Rankin-Bass, 1976
Voices of Billie Mae Richards, Red Skelton, Harold Peary, and Morey Amsterdam
Directed by Jules Bass and Arthur Rankin Jr.
Music by Johnny Marks; Lyrics by Maury Laws
Our final review of 2019 returns us to the Rankin-Bass well one more time for the second special revolving around Rudolph's adventures. How does Rudolph's busy New Year's look nowadays? Let's return to the North Pole just as Santa receives an all-important letter to find out...
The Story: A week before New Year's Eve, Santa (Paul Frees) gets a message from Father Time (Skelton) requesting that Rudolph come to his castle, just beyond the Sands of Time. He wants him to find the Baby New Year, Happy, who ran away after the castle staff laughed at his big ears. If he can't find Happy, the diamond won't drop to signify the end of the year, and time will stand still. The massive monster bird Eon the Terrible (Frees) also wants Happy to keep from dying at the end of the year. With the help of Big Ben the clock-toting whale (Peary), Rudolph travels to the Archipelago of Last Years, a series of islands where each of the old years lives, to find the baby and make sure that he's back in time for the diamond to drop and the year to begin.
The Animation: Somewhat similar to Rudolph and Frosty's Christmas In July, only here, Rudolph is depicted as a younger reindeer with smaller antlers and looks closer to the original design. There's some awfully cute designs here, too, especially Happy and the Three Little Pigs and Baby Bear at the fairy tale island. Some of the backgrounds are nice as well, especially in the fairy tale land and 4th of July segment. We also get a glimpse of Rankin-Bass' 2D animation style in the brief "Rudolph the Red-Nosed Reindeer" number.
The Song and Dance: This used to run fairly frequently on cable during the Christmas season when I was a child, and I have some very fond memories of it. My favorite character by far here is Big Ben, voiced by a warm and witty Harold Peary. He has some of the best lines, including when Rudolph is first riding in his mouth after they meet. I'm also very fond of bubbly OM, aka One Million, the oldest Father Time, voiced by Morey Amsterdam. (And Baby Bear is sooo cuddly and cute! I want a stuffed Baby Bear!)
Favorite Number: "Turn Back the Years" takes Rudolph and Big Ben to the Archipelago as Rudy reminisces about the past and keeps a red glowing vigilance through the fog. OM gets a big number amid the (anachronistic) dinosaurs and colorful plant life on his island, "It's Raining Sunshine." "What a Wonderful World We Live In" introduces the fairy tale island home of Father Time 1023 with a series of famous nursery rhyme and fairy tale characters...and everyone, from the Three Little Pigs to Miss Muffet and her tuffet to Cinderella and her prince, haven't seen Happy.
My favorite song from this one is the touching "The Moving Finger Writes." Father Time explains the passing of time...and the importance of memories and remembering...in this simple and moving song. Not only is the song the best in the special, but the number just has the Baby New Year going from month to month, growing older and wiser with each change of season. It's a sweet and lovely sentiment, especially for New Year.
What I Don't Like: While not as strange as Christmas In July, this is definitely one of the weirder Rankin-Bass specials. The sequences with the fairy tale and colonial islands are pretty much filler and exist to give Skelton more to do and for Rankin-Bass to squeak in another holiday, respectively.
The Big Finale: I'll admit, this is a guilty pleasure of mine. Even if you didn't grow up with it, it's worth running as background at your New Year's Eve party due to the cast and some good songs.
Home Media: It was originally released on DVD as a triple-feature with The Year Without a Santa Claus and Nestor the Long-Eared Christmas Donkey, which is what I have. Alas, that DVD is now out of print. Your best bet would be streaming.
DVD
Amazon Prime
Reviews of musical films, from 1930s black and white to widescreen 21st century extravaganzas.
Tuesday, December 31, 2019
Saturday, December 28, 2019
Family Fun Saturday - Newsies
Disney, 1992
Starring Christian Bale, David Moscow, Bill Pullman, and Robert Duvall
Directed by Kenny Ortega
Music by Alan Menken; Lyrics by Jack Feldman
This is a childhood favorite of mine. It debuted just as I began to develop an interest in musicals and their history, as well as the history of film and the United States in the late 19th and 20th centuries. It eventually picked up a rather large fandom of teen girls who admired the music, dances, and cast of handsome young men. Were they right, or should we stop the presses on this unusual story? Let's head to a home for New York newsboys, just as they're getting ready to go on their daily rounds, and find out...
The Story: Jack Kelly (Bale) is the group's unofficial leader and one of the older boys. He and the other boys hawk "papes" for the World, owned by media magnate Joseph Pulitzer (Duvall). One day in July 1899, Jack takes two new "newsies" under his wing. David (Moscow) and Les (Luke Edwards) come from a loving family and are trying to make money after their father his hurt in an accident.
In an attempt to raise revenue and cut costs, Pulitzer and his board of directors increase the amount that the Newsies spend to buy their papers. Inspired by a trolley strike and David mentioning that his father was fired because he had no union to back him, Jack encourages a work stoppage. The story attracts the attention of Bryan Denton (Pullman), a journalist on the lookout for a unique story, and Snyder (Kevin Tigne), the head of the "Refuge," an abusive boys home that Jack escaped from. Now the boys have to stay in the papers...and show Pulitzer and all of the newspaper barons in New York that even the smallest voice can make the biggest difference.
The Song and Dance: And "dance" is the operative word. The movie is probably best known for its energetic and creative ensemble numbers by Kenny Ortega, many of which foreshadow another Disney film he did featuring talented young performers in massive ensembles, High School Musical. Bale shows much of the charisma he would later display in the Christopher Nolan Batman films and many indie dramas as the head of the strike who thinks he doesn't need anything but his dreams, and Moscow wasn't bad as the straight-laced David, who learns to loosen up as he slowly befriends Jack and the "newsies." The other boys were also a lot of fun to watch, especially Aaron Mohr as Mush and dapper Gabriel Damon as head Brookyn Newsie Spot Conlon.
Extra kudos for the awesome sets that ably recreate the grimy New York of the late 19th century. I suspect most of the backgrounds were probably done with early CGI, but they still look good, even today.
Favorite Number: The opening version of "Carrying the Banner" sets the tone, with the boys showing off their daily routine as they dance their way through waking up, washing, getting their breakfast, and picking up papers. "The World Will Know" is Jack encouraging the others, especially David, to start striking. David performs "Seize the Day" as the other Newsies prepare to destroy the newspapers and get the "scabbers" (strikebreakers) to stop selling. Bale's heartfelt "Santa Fe" has him explaining how badly he wants to move out west; it includes some terrific cowboy moves, and even a ride on a horse.
My favorite song and number from this one has always been "King of New York." Not only is the song the film's best, but the boys really go to town with it, tap dancing on table tops and even taking a ride on a ceiling fan in the end. They're obviously having a great time, and it's just such a blast to watch.
Trivia: This was originally intended to be a drama, but the positive response to the animated musicals Disney put out in the early 90's prompted executives to make it a full live-action musical.
The film was a huge flop at the box office in 1992, but it went on to pick up a substantial fan base of musical nuts and teen girls who ogled the attractive cast when it was released on video and cable. It became so popular, Disney adapted it as a stage musical in 2011. With a revised story and more songs, it debuted on Broadway at the Nederlander Theater and ran for two years, becoming the surprise smash of 2012. After the tour ended, the production was filmed and saw a limited release in theaters and a wider one online.
What I Don't Like: Most of the adult characters besides Denton and Ann Margaret's chanteuse feel like afterthoughts. Duvall is an appropriately gruff Pulitzer, but he really doesn't have much to do after raising the Newsies' prices. The villains don't even have a song. The movie is a lot less fun in the second half, when Jack's story and the melodrama take over. David and Les' pretty sister Sarah is nothing more than a bland love interest for Jack until the third act, when she helps the boys and Denton send the word about the strike to all the working kids in New York.
And if you know anything about the real newsboys' strike, you'll realize that the end is a bit prettied up for a sweet, happy finale. The boys did get their paper decrease, but very little else changed...or would change in their working conditions or in the lives of child laborers for at least another 20 years.
The Big Finale: The critics then and now don't seem to know what to make of this one...and I have never understood why. With it's "underdogs against the corporation" theme and dynamic dance routines, I suspect it was just ahead of its time. This is still highly recommended, especially if you have teen girls of your own who may love the music and cast.
Home Media: Out of print on DVD, but the Blu-Ray can be found for under 10 dollars, and it's on many streaming services. (I watched it on Disney Plus.)
DVD
Blu-Ray
Amazon Prime
Starring Christian Bale, David Moscow, Bill Pullman, and Robert Duvall
Directed by Kenny Ortega
Music by Alan Menken; Lyrics by Jack Feldman
This is a childhood favorite of mine. It debuted just as I began to develop an interest in musicals and their history, as well as the history of film and the United States in the late 19th and 20th centuries. It eventually picked up a rather large fandom of teen girls who admired the music, dances, and cast of handsome young men. Were they right, or should we stop the presses on this unusual story? Let's head to a home for New York newsboys, just as they're getting ready to go on their daily rounds, and find out...
The Story: Jack Kelly (Bale) is the group's unofficial leader and one of the older boys. He and the other boys hawk "papes" for the World, owned by media magnate Joseph Pulitzer (Duvall). One day in July 1899, Jack takes two new "newsies" under his wing. David (Moscow) and Les (Luke Edwards) come from a loving family and are trying to make money after their father his hurt in an accident.
In an attempt to raise revenue and cut costs, Pulitzer and his board of directors increase the amount that the Newsies spend to buy their papers. Inspired by a trolley strike and David mentioning that his father was fired because he had no union to back him, Jack encourages a work stoppage. The story attracts the attention of Bryan Denton (Pullman), a journalist on the lookout for a unique story, and Snyder (Kevin Tigne), the head of the "Refuge," an abusive boys home that Jack escaped from. Now the boys have to stay in the papers...and show Pulitzer and all of the newspaper barons in New York that even the smallest voice can make the biggest difference.
The Song and Dance: And "dance" is the operative word. The movie is probably best known for its energetic and creative ensemble numbers by Kenny Ortega, many of which foreshadow another Disney film he did featuring talented young performers in massive ensembles, High School Musical. Bale shows much of the charisma he would later display in the Christopher Nolan Batman films and many indie dramas as the head of the strike who thinks he doesn't need anything but his dreams, and Moscow wasn't bad as the straight-laced David, who learns to loosen up as he slowly befriends Jack and the "newsies." The other boys were also a lot of fun to watch, especially Aaron Mohr as Mush and dapper Gabriel Damon as head Brookyn Newsie Spot Conlon.
Extra kudos for the awesome sets that ably recreate the grimy New York of the late 19th century. I suspect most of the backgrounds were probably done with early CGI, but they still look good, even today.
Favorite Number: The opening version of "Carrying the Banner" sets the tone, with the boys showing off their daily routine as they dance their way through waking up, washing, getting their breakfast, and picking up papers. "The World Will Know" is Jack encouraging the others, especially David, to start striking. David performs "Seize the Day" as the other Newsies prepare to destroy the newspapers and get the "scabbers" (strikebreakers) to stop selling. Bale's heartfelt "Santa Fe" has him explaining how badly he wants to move out west; it includes some terrific cowboy moves, and even a ride on a horse.
My favorite song and number from this one has always been "King of New York." Not only is the song the film's best, but the boys really go to town with it, tap dancing on table tops and even taking a ride on a ceiling fan in the end. They're obviously having a great time, and it's just such a blast to watch.
Trivia: This was originally intended to be a drama, but the positive response to the animated musicals Disney put out in the early 90's prompted executives to make it a full live-action musical.
The film was a huge flop at the box office in 1992, but it went on to pick up a substantial fan base of musical nuts and teen girls who ogled the attractive cast when it was released on video and cable. It became so popular, Disney adapted it as a stage musical in 2011. With a revised story and more songs, it debuted on Broadway at the Nederlander Theater and ran for two years, becoming the surprise smash of 2012. After the tour ended, the production was filmed and saw a limited release in theaters and a wider one online.
What I Don't Like: Most of the adult characters besides Denton and Ann Margaret's chanteuse feel like afterthoughts. Duvall is an appropriately gruff Pulitzer, but he really doesn't have much to do after raising the Newsies' prices. The villains don't even have a song. The movie is a lot less fun in the second half, when Jack's story and the melodrama take over. David and Les' pretty sister Sarah is nothing more than a bland love interest for Jack until the third act, when she helps the boys and Denton send the word about the strike to all the working kids in New York.
And if you know anything about the real newsboys' strike, you'll realize that the end is a bit prettied up for a sweet, happy finale. The boys did get their paper decrease, but very little else changed...or would change in their working conditions or in the lives of child laborers for at least another 20 years.
The Big Finale: The critics then and now don't seem to know what to make of this one...and I have never understood why. With it's "underdogs against the corporation" theme and dynamic dance routines, I suspect it was just ahead of its time. This is still highly recommended, especially if you have teen girls of your own who may love the music and cast.
Home Media: Out of print on DVD, but the Blu-Ray can be found for under 10 dollars, and it's on many streaming services. (I watched it on Disney Plus.)
DVD
Blu-Ray
Amazon Prime
Thursday, December 26, 2019
Blue Skies
Paramount, 1946
Starring Bing Crosby, Fred Astaire, Joan Caulifield, and Billy De Wolfe
Directed by Stuart Heisler
Music and Lyrics by Irving Berlin
Holiday Inn was a huge hit in 1943, and this one was even bigger, in fact the biggest blockbuster of 1946. It continued Crosby's winning streak and was to have been Astaire's swan song before his retirement. Is the movie "nothing but blue skies from now on," or do gray clouds rain on this Technicolor extravaganza? Let's head to a radio station, where Jed Potter (Astaire) is about to tell the story of his life, and find out...
The Story: Potter was once and up-and-coming hoofer in New York in 1919 who pursued pretty Mary O'Hara (Caulifield) while they were appearing in a show together. He took her to a nightclub owned by his former vaudeville partner Johnny Adams (Crosby). Johnny has a habit of buying one club he claims he adores, then selling it and buying another one elsewhere when he gets a better idea. Mary falls for Johnny, but he's not much for commitment, and she's looking for security. They eventually get married, but he keeps moving her around to bigger and better clubs. Fed up with his inability to stay in one place, she returns to Jeb...but ends up leaving again, causing him to turn to liquor. After an accident leaves Mary blaming herself and she flees, will either man ever see her again?
The Song and Dance: The first half is pretty fluffy, with Caulifield being pursued by both men. It's the second half where the story takes a surprisingly dark turn for a musical from this time, with it's fairly frank talk of divorce and the accident that ends Jeb's career. It gives this story a slight edge that even Holiday Inn lacked. The Technicolor cinematography is also quite good, with glowing colors and lush sets.
Favorite Number: The movie opens with the spectacular girls-on-the-staircase "A Pretty Girl Is Like a Melody." Astaire gets a solo dancing around the ladies in their elaborate gowns, then pulls Caulifield out for a brief duet. Dancer Olga San Juan gets two numbers, the suggestive "You'd Be Surprised" at one of Johnny's clubs and the hotter Hispanic-themed "I'll See You In Cuba" later in another club. Crosby introduces "You Keep Coming Back Like a Song" in a simple routine at the club, and does the adorable "(Running Around In Circles) Getting Nowhere" with his daughter (Kathryn Grimes) later. He and Astaire have a lot of fun with their duet recreating Johnny and Jeb's old vaudeville act, "A Couple of Song and Dance Men."
Astaire figures into the film's two biggest - and most famous - numbers. He'd been associated with "Puttin' On the Ritz" for years, and Paramount pulled out all the stops, from him dancing in slow motion to appear older to a dance done with what appears to be a whole chorus of Fred Astaires. "Heat Wave" is the number that ends that accident, with Astaire first dancing with the chorus, then San Juan, in a lush routine that somewhat resembles some of his routines from the more fantasy-oriented Yolanda and the Thief.
Trivia: Dancer Mark Draper was supposed to have been Crosby's partner in this film. His speech impediment and constant criticism of Caulifield's dancing lead to Crosby insisting that he be replaced by Astaire.
Astaire, tired and frustrated with his lack of good roles (like this one), retired after making the film...for two whole years, until he returned to MGM for Easter Parade.
What I Don't Like: Even with the slightly tougher second half, the story here is still pretty fluffy. Those looking for something more substantial will have to go elsewhere. It's supposed to be set in the Roaring Twenties...but you'd never know it from anything but Astaire's narration. The costumes and sets never change and never look like anything besides 1946.
The Big Finale: If you're a fan of either leading man, this is worth checking out for the dance routines alone.
Home Media: Currently only available as part of the Universal Vault direct-to-DVD series on Amazon.
DVD
Starring Bing Crosby, Fred Astaire, Joan Caulifield, and Billy De Wolfe
Directed by Stuart Heisler
Music and Lyrics by Irving Berlin
Holiday Inn was a huge hit in 1943, and this one was even bigger, in fact the biggest blockbuster of 1946. It continued Crosby's winning streak and was to have been Astaire's swan song before his retirement. Is the movie "nothing but blue skies from now on," or do gray clouds rain on this Technicolor extravaganza? Let's head to a radio station, where Jed Potter (Astaire) is about to tell the story of his life, and find out...
The Story: Potter was once and up-and-coming hoofer in New York in 1919 who pursued pretty Mary O'Hara (Caulifield) while they were appearing in a show together. He took her to a nightclub owned by his former vaudeville partner Johnny Adams (Crosby). Johnny has a habit of buying one club he claims he adores, then selling it and buying another one elsewhere when he gets a better idea. Mary falls for Johnny, but he's not much for commitment, and she's looking for security. They eventually get married, but he keeps moving her around to bigger and better clubs. Fed up with his inability to stay in one place, she returns to Jeb...but ends up leaving again, causing him to turn to liquor. After an accident leaves Mary blaming herself and she flees, will either man ever see her again?
The Song and Dance: The first half is pretty fluffy, with Caulifield being pursued by both men. It's the second half where the story takes a surprisingly dark turn for a musical from this time, with it's fairly frank talk of divorce and the accident that ends Jeb's career. It gives this story a slight edge that even Holiday Inn lacked. The Technicolor cinematography is also quite good, with glowing colors and lush sets.
Favorite Number: The movie opens with the spectacular girls-on-the-staircase "A Pretty Girl Is Like a Melody." Astaire gets a solo dancing around the ladies in their elaborate gowns, then pulls Caulifield out for a brief duet. Dancer Olga San Juan gets two numbers, the suggestive "You'd Be Surprised" at one of Johnny's clubs and the hotter Hispanic-themed "I'll See You In Cuba" later in another club. Crosby introduces "You Keep Coming Back Like a Song" in a simple routine at the club, and does the adorable "(Running Around In Circles) Getting Nowhere" with his daughter (Kathryn Grimes) later. He and Astaire have a lot of fun with their duet recreating Johnny and Jeb's old vaudeville act, "A Couple of Song and Dance Men."
