years.) 

Eggar's role was added for the film. Most of the romantic triangle between Emma, Matthew, and Dolittle was cut, making her interest in him towards the end of the film far too sudden and leaving her with little to do. There's no reason for the movie to behave like she's in the wrong for pointing out what a jerk he is, either, and constantly punishing her for it. None of the leads have a dollop of chemistry, once again likely caused by Harrison's obnoxious behavior on the set. 

The biggest problem is the extravagant length. You feel every minute of those 2 1/2 hours. The film moves slower than the Pink Sea Snail, and is often about as interesting to watch. The special effects won an Oscar and were much-touted at the time, but they now look annoyingly dated, especially that obviously mechanical sea snail. There's also the stereotypes being tossed around, not only for the natives (though they defy it by being book-smart), but also the Native who sends Dolittle the two-headed llama. 

The Big Finale: The movie has a lot of fans online who either saw it in the theater or on cable or video as a kid and enjoyed it. If you can get them to sit for it, or are able to split it into several days' viewing, kids might be the best audience for this nowadays. They'll enjoy the animal antics and ignore the slow plot and out-of-place romance. For adults who didn't grow up with it, I recommend looking up the soundtrack and ignoring the rest. 

Home Media: Easy to find on DVD and streaming. The Twilight Time Blu-Ray is expensive. 

DVD

Blu-Ray

Amazon Prime

Thanksgiving Double Feature - The Thanksgiving That Almost Wasn't & Thanksgiving In the Land of Oz

Let's give thanks for holiday specials with these two rarities. While there have been animated specials revolving around Thanksgiving since the 1960's, most of them aren't as well-remembered today as A Charlie Brown Christmas or Rudolph the Red-Nosed Reindeer. I vaguely remember seeing Oz on cable as a child in the 1980's, but definitely didn't recall it as an adult, and I never heard of Thanksgiving That Almost Wasn't until last week. How do they look now for a new generation of animation lovers? Let's start with Hanna-Barbara's entry as two modern families - human and squirrel - gather for dinner and find out...

The Thanksgiving That Almost Wasn't

Hanna-Barbara, 1972

Voices of Bobby Riha, Kevin Cooper, Hal Smith, and June Foray

Directed by Joseph Hanna and William Barbara

Music and Lyrics by various

The Story: Little Bear (Cooper), son of Chief Massasoit, and young pilgrim Johnny Cooke (Riha) get lost in the woods just before Thanksgiving dinner. They encounter many dangers, from rapids to wolves, in their attempt to find their way back to the pilgrim village in time for the big feast. A chatty squirrel (Smith) and his woodland friends lend them a paw in their quest.

The Animation: Pretty typical of what Hanna-Barbara did for Saturday morning at the time, with bright colors and limited movement. In fact, it looks a lot like a Scooby Doo cartoon with more realistic animal designs. Some of the music from Scooby Doo, Where Are You? even kicks in during a chase scene towards the end of the special.

The Song and Dance: Funny little special with a few good chase scenes, especially later on, and decent voice work from the two boys. It's actually interesting to see a special involving the Pilgrims that only mentions their difficult journey, and isn't focused on food, either. This one is all about the kids, Jeremy Squirrel, and their antics. I appreciate how Little Bear is portrayed. He's as curious and inventive - and hilarious - as his pilgrim friend. 

Favorite Number: The catchy opening number over the credits, "This Is Thanksgiving Day," is a real ear worm that'll keep you singing through your own dinner. The boys say "Let's Take the Shortest Road Home" as they strut through the woods with Jeremy leading the way. Jeremy Squirrel and the boys say "I'm Thankful" for food, turkey legs, and friends and family.

What I Don't Like: This is pretty goofy for a Thanksgiving special. There's plot holes galore, starting with the kids don't even question it when the squirrel starts talking to them. None of the other animals in the special talk, either, including the wolf. Some of the gags in the woods don't really have much function besides filler, too. 

The Big Finale: Funny piece of fluff is worth throwing on to amuse kids before or after the big meal.

Home Media: Currently on free streaming site Tubi with ads.

Tubi

Thanksgiving In the Land of Oz

CBS/Muller-Rosen Productions, 1980

Voices of Mischa Bond, Sid Caesar, Bob Ridgley, and Frank Nelson

Directed by Fred Wolf and Charles Swenson

Music by Stephen Lawrence; Lyrics by Romeo Muller

The Story: Dorothy's (Bond) upset because she and her Aunt Em and Uncle Henry will have to be separated the day after Thanksgiving. She chases a thief who stole her aunt's mince pie, only to discover it's the former Wizard (Caesar). His giant green turkey balloon ends up taking Dorothy and Toto back to Oz. They have to steal the Powder of Life back from Tyrone the Terrible Toy Tinker (Ridgley) before he can make a whole army of toys. Helping her along are Jack Pumpkinhead (Ridgely), Tik-Tok the Mechanical Man (Joan Garber) and the Hungry Tiger (Nelson), who would eat anything if his conscience would let him.

The Animation: Typical of the Murikami Swenson films, with its more subdued color and simple lines. The characters do move well enough, and there's even a a little bit of special effects with the Green Gobbler balloon coming to life. 

The Song and Dance: This has some things in common with the Disney film Return to Oz from five years later. Here too, no one believes Dorothy about Oz and its citizens, she goes up against a bearded villain who lives in a mountain, and meets Jack Pumpkinhead, Ozma, and Tik-Tok. The Oz pedigree makes the story a bit stronger than usual for holiday fare. Bond and Ridgely do the best as an unusually feisty Dorothy and bumpkin Jack. Caesar has fun as the Wizard and the multiple-accented mince pie UN Krust, too, and even gets the short's best song, "Beans In Your Button."

Favorite Number: Dorothy and Toto fly over the rainbow on the end of the Green Gobbler to the tune of the dreamy "Everything That Oz Can Be." "Beans In Your Button" is the catchy number for the Wizard as he explains how Dorothy and her crew compare to the settlers who came to Dorothy's native Kansas. Dorothy's slightly syrupy ballad "Christmas, Toys, and Oz" convinces Tyrone that his toys will be better off making children happy than frightening them.

Trivia: Most current copies remove the references to Thanksgiving, though not the ones to Christmas or being thankful for what we have and can do. 

