Happy Halloween! - Pooh's Halloween Heffalump Movie

Disney, 2005

Voices of Jimmy Bennett, Kyle Stanger, Jim Cummings, and John Fielder

Directed by Elliot M. Bour and Saul Andrew Blinkoff

Music and Lyrics by various

Let's spend Halloween at the Hundred Acres Woods for the last Pooh holiday movie to date. After the Pooh films of the late 90's and early 2000's often got too dark for their audiences, Disney started writing in additional characters to gentle things down. Pooh's Heffalump Movie came out earlier in 2005, adding Lumpy, a sweet-natured Heffalump who befriends Roo, to the cast. How does Lumpy's second outing look nowadays? Let's start at Piglet's house, as everyone tells spooky stories in preparation for Halloween, and find out...

The Story: While they prepare their costumes, Tigger tells everyone the story of the Gobloon, who turns his victims into "jaggedy-lanterns." If you catch him, you get a wish. Roo convinces Lumpy that they should find the Gobloon when Pooh eats all the candy and trick-or-treat may have to be canceled. They make a map that follows Tigger's story, but when it comes to catching the Gobloon, poor Lumpy's too scared. Roo tells him the story of how Piglet found it in himself to be brave the previous Halloween. When Roo finds a pumpkin that looks like his friend and thinks he's been taken by the "Gobloon," he finally knows what he really wants for Halloween - a best friend by his side. 

The Animation: Not the best from Disney's low-budget Disneytoon Studios. Normally, that works with the simple world of Winnie the Pooh, but there's a few continuity glitches here (the candy bags Pooh empty magically refill later), and some of the shadows and special effects don't look so good, either. On the other hand, the characters move pretty well, and Lumpy in particular is so huggable, I'd love to find a stuffed toy of him. 

The Song and Dance: Lumpy and Roo's adorable relationship is so much fun to watch in the first half. I love seeing Roo trying to help his friend, and how Lumpy eventually overcomes his fear. The middle segment is the Pooh TV Halloween special Boo To You, Winnie the Pooh, and it's equally fun, with a bit of a dark side in Piglet's fears and the shadowy animations. 

Favorite Number: We open with "Trick or Treating With Our Friends" as Roo and the others explain to Lumpy how much fun that is. Lumpy and Roo create their map and costumes as they sing about how they're "Brave Together." A whimpering Piglet tries to encourage himself with "I am Not Afraid" during the Boo To You segment. Also in Boo to You, Tigger claims that he likes to "Scare Himself," and he can't understand why Piglet doesn't. 

Trivia: Final film for Piglet's long-time voice artist John Fielder. He died during production. Travis Oates finished his work and became the next voice of Piglet. 

What I Don't Like: As cute as Lumpy and Roo are, I wish we saw more of the rest of the gang. Roo mentions Owl and Gopher is seen in the Boo to You segment, but Christopher Robin is nowhere in evidence. On one hand, I am glad they created an original story around Boo to You, instead of stringing three random shorts together as in the Thanksgiving compilation Seasons of Giving. I just wonder why they felt the need to create movies around the holiday specials at all. The dark-ish Boo to You doesn't really fit in with the somewhat sweeter Halloween Heffalump Movie, and it's obvious it was added as padding mid-way through. 

The Big Finale: Cute enough if you have little kids who will enjoy Lumpy and Roo's antics for an hour before trick-or-treating, or if you enjoyed Pooh's Heffalump Movie. Completely unnecessary for anyone else. 

Home Media: Oddly, not currently on Disney Plus (though Pooh's Heffalump Movie is). It is on DVD and can be found streaming elsewhere.

DVD

Amazon Prime (Rental Only)

Musicals On Streaming - Z.O.M.B.I.E.S 3

Disney, 2022

Starring Milo Manheim, Meg Donnelly, Trevor Tordjman, and Kylee Russell

Directed by Paul Hoen

Music and Lyrics by various

Though ZOMBIES 2 did nearly even better than the original in the ratings, Disney still chose to switch the third film in the series to streaming. Otherwise, they didn't mess around with the formula. How does the final parable of tolerance when another, more benevolent type of monster invades the squeaky-clean town of Seabrook come off? Let's begin with the big high school football game as zombie quarterback Zed (Manheim) and human cheerleader Addison (Donnelly) explain its significance, especially for Zed's fellow monsters, and find out...