Astaire figures into the film's two biggest - and most famous - numbers. He'd been associated with "Puttin' On the Ritz" for years, and Paramount pulled out all the stops, from him dancing in slow motion to appear older to a dance done with what appears to be a whole chorus of Fred Astaires. "Heat Wave" is the number that ends that accident, with Astaire first dancing with the chorus, then San Juan, in a lush routine that somewhat resembles some of his routines from the more fantasy-oriented Yolanda and the Thief.
Trivia: Dancer Mark Draper was supposed to have been Crosby's partner in this film. His speech impediment and constant criticism of Caulifield's dancing lead to Crosby insisting that he be replaced by Astaire.
Astaire, tired and frustrated with his lack of good roles (like this one), retired after making the film...for two whole years, until he returned to MGM for Easter Parade.
What I Don't Like: Even with the slightly tougher second half, the story here is still pretty fluffy. Those looking for something more substantial will have to go elsewhere. It's supposed to be set in the Roaring Twenties...but you'd never know it from anything but Astaire's narration. The costumes and sets never change and never look like anything besides 1946.
The Big Finale: If you're a fan of either leading man, this is worth checking out for the dance routines alone.
Home Media: Currently only available as part of the Universal Vault direct-to-DVD series on Amazon.
DVD
Tuesday, December 24, 2019
Christmas Eve Double Feature - 'Twas the Night Before Christmas & The Year Without a Santa Claus
Rudolph and Frosty are the most famous characters to come out of the Rankin-Bass holiday specials, but they're far from the only ones. We celebrate Christmas Eve with two of my favorites from the company, a retelling of the classic poem and a unique story about how Santa decided he wanted to take a holiday season off. Are they worthy of gracing your home during the holidays? Let's head to the town of Junctionville just in time for the mail to arrive and find out...
'Twas the Night Before Christmas
Rankin-Bass, 1974
Voices of George Gobel, Joel Gray, Tammy Grimes, and John McGiver
Directed by Arthur Rankin Jr. and Jules Bass
Music by Maury Laws; Lyrics by Jules Bass
The Story: Everyone in Junctionville - mouse and human - is stunned when Santa sends back their letters unopened. Turns out a brainy little mouse named Albert (Grimes) sent him a letter claiming he's fake and signed it "all of us," which Santa took to mean the whole town. Clock maker Joshua Trumble (Gray) tells the verbose mayor (McGiver) that he'll make a clock that, when chiming midnight, will play a song that will convince Santa that the townspeople still love him. Curious Albert went exploring in the clock...and damaged it so badly, it breaks down in front of the whole town. Now no one will hire Trumble, and the family is starving. Feeling guilty, Albert goes to the clock to make amends and assure everyone that Santa will arrive on schedule.
The Animation: This is one of Rankin-Bass' specials done in regular 2D animation...and if the rounded, wide-eyed character designs look familiar to humor lovers, they were done by Paul Coker Jr. He's best-known today for his artwork for MAD Magazine, including creating its cover character Alfred J. Newman. Santa looks very different here than he does in other Rankin-Bass shorts, more like the elf mentioned in the poem, and frankly a little odd. Everything else looks better; the mice are rather cute, even Albert, with his giant glasses.
The Song and Dance: Brief but charming, with a couple of nice songs and some decent animation for the time. Grimes and Gobel do especially well as the mouse who may be brilliant, but doesn't understand faith, and his sensible but loving father. McBrayer has some funny moments as the head of the town who can never manage to finish his wordy speeches in the way he intended.
Favorite Number: Father Mouse admonishes his intellectual son to "Give Your Heart a Try" in a charming sequence that has them imagining themselves as fantasy characters or in other holidays. Gray gets the sweet "Even a Miracle Needs a Hand" as he assures his family that Christmas will go on as usual, whether Santa comes or not.
What I Don't Like: They could have given Gray more to do. The opening credits claim he's the narrator, and while he does get to introduce "Even a Miracle Needs a Hand," it's the mice who are the really important characters and do the actual narrating.
Did they need to recite the entire original Clement C. Moore poem in the end? It kind of feels like filler and takes up more than a quarter of the special.
The Big Finale: Short and sweet, this is one of the more interesting of the regular animated Rankin-Bass specials. Would make great background on the actual night before Christmas.
Home Media: Currently DVD-only, but it on a deluxe "remastered" edition from Warner Bros.
DVD
The Year Without a Santa Claus
Rankin-Bass, 1974
Voices of Mickey Rooney, Shirley Booth, George S. Irving, and Dick Shawn
Directed by Jules Bass and Arthur Rankin Jr.
Music by Maury Laws; Lyrics by Jules Bass
The Story: Santa (Rooney) is not feeling is best. He's tired and achy and wonders if it's still worth going out for Christmas. Mrs. Claus (Booth), hoping to convince him that there's goodwill in the heart of everyone at this time of year, sends two elves down to Earth to find a little Christmas cheer. Thanks to the battling Miser brothers who control the weather, they end up in Southtown, where the citizens haven't seen snow in a hundred years. The adults - including a cop - are offended by their clothes and odd ways, and the kids claim they don't believe in Santa. Santa goes after them and encounters little Ignatius (Colin Duffy) and his parents. Iggy doesn't believe in Santa at first, until his father tells him that he still does.
When their reindeer Vixen is mistaken for a dog and ends up in the pound, the elves and Iggy tell the town mayor (Ron Marshall) their story. He won't release her until they can make it snow in super-hot Southtown...and they can't make it snow until they get the Heat Miser (Irving) and Snow Miser (Shawn) to compromise for a few minutes. Even after that, it takes a heartfelt act by all the children of the world to prove to Santa that he's really, truly needed.
The Animation: We switch to stop-motion animation for this one...but even this shows Coker's hand, with rounder, wide-eyed figures, larger noses, and more exaggerated features than earlier Rankin-Bass shorts. The best work by far is in the Miser Brothers' numbers, as we see just how different from - and similar to - each other the weather-based pair are.
The Song and Dance: My personal favorite Rankin-Bass special. This is definitely one of the more unique holiday programs in the annals of television...and you won't see anyone like the Miser Brothers in any other show. Booth is adorable as Mrs. Claus, especially when she's dealing with the Misers and their refusal to give in to each other. The elves get some hilarious lines - they're a riot when they're trying to blend in while down in Southtown - and Mother Nature's brief appearance is hysterical.
Favorite Number: Mrs. Claus' first idea after Santa claims he's too sick to go out is to dress as her husband, and she reveals her obvious glee at the idea in "Anyone Can Be Santa." Santa and Iggy's father explain about the importance of faith and believing in Santa and the Christmas spirit in "I Believe In Santa Claus." A touching "Blue Christmas" towards the end, performed by one of the children who is missing him badly, is sweet enough to convince Santa to change his mind.
Of course, the most famous songs from this one are the Miser Brothers' numbers. They're done as old-fashioned cane-and-hat vaudeville turns, with mini-versions of each brother dancing along as they sing about their respective temperatures and why they love what they do. It's funny, it's well-done, and the song is so good, it got a hit recording by neo-swing group Big Bad Voodoo Daddy.
Trivia: There was a live-action, feature-length TV remake in 2006 with Michael McKean as Snow Miser and Harvey Firnstein as Heat Miser, and an animated sequel, A Miser Brothers Christmas, in 2008.
What I Don't Like: Considering how much she got into that "Anyone Can Be Santa" song, I'm surprised they didn't pursue Mrs. Claus' attempts to dress as her husband further. Those two elves are not the most reliable judges of character.
I wish the tone had been more consistent. They sort of oddly switch gears about mid-way through, from convincing Santa to not take his holiday, to getting the kids to let him take one.
The Big Finale: One of the more unusual Rankin-Bass specials is worth the look if you love the cast or stories about Santa.
Home Media: Another Warner Bros-owned Rankin-Bass special with a remastered deluxe edition.
DVD
'Twas the Night Before Christmas
Rankin-Bass, 1974
Voices of George Gobel, Joel Gray, Tammy Grimes, and John McGiver
Directed by Arthur Rankin Jr. and Jules Bass
Music by Maury Laws; Lyrics by Jules Bass
The Story: Everyone in Junctionville - mouse and human - is stunned when Santa sends back their letters unopened. Turns out a brainy little mouse named Albert (Grimes) sent him a letter claiming he's fake and signed it "all of us," which Santa took to mean the whole town. Clock maker Joshua Trumble (Gray) tells the verbose mayor (McGiver) that he'll make a clock that, when chiming midnight, will play a song that will convince Santa that the townspeople still love him. Curious Albert went exploring in the clock...and damaged it so badly, it breaks down in front of the whole town. Now no one will hire Trumble, and the family is starving. Feeling guilty, Albert goes to the clock to make amends and assure everyone that Santa will arrive on schedule.
The Animation: This is one of Rankin-Bass' specials done in regular 2D animation...and if the rounded, wide-eyed character designs look familiar to humor lovers, they were done by Paul Coker Jr. He's best-known today for his artwork for MAD Magazine, including creating its cover character Alfred J. Newman. Santa looks very different here than he does in other Rankin-Bass shorts, more like the elf mentioned in the poem, and frankly a little odd. Everything else looks better; the mice are rather cute, even Albert, with his giant glasses.
The Song and Dance: Brief but charming, with a couple of nice songs and some decent animation for the time. Grimes and Gobel do especially well as the mouse who may be brilliant, but doesn't understand faith, and his sensible but loving father. McBrayer has some funny moments as the head of the town who can never manage to finish his wordy speeches in the way he intended.
Favorite Number: Father Mouse admonishes his intellectual son to "Give Your Heart a Try" in a charming sequence that has them imagining themselves as fantasy characters or in other holidays. Gray gets the sweet "Even a Miracle Needs a Hand" as he assures his family that Christmas will go on as usual, whether Santa comes or not.
What I Don't Like: They could have given Gray more to do. The opening credits claim he's the narrator, and while he does get to introduce "Even a Miracle Needs a Hand," it's the mice who are the really important characters and do the actual narrating.
Did they need to recite the entire original Clement C. Moore poem in the end? It kind of feels like filler and takes up more than a quarter of the special.
The Big Finale: Short and sweet, this is one of the more interesting of the regular animated Rankin-Bass specials. Would make great background on the actual night before Christmas.
Home Media: Currently DVD-only, but it on a deluxe "remastered" edition from Warner Bros.
DVD
The Year Without a Santa Claus
Rankin-Bass, 1974
Voices of Mickey Rooney, Shirley Booth, George S. Irving, and Dick Shawn
Directed by Jules Bass and Arthur Rankin Jr.
Music by Maury Laws; Lyrics by Jules Bass
The Story: Santa (Rooney) is not feeling is best. He's tired and achy and wonders if it's still worth going out for Christmas. Mrs. Claus (Booth), hoping to convince him that there's goodwill in the heart of everyone at this time of year, sends two elves down to Earth to find a little Christmas cheer. Thanks to the battling Miser brothers who control the weather, they end up in Southtown, where the citizens haven't seen snow in a hundred years. The adults - including a cop - are offended by their clothes and odd ways, and the kids claim they don't believe in Santa. Santa goes after them and encounters little Ignatius (Colin Duffy) and his parents. Iggy doesn't believe in Santa at first, until his father tells him that he still does.
When their reindeer Vixen is mistaken for a dog and ends up in the pound, the elves and Iggy tell the town mayor (Ron Marshall) their story. He won't release her until they can make it snow in super-hot Southtown...and they can't make it snow until they get the Heat Miser (Irving) and Snow Miser (Shawn) to compromise for a few minutes. Even after that, it takes a heartfelt act by all the children of the world to prove to Santa that he's really, truly needed.
The Animation: We switch to stop-motion animation for this one...but even this shows Coker's hand, with rounder, wide-eyed figures, larger noses, and more exaggerated features than earlier Rankin-Bass shorts. The best work by far is in the Miser Brothers' numbers, as we see just how different from - and similar to - each other the weather-based pair are.
The Song and Dance: My personal favorite Rankin-Bass special. This is definitely one of the more unique holiday programs in the annals of television...and you won't see anyone like the Miser Brothers in any other show. Booth is adorable as Mrs. Claus, especially when she's dealing with the Misers and their refusal to give in to each other. The elves get some hilarious lines - they're a riot when they're trying to blend in while down in Southtown - and Mother Nature's brief appearance is hysterical.
Favorite Number: Mrs. Claus' first idea after Santa claims he's too sick to go out is to dress as her husband, and she reveals her obvious glee at the idea in "Anyone Can Be Santa." Santa and Iggy's father explain about the importance of faith and believing in Santa and the Christmas spirit in "I Believe In Santa Claus." A touching "Blue Christmas" towards the end, performed by one of the children who is missing him badly, is sweet enough to convince Santa to change his mind.
Of course, the most famous songs from this one are the Miser Brothers' numbers. They're done as old-fashioned cane-and-hat vaudeville turns, with mini-versions of each brother dancing along as they sing about their respective temperatures and why they love what they do. It's funny, it's well-done, and the song is so good, it got a hit recording by neo-swing group Big Bad Voodoo Daddy.
Trivia: There was a live-action, feature-length TV remake in 2006 with Michael McKean as Snow Miser and Harvey Firnstein as Heat Miser, and an animated sequel, A Miser Brothers Christmas, in 2008.
What I Don't Like: Considering how much she got into that "Anyone Can Be Santa" song, I'm surprised they didn't pursue Mrs. Claus' attempts to dress as her husband further. Those two elves are not the most reliable judges of character.
I wish the tone had been more consistent. They sort of oddly switch gears about mid-way through, from convincing Santa to not take his holiday, to getting the kids to let him take one.
The Big Finale: One of the more unusual Rankin-Bass specials is worth the look if you love the cast or stories about Santa.
Home Media: Another Warner Bros-owned Rankin-Bass special with a remastered deluxe edition.
DVD
Saturday, December 21, 2019
Animation Celebration Saturday - Mister Magoo's Christmas Carol
NBC/UPA, 1962
Voices of Jim Backus, Joan Gardner, Jack Cassidy, and Morey Amsterdam
Directed by Abe Levitow
Music by Jules Styne; Lyrics by Bob Merrill
This was one of the earliest animated specials made for television, and the first time Merrill and Styne worked together. Mr. Magoo, the goofy blind-as-a-bat old codger, was one of the most popular characters at limited animation specialists UPA during the 1950's. How does he fit into this adaptation of one of the the most beloved pieces of Christmas literature? Let's join Magoo (Backus) as he's making his rather haphazard way to a theater in New York and find out...
The Story: Mr. Magoo plays the Ebeneezer Scrooge role in a Broadway musical version of A Christmas Carol, when he finally manages to get to the theater after a series of mishaps. The curtain does finally come up on Scrooge doing his ledgers in his counting house. He refuses to give any money to two men collecting for the poor, and his clerk Bob Cratchit (Cassidy) has to coax him into closing the office on Christmas Day.
That night, Scrooge is visited by four ghosts, starting with his former partner Jacob Marley (Royal Dano). Marley is weighed down by chains of his sins, showing him other wandering spirits who can no longer aid their fellow man. The Ghost of Christmas Present (Les Tremayne) takes Scrooge to the small but loving dinner of the Cratchit family and their razzleberry dressing-loving son Tiny Tim (Gardner). Youthful Past (Gardner) shows him his childhood as an unloved boy, and how he lost the love of his fiancee Belle (Jane Kean). It takes a spooky Future and watching three pickpockets who steal from the dead to make Scrooge understand the importance of charity...and what his own future holds if he doesn't change.
The Animation: If you've ever seen any of the other UPA cartoons of the 1950's and early 60's, you know what to expect here. The animation is slanted and stylized, all straight lines, geometric shapes, and pastel colors. The movement is fairly limited, but it works with the sharp lines and simple but elegant designs.
The Song and Dance: Mr. Magoo (and Jim Backus) may have been born to play Ebeneezer Scrooge. Backus really throws himself into the role, especially in the past sequence as Scrooge sadly recalls how he lost his Belle, and in the finale when he's begging for his life. He's backed by a great cast that includes Broadway star Cassidy, fellow sitcom ham Amsterdam, and radio favorites Les Tremayne as a booming Ghost of Christmas Present and Gardner as the Ghost of Christmas Past and a sweet Tiny Tim.
Favorite Number: The special kicks off with the dynamic "Back on Broadway," Magoo's opening song as he explains about the play he's in... and his antics actually getting to it. As someone who's been a loner since childhood, Young Scrooge's "Alone In the World" touches a deep chord with me. Cassidy and the Cratchit family get the rousing "We'll Have the Brightest Christmas" as Bob explains that, even if they can't have the holiday of their dreams, they still have each other. Kean introduces the special's sole ballad, the ravishing "Winter Was Warm" for Scrooge's fiancee as she sadly recalls their relationship. The scavengers in the Future segment revel in the ultimate villain song, "We're Despicable."
What I Don't Like: I have no idea why they felt the need to reverse the Past and Present sequences; for some reason, the Present sequence comes first here. (I'm guessing they wanted to put more emphasis on Tim and the Cratchits.) Most TV prints nowadays tend to cut the "Back On Broadway" opening, which loses a great number and the explanation of what's going on with Magoo being in a play.
The Big Finale: This and Mickey's Christmas Carol are my favorite animated versions of this timeless story. Give it a try - even if you're not a fan of Magoo. The music and cast alone are worth checking out.
Home Media: Re-released last year on DVD and Blu-Ray by current owner NBC/Universal. It's also available on several streaming services.
DVD
Blu-Ray
Amazon Prime
Voices of Jim Backus, Joan Gardner, Jack Cassidy, and Morey Amsterdam
Directed by Abe Levitow
Music by Jules Styne; Lyrics by Bob Merrill
This was one of the earliest animated specials made for television, and the first time Merrill and Styne worked together. Mr. Magoo, the goofy blind-as-a-bat old codger, was one of the most popular characters at limited animation specialists UPA during the 1950's. How does he fit into this adaptation of one of the the most beloved pieces of Christmas literature? Let's join Magoo (Backus) as he's making his rather haphazard way to a theater in New York and find out...
The Story: Mr. Magoo plays the Ebeneezer Scrooge role in a Broadway musical version of A Christmas Carol, when he finally manages to get to the theater after a series of mishaps. The curtain does finally come up on Scrooge doing his ledgers in his counting house. He refuses to give any money to two men collecting for the poor, and his clerk Bob Cratchit (Cassidy) has to coax him into closing the office on Christmas Day.
That night, Scrooge is visited by four ghosts, starting with his former partner Jacob Marley (Royal Dano). Marley is weighed down by chains of his sins, showing him other wandering spirits who can no longer aid their fellow man. The Ghost of Christmas Present (Les Tremayne) takes Scrooge to the small but loving dinner of the Cratchit family and their razzleberry dressing-loving son Tiny Tim (Gardner). Youthful Past (Gardner) shows him his childhood as an unloved boy, and how he lost the love of his fiancee Belle (Jane Kean). It takes a spooky Future and watching three pickpockets who steal from the dead to make Scrooge understand the importance of charity...and what his own future holds if he doesn't change.
The Animation: If you've ever seen any of the other UPA cartoons of the 1950's and early 60's, you know what to expect here. The animation is slanted and stylized, all straight lines, geometric shapes, and pastel colors. The movement is fairly limited, but it works with the sharp lines and simple but elegant designs.