What I Don't Like: I like the story so much, I wish it were longer. We barely see the much vaunted Green Gobbler. Tyrone doesn't get much to do until the end, either, and then he mostly just threatens Dorothy. They could have done so much more with this, including expanding Dorothy's journey to the Emerald City and her time with Tyrone. It all seems really rushed. And yeah, the connections to Thanksgiving are tenuous at best and kind of shoehorned in when they do appear. 

The Big Finale: Worth checking out during the holidays for Oz and fantasy fans or those who loved Romero's other fantasy specials from the 70's and 80's. 

Home Media: Currently on DVD packaged with the Swenson-Muller Easter special Peter and the Magic Egg.

Peter and the Magic Egg/Dorothy In the Land of Oz

Some Like It Hot (Rhythm Romance) (1939)

Paramount, 1939

Starring Bob Hope, Shirley Ross, Una Merkel, and Gene Krupa and His Orchestra

Directed by George Archainbauld

Music and Lyrics by various

Big band and swing music rose to popularity in the mid-30's as 20's jazz evolved into hotter, faster swing. Orchestras traveled the country, playing nightclubs in big towns and dance halls and hotel ballrooms in the smaller 'burgs. Everyone and anyone had their own orchestra in the 30's and 40's. Musicians broke off and formed their own orchestras, like Gene Krupa did when he left Benny Goodman to create his own band in 1938. By 1939, Krupa's band was popular enough to be paired with two more up-and-coming stars, Bob Hope and Shirley Ross, in one of the first musical films to revolve around that new jivin' sound. How does this showcase for Krupa's wild drum beat look today? Let's begin at Atlantic City, where Krupa and his play on the sidewalk as a lead-in to an even wilder boardwalk act, and find out...

The Story: Fast-talking Nicky Nelson (Hope) barks for low-rent acts like "The Living Corpse," but would love to sell Krupa and his orchestra as a major attraction. He can't attract the boardwalk patrons, even with Krupa's hot music, and the landlord closes the show when they don't pay the rent. His attempt to sell Krupa to the Paradise Ballroom on a near-by pier doesn't go over well. Owner Stephen Hanratty (Bernard Nedell) likes less wild forms of music. 

He has more luck picking up singer Lily Raquel (Ross) and her friend Flo (Merkel), insisting he can help Lily find a career. Lily's not happy when he loses the ring he gave her in a crap game. Even after he manages to get Krupa heard, the newly-prosperous band tosses Nicky on the sidewalk. They eventually realize that they still need Nicky...and more to the point, he needs them.

The Song and Dance: Complicated story (from the failed play The Great Magoo) is really just a set-up for Krupa's drum solos and a few songs from Hope and Ross. The former doesn't disappoint. There's some great orchestra music here, including Krupa getting to do his stuff on at least four numbers. Hope's having a great time too as the huckster who thinks he's two steps ahead of everyone else when he really hasn't a clue.

Favorite Number:  Of the three or four times we hear the title song, the best version is the opening number. Krupa and his boys play for a seemingly disinterested group of Atlantic City revelers. They may not be enjoying it, but the orchestra is, including a wild solo by Krupa. Krupa also gives us a terrific version of his own "Blue Rhythm Fantasy" later when they play on the boardwalk for a group of appreciative and agile jitterbuggers. We hear "The Lady's In Love With You" at least four times as well, but the best is its first run-through, when we see Nicky and Lily write it and how they come up with it. 

Trivia: Remake of the 1934 Paramount film Shoot the Works. 

Retitled Rhythm Romance for TV when Billy Wilder bought the title Some Like It Hot for his unrelated 1959 comedy. 

This is Krupa's first film with his first band after he left Benny Goodman. 

What I Don't Like: There's plenty of rhythm here, but not much romance...or anything else. The two main songs are played endlessly throughout the short running time. Ross comes in about half-way through and doesn't have much to do besides sing and complain about Hope and the ring. Krupa has a way with a pair of drumsticks, but his acting leaves more to be desired. And this is very obviously a low-budget show, with simple costumes and a cheesy Atlantic City background. Those looking for Hope in classier or more expensive fare will have go elsewhere.

The Big Finale: Rare B-pic is really best for major fans of Hope or big band music. For everyone else, it's a mildly pleasant hour's worth of entertainment if you can find it. 

Home Media: The only place you can find this currently is in a copy on the Internet Archive.

Internet Archive 

Family Fun Saturday - The Little Prince (1974)

Paramount, 1974

Starring Steven Warner, Richard Kiely, Gene Wilder, and Bob Fosse

Directed by Stanley Donen

Music by Fredrick Loewe; Lyrics by Alan Jay Lerner

We head into Thanksgiving week with this sweet family musical. French nobleman Count Antoine de Saint-Exupery wrote the children's book The Little Prince in 1942 as a critique of how strange the adult world can be. This would be the first English language film version of the book; it's also one of the few times Fosse got to dance to his own choreography on-screen, and is the final collaboration between Lerner and Loewe before the latter retired. How does the whimsical story of a pilot (Kiley) who befriends the odd young royal (Warner) of the title look nowadays? Let's begin with The Pilot (Kiley) explaining about how adults didn't take him or his artwork seriously as a child and find out...

The Story: He takes to the skies to get away from the straight-laced adult world that can't accept his whimsical drawings. While testing an experimental plane, he makes an emergency stop in the Sahara Desert for repairs. He encounters a little blonde boy in a blue jacket who claims to be the Prince of a very small planet, one that the Pilot figures out is an asteroid. The boy left his beloved Rose (Donna McKechnie) to explore the solar system and other planets. All he finds are bombastic adults who focus so much on their own petty problems, they ignore him. 

He eventually came to Earth, where he first met the Snake (Fosse) and the Fox (Wilder). They both teach him valuable lessons about life and love he passes onto the Pilot. The Pilot's not sure to make of his stories at first, but they eventually become good friends...which makes it harder when the boy becomes ill from a snake bite, and the Pilot could lose him...