The Song and Dance: Mr. Magoo (and Jim Backus) may have been born to play Ebeneezer Scrooge. Backus really throws himself into the role, especially in the past sequence as Scrooge sadly recalls how he lost his Belle, and in the finale when he's begging for his life. He's backed by a great cast that includes Broadway star Cassidy, fellow sitcom ham Amsterdam, and radio favorites Les Tremayne as a booming Ghost of Christmas Present and Gardner as the Ghost of Christmas Past and a sweet Tiny Tim.
Favorite Number: The special kicks off with the dynamic "Back on Broadway," Magoo's opening song as he explains about the play he's in... and his antics actually getting to it. As someone who's been a loner since childhood, Young Scrooge's "Alone In the World" touches a deep chord with me. Cassidy and the Cratchit family get the rousing "We'll Have the Brightest Christmas" as Bob explains that, even if they can't have the holiday of their dreams, they still have each other. Kean introduces the special's sole ballad, the ravishing "Winter Was Warm" for Scrooge's fiancee as she sadly recalls their relationship. The scavengers in the Future segment revel in the ultimate villain song, "We're Despicable."
What I Don't Like: I have no idea why they felt the need to reverse the Past and Present sequences; for some reason, the Present sequence comes first here. (I'm guessing they wanted to put more emphasis on Tim and the Cratchits.) Most TV prints nowadays tend to cut the "Back On Broadway" opening, which loses a great number and the explanation of what's going on with Magoo being in a play.
The Big Finale: This and Mickey's Christmas Carol are my favorite animated versions of this timeless story. Give it a try - even if you're not a fan of Magoo. The music and cast alone are worth checking out.
Home Media: Re-released last year on DVD and Blu-Ray by current owner NBC/Universal. It's also available on several streaming services.
DVD
Blu-Ray
Amazon Prime
Thursday, December 19, 2019
Musicals On TV - Mrs. Santa Claus
CBS, 1996
Starring Angela Landsbury, Charles Durning, Michael Jeter, and Lynsey Bartilson
Directed by Terry Hughes
Music and Lyrics by Jerry Herman
Hoping to bring back the Golden Age of TV Musicals, CBS made this their big Christmas attraction in December 1996. It was a hit at the time...but it seems to have been slightly forgotten in recent years, even as musicals continue to make a comeback on the big and small screens. Is this holiday-themed vehicle for Landsbury still worthy of our attention, or should it be left behind like stale fruitcake? Let's head to the North Pole, where the elves are working diligently on the toys, to find out...
The Story: Feeling unappreciated by her husband when he won't hear her suggestion for a new route, Mrs. Anna Claus (Landsbury) takes the reindeer and sleigh out for a spin about a week before Christmas. A blizzard lands her in New York's Avenue A in 1910, a melting pot of immigrants struggling to survive. She moves into a boarding house run by Mrs. Lowenstein (Rosalind Harris) and her daughter Sadie (Debra Wiseman).
Sadie stands on a soapbox on the street and tries to preach to the crowds about women's rights, but she can't get their attention. Marcello (David Norona), the handsome young caretaker at the stable where the reindeer are housed, has a crush on Sadie, but is too intimidated to tell her. Nora (Bartilson), an Irish child at the boarding house working to raise money for her mother to come over from Dublin, offers "Mrs. North" a job at Tavish's Toys...which turns out to be a sweatshop with deplorable working conditions run by nasty Mr. Tavish (Terrance Mann). She gets involved with everyone, trying to solve their problems, all while badly missing her husband. Meanwhile, Santa (Durning) is just as lost without her, despite the efforts of his head elf (Jeter) to make him feel better. Not to mention, if the sleigh isn't back by Christmas Eve, he won't be able to make his big trip.
The Song and Dance: For the most part, this one is definitely on the nice list. Landsbury pours her heart into the role of the neglected wife who ends up helping everyone around her change their lives for the better. She does especially well with Bartilson and the other kids, clowning around and having a blast with them. Lavish sets and costumes - the outfits were done by the legendary Bob Mackie - add greatly to the period feel.
Favorite Number: There's two good ensemble routines, "Avenue A," where Marcello shows Mrs. Claus around the street and introduces her to the locals, has some spirited choreography in a sequence set at a bar. There's also some nice choreography in Landsbury's number with the kids at Tavish's Toys, "Almost Young." Landsbury joins Bartilson in turning sheets hanging on a clothesline into vaudeville costumes in "Whistle" and duets with Durning on the finale, "The Best Christmas of All."
What I Don't Like: This movie is trying to do way too much. It throws together Mrs. Claus' story about being appreciated with commentary on women's rights and child labor, the secondary romance between Marcello and Sadie, and the one with Nora and her family. Any one or two of those plotlines probably would have covered a full 90 minutes. Not to mention, this is obviously intended to be a cute, smiley-happy musical and lacks the grit of the real New York in that time period. The darker themes don't always work with the sugary feel.
The score is also disappointing for Herman's last work to date. Some of the songs are pleasant enough, but they're not as memorable as his tunes for his Landsbury stage vehicles Mame and Dear World.
The Big Finale: Not a bad way to spend an hour and a half on a cozy Christmas evening if you're a fan of Landsbury or Herman, or are looking for a sweet holiday musical for the whole family.
Home Media: Not currently on streaming, but it was re-released on DVD two years ago and can often be found for under ten dollars.
DVD
Starring Angela Landsbury, Charles Durning, Michael Jeter, and Lynsey Bartilson
Directed by Terry Hughes
Music and Lyrics by Jerry Herman
Hoping to bring back the Golden Age of TV Musicals, CBS made this their big Christmas attraction in December 1996. It was a hit at the time...but it seems to have been slightly forgotten in recent years, even as musicals continue to make a comeback on the big and small screens. Is this holiday-themed vehicle for Landsbury still worthy of our attention, or should it be left behind like stale fruitcake? Let's head to the North Pole, where the elves are working diligently on the toys, to find out...
The Story: Feeling unappreciated by her husband when he won't hear her suggestion for a new route, Mrs. Anna Claus (Landsbury) takes the reindeer and sleigh out for a spin about a week before Christmas. A blizzard lands her in New York's Avenue A in 1910, a melting pot of immigrants struggling to survive. She moves into a boarding house run by Mrs. Lowenstein (Rosalind Harris) and her daughter Sadie (Debra Wiseman).
Sadie stands on a soapbox on the street and tries to preach to the crowds about women's rights, but she can't get their attention. Marcello (David Norona), the handsome young caretaker at the stable where the reindeer are housed, has a crush on Sadie, but is too intimidated to tell her. Nora (Bartilson), an Irish child at the boarding house working to raise money for her mother to come over from Dublin, offers "Mrs. North" a job at Tavish's Toys...which turns out to be a sweatshop with deplorable working conditions run by nasty Mr. Tavish (Terrance Mann). She gets involved with everyone, trying to solve their problems, all while badly missing her husband. Meanwhile, Santa (Durning) is just as lost without her, despite the efforts of his head elf (Jeter) to make him feel better. Not to mention, if the sleigh isn't back by Christmas Eve, he won't be able to make his big trip.
The Song and Dance: For the most part, this one is definitely on the nice list. Landsbury pours her heart into the role of the neglected wife who ends up helping everyone around her change their lives for the better. She does especially well with Bartilson and the other kids, clowning around and having a blast with them. Lavish sets and costumes - the outfits were done by the legendary Bob Mackie - add greatly to the period feel.
Favorite Number: There's two good ensemble routines, "Avenue A," where Marcello shows Mrs. Claus around the street and introduces her to the locals, has some spirited choreography in a sequence set at a bar. There's also some nice choreography in Landsbury's number with the kids at Tavish's Toys, "Almost Young." Landsbury joins Bartilson in turning sheets hanging on a clothesline into vaudeville costumes in "Whistle" and duets with Durning on the finale, "The Best Christmas of All."
What I Don't Like: This movie is trying to do way too much. It throws together Mrs. Claus' story about being appreciated with commentary on women's rights and child labor, the secondary romance between Marcello and Sadie, and the one with Nora and her family. Any one or two of those plotlines probably would have covered a full 90 minutes. Not to mention, this is obviously intended to be a cute, smiley-happy musical and lacks the grit of the real New York in that time period. The darker themes don't always work with the sugary feel.
The score is also disappointing for Herman's last work to date. Some of the songs are pleasant enough, but they're not as memorable as his tunes for his Landsbury stage vehicles Mame and Dear World.
The Big Finale: Not a bad way to spend an hour and a half on a cozy Christmas evening if you're a fan of Landsbury or Herman, or are looking for a sweet holiday musical for the whole family.
Home Media: Not currently on streaming, but it was re-released on DVD two years ago and can often be found for under ten dollars.
DVD
Tuesday, December 17, 2019
Cult Flops - Rent
Sony/Columbia, 2005
Starring Anthony Rapp, Adam Pascal, Jesse L. Martin, and Rosario Dawson
Directed by Chris Columbus
Music and Lyrics by Johnathan Larson
Rent was a phenomenon in New York in the mid-late 90's. One of its creators, Johnathan Larson, had helped create it around 1989 and continued working on it for the next six years, hoping that his rock opera would bring Broadway to a generation raised on rock and MTV. It was a smash when it debuted off-Broadway in January 1996...but Larson wasn't there to witness its success. He died of a rare disease shortly before its opening. Larson's death and the raw, open sound did indeed draw many young people to the stage and proved that musicals could be more than family fare. The show's popularity may have worked against itself when it was adapted to film almost nine years later. What happened? Well, let's head to a stage in New York's East Village and find out...
The Story: It's a year in the life of a group of performers, artists, and academics in the East Village from December 1989 to 1990. Roger (Pascal), a rock musician who hasn't been able to sell his work, and Mark (Rapp), an aspiring documentary filmmaker, have their electricity cut off when their former friend Benny (Taye Diggs) demands rent he promised they wouldn't have to pay. He wants to knock down the tenement and build a state of the art "cyber studio." Mark's ex-girlfriend Maureen (Idina Menzel) is a performance artist holding a protest against these plans. Meanwhile, their AIDS-positive friend Tom (Martin) falls for a kind-hearted drag queen street drummer named Angel (Wilson Germaine Heredia), and Roger finds himself head-over-heels for Mimi (Dawson), a HIV-positive dancer in a strip joint.
Mark is thrilled when he's able to sell footage from a raid on Maureen's protest. Maureen celebrates by finally getting together with her girlfriend, uptight lawyer Joanne (Tracie Toms), but they break it off after she catches Maureen flirting with another woman at their engagement party. Tired of her heroin addiction, Roger also eventually breaks off with Mimi, and the group goes their separate ways after Angel dies of complications from AIDS. Roger takes off to move to Santa Fe, but he can't forget Mimi and ends up back in New York. In the end, as Mark debuts his documentary on those living with the AIDS/HIV virus, the others remember how wonderful life can be...and that there really is "no day like today."
The Song and Dance: At least you can't fault most of the performances. There's some excellent singers here pouring their heart into Larson's soaring music. I didn't know about half of these people had such gorgeous voices, especially Dawson and Martin. Martin and Heredia are the stand-outs as the anarchist philosophy professor and his devoted lover, the much-loved and aptly-named transvestite. Menzel also has a great time as the fickle performer who can't commit to one lover, no matter what she tells her girlfriend.
Favorite Number: Both versions of "Viva La Boheme!" revel in some nice choreography and lively performances, as does the second version of this musical's signature tune, "Seasons of Love." Rapp and Toms discuss why Maureen drives them crazy - and shows off a sensational tropical pas de deux - in "Tango: Maureen." Angel and Tom get two great duets, the upbeat "Tonight 4 U" after Angel earns enough money for a decent Christmas dinner, and the touching "I'll Cover You." Heredia is obviously enjoying himself in the former, delightedly kicking through in his cute red and white feather-trimmed outfit. Menzel and Toms reveal why their differences are pushing each other apart in the delightful duet "Take Me or Leave Me."
Trivia: After Larson's death and a sensational opening, this proved to be so popular, it was moved to the Nederlander Theater on Broadway. It went on to win four Tonys and the Pulitzer Prize and ran there for over a decade, finally closing in 2008. Menzel, Rapp, Pascal, Martin, Heredia, and Diggs were all in the original cast. The final performance was filmed and released as Rent: Live on Broadway. A London production with a lot of the same cast didn't do quite as well, only running a year. There was a brief off-Broadway revival in 2011.
This is based after the opera La Boheme, by Giacomo Pucinni, and and actually uses a lot of the original plot.
What I Don't Like: This is another Broadway show that probably should have stayed on the stage. Much of it feels stagey and static, despite frequently being filmed outside. There's too much talk and not nearly enough action. Pascal comes off as dull outside of his stunning voice, and Dawson isn't terribly believable as a heroin junkie stripper. Columbus, best known for family-friendly action films like Harry Potter and the Sorcerer's Stone, wasn't the right director for this. He just doesn't have the punch or the grit to make us care about most of these characters.
Also, the obvious general warning that this is a rock opera. It's not for people who are looking for lighter, less overtly musical fare or who aren't fans of that genre of music.
The Big Finale: Broadway fans and many New York critics were especially hard on this when it came out, complaining about the direction and the stagy feel. I say, if you can get around the inappropriate choice of director and the stage-bound numbers, you might find a few hidden gems in this gritty urban tale.
Home Media: On DVD and streaming; the two-disc DVD can often be found or under five dollars.
DVD
Amazon Prime
Starring Anthony Rapp, Adam Pascal, Jesse L. Martin, and Rosario Dawson
Directed by Chris Columbus
Music and Lyrics by Johnathan Larson
Rent was a phenomenon in New York in the mid-late 90's. One of its creators, Johnathan Larson, had helped create it around 1989 and continued working on it for the next six years, hoping that his rock opera would bring Broadway to a generation raised on rock and MTV. It was a smash when it debuted off-Broadway in January 1996...but Larson wasn't there to witness its success. He died of a rare disease shortly before its opening. Larson's death and the raw, open sound did indeed draw many young people to the stage and proved that musicals could be more than family fare. The show's popularity may have worked against itself when it was adapted to film almost nine years later. What happened? Well, let's head to a stage in New York's East Village and find out...
The Story: It's a year in the life of a group of performers, artists, and academics in the East Village from December 1989 to 1990. Roger (Pascal), a rock musician who hasn't been able to sell his work, and Mark (Rapp), an aspiring documentary filmmaker, have their electricity cut off when their former friend Benny (Taye Diggs) demands rent he promised they wouldn't have to pay. He wants to knock down the tenement and build a state of the art "cyber studio." Mark's ex-girlfriend Maureen (Idina Menzel) is a performance artist holding a protest against these plans. Meanwhile, their AIDS-positive friend Tom (Martin) falls for a kind-hearted drag queen street drummer named Angel (Wilson Germaine Heredia), and Roger finds himself head-over-heels for Mimi (Dawson), a HIV-positive dancer in a strip joint.
Mark is thrilled when he's able to sell footage from a raid on Maureen's protest. Maureen celebrates by finally getting together with her girlfriend, uptight lawyer Joanne (Tracie Toms), but they break it off after she catches Maureen flirting with another woman at their engagement party. Tired of her heroin addiction, Roger also eventually breaks off with Mimi, and the group goes their separate ways after Angel dies of complications from AIDS. Roger takes off to move to Santa Fe, but he can't forget Mimi and ends up back in New York. In the end, as Mark debuts his documentary on those living with the AIDS/HIV virus, the others remember how wonderful life can be...and that there really is "no day like today."
The Song and Dance: At least you can't fault most of the performances. There's some excellent singers here pouring their heart into Larson's soaring music. I didn't know about half of these people had such gorgeous voices, especially Dawson and Martin. Martin and Heredia are the stand-outs as the anarchist philosophy professor and his devoted lover, the much-loved and aptly-named transvestite. Menzel also has a great time as the fickle performer who can't commit to one lover, no matter what she tells her girlfriend.
Favorite Number: Both versions of "Viva La Boheme!" revel in some nice choreography and lively performances, as does the second version of this musical's signature tune, "Seasons of Love." Rapp and Toms discuss why Maureen drives them crazy - and shows off a sensational tropical pas de deux - in "Tango: Maureen." Angel and Tom get two great duets, the upbeat "Tonight 4 U" after Angel earns enough money for a decent Christmas dinner, and the touching "I'll Cover You." Heredia is obviously enjoying himself in the former, delightedly kicking through in his cute red and white feather-trimmed outfit. Menzel and Toms reveal why their differences are pushing each other apart in the delightful duet "Take Me or Leave Me."
Trivia: After Larson's death and a sensational opening, this proved to be so popular, it was moved to the Nederlander Theater on Broadway. It went on to win four Tonys and the Pulitzer Prize and ran there for over a decade, finally closing in 2008. Menzel, Rapp, Pascal, Martin, Heredia, and Diggs were all in the original cast. The final performance was filmed and released as Rent: Live on Broadway. A London production with a lot of the same cast didn't do quite as well, only running a year. There was a brief off-Broadway revival in 2011.
This is based after the opera La Boheme, by Giacomo Pucinni, and and actually uses a lot of the original plot.
What I Don't Like: This is another Broadway show that probably should have stayed on the stage. Much of it feels stagey and static, despite frequently being filmed outside. There's too much talk and not nearly enough action. Pascal comes off as dull outside of his stunning voice, and Dawson isn't terribly believable as a heroin junkie stripper. Columbus, best known for family-friendly action films like Harry Potter and the Sorcerer's Stone, wasn't the right director for this. He just doesn't have the punch or the grit to make us care about most of these characters.
Also, the obvious general warning that this is a rock opera. It's not for people who are looking for lighter, less overtly musical fare or who aren't fans of that genre of music.
The Big Finale: Broadway fans and many New York critics were especially hard on this when it came out, complaining about the direction and the stagy feel. I say, if you can get around the inappropriate choice of director and the stage-bound numbers, you might find a few hidden gems in this gritty urban tale.
Home Media: On DVD and streaming; the two-disc DVD can often be found or under five dollars.
DVD
Amazon Prime
Saturday, December 14, 2019
Animation Celebration Saturday - Rudolph and Frosty's Christmas In July
Rankin-Bass, 1979
Voices of Billie Mae Richards, Mickey Rooney, Jackie Vernon, and Shelly Winters
Directed by Arthur Rankin Jr. and Jules Bass
Music by Maury Laws; Lyrics by Johnny Marks
Hoping to expand their holiday empire, Rankin-Bass combined their three most popular characters to create this movie, which debuted on ABC in November 1979. They even threw popular comic Red Buttons and beloved Broadway star Ethel Merman into the mix. Did they manage to pull off this complex Christmas crossover? Let's head to the North Pole for an epic battle and find out...
The Story: Centuries ago, the evil ice wizard Winterbolt (Paul Frees) ruled the North Pole with a heavy and frigid hand, until the Lady Boreal (Nellie Bellflower) puts him into a deep sleep. When he awakens years later, he discovers that Santa Claus (Rooney) has moved in and started his toy-making factory. He sends a blizzard to get rid of him, but Lady Boreal uses the last of her magic to make the baby reindeer Rudolph's nose glow bright red. Rudolph ends up pulling Santa's sleigh, to Winterbolt's frustration. Lady Boreal tells Rudolph that his nose will stop glowing if he ever uses his power for evil ends.