The Song and Dance: This whimsical fantasy is a bittersweet delight. Too bad Kiley was generally a stage star and very rarely did movies. He brings both masculine strength and a surprising sensitivity to the role of the Pilot. Bob Fosse and Gene Wilder are the stand-outs as the Prince's two very different animal friends. Fosse's knock-kneed dance style and his natural oily charm made him a perfect snake; skittish and gentle Wilder makes a very sweet fox, too. There's also those stunning Sahara backdrops, especially during Fosse's number and when the Pilot first encounters the Prince, too. 

Favorite Number: We open with a montage of the Pilot as a boy, trying to convince everyone in turn-of-the-century France he drew a boa constrictor eating an elephant. No, all the adults keep saying, "It's a Hat." This becomes a montage of the Pilot growing into a "respectable" adult who claims "I Need Air" when he wants to get away from staid adult responsibility. He tries to convince the Little Prince "I'm On Your Side" after he refers to flowers as vulnerable. We see why the Prince believes flowers to be much stronger when the Rose dances for him and admonishes him to "Be Happy."

The Prince encounters a very adult King (Joss Ackland) and Businessman (Clive Revill) who admonish him that "You're a Child" and have no understanding of so-called grown-up matters. The Pilot isn't sure he does, either, as he admits "I Never Met a Rose." He and the boy come together to find an oasis and appreciate the desert and each other in the joyous "Why Is the Desert." Fosse's "A Snake In the Grass" is probably the purest distillation of his style you'll get on film outside of Cabaret, knock-knees, bowler hat, and all. Wilder and the Prince also have a joyful romp in the grass when the Prince gets the shy Fox to come "Closer and Closer and Closer."

What I Don't Like: The movie is strange and meandering, much like the book it's adapting. If you want something more linear and less dreamy, this isn't the place for you. Also, the songs, while charming, aren't nearly as memorable as those for Camelot or My Fair Lady. The whimsy and some of the preachier moments with the Prince and all those annoying old men on the planets can seem dated and a little obnoxious now. 

The Big Finale: Lovely children's musical deserves to be far better-known. Check it out with your favorite little prince or princess this holiday weekend. 

Home Media: The DVD is currently out of print, but it is available on streaming. 

DVD

Amazon Prime

The Story of Vernon and Irene Castle

RKO, 1939

Starring Fred Astaire, Ginger Rogers, Walter Brennan, and Edna Mae Oliver

Directed by H.C Potter

Music and Lyrics by various

Story of Vernon & Irene Castle is unique in Fred and Ginger's filmography in many respects. It's their last RKO film, their last film together until Barkleys of Broadway a decade later, the only time they played real people in one of their movies, their only historical film, and their only film to have a tragic ending. Vernon and Irene Castle were celebrity ballroom dancers of an earlier era, and many people at the time compared Astaire and Rogers to them. How does all of this look nowadays? Let's begin with Irene Foote (Rogers) in 1911, as she meets him on a boat near her native New Rochelle, and find out...

The Story: Irene and her family are excited when they learn British actor Vernon is in vaudeville. After Irene sees him dance for a group of young people returning from a picnic, she thinks he's a great dancer. Turns out he's only the stooge in a slapstick comedy act. Incensed, she convinces him to give up the slapstick and dance with her. They love dancing - and each other - so much, they ultimately get married. 

After trying - and failing - to find a job in New York, they think they have luck when two men offer them a show in Paris. The show doesn't happen, and they almost get thrown out of their rooms when grouchy theatrical agent Maggie Sutton (Oliver) hears their act. Irene's friend and manservant Walter (Brennan) isn't fond of Maggie, but she does manage to land them an audition at the Cafe de Paris. Their performance of "The Castle Walk" is such a sensation, they first become the darlings of Paris society, then American.

By the time they open on Broadway in 1914, they're two of the most beloved entertainers on the planet. Their names are lent to everything from hats to cigars, their book on ballroom dancing is a best-seller, and their tours are sold-out. Irene even causes a sensation when she bobs her hair, inspiring millions of women to do the same. Vernon, however, has more patriotic matters on his mind. He joins the Royal Air Corps in World War I and becomes a flying ace. Irene does her part with propaganda serials. She's delighted when Vernon's moved to training new pilots in Texas, but it's not as safe of a job as she thinks...

The Song and Dance: The older numbers on display here are, for the most part, as much fun as the original routines in their other films. It's fascinating to watch Astaire and Rogers demonstrate the dances of an earlier era. For the most part, they do really well with it. Ginger may not have loved the costumes Irene Castle designed herself, but I think they're gorgeous and fairly accurate to the era, especially the fur-trimmed ensemble she wears during the "rise to fame" dance montage midway through and that adorable Dutch-inspired sequined cap. Astaire not only enjoys playing Vernon Castle, he actually looked quite a bit like him, too. Oliver and Brennan have some of the funniest lines of the film as the Castles' crotchety agent who gets them out of the gutter in Paris and Irene's loyal valet.

And honestly...as cliched as the plot is, I do appreciate that the biography here makes it slightly stronger than in most of the Astaire-Rogers films. You really feel Irene's devastation in the end, making that last, haunting image of two ghostly dancers whirling off together even more poignant. 

Favorite Number: We kick off with what would be Rogers' second and last solo in one of her films with Astaire. "The Yama Yama Man" is based on Broadway star of the time Bessie McCoy, complete with her trademark Pierrot clown costume and floppy dance. Astaire does an instrumental tap routine to "By the Light of the Silvery Moon" with - and eventually outdoing - portly Sonny Lamont at the train station in New Rochelle. It's good enough to prove to Irene that he's a better dancer than a comedian. "Oh You Beautiful Doll" is a number at the vaudeville theater where Vernon works for female dance Frances Mercer and the male chorus, an example of the type of dancing you'd see at a vaudeville show then.

The Castles first show off their daring ragtime style in an instrumental "King Chanticleer" at rehearsals. They do a spirited two-step to "Waiting for the Robert E. Lee" at an audition, but the manager isn't nearly as impressed as the audience likely is by this point. They finally hit the big time with their delightful "Too Much Mustard (Tres Moutarde)" at the Cafe de Paris. We next get a series of dances from them, including a slightly awkward tango and a far more appropriate polka. A montage shows how their constant touring and best-selling book made headlines...and left dancing feet wherever they went; a second medley shows how their final dance together to a series of waltzes. 

The only song written for the film is "Only When You're In My Arms." It's heard twice. Vernon sings it to Irene right before they announce their engagement...and then, it's heard in the last shot as Irene looks up, and sees an image of them dancing together, forever, in the garden...