Meanwhile, Frosty (Vernon) and Crystal (Winters) have returned to the North Pole and started a family, with two children of their own. They all get an offer to star in the circus by Milton the Ice Cream Man (Buttons), who has come to pick up ice cream for the beach-side 4th of July parade. He wants to marry his sweetheart, tightrope walker Lanie Lorraine (Shelby Flint), but her mother Lily (Merman) is in danger of losing the circus to the unscrupulous Sam Spangles (Don Messick). Milton offers to set Frosty and Rudolph up in an act, but Frosty can't go where it's hot. Winterbolt appears, giving him and his family amulets that will allow them to remain in one piece until the fireworks end on the 4th of July.
Santa and Mrs. Claus (Darlene Conley) are supposed to pick them all up and take them back to the North Pole, but Winterbolt traps them in another huge blizzard. He encourages a jealous reindeer named Scratcher (Alan Sues) to trick Rudolph into stealing the money from the show and giving it to Sam. Winterbolt forces him to lie and say he did it on purpose. It takes another appearance by Lady Boreal and one from Rudolph's whale friend Big Ben (Hal Peary) to remind him that he's no liar...but he is a good friend.
The Animation: One of the last of the stop-motion Rankin-Bass programs. The streamlined designs of Rudolph and Santa from Rudolph's Shiny New Year carry over here; Rudy's a little thinner and less babyish than he was in the original special. There's some surprisingly complicated special effects for Rankin-Bass. The North Pole battles between Boreal and Winterbolt look pretty darn good, as do those all-important fireworks at the circus.
The Song and Dance: Kudos to Rankin-Bass for rounding up as many of the voices from the original specials as they could get away with at the time. In fact, this would be the last time Richards and Vernon voiced Rudolph and Frosty respectively. Winterbolt is definitely one of their more interesting villains, and one of the very few to not be redeemed. He's truly a nasty and (pardon the pun) ice-cold piece of work, willing to use blackmail on snowmen and a baby reindeer to further his ends.
Favorite Number: The big number here is "Rockin' Around the Christmas Tree," which becomes a circus spectacular with Laine dancing on a revolving tree and animals and clowns representing elves and toys. It's rather charming, and is probably the best thing about this. Crystal's first version of the ballad "Everything I Always Wanted," sung to Frosty in the North Pole as she tells him how important he is to her, is really lovely, as is Santa's "I See Rainbows" sun to reassure his wife when they're lost in the blizzard. Rudolph and Frosty celebrate their restoring Rudolph's nose and good name with a cute reprise of "We're a Couple of Misfits" from Rudolph the Red-Nosed Reindeer.
What I Don't Like: Good grief. The story is far too complicated and melodramatic for its simple characters. None of this makes a lick of sense. It's so bizarre, it makes Sgt. Pepper's Lonely Hearts Club Band look almost normal by comparison. At least Merman gets to sing four songs and takes down Winterbolt in the end; Buttons barely has anything to do, besides pine over the girl. (And why did they dub Rooney? He's perfectly capable of doing his own singing.)
What happened to Scratcher after he returned to the North Pole? We never do find out if he rejoined Santa's sleigh or what happened to him after Winterbolt's demise, nor do we see him punished for his part in tricking Rudolph.
The Big Finale: I can handle some of the stranger Rankin-Bass specials...but this one is a little too odd, even for me. Only truly devoted fans of Rankin-Bass need apply. Everyone else should be fine with the originals.
Home Media: Easy to find on DVD and streaming.
DVD
Amazon Prime
Voices of Billie Mae Richards, Mickey Rooney, Jackie Vernon, and Shelly Winters
Directed by Arthur Rankin Jr. and Jules Bass
Music by Maury Laws; Lyrics by Johnny Marks
Hoping to expand their holiday empire, Rankin-Bass combined their three most popular characters to create this movie, which debuted on ABC in November 1979. They even threw popular comic Red Buttons and beloved Broadway star Ethel Merman into the mix. Did they manage to pull off this complex Christmas crossover? Let's head to the North Pole for an epic battle and find out...
The Story: Centuries ago, the evil ice wizard Winterbolt (Paul Frees) ruled the North Pole with a heavy and frigid hand, until the Lady Boreal (Nellie Bellflower) puts him into a deep sleep. When he awakens years later, he discovers that Santa Claus (Rooney) has moved in and started his toy-making factory. He sends a blizzard to get rid of him, but Lady Boreal uses the last of her magic to make the baby reindeer Rudolph's nose glow bright red. Rudolph ends up pulling Santa's sleigh, to Winterbolt's frustration. Lady Boreal tells Rudolph that his nose will stop glowing if he ever uses his power for evil ends.
Meanwhile, Frosty (Vernon) and Crystal (Winters) have returned to the North Pole and started a family, with two children of their own. They all get an offer to star in the circus by Milton the Ice Cream Man (Buttons), who has come to pick up ice cream for the beach-side 4th of July parade. He wants to marry his sweetheart, tightrope walker Lanie Lorraine (Shelby Flint), but her mother Lily (Merman) is in danger of losing the circus to the unscrupulous Sam Spangles (Don Messick). Milton offers to set Frosty and Rudolph up in an act, but Frosty can't go where it's hot. Winterbolt appears, giving him and his family amulets that will allow them to remain in one piece until the fireworks end on the 4th of July.
Santa and Mrs. Claus (Darlene Conley) are supposed to pick them all up and take them back to the North Pole, but Winterbolt traps them in another huge blizzard. He encourages a jealous reindeer named Scratcher (Alan Sues) to trick Rudolph into stealing the money from the show and giving it to Sam. Winterbolt forces him to lie and say he did it on purpose. It takes another appearance by Lady Boreal and one from Rudolph's whale friend Big Ben (Hal Peary) to remind him that he's no liar...but he is a good friend.
The Animation: One of the last of the stop-motion Rankin-Bass programs. The streamlined designs of Rudolph and Santa from Rudolph's Shiny New Year carry over here; Rudy's a little thinner and less babyish than he was in the original special. There's some surprisingly complicated special effects for Rankin-Bass. The North Pole battles between Boreal and Winterbolt look pretty darn good, as do those all-important fireworks at the circus.
The Song and Dance: Kudos to Rankin-Bass for rounding up as many of the voices from the original specials as they could get away with at the time. In fact, this would be the last time Richards and Vernon voiced Rudolph and Frosty respectively. Winterbolt is definitely one of their more interesting villains, and one of the very few to not be redeemed. He's truly a nasty and (pardon the pun) ice-cold piece of work, willing to use blackmail on snowmen and a baby reindeer to further his ends.
Favorite Number: The big number here is "Rockin' Around the Christmas Tree," which becomes a circus spectacular with Laine dancing on a revolving tree and animals and clowns representing elves and toys. It's rather charming, and is probably the best thing about this. Crystal's first version of the ballad "Everything I Always Wanted," sung to Frosty in the North Pole as she tells him how important he is to her, is really lovely, as is Santa's "I See Rainbows" sun to reassure his wife when they're lost in the blizzard. Rudolph and Frosty celebrate their restoring Rudolph's nose and good name with a cute reprise of "We're a Couple of Misfits" from Rudolph the Red-Nosed Reindeer.
What I Don't Like: Good grief. The story is far too complicated and melodramatic for its simple characters. None of this makes a lick of sense. It's so bizarre, it makes Sgt. Pepper's Lonely Hearts Club Band look almost normal by comparison. At least Merman gets to sing four songs and takes down Winterbolt in the end; Buttons barely has anything to do, besides pine over the girl. (And why did they dub Rooney? He's perfectly capable of doing his own singing.)
What happened to Scratcher after he returned to the North Pole? We never do find out if he rejoined Santa's sleigh or what happened to him after Winterbolt's demise, nor do we see him punished for his part in tricking Rudolph.
The Big Finale: I can handle some of the stranger Rankin-Bass specials...but this one is a little too odd, even for me. Only truly devoted fans of Rankin-Bass need apply. Everyone else should be fine with the originals.
Home Media: Easy to find on DVD and streaming.
DVD
Amazon Prime
Thursday, December 12, 2019
Musicals On TV - Babes In Toyland (1955)
NBC, 1955
Starring Dennis Day, Barbara Cook, Dave Garroway, and Jack E. Leonard
Directed by Max Liebman
Music by Victor Herbert; Lyrics by Glenn MacDonough
In 1954, NBC was faltering in ratings. Their big variety shows were no match for the dramas and those newfangled sitcoms on CBS. Hoping to bump up their numbers, new head of programming Pat Weaver commissioned three "musical spectaculars" a month on Saturday, Sundays, and Mondays. Though the first of these, Satins and Spurs with Betty Hutton, didn't do well, the concept did eventually catch on. A version of Babes In Toyland put on in 1954 on Max Lieberman Presents was one of the more popular ones. It proved to be such a hit, it was rebroadcast on Christmas Eve the next year with a slightly different cast. How does this retelling of the beloved holiday fantasy look today? Let's head to Macy's to meet with its book-reading Santa Claus and find out...
The Story: Santa (Garroway) is very surprised to encounter a lost little girl named Joan (Ellen Barrie) wandering around the toy department. While waiting for her mother to pick her up, Santa reads her the story of Babes In Toyland. Tommy Tucker (Day) loves Jane Piper (Barbara Cook), but the evil Barnaby (Leonard) also covets her. In revenge, he fires Tommy from his job and tries to distract Jane's siblings with clowns and musicians. The distraction backfires; Jane and the kids remain devoted to Tommy. Barnaby finally lures Jane's siblings Ann (Karin Wolfe) and Peter (Dickie Belton) into the woods, bringing Tommy and Jane after them. It'll take the help of shy toymaker Grumio (Cox) and his walking puppets and life-sized toy soldiers to reunite the lovers and save Toyland.
The Song and Dance: For the most part, this remains quite charming. Day and Cook make a cute couple, Garroway is very funny as one of the more sarcastic Santas in TV history, and Barrie's an appropriately pert and modern young miss on his knee. Leonard chews every bit of the considerable and elaborate-for-the-time scenery as the old-fashioned grumpy villain. The Bill Baird Marionettes fit in far better here than they did in The Sound of Music a decade later and come off as charming and sweet.
I'll admit, I like this version better than the original 1954 broadcast with Jo Sullivan as Jane Piper and pretty much the same cast. Sullivan comes off as a little too sophisticated and "New York"-ish. Cook looks and sounds more appropriate for a fairy tale lass. The production is a little slicker here, too, and the clowns are slightly more tolerable.
Favorite Number: We open with a fun "Toyland Ballet" as Garroway and Barrie introduce each famous nursery rhyme character. Day and Cook get a soaring "Castle In Spain" as Day describes what they'll have after he finds another job. Bambi Lynn and Rod Alexander dance a lovely Spanish-tinged pas-de-deux to an instrumental version of the song as a fantasy sequence. Cox joins the Marionettes for a bouncy and adorable "Never Mind, Bo Peep" and a series of solos to the tune of the Victor Herbert song "Chansonette" from Naughty Marietta. Day sings the sweet Irish ballad "Barney O'Flynn" with local lass Karin Wolfe.
What I Don't Like: While this works better than A Christmas Carol, it's still hampered by the limits of early television. One clown in the 1955 version does manage an incredible drum solo, but the others in both broadcasts are dull and serve no real function. A ballet with the kids and the animals of the forest towards the end of the show also comes off as filler. Cox is ill-used in both specials; I wish he had more to do than just interact with the Marionettes and do a few lines with Day and the ingenue.
The Big Finale: Even after more than 60 years, this remains enjoyable holiday fare for fans of the cast, TV history, 50's musicals, or families with young children who will enjoy seeing favorite nursery rhyme characters recreated on-screen.
Home Media: Only on DVD from VAI Entertainment; alas, the DVD is pricey on Amazon. You may be better off looking for this one used.
DVD
Starring Dennis Day, Barbara Cook, Dave Garroway, and Jack E. Leonard
Directed by Max Liebman
Music by Victor Herbert; Lyrics by Glenn MacDonough
In 1954, NBC was faltering in ratings. Their big variety shows were no match for the dramas and those newfangled sitcoms on CBS. Hoping to bump up their numbers, new head of programming Pat Weaver commissioned three "musical spectaculars" a month on Saturday, Sundays, and Mondays. Though the first of these, Satins and Spurs with Betty Hutton, didn't do well, the concept did eventually catch on. A version of Babes In Toyland put on in 1954 on Max Lieberman Presents was one of the more popular ones. It proved to be such a hit, it was rebroadcast on Christmas Eve the next year with a slightly different cast. How does this retelling of the beloved holiday fantasy look today? Let's head to Macy's to meet with its book-reading Santa Claus and find out...
The Story: Santa (Garroway) is very surprised to encounter a lost little girl named Joan (Ellen Barrie) wandering around the toy department. While waiting for her mother to pick her up, Santa reads her the story of Babes In Toyland. Tommy Tucker (Day) loves Jane Piper (Barbara Cook), but the evil Barnaby (Leonard) also covets her. In revenge, he fires Tommy from his job and tries to distract Jane's siblings with clowns and musicians. The distraction backfires; Jane and the kids remain devoted to Tommy. Barnaby finally lures Jane's siblings Ann (Karin Wolfe) and Peter (Dickie Belton) into the woods, bringing Tommy and Jane after them. It'll take the help of shy toymaker Grumio (Cox) and his walking puppets and life-sized toy soldiers to reunite the lovers and save Toyland.
The Song and Dance: For the most part, this remains quite charming. Day and Cook make a cute couple, Garroway is very funny as one of the more sarcastic Santas in TV history, and Barrie's an appropriately pert and modern young miss on his knee. Leonard chews every bit of the considerable and elaborate-for-the-time scenery as the old-fashioned grumpy villain. The Bill Baird Marionettes fit in far better here than they did in The Sound of Music a decade later and come off as charming and sweet.
I'll admit, I like this version better than the original 1954 broadcast with Jo Sullivan as Jane Piper and pretty much the same cast. Sullivan comes off as a little too sophisticated and "New York"-ish. Cook looks and sounds more appropriate for a fairy tale lass. The production is a little slicker here, too, and the clowns are slightly more tolerable.
Favorite Number: We open with a fun "Toyland Ballet" as Garroway and Barrie introduce each famous nursery rhyme character. Day and Cook get a soaring "Castle In Spain" as Day describes what they'll have after he finds another job. Bambi Lynn and Rod Alexander dance a lovely Spanish-tinged pas-de-deux to an instrumental version of the song as a fantasy sequence. Cox joins the Marionettes for a bouncy and adorable "Never Mind, Bo Peep" and a series of solos to the tune of the Victor Herbert song "Chansonette" from Naughty Marietta. Day sings the sweet Irish ballad "Barney O'Flynn" with local lass Karin Wolfe.
What I Don't Like: While this works better than A Christmas Carol, it's still hampered by the limits of early television. One clown in the 1955 version does manage an incredible drum solo, but the others in both broadcasts are dull and serve no real function. A ballet with the kids and the animals of the forest towards the end of the show also comes off as filler. Cox is ill-used in both specials; I wish he had more to do than just interact with the Marionettes and do a few lines with Day and the ingenue.
The Big Finale: Even after more than 60 years, this remains enjoyable holiday fare for fans of the cast, TV history, 50's musicals, or families with young children who will enjoy seeing favorite nursery rhyme characters recreated on-screen.
Home Media: Only on DVD from VAI Entertainment; alas, the DVD is pricey on Amazon. You may be better off looking for this one used.
DVD
Tuesday, December 10, 2019
Musicals On TV - A Christmas Carol (1954)
CBS, 1954
Starring Fredric March, Ray Middleton, Basil Rathbone, and Sally Fraiser
Directed by Ralph Levy
Music by Bernard Herrmann; Lyrics by Maxwell Anderson
This was the very first musical Christmas Carol made for television. Originally part of an anthology series called Shower of Stars, it proved to be such a hit, it was repeated at Christmas for the next two years and had a popular soundtrack album. How does this piece of holiday TV history stack up to other versions of this beloved tale? Let's join Scrooge (March) in his counting house to find out...
The Story: Ebeneezer Scrooge is the miserly owner of a loan company who hates Christmas and everything it stands for. He refuses to go to Christmas dinner with his nephew Fred (Middleton) or let his clerk Bob Cratchit (Bob Sweeney) have even a little bit of coal for stove. That night, the ghost of his former partner Marley (Rathbone) appears, insisting that two more ghosts will come to change his ways. The Ghost of Christmas Past (Fraiser) and Present (Middleton) takes him into his youth and to current London to visit Bob and his family, including his sickly son Tim (Christopher Cook). It's not until he realizes that the sweet boy may not live to see another holiday that he considers changing his views on charity and the holidays.
The Song and Dance: The most interesting thing about this one is the sheer history on display. The copy I have comes complete with the original commercials for Chrysler cars and the intros by William Lundigan and Mary Costa. Considering how many programs from the early years of television are gone for good, just having this in any shape is probably a treat, especially if you remember the original broadcasts or have any interest in the history of the mid-20th century. March isn't bad as Scrooge; Sweeney and Queenie Leonard are even better as the Cratchit parents.
This is also the only version of this story I've seen go the unique route of having Nephew Fred do a double turn as the Ghost of Christmas Present - and Scrooge does comment that the ghost resembles him.
Favorite Number: The chorus song "The Spirit of Christmas" is performed several times, including in the opening sequence and before the commercials. Belle (Fraiser, dubbed by Marilyn Horne) and Young Scrooge (Craig Hill) get a decent duet at Fezziwig's ball, "What am I Giving My Love For Christmas?"
Trivia: That's a young Bonnie Franklin as Martha Cratchit in the present segment.
This was originally broadcast in color, but the kinetoscopes currently available are only in black and white. It proved to be so popular, it would be rebroadcast in 1955 and 1956.
Basil Rathbone would play Scrooge in another TV musical two years later, The Stingiest Man In Town.
What I Don't Like: The story has been compressed to fit in an hour slot. The segment with the Ghost of Christmas Future has been eliminated all together - a bird leads Scrooge not to his own gravestone, but Tiny Tim's. The past is just Fezziwig's party, and Belle rejects him almost directly after their duet - frankly contradicting most of the song. Ironically, considering Fred's importance to the opening segment, his party is missing from the Present sequence. Despite that hit soundtrack, the music is really very boring (and March sings none of it).
The Big Finale: Only of interest to fans of March, A Christmas Carol, or early broadcast history. There are frankly much better versions of this story - including musical versions - out there.
Home Media: As a public domain film, it's easy found on DVD (the 1955 broadcast is also available).
DVD
Starring Fredric March, Ray Middleton, Basil Rathbone, and Sally Fraiser
Directed by Ralph Levy
Music by Bernard Herrmann; Lyrics by Maxwell Anderson
This was the very first musical Christmas Carol made for television. Originally part of an anthology series called Shower of Stars, it proved to be such a hit, it was repeated at Christmas for the next two years and had a popular soundtrack album. How does this piece of holiday TV history stack up to other versions of this beloved tale? Let's join Scrooge (March) in his counting house to find out...
The Story: Ebeneezer Scrooge is the miserly owner of a loan company who hates Christmas and everything it stands for. He refuses to go to Christmas dinner with his nephew Fred (Middleton) or let his clerk Bob Cratchit (Bob Sweeney) have even a little bit of coal for stove. That night, the ghost of his former partner Marley (Rathbone) appears, insisting that two more ghosts will come to change his ways. The Ghost of Christmas Past (Fraiser) and Present (Middleton) takes him into his youth and to current London to visit Bob and his family, including his sickly son Tim (Christopher Cook). It's not until he realizes that the sweet boy may not live to see another holiday that he considers changing his views on charity and the holidays.
The Song and Dance: The most interesting thing about this one is the sheer history on display. The copy I have comes complete with the original commercials for Chrysler cars and the intros by William Lundigan and Mary Costa. Considering how many programs from the early years of television are gone for good, just having this in any shape is probably a treat, especially if you remember the original broadcasts or have any interest in the history of the mid-20th century. March isn't bad as Scrooge; Sweeney and Queenie Leonard are even better as the Cratchit parents.
This is also the only version of this story I've seen go the unique route of having Nephew Fred do a double turn as the Ghost of Christmas Present - and Scrooge does comment that the ghost resembles him.
Favorite Number: The chorus song "The Spirit of Christmas" is performed several times, including in the opening sequence and before the commercials. Belle (Fraiser, dubbed by Marilyn Horne) and Young Scrooge (Craig Hill) get a decent duet at Fezziwig's ball, "What am I Giving My Love For Christmas?"
Trivia: That's a young Bonnie Franklin as Martha Cratchit in the present segment.
This was originally broadcast in color, but the kinetoscopes currently available are only in black and white. It proved to be so popular, it would be rebroadcast in 1955 and 1956.
Basil Rathbone would play Scrooge in another TV musical two years later, The Stingiest Man In Town.
What I Don't Like: The story has been compressed to fit in an hour slot. The segment with the Ghost of Christmas Future has been eliminated all together - a bird leads Scrooge not to his own gravestone, but Tiny Tim's. The past is just Fezziwig's party, and Belle rejects him almost directly after their duet - frankly contradicting most of the song. Ironically, considering Fred's importance to the opening segment, his party is missing from the Present sequence. Despite that hit soundtrack, the music is really very boring (and March sings none of it).
The Big Finale: Only of interest to fans of March, A Christmas Carol, or early broadcast history. There are frankly much better versions of this story - including musical versions - out there.
Home Media: As a public domain film, it's easy found on DVD (the 1955 broadcast is also available).
DVD
Saturday, December 7, 2019
Animation Celebration Saturday - Smallfoot
Warner Bros, 2018
Voices of Channing Tatum, Zendaya, James Corden, and Common
Directed by Karey Kirpatrick
Music and Lyrics by Karey and Wayne Kirpatrick
This is another animated film that sort of passed me by. I'd vaguely heard of it when it came out in theaters last year, but I didn't really know much about it until the DVD showed up at a local library, and I had no idea it was a musical. Honestly, the idea of a curious yeti and a human making contact and trying to teach others about their respective kinds is already kind of strange. How does the music fit in? Let's head to a mountain surrounded by mists in the Himalayas and find out...
The Story: Migo (Tatum) lives in a village of yetis that's isolated by mists and clouds. The village is governed by strict rules written on rocks that tell how they should live and what truths they should abide by. Migo wants nothing more than to succeed his father Dorgle (Danny DiVito) as the one who shoots himself into a gong that they believe will make the sun rise.
One day, while admiring the chief stonekeeper's daughter Meechee (Zendaya), he misses the gong and lands way over the mountain and past the clouds. He discovers a "smallfoot" (human), Percy Patterson (Corden), who was trying to find footage for a nature show to make him a big shot again. Migo tries to tell the other yeti, but no one believes him, and he's exiled. One small group of yeti do think he's telling the truth - the SES (Smallfoot Existence Society), lead by Meechee and a group of outcasts. They encourage him to find Percy again, and then bring him to the village. The stonekeeper (Common) believes Percy to be dangerous and, revealing the truth about why they hide to Migo, tells him to lie to the other yeti. Percy, however, is growing deathly ill in the bitter cold. When Meechee goes into the valley to return him to safety, Migo and the others go after her.
The Animation: While the shivery, icy blue backdrops of the frozen Himalayas are pretty well-rendered, to the point where you feel like you could jump in a pile of snow yourself, the characters look a bit strange. The small, oval eyes are a little goofy on the Yetis, but they don't really look right on the humans, making them look a tad creepy.
The Song and Dance: This was better than I thought it would be. The moral about the importance of curiosity and questioning societal norms is quite timely at the moment. I also appreciate that they're handled at least a little more subtly than, say, Uglydolls handled its "everyone is different" message. I also like that there's no real villains. The conflict is more a tragic misunderstanding between groups than a conflict between a hero and a bad guy.
Favorite Number: "Wonderful Life" was the hit here, and it gets a number worthy of it as Meechee introduces Migo to the delights of the outside world. There's some gorgeous animation here, especially when she's showing him butterflies in a cave. Corden gets a hilarious version of Queen's "Under Pressure" as he explains breathlessly why he's desperate to get back into the spotlight.
What I Don't Like: While well-meaning and a bit better than the similar Uglydolls, the plot is still cliched as all get-out. Migo, and to a lesser degree Meechee, are bland hero characters, and we don't really see enough of Percy to get an impression of him, beyond his desire to grasp the spotlight. The new songs other than "Wonderful Life" are also fairly forgettable.
The Big Finale: If you have younger kids who may appreciate the music and characters, they'll likely get a kick out of this snowy tale of an unusual friendship.
Home Media: As a recent movie, this is easily available in all formats.
DVD
Blu-Ray
Amazon Prime (Buy Only)
Voices of Channing Tatum, Zendaya, James Corden, and Common
Directed by Karey Kirpatrick
Music and Lyrics by Karey and Wayne Kirpatrick
This is another animated film that sort of passed me by. I'd vaguely heard of it when it came out in theaters last year, but I didn't really know much about it until the DVD showed up at a local library, and I had no idea it was a musical. Honestly, the idea of a curious yeti and a human making contact and trying to teach others about their respective kinds is already kind of strange. How does the music fit in? Let's head to a mountain surrounded by mists in the Himalayas and find out...
The Story: Migo (Tatum) lives in a village of yetis that's isolated by mists and clouds. The village is governed by strict rules written on rocks that tell how they should live and what truths they should abide by. Migo wants nothing more than to succeed his father Dorgle (Danny DiVito) as the one who shoots himself into a gong that they believe will make the sun rise.
One day, while admiring the chief stonekeeper's daughter Meechee (Zendaya), he misses the gong and lands way over the mountain and past the clouds. He discovers a "smallfoot" (human), Percy Patterson (Corden), who was trying to find footage for a nature show to make him a big shot again. Migo tries to tell the other yeti, but no one believes him, and he's exiled. One small group of yeti do think he's telling the truth - the SES (Smallfoot Existence Society), lead by Meechee and a group of outcasts. They encourage him to find Percy again, and then bring him to the village. The stonekeeper (Common) believes Percy to be dangerous and, revealing the truth about why they hide to Migo, tells him to lie to the other yeti. Percy, however, is growing deathly ill in the bitter cold. When Meechee goes into the valley to return him to safety, Migo and the others go after her.
The Animation: While the shivery, icy blue backdrops of the frozen Himalayas are pretty well-rendered, to the point where you feel like you could jump in a pile of snow yourself, the characters look a bit strange. The small, oval eyes are a little goofy on the Yetis, but they don't really look right on the humans, making them look a tad creepy.
The Song and Dance: This was better than I thought it would be. The moral about the importance of curiosity and questioning societal norms is quite timely at the moment. I also appreciate that they're handled at least a little more subtly than, say, Uglydolls handled its "everyone is different" message. I also like that there's no real villains. The conflict is more a tragic misunderstanding between groups than a conflict between a hero and a bad guy.
Favorite Number: "Wonderful Life" was the hit here, and it gets a number worthy of it as Meechee introduces Migo to the delights of the outside world. There's some gorgeous animation here, especially when she's showing him butterflies in a cave. Corden gets a hilarious version of Queen's "Under Pressure" as he explains breathlessly why he's desperate to get back into the spotlight.
What I Don't Like: While well-meaning and a bit better than the similar Uglydolls, the plot is still cliched as all get-out. Migo, and to a lesser degree Meechee, are bland hero characters, and we don't really see enough of Percy to get an impression of him, beyond his desire to grasp the spotlight. The new songs other than "Wonderful Life" are also fairly forgettable.
The Big Finale: If you have younger kids who may appreciate the music and characters, they'll likely get a kick out of this snowy tale of an unusual friendship.
Home Media: As a recent movie, this is easily available in all formats.
DVD
Blu-Ray
Amazon Prime (Buy Only)
Thursday, December 5, 2019
The Girl of the Golden West (1938)
MGM, 1938
Starring Jeanette MacDonald, Nelson Eddy, Buddy Ebsen, and Walter Pidgeon
Directed by Robert Z. Leonard
Music by Sigmund Romberg and others; Lyrics by Gus Kahn and others
MacDonald and Eddy were two of MGM's biggest stars after the success of their 1937 vehicle Maytime, but a musical western based after an opera is probably the last thing anyone expected them to do as their next big film. How does the tale of a bandit who falls in love with a saloon-owning tomboy come off nowadays? Let's head to Cloudy, a rough-and-ready California boom town, and find out...
The Story: Mary, better known as "the Girl" (MacDonald), is the owner of the Polka Saloon in Cloudy. She keeps the gold the men bring in from the mountains at her place and turns it over to the stagecoaches when they arrive. All of the men in town adore her and think of her as one of their own, and she has two suitors in Sheriff Jack Rance (Pidgeon) and shy blacksmith Alabama (Ebsen). On a trip to Monterrey, Mary's stagecoach is robbed by Ramerez (Eddy), a notorious local bandit. He's so enamored by her spunk and beauty, he follows her to town, where he poses as a lieutenant at a big festival in town just to get to know her better.
He eventually turns up in Cloudy, intending to rob the gold at the Polka...but can't go through with it when he discovers Mary's the owner. His men aren't terribly happy about that, and his half-breed girlfriend Nina (Priscilla Lawson) is even less thrilled. She tells the Sheriff the truth, and he tells Mary when she just invited Ramerez to her cabin. The bandit is hurt while trying to escape and winds up back at her place. Determined to keep him from the sheriff's grasp, she ends up playing a hand of poker with Rance, with the bandit and her hand in marriage on the line.
The Song and Dance: Unusually action-packed for the MacDonald/Eddy movies, with shootouts, bandits, and a genuinely tense confrontation between MacDonald and Pidgeon during that poker game. Ebsen as sweet Alabama and H.B Warner as Mary's padre friend in Monterrey add much-needed authenticity to this romantic adventure melodrama.
Favorite Number: MacDonald gets to sing a lovely version of "Lieberstraum" with town drunk The Professor (Brandon Tynan) on the newly-purchased piano at the saloon that's one of her better solo numbers. Eddy joins her for two big chorus numbers in the fiesta segment, "Senorita" and "Mariachi." The latter turns into the film's sole large-scale dance routine, with swirling dancers and some huge sets. Ebsen comments on how "civilization" has changed California in the brief but funny "The West Ain't Wild Anymore."
Trivia: This started out as a hit play by David Belasco in 1905. The play became an opera, La fanciulla del west, in 1910. It was filmed three times before, twice as a silent.
What I Don't Like: Philadelphia natives MacDonald and Eddy are too urban to be believable in a western setting. Eddy did better in his later solo western Let Freedom Ring; his idea of a Mexican accent is ridiculous. Womanly MacDonald is no tomboy, either. I have no idea why they couldn't have retained at least a little of the original opera score, as most of Romberg and Kahn's music is rather dull.
The Big Finale: Ok if you're a fan of MacDonald, Eddy, or the opera; otherwise, nothing you need to go out of your way to see.
Home Media: Easy to find on streaming and on DVD from the Warner Archives.
DVD
Amazon Prime
Starring Jeanette MacDonald, Nelson Eddy, Buddy Ebsen, and Walter Pidgeon
Directed by Robert Z. Leonard
Music by Sigmund Romberg and others; Lyrics by Gus Kahn and others
MacDonald and Eddy were two of MGM's biggest stars after the success of their 1937 vehicle Maytime, but a musical western based after an opera is probably the last thing anyone expected them to do as their next big film. How does the tale of a bandit who falls in love with a saloon-owning tomboy come off nowadays? Let's head to Cloudy, a rough-and-ready California boom town, and find out...
The Story: Mary, better known as "the Girl" (MacDonald), is the owner of the Polka Saloon in Cloudy. She keeps the gold the men bring in from the mountains at her place and turns it over to the stagecoaches when they arrive. All of the men in town adore her and think of her as one of their own, and she has two suitors in Sheriff Jack Rance (Pidgeon) and shy blacksmith Alabama (Ebsen). On a trip to Monterrey, Mary's stagecoach is robbed by Ramerez (Eddy), a notorious local bandit. He's so enamored by her spunk and beauty, he follows her to town, where he poses as a lieutenant at a big festival in town just to get to know her better.
He eventually turns up in Cloudy, intending to rob the gold at the Polka...but can't go through with it when he discovers Mary's the owner. His men aren't terribly happy about that, and his half-breed girlfriend Nina (Priscilla Lawson) is even less thrilled. She tells the Sheriff the truth, and he tells Mary when she just invited Ramerez to her cabin. The bandit is hurt while trying to escape and winds up back at her place. Determined to keep him from the sheriff's grasp, she ends up playing a hand of poker with Rance, with the bandit and her hand in marriage on the line.
The Song and Dance: Unusually action-packed for the MacDonald/Eddy movies, with shootouts, bandits, and a genuinely tense confrontation between MacDonald and Pidgeon during that poker game. Ebsen as sweet Alabama and H.B Warner as Mary's padre friend in Monterrey add much-needed authenticity to this romantic adventure melodrama.
Favorite Number: MacDonald gets to sing a lovely version of "Lieberstraum" with town drunk The Professor (Brandon Tynan) on the newly-purchased piano at the saloon that's one of her better solo numbers. Eddy joins her for two big chorus numbers in the fiesta segment, "Senorita" and "Mariachi." The latter turns into the film's sole large-scale dance routine, with swirling dancers and some huge sets. Ebsen comments on how "civilization" has changed California in the brief but funny "The West Ain't Wild Anymore."
Trivia: This started out as a hit play by David Belasco in 1905. The play became an opera, La fanciulla del west, in 1910. It was filmed three times before, twice as a silent.
What I Don't Like: Philadelphia natives MacDonald and Eddy are too urban to be believable in a western setting. Eddy did better in his later solo western Let Freedom Ring; his idea of a Mexican accent is ridiculous. Womanly MacDonald is no tomboy, either. I have no idea why they couldn't have retained at least a little of the original opera score, as most of Romberg and Kahn's music is rather dull.
The Big Finale: Ok if you're a fan of MacDonald, Eddy, or the opera; otherwise, nothing you need to go out of your way to see.
Home Media: Easy to find on streaming and on DVD from the Warner Archives.
DVD
Amazon Prime
Tuesday, December 3, 2019
Slightly French
Columbia, 1949
Starring Dorothy Lamour, Don Ameche, Janis Carter, and Willard Parker
Directed by Douglas Sirk
Music and Lyrics by Allan Roberts, Lester Lee, and others
Douglas Sirk is now considered to be one of the underrated directors of German and American cinema...but in 1949, he was merely a journeyman director for Columbia and Universal. This would be one of only two musicals he did during his American career. How does this My Fair Lady-esque tale of a Hollywood director who trains a dancer to be a French chanteuse for his new movie come off in the 21st century? Let's head to what appears to be a very movieland version of Paris to find out...
The Story: Director John Gayle (Ameche) is notorious in Hollywood for obsessing over his films and working his cast and crew to the bone. The French actress on his most recent movie (Adele Jergens) just walked off the set, and they need someone to replace her. Gayle and his best friend and producer Doug Hyde (Parker) are told that they'll have to shut the production down, until they encounter dancer Mary O'Leary (Lamour) at a carnival. She can imitate most accents, including French. Gayle and his skeptical sister Louisa (Carter) hire a French voice coach (Jeanne Manet) to turn her into a genuine chanteuse named Rochelle Olivia. She falls for him in the process, but he's more interested in his film. She shows off her new European persona with Doug, hoping to make him jealous. It works too well...and now it looks like both her new career and the film may be in jeopardy unless John can figure out how much his new discovery means to him.
The Song and Dance: Better than I thought it would be from the "B" pedigree. Sirk managed some wonderful directorial touches, especially with the shadowy black and white "Love Masquerade" number in the finale. Ameche and especially Lamour do quite well as the battling lovers. Several sequences show off Sirk's fondness for melodrama; I loved a scene towards the end where Mary finally tells off John for treating her like an object and acting like a jerk. You don't often see the women telling off the jerks in a rage in a frothy musical, and it was rather refreshing.
Favorite Number: That "Love Masquerade" in the opening sequence and near the finale is actually a little dark for a musical of this time, all silhouettes, dimly lit Paris sets, and slinky dance moves. Lamour gives the standard "Let's Fall In Love" a relaxed workout in a party sequence when Mary is still trying to make John jealous.
Trivia: This is a remake of the 1933 musical Let's Fall In Love.
According to the Internet Movie Database, it was filmed in 1948, but not released until a year later.
What I Don't Like: The story is not the most interesting or original; it's a standard Pygmalion/Cinderella variant. Parker is so dull as Doug, you wonder why Mary would ever be interested in him. He has no chemistry with Carter, and I have no idea why they get paired off, other than that's the usual thing to do.
The Big Finale: Surprisingly enjoyable small-scale musical romance. Not a bad time-waster if you're a fan of Lamour, Ameche, or Sirk's later romantic melodramas.
Home Media: The solo DVD from Sony/Columbia's made-to-order line is out of print, but it can be found as part of that Musical 20 Movies set from Mill Creek.
DVD
DVD - Musicals 20 Movies Collection
Starring Dorothy Lamour, Don Ameche, Janis Carter, and Willard Parker
Directed by Douglas Sirk
Music and Lyrics by Allan Roberts, Lester Lee, and others
Douglas Sirk is now considered to be one of the underrated directors of German and American cinema...but in 1949, he was merely a journeyman director for Columbia and Universal. This would be one of only two musicals he did during his American career. How does this My Fair Lady-esque tale of a Hollywood director who trains a dancer to be a French chanteuse for his new movie come off in the 21st century? Let's head to what appears to be a very movieland version of Paris to find out...
The Story: Director John Gayle (Ameche) is notorious in Hollywood for obsessing over his films and working his cast and crew to the bone. The French actress on his most recent movie (Adele Jergens) just walked off the set, and they need someone to replace her. Gayle and his best friend and producer Doug Hyde (Parker) are told that they'll have to shut the production down, until they encounter dancer Mary O'Leary (Lamour) at a carnival. She can imitate most accents, including French. Gayle and his skeptical sister Louisa (Carter) hire a French voice coach (Jeanne Manet) to turn her into a genuine chanteuse named Rochelle Olivia. She falls for him in the process, but he's more interested in his film. She shows off her new European persona with Doug, hoping to make him jealous. It works too well...and now it looks like both her new career and the film may be in jeopardy unless John can figure out how much his new discovery means to him.