Trivia: Vernon and Irene Castle popularized couples dancing in the early 1910's when it was still considered to be sinful. Much of what you see in the film actually happened, from how Irene and Vernon met to their being stranded in Paris to how wildly popular they were between 1911 and 1916. Patria, the war propaganda serial Irene Castle is seen filming in the movie, was also real. Episodes 2, 3, 4, and 10 exist today. Sadly, Vernon's death is also portrayed accurately. He was the only one who died; the student (and Vernon's pet monkey) survived. Irene became an animal activist later in life, which explains all the dogs and horses seen in the movie. She retired and married three more times, finally passing away in 1969.

What I Don't Like: Irene Castle later disowned the film for several inaccuracies, from her real manservant Walter being black to Rogers' costumes being too thirties. The real problem here is it's a bit dark compared to their other movies. In some ways, despite the usual down-and-up cliches, it has more in common with later stories like Love Me or Leave Me that sought to give a more accurate assessment of the character and era than fluff like 'Till the Clouds Roll By. It's not for those looking for a more typical Fred and Ginger vehicle, with their usually assortment of wacky supporting actors and dramatic numbers set to jazz standards.

The Big Finale: I consider this to be Astaire and Rogers' most underrated film together. If you love older styles of dance and are willing to give something different from them a chance, this is a charming and bittersweet look at a bygone era. 

Home Media: Like all of Fred and Ginger's movies, this is easily found on DVD and streaming. 

DVD

DVD - Silver Screen Icons: Astaire & Rogers Vol. 2

Amazon Prime

Swing Time (1936)

RKO, 1936

Starring Fred Astaire, Ginger Rogers, Victor Moore, and Eric Blore

Directed by George Stevens

Music by Jerome Kern; Lyrics by Dorothy Fields

Let's dance into the holiday season with the two Fred and Ginger films I haven't gotten to yet, starting with the one widely considered to be their best. Unlike their previous film Follow the Fleet, this one puts them front and center, with no secondary romance to distract the audience. How does the breezy tale of a gambler who tries to win the money to marry his sweetheart, only to fall for a dance teacher, look nowadays? Let's begin backstage with John "Lucky" Garrett (Astaire) and his dance troupe at the end of a number and find out...

The Story: Lucky wants to marry his fiancee Margaret (Betty Furness), but he keeps losing his money on gambling. Her father Judge Watson (Landers Stevens) insists they can marry if he can make $25,000. He thinks he can, but his troupe takes most of it after they bet he won't get married. They end up riding a freight car to New York. Lucky encounters Penny Carroll (Rogers) when he tries to make change for his quarter. She's a dance teacher, and he's so smitten, he immediately takes lessons from her. He makes it look like he can't dance, until her boss Mr. Gordon (Blore) fires her. Lucky immediately shows that she did teach him to dance, and well. 

Mr. Gibson is so impressed, he not only rehires her, he sets up an audition for them at the Silver Sandal nightclub. Lucky is unable to win a tuxedo and misses the first audition, but he finally convinces Penny to join him for a second. That's almost derailed when the bandleader, Penny's own fiancee Ricky Romero (Georges Metaxa), won't play for them. Lucky wins his contract in a poker game and makes sure he doesn't have any choice. Lucky's friend Pop (Moore) first loses the contract, then lets it slip to Penny that Lucky's engaged. After she walks away, Lucky finally admits the truth that Margaret isn't the lady who owns his heart anymore...and he may end up losing both the women he loves.

The Song and Dance: Everyone is on top of their game in this sparkling confection, from Astaire and Rogers having a ball with the comedy to fussy Moore as Lucky's manager and Helen Broderick as Rogers' tart-tongued best friend and Mr. Gibson's former secretary. The Art Deco sets are incredible, too. Check out the mirrored backdrop for "Bojangles of Harlem" or the long stairway of the Silver Sandal for "Never Gonna Dance." There's also those gorgeous gowns for Broderick and Rogers (especially Rogers' simple but glittery "Never Gonna Dance" outfit), and the details on the cozy snow-laden inn for "A Fine Romance."

Favorite Number: Our first real number is "Pick Yourself Up" at the dance studio. Lucky first tries to make it look like he's not learning anything to spend more time with Penny. When Mr. Gibson fires her, he breaks out his moves to show he may have learned a thing or two after all. "The Way You Look Tonight" won the Oscar in 1936. This gorgeously simple ballad appropriately has an equally simple introduction, just Lucky playing the song as Penny washes her hair, but it's so effective, she changes her mind about  him. Penny complains at the country inn that it's not "A Fine Romance" like she wants when Lucky remembers his fiancee and pulls away. Lucky sings a reprise after Pop lets it slip about his fiancee and Penny's the one avoiding him. 

The reason this is so well-regarded comes down to the three main dance routines. The instrumental "Waltz In Swing Time" is really a non-vocal "Way You Look Tonight," with Lucky and Penny swirling around the Silver Sandal ballroom in glowing elegance. Astaire honors "Bojangles of Harlem" in blackface, first dancing with chorus girls in black and white, then hoofing with his own shadows in a still-nifty bit of trick photography. "Never Gonna Dance" takes us back to the Silver Sandal as Lucky admits that he may have lost Penny, their elegance now replaced by a gentle sadness.

Trivia: A stage version of Swing Time, Never Gonna Dance, premiered on Broadway in December 2003. Alas, it barely ran for two and a half months and received mixed reviews. The production used all of the songs from Swing Time but "Bojangles of Harlem," plus songs from other Jerome Kern shows. 

What I Don't Like: First of all, this has the same problem as most of Fred and Ginger's other films. If you're looking for a stronger plot, you won't find it here. It's about as light of a frappe as you can imagine. 

Second, let's discuss "Bojangles of Harlem." Astaire admired Bill Robinson and had learned tap from several black entertainers, including John W. Bubbles. He meant no offense then, but the dark makeup on him and some of the mildly condescending lyrics may not sit well with some folks nowadays. 

The Big Finale: This and Top Hat are Fred and Ginger's best movies, and probably the best places to start if you want to know what their vehicles are all about. A must-see for fans of Astaire, Rogers, musicals, or dance in film.