The Song and Dance: Better than I thought it would be from the "B" pedigree. Sirk managed some wonderful directorial touches, especially with the shadowy black and white "Love Masquerade" number in the finale. Ameche and especially Lamour do quite well as the battling lovers. Several sequences show off Sirk's fondness for melodrama; I loved a scene towards the end where Mary finally tells off John for treating her like an object and acting like a jerk. You don't often see the women telling off the jerks in a rage in a frothy musical, and it was rather refreshing.
Favorite Number: That "Love Masquerade" in the opening sequence and near the finale is actually a little dark for a musical of this time, all silhouettes, dimly lit Paris sets, and slinky dance moves. Lamour gives the standard "Let's Fall In Love" a relaxed workout in a party sequence when Mary is still trying to make John jealous.
Trivia: This is a remake of the 1933 musical Let's Fall In Love.
According to the Internet Movie Database, it was filmed in 1948, but not released until a year later.
What I Don't Like: The story is not the most interesting or original; it's a standard Pygmalion/Cinderella variant. Parker is so dull as Doug, you wonder why Mary would ever be interested in him. He has no chemistry with Carter, and I have no idea why they get paired off, other than that's the usual thing to do.
The Big Finale: Surprisingly enjoyable small-scale musical romance. Not a bad time-waster if you're a fan of Lamour, Ameche, or Sirk's later romantic melodramas.
Home Media: The solo DVD from Sony/Columbia's made-to-order line is out of print, but it can be found as part of that Musical 20 Movies set from Mill Creek.
DVD
DVD - Musicals 20 Movies Collection
Saturday, November 30, 2019
Animation Celebration Saturday - Babes In Toyland (1997)
MGM, 1997
Starring Lacey Chabert, Joseph Ashton, Charles Nelson Reilly, and Raphael Sbarge
Directed by Charles Grosvenor, Toby Bluth, and Paul Sabella
Music by various
This was MGM's entry into the Disney imitation race of the mid-late 90's. Unlike most of its ilk, it went direct to home media in the United States. Is this Christmas release worthy of a trip to Toyland, or is it the old-fashioned fantasy more than a little crooked? Let's join two children on their way to the famous town of childhood dreams, just in time for the holidays...
The Story: Jack (Ashton) and Jill (Chabert) are on their way to Toyland, where they're hoping their Uncle Barnaby will take care of them. On the train there, they encounter Tom Piper (Sbarge), a toy designer who's coming back with Santa's order, and Humpty Dumpty (Reilly), who runs pretty much everything in Toyland. Humpty takes the kids to Barnaby, the Crooked Man. He's only interested in their money, which will allow him to buy the Toyland Toy Factory. Mary Had a Little Lamb (Cathy Cavadini), who inherited the factory from her father, refuses to sell. It's three days before Christmas, and Mary and Tom have to get the new toy soldiers Santa wants made in time.
The kids escape from his crooked house to help in the factory. Barnaby, determined to destroy the factory and stop toy production, hires Gonzargo (Jim Belushi) and Rodrigo (Bronson Pinchot) to sabotage production. The kids catch them and chase them, but they capture them and take them to the Goblin King (Lindsay Schnebly). Even after Mary and Tom rescue the kids and the thieves, there's still Barnaby and the other goblins to contend with...
The Animation: Par for the course for this era. Everything moves pretty well, but some of the characters, especially Humpty Dumpty, look a little scarier than they probably should. The goblins are a nifty design, though, and the sequence with them is pretty well done.
The Song and Dance: Short and sweet. There's a surprisingly decent cast for a direct-to-home media animated film at this time, including Broadway star Reilly singing "Toyland" in the opening, Belushi as one of the thieves, and TV favorite Chabert as little Jill. Ashton is quite funny as Jill's tougher brother. This is also one of the few adaptations of this story that uses at least a little of the original idea of the "babes" being the ones adopted and abused by Barnaby and rescued by Toylanders.
Favorite Number: The film opens well with Humpty telling the audience what they're about to see on a moon via the title song. It continues on the train, as Jack and Jill travel on everything from balloons to swans to explore their new home. Jack, Jill, Tom, and Mary each discuss what they want from life - the kids want a real family, Tom wants to be a great toymaker, and Mary wants to live up to her father's legacy - to the rather lovely montage "My Dream."
What I Don't Like: It's obvious this is a pretty cheap production. The animation is boring, the music is dull, and most of the characters besides Humpty and Barnaby are even more so. Bland Mary and cocky Tom pretty much fade into the woodwork and are poor imitations of Disney lovers; Mary even looks and acts like a copy of Belle from Beauty and the Beast. And why couldn't they have used slightly revised versions of the rest of the original score to go with the slightly revised version of the original story?
The Big Finale: Cute time-waster for families with younger children who are looking for holiday programming or fans of the 90's animated musical boom.
Home Media: Pretty easy to find on DVD; it's currently streaming on Amazon Prime.
DVD
Amazon Prime
Starring Lacey Chabert, Joseph Ashton, Charles Nelson Reilly, and Raphael Sbarge
Directed by Charles Grosvenor, Toby Bluth, and Paul Sabella
Music by various
This was MGM's entry into the Disney imitation race of the mid-late 90's. Unlike most of its ilk, it went direct to home media in the United States. Is this Christmas release worthy of a trip to Toyland, or is it the old-fashioned fantasy more than a little crooked? Let's join two children on their way to the famous town of childhood dreams, just in time for the holidays...
The Story: Jack (Ashton) and Jill (Chabert) are on their way to Toyland, where they're hoping their Uncle Barnaby will take care of them. On the train there, they encounter Tom Piper (Sbarge), a toy designer who's coming back with Santa's order, and Humpty Dumpty (Reilly), who runs pretty much everything in Toyland. Humpty takes the kids to Barnaby, the Crooked Man. He's only interested in their money, which will allow him to buy the Toyland Toy Factory. Mary Had a Little Lamb (Cathy Cavadini), who inherited the factory from her father, refuses to sell. It's three days before Christmas, and Mary and Tom have to get the new toy soldiers Santa wants made in time.
The kids escape from his crooked house to help in the factory. Barnaby, determined to destroy the factory and stop toy production, hires Gonzargo (Jim Belushi) and Rodrigo (Bronson Pinchot) to sabotage production. The kids catch them and chase them, but they capture them and take them to the Goblin King (Lindsay Schnebly). Even after Mary and Tom rescue the kids and the thieves, there's still Barnaby and the other goblins to contend with...
The Animation: Par for the course for this era. Everything moves pretty well, but some of the characters, especially Humpty Dumpty, look a little scarier than they probably should. The goblins are a nifty design, though, and the sequence with them is pretty well done.
The Song and Dance: Short and sweet. There's a surprisingly decent cast for a direct-to-home media animated film at this time, including Broadway star Reilly singing "Toyland" in the opening, Belushi as one of the thieves, and TV favorite Chabert as little Jill. Ashton is quite funny as Jill's tougher brother. This is also one of the few adaptations of this story that uses at least a little of the original idea of the "babes" being the ones adopted and abused by Barnaby and rescued by Toylanders.
Favorite Number: The film opens well with Humpty telling the audience what they're about to see on a moon via the title song. It continues on the train, as Jack and Jill travel on everything from balloons to swans to explore their new home. Jack, Jill, Tom, and Mary each discuss what they want from life - the kids want a real family, Tom wants to be a great toymaker, and Mary wants to live up to her father's legacy - to the rather lovely montage "My Dream."
What I Don't Like: It's obvious this is a pretty cheap production. The animation is boring, the music is dull, and most of the characters besides Humpty and Barnaby are even more so. Bland Mary and cocky Tom pretty much fade into the woodwork and are poor imitations of Disney lovers; Mary even looks and acts like a copy of Belle from Beauty and the Beast. And why couldn't they have used slightly revised versions of the rest of the original score to go with the slightly revised version of the original story?
The Big Finale: Cute time-waster for families with younger children who are looking for holiday programming or fans of the 90's animated musical boom.
Home Media: Pretty easy to find on DVD; it's currently streaming on Amazon Prime.
DVD
Amazon Prime
Thursday, November 28, 2019
Happy Thanksgiving! - Meet Me In St. Louis
MGM, 1944
Starring Judy Garland, Margaret O'Brian, Tom Drake, and Louise Bremer
Directed by Vincent Minnelli
Music and Lyrics by various
Yes, I know this one is set on every holiday but Thanksgiving...but it does discuss the importance of home, family, and being thankful for those around us and what we have. It was a huge hit during World War II, at a time when many Americans were fondly looking back at the simpler, gentler world of their youth. How does this nostalgic trip into the life of the Smith family in 1903 look now? Let's peek on the Smiths at their home in St. Louis, Missouri and find out...
The Story: As we join the Smiths, the biggest excitement in the family is oldest sister Rose's (Bremer) beau calling her long-distance from New York during a family dinner and the construction of the World's Fair that will debut in the spring. Second-oldest sister Esther (Garland) is more interested in drooling over John Truitt (Drake), the handsome boy next door. She tries to encourage him during a family party, but he's oblivious to her advances. She finally gets through to him on a trolley ride to the fair grounds under construction.
Little sisters Tootie (O'Brian) and Agnes (Joan Carroll) go out as "horrible ghosts" to join the kids for playing tricks on Halloween. When one of their pranks goes wrong, Tootie runs home crying, claiming John Truitt hurt her. Esther runs over to him and pounds on him before she learns that Tootie lied. He was actually trying to keep the girls from the police. Mr. Smith (Leon Ames) creates even more havoc when he comes home and reveals that he took a new job in New York and they'll be moving there after Christmas. Everyone is upset, until he reminds them that they're still together.
It comes to a head at the local Christmas ball and afterwards, where Esther realizes how much she loves John and how upset she is when he can't come. After he sees Tootie destroying her snowmen because she can't bring them along, Mr. Smith finally realizes how much his family loves their home and how important St. Louis is about to become.
The Song and Dance: Garland was trying to distance herself from the kiddie roles she'd mostly played until then and was wary of playing another moony teen, but she ended up putting in one of her best performances as love-struck Esther. I especially loved her laying into John Truitt - do not attack that girl's family or get her upset! In fact, the entire cast is a delight, including O'Brian as the rather macabre Tootie, Ames as the eternally exasperated patriarch of the family, Majorie Main as the down-home maid Katie, and Harry Davenport as sassy Grandpa.
The production is just lovely, especially for wartime. The Technicolor cinematography and the historically-accurate sets and costumes give us a wonderful feel for a changing St. Louis of the early 20th century, from girdles and pianos to the glowing gowns at the Christmas ball and those snowpeople poor Tootie destroys. The Halloween sequence is incredibly atmospheric and spooky, with some wonderful, shadowy work from Vincent Minnelli.
And..I just love how realistic all this is, even now. Having grown up in a family of mostly women, I remember what it was like to have your whole family hear you talk to boyfriends on the phone (even after cell phones came into regular usage), drool over a guy from afar, and get Dad back in the loop when he comes home from work.
Favorite Number: We open with the title song, which is ably passed from family member to family member as we're introduced to everyone. "Skip to My Lou" is a delightful chorus number for the younger family members and their friends, while Garland and O'Brian do an adorable cakewalk to a genuine 1903 hit, "Under the Bamboo Tree."
Garland gets to sing the film's three best numbers. She introduces the longing "The Boy Next Door" as she admires Truitt from afar in the opening number. "The Trolley Song" is another big chorus number, probably the film's most famous, as Esther excitedly sings about how she found love on the trolley, with some fairly spirited choreography. The standard here is the touching "Have Yourself a Merry Little Christmas," which Esther sings to comfort Tootie Christmas Eve and assure her that everything will be fine, despite the move.
Trivia: "Merry Little Christmas" had even sadder lyrics when it was first written. Garland thought they were too depressing to sing to a little kid and requested that they be changed.
A TV version debuted in 1959, with Jane Powell as Esther and Patty Duke as Tootie. A 1966 pilot with Shelley Fabares and Celeste Holm wasn't picked up for a regular series. It debuted as a Broadway show in 1989, but it lasted less than a year.
Garland met and fell in love with Minnelli while working on this movie.
What I Don't Like: My sisters and I loved this movie. Dad, on the other hand, was baffled, and many men may be likewise. The Halloween sequence used to scare my brother silly when he was a kid, and it may be a little much for some other younger members of the audience as well.
The Big Finale: One of my favorite musicals, and one of Garland's best movies. Check this one out with your own family over Thanksgiving dinner.
Home Media: Easily found in all formats, including two 2-disc special editions.
DVD
Blu-Ray
Amazon Prime
Starring Judy Garland, Margaret O'Brian, Tom Drake, and Louise Bremer
Directed by Vincent Minnelli
Music and Lyrics by various
Yes, I know this one is set on every holiday but Thanksgiving...but it does discuss the importance of home, family, and being thankful for those around us and what we have. It was a huge hit during World War II, at a time when many Americans were fondly looking back at the simpler, gentler world of their youth. How does this nostalgic trip into the life of the Smith family in 1903 look now? Let's peek on the Smiths at their home in St. Louis, Missouri and find out...
The Story: As we join the Smiths, the biggest excitement in the family is oldest sister Rose's (Bremer) beau calling her long-distance from New York during a family dinner and the construction of the World's Fair that will debut in the spring. Second-oldest sister Esther (Garland) is more interested in drooling over John Truitt (Drake), the handsome boy next door. She tries to encourage him during a family party, but he's oblivious to her advances. She finally gets through to him on a trolley ride to the fair grounds under construction.
Little sisters Tootie (O'Brian) and Agnes (Joan Carroll) go out as "horrible ghosts" to join the kids for playing tricks on Halloween. When one of their pranks goes wrong, Tootie runs home crying, claiming John Truitt hurt her. Esther runs over to him and pounds on him before she learns that Tootie lied. He was actually trying to keep the girls from the police. Mr. Smith (Leon Ames) creates even more havoc when he comes home and reveals that he took a new job in New York and they'll be moving there after Christmas. Everyone is upset, until he reminds them that they're still together.
It comes to a head at the local Christmas ball and afterwards, where Esther realizes how much she loves John and how upset she is when he can't come. After he sees Tootie destroying her snowmen because she can't bring them along, Mr. Smith finally realizes how much his family loves their home and how important St. Louis is about to become.
The Song and Dance: Garland was trying to distance herself from the kiddie roles she'd mostly played until then and was wary of playing another moony teen, but she ended up putting in one of her best performances as love-struck Esther. I especially loved her laying into John Truitt - do not attack that girl's family or get her upset! In fact, the entire cast is a delight, including O'Brian as the rather macabre Tootie, Ames as the eternally exasperated patriarch of the family, Majorie Main as the down-home maid Katie, and Harry Davenport as sassy Grandpa.
The production is just lovely, especially for wartime. The Technicolor cinematography and the historically-accurate sets and costumes give us a wonderful feel for a changing St. Louis of the early 20th century, from girdles and pianos to the glowing gowns at the Christmas ball and those snowpeople poor Tootie destroys. The Halloween sequence is incredibly atmospheric and spooky, with some wonderful, shadowy work from Vincent Minnelli.
And..I just love how realistic all this is, even now. Having grown up in a family of mostly women, I remember what it was like to have your whole family hear you talk to boyfriends on the phone (even after cell phones came into regular usage), drool over a guy from afar, and get Dad back in the loop when he comes home from work.
Favorite Number: We open with the title song, which is ably passed from family member to family member as we're introduced to everyone. "Skip to My Lou" is a delightful chorus number for the younger family members and their friends, while Garland and O'Brian do an adorable cakewalk to a genuine 1903 hit, "Under the Bamboo Tree."
Garland gets to sing the film's three best numbers. She introduces the longing "The Boy Next Door" as she admires Truitt from afar in the opening number. "The Trolley Song" is another big chorus number, probably the film's most famous, as Esther excitedly sings about how she found love on the trolley, with some fairly spirited choreography. The standard here is the touching "Have Yourself a Merry Little Christmas," which Esther sings to comfort Tootie Christmas Eve and assure her that everything will be fine, despite the move.
Trivia: "Merry Little Christmas" had even sadder lyrics when it was first written. Garland thought they were too depressing to sing to a little kid and requested that they be changed.
A TV version debuted in 1959, with Jane Powell as Esther and Patty Duke as Tootie. A 1966 pilot with Shelley Fabares and Celeste Holm wasn't picked up for a regular series. It debuted as a Broadway show in 1989, but it lasted less than a year.
Garland met and fell in love with Minnelli while working on this movie.
What I Don't Like: My sisters and I loved this movie. Dad, on the other hand, was baffled, and many men may be likewise. The Halloween sequence used to scare my brother silly when he was a kid, and it may be a little much for some other younger members of the audience as well.
The Big Finale: One of my favorite musicals, and one of Garland's best movies. Check this one out with your own family over Thanksgiving dinner.
Home Media: Easily found in all formats, including two 2-disc special editions.
DVD
Blu-Ray
Amazon Prime
Tuesday, November 26, 2019
Musicals On TV - Peter Pan (1960)
NBC, 1960
Starring Mary Martin, Cyril Ritchard, Joe E. Marks, and Maureen Bailey
Directed by Vincent J. Donehue
Music by Moose Charlap and Jules Styne; Lyrics by Carolyn Leigh, Betty Comden, and Adolph Green
This was NBC's third go-around for this adaptation of the 1954 Broadway show. They broadcast live versions in 1955 and 1956, but this was their first taped showing. We saw Disney's animated retelling of this story back in January. How does a live-action version - with a woman playing Peter - look now? Let's head back to the Darling family's home in London and find out...
The Story: Wendy Darling (Bailey) loves telling her brothers Michael (Kent Fletcher) and John (Joey Trent) stories of Peter Pan (Martin) and his exploits in the magical island Neverland. Their father (Ritchard) isn't as amused by them, their noise, or their nursemaid dog, Nana. Mrs. Darling (Margalo Gilmore) says she frightened off a boy who flew in the window, but he won't hear it. Turns out the boy was Peter Pan himself, and he wants the shadow Nana got off him. After Wendy sews the shadow back on, he shows them all how to use the pixie dust from his fairy friend Tinkerbell and fly to Neverland.
Wendy is shot down by Peter's Lost Boys, who think she's a bird, almost as soon as she arrives. After Peter admonishes them that she's to be their mother, they build a home for her. Thankfully, she's fine. She even stops them from eating cakes that were left by Peter's adversary Captain Hook (Ritchard), admonishing that they aren't good for them. Having been foiled in that plot, Hook tries again, kidnapping Tiger Lilly the Indian princess (Sondra Lee), but Peter, and then her Indian braves, rescue her.
Wendy and Peter play mother and father, but Peter's sad song at this point reminds the Darlings of home. They want to go back, and the Lost Boys insist on coming with them. Peter has no desire to grow up and insists on remaining. Hook and his boys are still determined to get the Boy Who Won't Grow up and take him out for good, but Tinkerbell won't let that happen!