Home Media: The Criterion Collection released it on DVD and Blu-Ray in 2019; it's also easy to find on streaming.

DVD

Blu-Ray

Amazon Prime

Animation Celebration Saturday - Dot and the Kangaroo

Yoram Gross Films, 1977

Voices of Barbara Frawley, Joan Bruce, Spike Milligan, and June Salter

Directed by Yoram Gross

Music by Bob Young; Lyrics by John Palmer and Marion Von Adlerstein

We head down under for one of my favorite childhood movies. This and several of its many sequels ran constantly on The Disney Channel in the 1980's and early 90's; we may even have taped it. My sisters and I loved the story of how a Kangaroo helped a little girl lost in the Australian outback and the various native animals she meets on the way. Is it just as much fun today? Let's begin with Dot (Frawley), an animated child in the very real Australian bush land, and find out...

The Story: Dot (Frawley) wanders away from home after a kangaroo rat, falls down a hill, and loses her way. She's found by a kindly mother kangaroo (Bruce), who lost her own joey when she left him alone while escaping hunters. The kangaroo takes Dot across the outback, first in search of water, then to ask the various native animals they meet the way home. On the way, Dot learns about the animals of the Australian outback, as well as the Aborigines who also lived in the area.

The Animation: Fairly simple, but that's its charm. I do wish the characters were better-integrated into the real-life background. The background barely moves at all, not even a ripple. Even the animals swimming and drinking water don't look like they're really doing those things. On the other hand, the characters move fairly well with each other, especially towards the end, when the dingoes attack Dot and the kangaroo.

The Song and Dance: Along with the catchy music, what makes this one is the relationship between Dot and her kangaroo friend. It's sweet and endearing to see the lengths the kangaroo will go to keep Dot safe. Some of the characters they meet on their journey are pretty funny, too. Milligan and Salter are especially funny as the platypus pair who are said to know everything and don't take kindly to those who get their unique species mixed up with lesser creatures. And the ending when Dot actually does get home is absolutely heartbreaking. 

Favorite Number: The one I always remembered is Dot's song as she "Rides In the Porch of a Red Kangaroo." The cheerful melody is as bouncy as the kangaroo herself, and so catchy it's heard twice. "Lullaby (Sleep Little One Sleep)" opens the film as a dreamy melody over the credits. "One Day When I Was Walking" is Dot's explanation of how she got lost. "The Platypus," "All We Ever Do Is Quack," and "What Fun It Is to Be a Frog" are the animals telling Dot what they are and why they enjoy being what they are. 

The terns opt for showing instead of telling in a non-vocal ballet sequence with some of the film's best animation, including Dot flying. "Beware of the Bunyip" is the kangaroo's song in the cave as she explains what happens to the Aborigines who once inhabited the area and how they encountered one of the great monsters of the Australian outback. "Willie Wagtail," Willie's song of joy when Dot and the kangaroo find him, is also quite catchy. 

What I Don't Like: First of all, there's that bittersweet ending. In the original Australian children's book, the kangaroo sticks around the area, becomes friends with Dot's parents, and she does find her joey. Here, they  abandon the kangaroo's search for the joey pretty quickly. I don't think she found it until the sequels. The animation is obviously cheap, and as mentioned, not well-integrated with the live-action backgrounds. The backgrounds, while lovely, barely move or do much of anything besides sit there. Some of the animals' numbers, notably the terns' ballet and the frog song, are really extraneous and seem to slow the film down more than anything. 

The Big Finale: Despite the cheap animation, it's charming enough to be well-worth checking out for elementary-school-age animal lovers or those who remember those cable showings in the 80's. 

Home Media: Easily available on DVD and streaming. Due to its unknown copyright situation, it's free on several sites. 

DVD

Tubi

Saluting Our Troops - Up In Arms

Samuel Goldwyn Productions/RKO, 1944

Starring Danny Kaye, Dinah Shore, Dana Andrews, and Constance Dowling

Directed by Elliot Nugent

Music and Lyrics by various

We salute the men and women of the Armed Services for Veteran's Day with Danny Kaye's first feature-length movie and vehicle for Goldwyn. Ever since Eddie Cantor left in the late 30's, Goldwyn had looked for another star comedian of his caliber. He found him in former nightclub comic Kaye, who had just scored a major success on Broadway in the stage hit Lady In the Dark. Goldwyn spared no expense for Kaye's first film, pairing him with beloved radio singer Shore and heartthrob Andrews in what amounted to a World War II-themed remake of Cantor's first sound film Whoopee! How does the story of a hypochondriac who ends up in the Army look today? Let's start in the hospital, where elevator operator Danny Weems (Kaye) constantly rattles on to people about their non-existent health problems, and find out...

The Story: Nurse Virginia Merrill (Shore) is in love with Danny, but he's in love with another nurse, Mary Morgan (Dowling). Mary's really interested in Danny's best friend Joe (Andrews). Danny is horrified when he's drafted into the Army. All those germs overseas! Joe joins up to keep an eye on him. Mary and Virginia are also enlisted as Army nurses. Danny smuggles Mary onboard their transport ship to the South Pacific, but they're caught and he ends up in the brig. 

He's still in prison after they land on the South Seas island. That works to his advantage when he's inadvertently rescued by a troop of Japanese soldiers. He's going to have to do a lot more than worry about these guys' health when he has to impersonate their head commander and capture them himself!

The Song and Dance: Kaye bursts out of the gate running on his first try. He did a few low-budget shorts in the late 30's, but nothing like this. He runs with it, sometimes literally, whether he's rattling off lists of his non-existent symptoms (and everyone else's), or doing a song and dance in literal Hell with Shore. Shore's not bad as the nurse who is really interested in him. She manages to hold her own with him in the Hell number and sounds gorgeous on her ballads. 

Favorite Number: Kaye's best number is early in the film, when he recreates what sounds like Goldwyn's idea of the  musical Something For the Boys in lobby of a movie theater. He even gets the patrons doing a Carmen Miranda conga line at one point. Shore performs the gentle ballad "Now I Know" while making a record for the folks back home at a carnival. "All Out For Freedom" is the big rousing chorus number as everyone, the soldiers and the nurses, march onto the transport boat. The chorus also joins in for Shore's other ballad, the bluesy "Tess' Torch Song" on board ship. Kaye's other patter number, which he performs to distract the troops from Mary's presence, is "Melody In 4 F." 

The one for the books is Kaye's dream sequence near the end of the film. We first have him in a pastel nightclub, complete with pale blue goat on a leash, as he's about to marry his Mary. That dream turns quickly into something quite different as the Goldwyn Girls trade pastel bridesmaids dresses for slinky black gowns as they recline against spindly trees and Shore comes out scatting in a tight black gown. 

Trivia: Goldwyn originally planned to have the Disney short "The Gremlins" as the fantasy sequence, but the spot and short were eventually scrapped.

Dowling's film debut. Virginia Mayo can be spotted in the chorus. 

What I Don't Like: This hasn't dated any better than Whoopee! In fact, despite having a different story, it shares the same problems - namely, stereotyped minority characters and an extremely stiff second couple. Andrews, charismatic as he is, was never really comfortable in musicals. Dowling is so dull, you can't really understand what either man sees in her. The last 20 minutes, with Danny leading a troop of Japanese soldiers around while dressed as a stereotypical Japanese officer, will be more than a little uncomfortable for many viewers today. Not to mention, the sudden switch to action comedy doesn't really work well with the slapstick farce that came before it. There's also the abrupt ending, with one last doctor gag from Danny before a sudden, nonsensical reprise of his fantasy/Hell number with Shore and the Goldwyn Girls.

The Big Finale: This is only for major fans of Shore, Andrews, and Kaye or wartime musicals. Everyone else is advised to check out Kaye's better vehicles like The Court Jester or White Christmas before coming anywhere near here. 

Home Media: Available on streaming and on DVD as part of the Warner Archives set Danny Kaye: The Goldwyn Years. 

DVD - Danny Kaye: The Goldwyn Years

Amazon Prime

Election Day Special - Nashville (1975)

Paramount, 1975

Starring Ronee Blakley, Keith Carradine, Lily Tomlin, Henry Gibson, and many others

Directed by Robert Altman

Music and Lyrics by Richard Baskin and the cast

While you wait for the election results to come in, here's a unique slice of life comedy-drama. This may be the definitive Altman movie. He specialized in large casts with often improvised sequences, musical numbers performed by the casts, overlapping dialogue, set (and frequently filmed) in real-life locations. Many of the situations in the film were inspired by screenwriter Joan Tewksbury's experiences as an outsider in the Music City; others were improvised on the set by Altman. How does this commentary on American life in the mid-70's look now, during an even more tumultuous time? Let's begin in the recording studio with country star Haven Hamilton (Gibson) recording a big patriotic number for America's bicentennial and find out...

The Story: The lives of Music City residents entwine during a five-day period leading up to a big political rally for an ultra-conservative independent party candidate. Superstar Barbara Jean (Blakely) returns to Nashville in a fragile state. Her abusive manager husband Barnett (Allen Garfield) told everyone she's recovering from burn accidents, but that proves to be far from the case. Even when she's out of the hospital after collapsing on her arrival, she's far from stable. Connie Blake (Karen Black) is her rival and former friend. 

Gospel singer Linnea Reece (Tomlin) has an affair with folk performer Tom Frank (Carradine), but she won't leave her deaf children. Frank's making love with almost every other woman in the cast as well, including newly arrived groupie "L.A Joan" (Shelley Duvall), BBC reporter Opal (Geraldine Chaplin), and his married band mate Mary (Cristina Raines). Joan's uncle Mr. Green (Keenan Wynn) can't get her to his late wife's funeral and ends up bonding with a Vietnam vet (Scott Glenn) who came to see Barbara Jean.

Former housewife Albuquerque (Barbara Harris) and waitress Sueleen (Gwen Welles) are singing hopefuls, but only one has actual talent. And then there's Kenny (David Hayward), the young man with the guitar case who rents a room from Mr. Green and seems to be on the fringes of everything...

The Song and Dance: The cast alone makes this worth seeing. Everyone not only did their own singing, but most of them wrote or collaborated on their songs as well. Stand-outs include Tomlin's precious moments signing with her children and tearing up the floor with the gospel choir, Blakely's emotionally lost Barbara Jean, Harris' adorable scrappy wanna-be singer, Gibson as the fussy old-style country star, and Duvall's saucy, barely-clothed vamp. Chaplin gets a few hilarious monologues as the Brit who wants to know everything about this wild American music. Some of the set pieces, like the car pile-up and the tragic finale, are especially effective at showing how music and life converge.  

Favorite Number: The big one here is the Oscar-winning ballad "I'm Easy," written and performed twice by Carradine. It's a perfect reflection of Frank's laid-back attitude towards life and his relationships. Blakley also does well by her own material, with "My Idaho Home" and "Tapedeck In His Tractor" at the aborted Opry Belle concert and "Down to the River" the standouts. Gibson's big song is the ultra-patriotic American history number "200 Years" in the opening, along with the intentionally cheesy "For the Sake of the Children" and the bouncy "Keep A' Goin'."  

Karen Black isn't in much of the movie, but she still manages to make an  impression with her Grand Ol' Opry numbers "Memphis," "Rolling Stone," and "I Don't Know But I Found It In You." Tomlin really gets the gospel group going in the opening credits with "Swing Low, Sweet Chariot," and gets the rousing "Yes, I Do" later. The movie ends with "It Don't Worry Me," written by Carradine and lauded to the literal skies by Harris during the tragic finale. The cast continues it during the end credits. 

Trivia: The nifty opening credits are based after the TV commercials for the rock and country compilation records that were popular in the 70's and 80's. 

Much of the film was improvised, with the actors and actresses adding their own dialogue and staying in character during breaks. 

Elliot Gould and Julie Christie only have cameos because they were passing through Nashville at the time. 

Filmed in and around the real Nashville, including the actual Grand Ol' Opry, the Nashville International Airport, a cabin where Altman lived during filming, and the Exit/In, a still-existing night club. Apparently, a lot of real Nashville musicians weren't thrilled with it at the time - they wanted their music to be used. 

All of the musical performances are live concert stagings. 