The Song and Dance: You'd think Martin, a middle-aged woman, would be creepy as Peter. She's actually a lot of fun, especially when she's goading Hook with "Mysterious Lady" or leading the Boys in capturing the Indians. Ritchard easily matches her as a hilariously mincing Captain Hook. There's some nifty choreography too, especially with Lee and the Indians right before the kids arrive and Hook and the pirates towards the end.
Favorite Number: Jerome Robbins' dances were recreated for the first three versions in all their rousing glory. "I'm Flying" has Peter showing the Darling children how to take off, and it's pure joy (even when you can see the wires in the flying harnesses). Richard, Joe E. Marks as Smee, and the pirates have a great time with all their numbers, especially "Hook's Tartanella" and "Captain Hook's Waltz" on the ship after they've captured the Lost Boys and Wendy. The Boys and Peter get the lilting "Wendy" as they put up her little home. The most iconic number besides "I'm Flying" may be "I Won't Grow Up," Peter and the Boys' rousing manifesto as they seek adventure and claim they'll always remain young and have fun.
There's two lovely lullabies here. Mrs. Darling sings "Tender Shepard" to her children as she sets them down to sheep, just prior to Peter's arrival. "Distant Melody" is Peter's response to a request for a song as he gently explains why he wants to remain a child.
Trivia: Peter Pan debuted on Broadway in 1954, with Martin and Ritchard in the lead roles. The show was actually closed early to film for television with its original cast in 1955, and again in 1956. It was even more successful in a 1979 revival with Sandy Duncan. Gymnast Cathy Ridgby made several short-lived appearances in Broadway revivals throughout the 90's. Her last appearance was filmed in 2000. Peter Pan showed up in another live NBC broadcast with Allison Williams as Peter and Christopher Walken as Hook in 2014.
What I Don't Like: While the campy Indians depicted here are slightly less offensive than the ones in the Disney version (their big song sticks to nonsense lyrics like "ugga wugga meatball"), they're still obviously white dancers playing Native Americans in stereotypical costumes. I find Martin to be charming and funny, if a bit noisy, but some folks may think her too old or creepy for the role. Older TV prints cut a reprise of "Wendy" and a dance sequence with the housemaid Eliza and the animals of Never Land.
The Big Finale: Worth seeing for Martin and Ritchard's performances and the spirited choreography alone.
Home Media: The 1960 broadcast is currently DVD-only.
DVD
Starring Mary Martin, Cyril Ritchard, Joe E. Marks, and Maureen Bailey
Directed by Vincent J. Donehue
Music by Moose Charlap and Jules Styne; Lyrics by Carolyn Leigh, Betty Comden, and Adolph Green
This was NBC's third go-around for this adaptation of the 1954 Broadway show. They broadcast live versions in 1955 and 1956, but this was their first taped showing. We saw Disney's animated retelling of this story back in January. How does a live-action version - with a woman playing Peter - look now? Let's head back to the Darling family's home in London and find out...
The Story: Wendy Darling (Bailey) loves telling her brothers Michael (Kent Fletcher) and John (Joey Trent) stories of Peter Pan (Martin) and his exploits in the magical island Neverland. Their father (Ritchard) isn't as amused by them, their noise, or their nursemaid dog, Nana. Mrs. Darling (Margalo Gilmore) says she frightened off a boy who flew in the window, but he won't hear it. Turns out the boy was Peter Pan himself, and he wants the shadow Nana got off him. After Wendy sews the shadow back on, he shows them all how to use the pixie dust from his fairy friend Tinkerbell and fly to Neverland.
Wendy is shot down by Peter's Lost Boys, who think she's a bird, almost as soon as she arrives. After Peter admonishes them that she's to be their mother, they build a home for her. Thankfully, she's fine. She even stops them from eating cakes that were left by Peter's adversary Captain Hook (Ritchard), admonishing that they aren't good for them. Having been foiled in that plot, Hook tries again, kidnapping Tiger Lilly the Indian princess (Sondra Lee), but Peter, and then her Indian braves, rescue her.
Wendy and Peter play mother and father, but Peter's sad song at this point reminds the Darlings of home. They want to go back, and the Lost Boys insist on coming with them. Peter has no desire to grow up and insists on remaining. Hook and his boys are still determined to get the Boy Who Won't Grow up and take him out for good, but Tinkerbell won't let that happen!
The Song and Dance: You'd think Martin, a middle-aged woman, would be creepy as Peter. She's actually a lot of fun, especially when she's goading Hook with "Mysterious Lady" or leading the Boys in capturing the Indians. Ritchard easily matches her as a hilariously mincing Captain Hook. There's some nifty choreography too, especially with Lee and the Indians right before the kids arrive and Hook and the pirates towards the end.
Favorite Number: Jerome Robbins' dances were recreated for the first three versions in all their rousing glory. "I'm Flying" has Peter showing the Darling children how to take off, and it's pure joy (even when you can see the wires in the flying harnesses). Richard, Joe E. Marks as Smee, and the pirates have a great time with all their numbers, especially "Hook's Tartanella" and "Captain Hook's Waltz" on the ship after they've captured the Lost Boys and Wendy. The Boys and Peter get the lilting "Wendy" as they put up her little home. The most iconic number besides "I'm Flying" may be "I Won't Grow Up," Peter and the Boys' rousing manifesto as they seek adventure and claim they'll always remain young and have fun.
There's two lovely lullabies here. Mrs. Darling sings "Tender Shepard" to her children as she sets them down to sheep, just prior to Peter's arrival. "Distant Melody" is Peter's response to a request for a song as he gently explains why he wants to remain a child.
Trivia: Peter Pan debuted on Broadway in 1954, with Martin and Ritchard in the lead roles. The show was actually closed early to film for television with its original cast in 1955, and again in 1956. It was even more successful in a 1979 revival with Sandy Duncan. Gymnast Cathy Ridgby made several short-lived appearances in Broadway revivals throughout the 90's. Her last appearance was filmed in 2000. Peter Pan showed up in another live NBC broadcast with Allison Williams as Peter and Christopher Walken as Hook in 2014.
What I Don't Like: While the campy Indians depicted here are slightly less offensive than the ones in the Disney version (their big song sticks to nonsense lyrics like "ugga wugga meatball"), they're still obviously white dancers playing Native Americans in stereotypical costumes. I find Martin to be charming and funny, if a bit noisy, but some folks may think her too old or creepy for the role. Older TV prints cut a reprise of "Wendy" and a dance sequence with the housemaid Eliza and the animals of Never Land.
The Big Finale: Worth seeing for Martin and Ritchard's performances and the spirited choreography alone.
Home Media: The 1960 broadcast is currently DVD-only.
DVD
Saturday, November 23, 2019
Animation Celebration Saturday - FernGully: The Last Rainforest
20th Century Fox, 1992
Voices of Samantha Mathis, Robin Williams, Johnathan Ward, and Tim Curry
Directed by Bill Kroyer
Music and Lyrics by various
Messages about the importance of saving the environment were all over TV and movies in the late 80's and early 90's. The Exxon-Valdez oil spill and other ecological disasters made people more aware of just how fragile nature was. Along with the TV series Captain Planet and the Planeteers, this was probably the most famous cartoon - and to my knowledge, the only musical - to deal with the importance of saving our Earth. How well does its message come across today? Let's head to the title rain forest on the eastern coast of Australia and find out...
The Story: Young fairy Crysta (Mathis) is in training with elderly Magi Lune (Grace Zabriskie) to take over her role as protector of the forest, but she'd rather be out exploring the many wonders of FernGully. On one such expedition, she encounters Batty Koda (Williams), a fruit bat humans experimented on. His experience left him with an antenna on his head, a constantly-changing personality, and a hatred of all humans. The other fairies believe humans are extinct, but Crysta agrees to check this out.
She discovers a lumberjack, Zack (Ward), helping his buddies cut down trees for a new highway. When a tree nearly falls on him, she shrinks him to save him...but can't figure out how to change him back. Meanwhile, his buddies have cut down the tree that imprisoned Hexxus (Curry), the spirit of pollution and waste. Hexxus targets FernGully, laying waste to all before him. Zack can't bring himself to admit that it was humans who freed Hexxus, but he may not have a choice when the fairies have to defend their homes against this oily menace.
The Animation: Absolutely gorgeous, and probably the best thing about the movie. The animators actually went to Australia to learn more about the rain forests there, and it's obvious they did their homework. Each frame bursts with life, light, and color, from the well-integrated CGI flocks of tropical birds to the lush, hand-drawn flowers and trees. "Dream Worth Keeping," with its glowing fungi and glittering backdrops, is particularly stunning.
The Song and Dance: My family used to watch this quite a bit in the early 90's. It's funnier than I remember, partially due to Williams' wild and creative improvisational riffs (seven months before the release of his more famous role in Aladdin), but mostly thanks to a script that's better than most people give it credit for. Some of Ward's lines are hilarious as he tries to deal with his change in size and his odd new friends who think humans were long gone from this world.
If nothing else, this features one of Tim Curry's best performances as the evil pollution spirit who wants to obliterate everything in his path. He's so over-the-top, he outshines everyone but Williams by a wide margin. Indeed, many fans of the film cheer more for him than for the fairies.
Favorite Number: Williams' "Batty Rap" shows just how batty this rodent went after humans got into his head. This stream-of-consciousness song gives Williams a chance to really go to town with his many references and breathless lunacy. "Dream Worth Keeping" is a slightly syrupy Sheena Easton ballad, but it does accompany a lovely sequence with Crysta showing Zak the forest and its beauty and falling in love with him. Curry scores with "Toxic Love," which was so sexually-charged, it had to be cut down before release in order to get a PG.
Two routines seem a tad out-of-place. A lizard (Tone Loc) tries to eat Zack, to the tune of "If I'm Gonna Eat Somebody (It May as Well Be You)." It's not a bad number, but the lizard is never seen, nor heard of again after Crysta saves Zach from becoming his meal. Likewise, the fairies' routine to a cover of "Land of 1,000 Dances" comes out of nowhere and serves no function, other than introducing the fairies to more of the human world.
Trivia: This was a passion project of producer Wayne Young, whose ex-wife Diana Young wrote the original FernGully book in 1977. Most of the money from film was donated to various environmental causes.
Though by no means a record-setter, it did well enough at the box office to warrant a direct-to-video sequel, FernGully 2: The Magical Rescue, in 1998.
What I Don't Like: While the side message on the dangers of animal testing still comes across thanks to Williams' performance, the main one about the damage to the environment caused by pollution and human negligence is well-meaning but muddled and and annoyingly preachy. Having a "toxic spirit" be the one who causes the damage is too obvious and kind of takes the easy way out, no matter how much fun Curry has with the role. And speaking of Curry, he and Williams pretty much leave anyone else in the dust. Ward isn't bad as sarcastic Zach, but Mathis is too cutesy as curious Crysta, and Christian Slater just sounds bored as her jealous fairy guy friend Pips.
The Big Finale: It's too dark for young guys, but older kids who can handle some of the scarier elements and have any interest in nature or saving the Earth, or folks who grew up watching it on video or cable in the 90's, may find much to enjoy in this one if they can get around the pushy message.
Home Media: Easily found in all formats, often for under 10 dollars.
DVD
Blu-Ray
Amazon Prime
Voices of Samantha Mathis, Robin Williams, Johnathan Ward, and Tim Curry
Directed by Bill Kroyer
Music and Lyrics by various
Messages about the importance of saving the environment were all over TV and movies in the late 80's and early 90's. The Exxon-Valdez oil spill and other ecological disasters made people more aware of just how fragile nature was. Along with the TV series Captain Planet and the Planeteers, this was probably the most famous cartoon - and to my knowledge, the only musical - to deal with the importance of saving our Earth. How well does its message come across today? Let's head to the title rain forest on the eastern coast of Australia and find out...
The Story: Young fairy Crysta (Mathis) is in training with elderly Magi Lune (Grace Zabriskie) to take over her role as protector of the forest, but she'd rather be out exploring the many wonders of FernGully. On one such expedition, she encounters Batty Koda (Williams), a fruit bat humans experimented on. His experience left him with an antenna on his head, a constantly-changing personality, and a hatred of all humans. The other fairies believe humans are extinct, but Crysta agrees to check this out.
She discovers a lumberjack, Zack (Ward), helping his buddies cut down trees for a new highway. When a tree nearly falls on him, she shrinks him to save him...but can't figure out how to change him back. Meanwhile, his buddies have cut down the tree that imprisoned Hexxus (Curry), the spirit of pollution and waste. Hexxus targets FernGully, laying waste to all before him. Zack can't bring himself to admit that it was humans who freed Hexxus, but he may not have a choice when the fairies have to defend their homes against this oily menace.
The Animation: Absolutely gorgeous, and probably the best thing about the movie. The animators actually went to Australia to learn more about the rain forests there, and it's obvious they did their homework. Each frame bursts with life, light, and color, from the well-integrated CGI flocks of tropical birds to the lush, hand-drawn flowers and trees. "Dream Worth Keeping," with its glowing fungi and glittering backdrops, is particularly stunning.
The Song and Dance: My family used to watch this quite a bit in the early 90's. It's funnier than I remember, partially due to Williams' wild and creative improvisational riffs (seven months before the release of his more famous role in Aladdin), but mostly thanks to a script that's better than most people give it credit for. Some of Ward's lines are hilarious as he tries to deal with his change in size and his odd new friends who think humans were long gone from this world.
If nothing else, this features one of Tim Curry's best performances as the evil pollution spirit who wants to obliterate everything in his path. He's so over-the-top, he outshines everyone but Williams by a wide margin. Indeed, many fans of the film cheer more for him than for the fairies.
Favorite Number: Williams' "Batty Rap" shows just how batty this rodent went after humans got into his head. This stream-of-consciousness song gives Williams a chance to really go to town with his many references and breathless lunacy. "Dream Worth Keeping" is a slightly syrupy Sheena Easton ballad, but it does accompany a lovely sequence with Crysta showing Zak the forest and its beauty and falling in love with him. Curry scores with "Toxic Love," which was so sexually-charged, it had to be cut down before release in order to get a PG.
Two routines seem a tad out-of-place. A lizard (Tone Loc) tries to eat Zack, to the tune of "If I'm Gonna Eat Somebody (It May as Well Be You)." It's not a bad number, but the lizard is never seen, nor heard of again after Crysta saves Zach from becoming his meal. Likewise, the fairies' routine to a cover of "Land of 1,000 Dances" comes out of nowhere and serves no function, other than introducing the fairies to more of the human world.
Trivia: This was a passion project of producer Wayne Young, whose ex-wife Diana Young wrote the original FernGully book in 1977. Most of the money from film was donated to various environmental causes.
Though by no means a record-setter, it did well enough at the box office to warrant a direct-to-video sequel, FernGully 2: The Magical Rescue, in 1998.
What I Don't Like: While the side message on the dangers of animal testing still comes across thanks to Williams' performance, the main one about the damage to the environment caused by pollution and human negligence is well-meaning but muddled and and annoyingly preachy. Having a "toxic spirit" be the one who causes the damage is too obvious and kind of takes the easy way out, no matter how much fun Curry has with the role. And speaking of Curry, he and Williams pretty much leave anyone else in the dust. Ward isn't bad as sarcastic Zach, but Mathis is too cutesy as curious Crysta, and Christian Slater just sounds bored as her jealous fairy guy friend Pips.
The Big Finale: It's too dark for young guys, but older kids who can handle some of the scarier elements and have any interest in nature or saving the Earth, or folks who grew up watching it on video or cable in the 90's, may find much to enjoy in this one if they can get around the pushy message.
Home Media: Easily found in all formats, often for under 10 dollars.
DVD
Blu-Ray
Amazon Prime
Thursday, November 21, 2019
Little Miss Broadway
20th Century Fox, 1938
Starring Shirley Temple, George Murphy, Edna Mae Oliver, and Edward Ellis
Directed by Irving Cummings
Music by Harold Spina; Lyrics by Walter Bullock
Judy Garland was hardly the only girl who figured putting on a show during the Depression would save her family. Shirley Temple, probably the most famous child star in Hollywood, appeared in several variations on that particular plot. How does this stand up against the similar Everybody Sing and other similar backstage films of the time? Let's head to an orphanage in New York and find out...
The Story: Betsy Brown (Temple) is delighted when Pop Shea (Ellis), an old friend of her parents, takes her in. He runs a theatrical hotel, where many different show business types rent rooms. She makes friends with everyone in the hotel, including Pop's daughter Barbara (Phyllis Brooks) and malaprop-prone bandleader Jimmy Claydon (Jimmy Durante). Their next-door neighbor and the owner of the hotel, grouchy old Sarah Wendling (Oliver), isn't crazy about performers or the noise they make while rehearsing. She orders Pop to either pay the back rent or vacate the premises. Betsy goes to her to make an appeal and meets her nephew Roger (Murphy). Roger eventually falls for Barbara, to the delight of Betsy, who considers them to be her parents. Sarah's appalled by pretty much everything. She tries to cut off Roger, but he opts to fight for his part of the building and his inheritance. Betsy is sent back to the orphanage. She doesn't stay there for long before she hurries off to help her unusual family, even if the show has to go on in the courtroom.
The Song and Dance: Not every movie Shirley did was a musical, but this is one of the more charming ones. She has a couple of nice dances with Murphy and works very well with him, especially when they're invading the stuff club where Sarah's brother Willoughby (Donald Meek) tries to practice with his glee club and proceed to make noise. If nothing else, this is the only backstage musical I've ever seen where the big show in the end is performed before a judge in a court of law!
Favorite Number: The opening at the orphanage gives us the girls and Temple performing what could be the theme song for her films in general, "Be Optimistic." She gets the charming "We Should Be Together" at the mansion with Murphy as they begin their friendship. The big finale in the courtroom encompasses two cute numbers. Temple teaches Willoghby and his group how to "Swing an Old Fashioned Song" after their initial version of "When You Were Sweet Sixteen" doesn't go over. The title song is the sole large-scale production number. Temple and Murphy really put it over, complete with an intricate dance and elaborate sets.
Trivia: Murphy wasn't satisfied with "We Should Be Together" and asked to redo "Little Miss Broadway." Temple agreed (despite her mother's worries), and apparently it went over so well, the crew requested encores.
What I Don't Like: If you've seen one of Temple's films, you've pretty much seen them all. She did the same idea in most of her films - she's adopted by an odd group of people, brings young lovers together, and manages to barely avoid being separated from her new family by an old sourpuss. Durante is ill-used - he's barely in most of the movie - and Brooks is an especially dull love interest. The songs are cute, but not especially memorable.
The Big Finale: If you're a fan of Temple or are looking for a musical for younger kids, you can do far worse than this charmer.
Home Media: The Shirley Temple movies are pretty easily found on DVD and streaming.