What I Don't Like: Like his later Popeye, this is not for those who aren't into Altman's epic ensemble films. Nor is it for those who prefer less complicated, more linear films with stronger plots. Many people may see it as much ado about nothing, especially those who aren't fans of politics or country music. It also seems to go on forever, particularly in the second half when the emphasis is more on the affairs and romances. 

The Big Finale: Possibly Altman's best movie, and one of the best movies of the 1970's. Highly recommended for fans of country music, Altman, epic ensemble pieces, or any of the stars involved. 

Home Media: Easily available on disc and streaming. (The Blu-Ray is a special edition from the Criterion Collection.) 

DVD

Blu-Ray

Amazon Prime (Buy Only) 

Animation Celebration Saturday - Pooh's Heffalump Movie

Disney, 2005

Voices of Jim Cummings, Nikita Hopkins, Kyle Stanger, and Kath Soucie

Directed by Frank Nissen

Music and Lyrics by Carly Simon

Since I did the Halloween direct-to-video sequel last week, I figured I might as well do the original as well. Like The Tigger Movie, Disney originally made this for home video, then released it theatrically when they saw the results. Was this worthy of being show in a theater, or should it have been caught in a heffalump trap? Let's begin in the Hundred Acre Woods as everyone's sleep is noisily disrupted and find out...

The Story: The sound of a trumpet awakens everyone in the Hundred Acre Woods. All of the residents are terrified, except little Roo (Hopkins), who thinks it's cool. Everyone is terrified, especially after Roo finds a set of giant footprints. They're all determined to catch and trap the terrible Heffalumps, but Rabbit says Roo is too young and insists he stays home. Roo goes out on his own to find himself a Heffalump the next day. 

He does find a Heffalump, but not only is it a baby, he's not terrifying at all. Actually, little Lumpy thinks the citizens of the Hundred Acre Woods are the scary ones. He and Roo run around and become fast friends, but they make a mess of Pooh's house and Rabbit's garden in the process. The others are more convinced than ever that there's a horrible Heffalump loose among them. It takes a rescue from a cliff with help from Lumpy's mother to convince them that Heffalumps are just like them. Only bigger.

The Animation: Once again, it's nothing flashy. It gets the job done, and that's really all that's needed with the Pooh films. There are some nice backgrounds, especially when Pooh and the others discover the havoc Roo and Lumpy accidentally wrecked on Pooh's home and Rabbit's garden.

The Song and Dance: Awww. Roo and Lumpy's friendship is even more adorable here. Stanger and Hopkins are too funny for words, especially when Roo "captures" Lumpy and he's thrilled about it. This is a full, original movie, so there's no random special turning up mid-way through that takes the focus off their charming and growing relationship. The others get some funny bits early-on when they're freaking out over the idea of Heffalumps in the woods, too.

(And don't leave before the end credits! We get some more hilarious bits, including Rabbit teaching heffalumps to fix his garden and Christopher Robin meeting Lumpy.) 

Favorite Number: We open with Simon's rendition of the original theme from "The Many Adventures of Winnie the Pooh" as she introduces each character. "The Horribly Hazardous Heffalumps" shows how the citizens of the Hundred Acres Woods badly fear these creatures...except Roo, who just wants to catch one. Kanga sings the sweet lullaby "Little Mr. Roo" to soothe her son to sleep. Lumpy and Roo play "The Name Game" as they try to figure out each other's names when they meet. "Shoulder to Shoulder" is the song for Lumpy and Roo's friendship, and it's heard twice, in a montage when they're playing together, and again in the end after the big rescue. 

What I Don't Like: Once again, this is played strictly as children's fare. It lacks the rougher edges in earlier Pooh films like The Tigger Movie and Pooh's Grand Adventure. Christopher Robin is seen in the end credits, but Eeyore's missing through much of the film, and Owl isn't even mentioned. 

The Big Finale: It's too bad Lumpy and his mother haven't been seen since the end of the toddler TV show My Friends Tigger and Pooh in 2010. I would like to have seen where else Disney took their darling friendship. Highly recommended for fans of Pooh or Roo, or of the later films. 

Home Media: Unlike the Halloween sequel, this one is easily found on disc and Disney Plus.

DVD

Disney Plus

A Salute to Angela Lansbury - The Court Jester

Paramount, 1956

Starring Danny Kaye, Glynis Johns, Angela Lansbury, and Basil Rathbone

Directed by Melvin Frank and Norman Panama

Music by Sammy Cahn; Lyrics by Sylvia Fine

One of the Golden Age of Hollywood's last living legends, Lansbury passed away on October 11th. I'm surprised she didn't do more film musicals. She may have been too unique a character for the Golden Age, which preferred more traditional beauties. Danny Kaye came off the blockbuster success of White Christmas and into this, the most expensive comic musical made to that point. It wasn't a hit then, but does it deserve recognition from royalty nowadays? Let's begin with the jester of the title, Hubert Hawkins (Kaye), singing and clowning under the credits as he explains what's about to happen, and find out...

The Story: Hawkins is minstrel to the Black Fox (Edward Ashley), the dashing bandit who continually robs and harasses the court of King Roderick (Cecil Parker) and his court. He protects the infant heir to the throne of England, whom the king usurped. Hawkins would love to be a legitimate member of the Black Fox's group and impress lovely Maid Jean (Johns), but the Black Fox considers him to be little more than a fool. 

They're the only ones who can take the baby to safety when the Black Fox's hideout is discovered. They pass themselves as wine merchants, until they run into the surly jester Giacomo (John Carradine) on the road. Jean knocks him out and encourages Hawkins to take his identity. The king's advisor Lord Ravenhurst (Rathbone) actually hired Giacomo to kill the other three advisors. 

Meanwhile, Princess Gwendolyn (Lansbury) refuses to marry Sir Griswold (Robert Middleton). Her lady-in-waiting, the witch Griselda (Mildred Natwick), claims her true love is coming. Griselda hypnotizes Hawkins to be the robust lover Gwendolyn wants. However, there's also Jean, who was brought to the castle with the baby, and the fact that he can't hide his identity from Ravenhust forever. He'll have to play the role of his life to get out of this wild mess!