DVD
DVD - The Shirley Temple Collection, Volume 1
Amazon Prime
Starring Shirley Temple, George Murphy, Edna Mae Oliver, and Edward Ellis
Directed by Irving Cummings
Music by Harold Spina; Lyrics by Walter Bullock
Judy Garland was hardly the only girl who figured putting on a show during the Depression would save her family. Shirley Temple, probably the most famous child star in Hollywood, appeared in several variations on that particular plot. How does this stand up against the similar Everybody Sing and other similar backstage films of the time? Let's head to an orphanage in New York and find out...
The Story: Betsy Brown (Temple) is delighted when Pop Shea (Ellis), an old friend of her parents, takes her in. He runs a theatrical hotel, where many different show business types rent rooms. She makes friends with everyone in the hotel, including Pop's daughter Barbara (Phyllis Brooks) and malaprop-prone bandleader Jimmy Claydon (Jimmy Durante). Their next-door neighbor and the owner of the hotel, grouchy old Sarah Wendling (Oliver), isn't crazy about performers or the noise they make while rehearsing. She orders Pop to either pay the back rent or vacate the premises. Betsy goes to her to make an appeal and meets her nephew Roger (Murphy). Roger eventually falls for Barbara, to the delight of Betsy, who considers them to be her parents. Sarah's appalled by pretty much everything. She tries to cut off Roger, but he opts to fight for his part of the building and his inheritance. Betsy is sent back to the orphanage. She doesn't stay there for long before she hurries off to help her unusual family, even if the show has to go on in the courtroom.
The Song and Dance: Not every movie Shirley did was a musical, but this is one of the more charming ones. She has a couple of nice dances with Murphy and works very well with him, especially when they're invading the stuff club where Sarah's brother Willoughby (Donald Meek) tries to practice with his glee club and proceed to make noise. If nothing else, this is the only backstage musical I've ever seen where the big show in the end is performed before a judge in a court of law!
Favorite Number: The opening at the orphanage gives us the girls and Temple performing what could be the theme song for her films in general, "Be Optimistic." She gets the charming "We Should Be Together" at the mansion with Murphy as they begin their friendship. The big finale in the courtroom encompasses two cute numbers. Temple teaches Willoghby and his group how to "Swing an Old Fashioned Song" after their initial version of "When You Were Sweet Sixteen" doesn't go over. The title song is the sole large-scale production number. Temple and Murphy really put it over, complete with an intricate dance and elaborate sets.
Trivia: Murphy wasn't satisfied with "We Should Be Together" and asked to redo "Little Miss Broadway." Temple agreed (despite her mother's worries), and apparently it went over so well, the crew requested encores.
What I Don't Like: If you've seen one of Temple's films, you've pretty much seen them all. She did the same idea in most of her films - she's adopted by an odd group of people, brings young lovers together, and manages to barely avoid being separated from her new family by an old sourpuss. Durante is ill-used - he's barely in most of the movie - and Brooks is an especially dull love interest. The songs are cute, but not especially memorable.
The Big Finale: If you're a fan of Temple or are looking for a musical for younger kids, you can do far worse than this charmer.
Home Media: The Shirley Temple movies are pretty easily found on DVD and streaming.
DVD
DVD - The Shirley Temple Collection, Volume 1
Amazon Prime
Tuesday, November 19, 2019
Everybody Sing
MGM, 1938
Starring Judy Garland, Billie Burke, Fannie Brice, and Allan Jones
Directed by Elwin L. Marin
Music and Lyrics by various
Judy Garland was just starting to get noticed at MGM when she made this backstage tale, coming on the heels of her success in The Broadway Melody of 1938. How does this effervescent cross between a coming-of-age story and a Busby Berkeley-type revue look nowadays? Let's head to a music class at a stuffy private girls' school, and find out...
The Story: Judy Bellaire (Garland) was just expelled from private school for singing swing in choir class when she was supposed to be performing a spiritual. She returns home to discover that her parents, actress Diana (Burke) and playwright Hillary (Reginald Owen), are nearly broke. Her sister Sylvia (Lynne Carver) is in love with the handsome singing cook Ricky Saboni (Jones), but is being pursued by wealthy Jerrod Hope (Reginald Gardiner).
As it turns out, Ricky's not the only servant who is a terrific performer. Russian housemaid Olga Chekloff (Brice) is a wonderful singer and a cut-up onstage. Judy thinks they could put together a show to save her family from ruin. The second her father catches wind of her plans, he tries to send her to another school in Europe, but she breaks out and auditions for the show herself. Meanwhile, Sylvia finally agrees to marry Jerrod, despite her not being in love with him. Now Judy has to figure out how to bring everyone together without being dragged away...and get to show off her jazzy style to her parents and all of New York.
The Song and Dance: The story may be thin, but there's an awesome cast doing everything they can with the material. Fannie Brice has a lot screen time than she did in The Great Ziegfeld, including a big solo and a rare chance to see her play her radio character Baby Snooks on the big screen. Garland adorable as the teen who only wants to be able to show her stuff. The movie plays like a warm-up for Judy's later backstage movies with Mickey Rooney, only with a more adult cast, endearingly low-key compared to earlier big backstagers like the Broadway Melody series.
Favorite Number: The movie kicks off with Judy's high-energy "Swing Mr. Mendelssohn" number that gets her into trouble at school. Jones gets to reprise "Cosi Cosa" from the Marx Brothers vehicle A Night at the Opera at a nightclub, where Judy also gets the cute solo country spoof "(Down On) Melody Farm."
Fannie Brice gets to make fun of romantic Jane Austin-style heroines in "Dainty, Quainty Me" that allows her to show off her signature pratfalls with aplomb. Her Baby Snooks number with Judy, "Why? Because!" is brief but hilarious. No wonder the critics loved Judy in this - they're right that there's not many people who can hold their own with Brice and come out well. The big finale "The Show Must Go On" is the lone venture into elaborate Busby Berkeley territory, with dancers in sequined costumes.
Trivia: This was Jones' last movie for MGM.
Judy went on a seven-week, seven-city tour to promote the movie, with her mentor Roger Edens accompanying her on the piano. It was her first time performing in front of huge crowds.
The St. Brendan's Boys Choir performed for the girls in the opening classroom number.
What I Don't Like: Did I mention how thin the story is? This isn't that far removed from Judy's later Mickey Rooney musical or other similar backstage films; it also has some roots in the screwball comedies of the era that plays "normal" folks against wacky rich families. It's a pretty typical "B" movie of the time with an "A" cast. All the whining and yelling this particular family does with each other can get on some folks' nerves after a while.
And then, there's Judy's blackface number, which she uses to try to get an audition without anyone knowing how young she is. It's full-on black makeup-white lips, and she keeps it on while doing a dramatic scene. It can be anything from disconcerting to incredibly offensive for many audiences today.
The Big Finale: I'm glad I found this one. This was a charming film with a nice glimpse at Garland, just prior to her fame in The Wizard of Oz and Babes In Arms. Necessary if you're a fan of her or Brice; also worth a look for fans of 30's musicals or MGM musicals.
Home Media: I'm afraid the Warner Archives DVD is currently out of print. Your best bet is to check used venues like I did.
DVD
Starring Judy Garland, Billie Burke, Fannie Brice, and Allan Jones
Directed by Elwin L. Marin
Music and Lyrics by various
Judy Garland was just starting to get noticed at MGM when she made this backstage tale, coming on the heels of her success in The Broadway Melody of 1938. How does this effervescent cross between a coming-of-age story and a Busby Berkeley-type revue look nowadays? Let's head to a music class at a stuffy private girls' school, and find out...
The Story: Judy Bellaire (Garland) was just expelled from private school for singing swing in choir class when she was supposed to be performing a spiritual. She returns home to discover that her parents, actress Diana (Burke) and playwright Hillary (Reginald Owen), are nearly broke. Her sister Sylvia (Lynne Carver) is in love with the handsome singing cook Ricky Saboni (Jones), but is being pursued by wealthy Jerrod Hope (Reginald Gardiner).
As it turns out, Ricky's not the only servant who is a terrific performer. Russian housemaid Olga Chekloff (Brice) is a wonderful singer and a cut-up onstage. Judy thinks they could put together a show to save her family from ruin. The second her father catches wind of her plans, he tries to send her to another school in Europe, but she breaks out and auditions for the show herself. Meanwhile, Sylvia finally agrees to marry Jerrod, despite her not being in love with him. Now Judy has to figure out how to bring everyone together without being dragged away...and get to show off her jazzy style to her parents and all of New York.
The Song and Dance: The story may be thin, but there's an awesome cast doing everything they can with the material. Fannie Brice has a lot screen time than she did in The Great Ziegfeld, including a big solo and a rare chance to see her play her radio character Baby Snooks on the big screen. Garland adorable as the teen who only wants to be able to show her stuff. The movie plays like a warm-up for Judy's later backstage movies with Mickey Rooney, only with a more adult cast, endearingly low-key compared to earlier big backstagers like the Broadway Melody series.
Favorite Number: The movie kicks off with Judy's high-energy "Swing Mr. Mendelssohn" number that gets her into trouble at school. Jones gets to reprise "Cosi Cosa" from the Marx Brothers vehicle A Night at the Opera at a nightclub, where Judy also gets the cute solo country spoof "(Down On) Melody Farm."
Fannie Brice gets to make fun of romantic Jane Austin-style heroines in "Dainty, Quainty Me" that allows her to show off her signature pratfalls with aplomb. Her Baby Snooks number with Judy, "Why? Because!" is brief but hilarious. No wonder the critics loved Judy in this - they're right that there's not many people who can hold their own with Brice and come out well. The big finale "The Show Must Go On" is the lone venture into elaborate Busby Berkeley territory, with dancers in sequined costumes.
Trivia: This was Jones' last movie for MGM.
Judy went on a seven-week, seven-city tour to promote the movie, with her mentor Roger Edens accompanying her on the piano. It was her first time performing in front of huge crowds.
The St. Brendan's Boys Choir performed for the girls in the opening classroom number.
What I Don't Like: Did I mention how thin the story is? This isn't that far removed from Judy's later Mickey Rooney musical or other similar backstage films; it also has some roots in the screwball comedies of the era that plays "normal" folks against wacky rich families. It's a pretty typical "B" movie of the time with an "A" cast. All the whining and yelling this particular family does with each other can get on some folks' nerves after a while.
And then, there's Judy's blackface number, which she uses to try to get an audition without anyone knowing how young she is. It's full-on black makeup-white lips, and she keeps it on while doing a dramatic scene. It can be anything from disconcerting to incredibly offensive for many audiences today.
The Big Finale: I'm glad I found this one. This was a charming film with a nice glimpse at Garland, just prior to her fame in The Wizard of Oz and Babes In Arms. Necessary if you're a fan of her or Brice; also worth a look for fans of 30's musicals or MGM musicals.
Home Media: I'm afraid the Warner Archives DVD is currently out of print. Your best bet is to check used venues like I did.
DVD
Saturday, November 16, 2019
Family Fun Saturday - Beauty and the Beast (2017)
Disney, 2017
Starring Emma Watson, Dan Stevens, Kevin Kline, and Emma Thompson
Directed by Bill Condon
Music by Alan Menken; Lyrics by Howard Ashman and Tim Rice
I was more than a little concerned when Disney announced they were remaking this one. While I do like the stage musical, the original animated film is one of my favorite movies of all time. I actually went to see this in the theater as a birthday present to myself in April 2017. Is it as enchanting as its animated predecessor, or does it shrivel up like a dying rose? Let's return to that small town in 18th century France and find out...
The Story: Belle (Watson) is an outcast in the tiny town of Villeneuve. She's the daughter of Maurice (Kline), an inventor and artist, and loves books, reading, and adventure. The dull and illiterate citizens of the town regard her as an uppity child who doesn't know her place. Former soldier Gaston (Luke Evans) wants to marry her, not because he loves her, but because he believes the handsomest man in town should have the most beautiful wife. Belle thinks he's an idiot and brushes him off.
Her life changes when she learns that her father has been imprisoned in a dark, spooky castle after trying to bring her a rose. She convinces the terrifying Beast (Stevens) who captured him to let her take his place. With the encouragement of the moving objects who act as his servants, they begin to gradually understand and befriend one another.
Back in town, Gaston still hasn't given up on taking Belle for his wife...whether she wants it or not. He first abandons Maurice in the woods, but the town hermit Agathe (Hattie Morahan) rescues him. When the old inventor shows up ranting about a Beast, he has him sent to an insane asylum. Belle gets the Beast to let her go long enough to go after her father...but Gaston intercepts her and, convincing the townspeople that the Beast will hurt them, takes them to raid the castle. Only Belle can truly end the curse on the Beast and show everyone that real love means a lot more than admiring the first pretty face that comes along.
The Song and Dance: Absolutely gorgeous, possibly the best-produced of the Disney live-action remakes. The meticulous details on everything from the grimy small town to the Beast's shadowy monstrosity of a castle, along with some of the best special effects of any recent Disney film, make this a delight for the eyes. The cast is fantastic, too. Thompson makes a warm and wise Mrs. Potts, Watson is a charming Belle, Stevens more than matches her as a more intelligent Beast, and Evans is a hoot as the vain and selfish Gaston. Josh Gad also has a lot of fun as LaFou, Gaston's oblivious and adoring best friend.
At the very least, they did try to do some things that would set it apart from the animated film (unlike the remake of The Lion King). I like that they re-added some details from the original French fairy tale like Maurice stealing the rose, as well as the greater emphasis on how Belle and the Beast's education set them apart from the illiterate townspeople (including Gaston) and their backstories.
Favorite Number: "Be Our Guest" is nearly as much fun to watch here as it was in the original, with Ewan MacGregor as Lumeire swirling around dancing black and white feather dusters and delicate tea cups. The pub-set stomp to "Gaston" is even better. showing off terrific choreography as Gad and Evans sings the praises of being macho. "Something There" gets a lovely montage as Belle and the Beast realize that they have a lot more in common than previously suspected, and "Beauty and the Beast" is just as swirling and romantic here.
Three new songs were written directly for the film. "Days In the Sun" has Belle, the Beast, and the Enchanted Objects sadly recalling lost childhood memories or days of glory. "Evermore" is the Beast's tortured ballad when Belle leaves to save her father and he thinks he's lost her forever. "How Does a Moment Last Forever" is a touching ballad first sung by Maurice to the accompaniment of a music box as he recalls his late wife, and then by Belle after she learns how her mother died.
What I Don't Like: Did Disney really need to remake this? Frankly, no. As lovely as it is, it still lacks a lot of the simple spark and charm that made the original so wildly popular, not to mention its Broadway-worthy cast. Watson is wonderful in the book scenes, but she's not really much of a singer or a dancer, and Stevens lacks Robby Benson's gruff charisma. I also wish they could have used at least some of the songs from the stage show. "Home" and "No Matter What" might have been especially nice here.
The Big Finale: It may not be necessary, but that doesn't mean it isn't lovely, romantic, and exquisite. This is by far my favorite of the Disney live-action remakes I've seen, and the only one to be anywhere near as delightful as its source material.
Home Media: As one of the more recent films I've reviewed and the second-biggest hit of 2017, this is easily found in all formats.
DVD
Blu-Ray
Google Play
Starring Emma Watson, Dan Stevens, Kevin Kline, and Emma Thompson
Directed by Bill Condon
Music by Alan Menken; Lyrics by Howard Ashman and Tim Rice
I was more than a little concerned when Disney announced they were remaking this one. While I do like the stage musical, the original animated film is one of my favorite movies of all time. I actually went to see this in the theater as a birthday present to myself in April 2017. Is it as enchanting as its animated predecessor, or does it shrivel up like a dying rose? Let's return to that small town in 18th century France and find out...
The Story: Belle (Watson) is an outcast in the tiny town of Villeneuve. She's the daughter of Maurice (Kline), an inventor and artist, and loves books, reading, and adventure. The dull and illiterate citizens of the town regard her as an uppity child who doesn't know her place. Former soldier Gaston (Luke Evans) wants to marry her, not because he loves her, but because he believes the handsomest man in town should have the most beautiful wife. Belle thinks he's an idiot and brushes him off.
Her life changes when she learns that her father has been imprisoned in a dark, spooky castle after trying to bring her a rose. She convinces the terrifying Beast (Stevens) who captured him to let her take his place. With the encouragement of the moving objects who act as his servants, they begin to gradually understand and befriend one another.
Back in town, Gaston still hasn't given up on taking Belle for his wife...whether she wants it or not. He first abandons Maurice in the woods, but the town hermit Agathe (Hattie Morahan) rescues him. When the old inventor shows up ranting about a Beast, he has him sent to an insane asylum. Belle gets the Beast to let her go long enough to go after her father...but Gaston intercepts her and, convincing the townspeople that the Beast will hurt them, takes them to raid the castle. Only Belle can truly end the curse on the Beast and show everyone that real love means a lot more than admiring the first pretty face that comes along.
The Song and Dance: Absolutely gorgeous, possibly the best-produced of the Disney live-action remakes. The meticulous details on everything from the grimy small town to the Beast's shadowy monstrosity of a castle, along with some of the best special effects of any recent Disney film, make this a delight for the eyes. The cast is fantastic, too. Thompson makes a warm and wise Mrs. Potts, Watson is a charming Belle, Stevens more than matches her as a more intelligent Beast, and Evans is a hoot as the vain and selfish Gaston. Josh Gad also has a lot of fun as LaFou, Gaston's oblivious and adoring best friend.
At the very least, they did try to do some things that would set it apart from the animated film (unlike the remake of The Lion King). I like that they re-added some details from the original French fairy tale like Maurice stealing the rose, as well as the greater emphasis on how Belle and the Beast's education set them apart from the illiterate townspeople (including Gaston) and their backstories.
Favorite Number: "Be Our Guest" is nearly as much fun to watch here as it was in the original, with Ewan MacGregor as Lumeire swirling around dancing black and white feather dusters and delicate tea cups. The pub-set stomp to "Gaston" is even better. showing off terrific choreography as Gad and Evans sings the praises of being macho. "Something There" gets a lovely montage as Belle and the Beast realize that they have a lot more in common than previously suspected, and "Beauty and the Beast" is just as swirling and romantic here.
Three new songs were written directly for the film. "Days In the Sun" has Belle, the Beast, and the Enchanted Objects sadly recalling lost childhood memories or days of glory. "Evermore" is the Beast's tortured ballad when Belle leaves to save her father and he thinks he's lost her forever. "How Does a Moment Last Forever" is a touching ballad first sung by Maurice to the accompaniment of a music box as he recalls his late wife, and then by Belle after she learns how her mother died.
What I Don't Like: Did Disney really need to remake this? Frankly, no. As lovely as it is, it still lacks a lot of the simple spark and charm that made the original so wildly popular, not to mention its Broadway-worthy cast. Watson is wonderful in the book scenes, but she's not really much of a singer or a dancer, and Stevens lacks Robby Benson's gruff charisma. I also wish they could have used at least some of the songs from the stage show. "Home" and "No Matter What" might have been especially nice here.
The Big Finale: It may not be necessary, but that doesn't mean it isn't lovely, romantic, and exquisite. This is by far my favorite of the Disney live-action remakes I've seen, and the only one to be anywhere near as delightful as its source material.
Home Media: As one of the more recent films I've reviewed and the second-biggest hit of 2017, this is easily found in all formats.
DVD
Blu-Ray
Google Play
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