The Song and Dance: Danny Kaye is one of the few major comedians of the Golden Age of Hollywood who could pull off historical roles. He's just as funny at the court as he is dueling with Rathbone in the end or wooing Princess Gwendolyn. He's not the only one having a great time. Everyone puts in delightful performances, especially Lansbury as the strong-willed princess, Natwick as the crafty witch, and Rathbone as the oily Ravenhurst. Colorful sets and costumes show where all the money went as they ably show off a fairy-tale medieval England. The castle in particular is wonderful, with its many nooks and crannies. 

This is also a marvelous showcase for Kaye's tongue-twisting dexterity. "The pestle with the vestle" routine at the joust near the end is probably the most famous of Kaye's patter routines, and almost every character in the movie gets in on it. (Oh, and for the record, they broke the chalice from the palace.) 

Favorite Number: We open with Hawkins singing and dancing directly the audience under the credits, explaining why "Life Could Not Better Be." He continues as the Black Fox in the whirling opening number "Outfox the Fox" with his band of little people, until the real Black Fox comes in. He impresses the court with his whirlwind performance of "The Maladjusted Jester," a glum man who was so dreary, becoming a jester was the only way he could cheer up himself. He has two ballads, the gentler "I'll Take You Dreaming" to Maid Jean and "My Heart Knows a Love Song" later. "Ritual of Knighthood" is the big chorus routine, with all the knights doing a noisy Riverdance-style stomp before the court.

Trivia: Rathbone's last sword fight on film. 

"Life Could Not Better Be" was used as part of the theme song for Kaye's TV variety show in 1963. 

Two numbers were dropped from the film, a duet for Kaye and Lansbury, "I Live to Love," and a longer version of the "Pass the Basket" routine. Both are on the soundtrack. 

What I Don't Like: Perhaps a bit long for a comedy, and very complicated! Kaye's not kidding in the beginning when he sings "plot we got." They got enough plot for six swashbucklers. It may have been a bit much for many audiences in the mid-50's to take in. 

The Big Finale: If you love Kaye, Lansbury, Rathbone, swashbucklers, or 50's musicals, then this movie could not possibly better be. 

Home Media: Thanks to this being one of Kaye's most popular and well-regarded vehicles, it can be found easily in almost every format, usually for under $10. 

DVD

Amazon Prime

Celebrating the Day of the Dead - The Book of Life

20th Century Fox, 2014

Voices of Diego Luna, Zoe Saldana, Channing Tatum, and Ice Cube

Directed by Jorge R. Gutierrez

Music and Lyrics by various

We head back across the Atlantic to Mexico for our next holiday party. The Day of the Dead has been celebrated in Mexico for hundreds of years. It's a joyful celebration of those who have passed on, and the memories we hold dear of them. The holiday has become more popular in the US in the past two decades or so as more Hispanics and Mexicans have immigrated to the US, particularly in parts of the country with strong Mexican heritages like Texas, California, and Arizona. 

This is the first of two movies made in the mid-2010's that revolve around the holiday. How does this romantic tale of a fateful wager that comes between three lovers look now? Let's start with a group of unruly school kids who are about to get an eye-opening museum tour from one unusual guide (Christina Applegate) and find out...

The Story: The guide leads the kids into a special room filled with amazing artifacts from Mexico, all revolving around their holiday the Day of the Dead. She uses wooden dolls to tell the story of Xibalba (Ron Perlman), bored ruler of the Land of the Forgotten, and La Murte (Kate de Castillo), the more colorful ruler of the Land of the Remembered. They bet that one of two boys in the village of San Angel can't win the heart of feisty Maria (Saldana). Joaquin is a strong-willed fighter. Manuelo comes from a family of bullfighters, but prefers his guitar and his music. 

Xibalba gives Joaquin (Tatum) a medal that allows him to be indestructible, making him the town's champion against the terrible bandit Chakal (Dan Novarro) who terrorizes the village. La Murte's champion is gentle Manuelo (Luna), who has been trained in bullfighting, but refuses to harm the bull. He angers his father Carlos (Hector Elizondo), but impresses Maria. Maria's father General Posada (Carlos Alazraqui) wants her to marry Joaquin for the village's protection, but she truly loves Manuelo and his songs. He loves her, too, but when a snake bites her and he thinks she's dead, he lets it bite him, too. Now he has to figure out how to get out of the Land of the Remembered with the help of his ancestors and the Candlemaker (Ice Cube), who reminds him that his story isn't done quite yet.

The Animation: Colorful and fun, the artwork is meant to look like a puppet show. The backgrounds are key here, especially in the Land of the Remembered, where each frame bursts with a fiesta of detail. The detail on the characters is even better. Everything is animated to look like it was made from scrap, whether the wooden dolls or the iron of the bulls and bandits or the cut-out paper flowers in the Land of the Remembered. 

The Song and Dance: Vibrant and fun, this is an energetic look at one of Mexico's most beloved holidays. My favorite character is actually Maria. This take-charge beauty won't let anything or anyone stand in her way of helping others, whether it's bandits or butchers who are about to slaughter helpless animals. Saldana gives her the right take-charge air. Perlman and del Castillo also had a good time as the married gods whose careless bet gets the plot rolling, while Luna makes an especially sensitive Manuelo. Loved Manuelo's ancestors turning up in the end as a literal "army of the dead." 

Favorite Number: We open with Jesse & Joy celebrating life in all its joys and sorrows with "Live Life." The boys say "I Will Wait" for Maria in a montage showing how Joaquin became a hero and Manuelo reluctantly trained for bullfighting. Manuelo admits that "I Love You Too Much" and recruits friends to help him serenade Maria with "Can't Help Falling In Love." He sings "The Apology Song" right before they're bitten by the snake. Joaquin attempts to serenade Maria with "Do Ya Think I'm Sexy," but Maria's reply is "Just a Friend." 

What I Don't Like: Even the stunning animation can't make up for the cliched story and songs that don't belong here. The story of the bet comes off as witless and silly, and the dialogue is occasionally stiff. They should have corralled an actual Mexican songwriter to do music for the movie, as Disney would with Coco three years later. The modern pop music is so jarring, it completely takes you out of their carefully crafted fantasy world. 

The Big Finale: Worth seeing with your family on the Day of the Dead for the stunning visuals alone.

Home Media: As a relatively recent film, this is easily found on disc and streaming. It's on Disney Plus with a subscription, thanks to them buying 20th Century Fox a few years ago.

DVD

Blu-Ray

Disney Plus