The Story: If Zed can win the game and gain an athletic scholarship, he'll be the first monster to attend college. He's about to talk with the recruiters when a massive UFO lands, sending everyone fleeing. Fortunately, the aliens who emerge from it are friendly. They only want to find a map to their perfect home, but tell the others they're going to attend the National Cheer-Off. 

Neither the zombies nor the werewolves trust these strange and humorless beings at first, especially after they lower Zed's test and athletic scores. They agree to help Zed with his scholarship if he helps show them around Seabrook. It doesn't help that the most enthusiastic, A-Spen (Terry Hu), claims she's in love with Zed. When they accidentally beam Addison up to their Mothership (RuPaul) with Zed, Addison makes a shocking discovery about who sent them there...and wonders if she's finally found who she really is and where she belongs. 

The Song and Dance: Once again, I give Disney credit for attempting the racism parallels at all. Many people can certainly relate to Addison's delight when she realizes she's finally found a group she fits in with. I also like how the aliens are portrayed. They don't want to tear apart anyone. They just want to find a home. RuPaul gets some of the film's best lines as the literal Mothership who tries to act as a genuine mother to her extraterrestrial brood, and Terry Wu is nearly as funny as they try to figure out how they feel about Zed and these odd things called emotions. Speaking of, the design of the Mothership is just incredible. They actually did a really good job with the special effects there. It's huge and gorgeous. 

Favorite Number: As in the previous films, we open with a big chorus number explaining who everyone is and what's about to happen, in this case "Ain't No Doubt About It." It's an "Alien Invasion" as the cast scatters, frightened or angry or shocked that these extraterrestrials have suddenly appeared and shaken up their lives. The werewolves encourage whomever attacked their moonstone to "Come On Out" and face the consequences of their actions. Everyone encourages Zed in his attempt at getting that scholarship by reminding him that he's "Exceptional Zed," and just him being in a "normal" school and playing on the football team is a great accomplishment. 

Addison revels in the discovery of her alien heritage as she admits "I'm Finally Me"...and encourages everyone else to be themselves, too. The squad's big routine at the Cheer-Off has them "Fired Up," and gets the crowd just that as Addison finally completes an amazing twist in the air no one could do before. 

Trivia:  If you're like me and wonder why Eliza, the female zombie, spent the movie talking to her friends via an iPad, her actress Kylee Russell was pregnant during filming. The story is Eliza now works for Z-Corp, the business that makes the bracelets that repress the zombies' desire to eat brains.

An animated series based on the three films is currently in development. 

What I Don't Like: This is yet another rehash of the first film, with the twist that the aliens are more goofy and curious than feral or monstrous. Once again, everyone forgets what they learned previously when the aliens appear. While the special effects have improved, the makeup and costuming still belies the series' low-budget streaming origins. The aliens look more like space-themed rock stars from the 1980's than anything out of this world. The zombies and werewolves are still just kids in bad green makeup and fur-trimmed jackets respectively.

And...frankly, all three movies push their "different is good," "be yourself," and "conflict can be good" morals with all the force of the zombies unleashed from their bracelets. They're not for anyone looking for something more subtle.

The Big Finale: While not my favorite Disney Channel musicals, these are still some of their better ones. Highly recommended for horror fans and musical lovers in the appropriate 8 to 14 age range. 

Home Media: Currently a Disney Plus streaming exclusive.

Disney Plus

Cult Flops - Rock n' Roll Nightmare

Shapiro Entertainment, 1987

Starring Jon Mikl Thor, Jillian Peri, Frank Dietz, and David Lane

Directed by John Fasano

Music and Lyrics by various

Let's head to the Great White North for a hard rock horror-fest that's so obscure, I never heard of it until last week. Normally, neither 80's heavy metal nor 80's creature horror is really my thing, but this sounded so wonderfully campy, I had to take a look at it. Is it worth checking out now, or should it be dropped off at a house in the middle of nowhere? Let's begin with a family who is about to discover the evil that's dwelling in their secluded farmhouse in Ontario, Canada, and find out...

The Story: Ten years after the family disappears, the farmhouse is rented by John Triton (Thor), head of the heavy metal group Tritonz, and his manager Phil. Triton wants to use it as a recording studio so his band can focus on writing and rehearsing their new album. The evil that killed the family lingers, however, and picks off the band and their groupies one by one. John's the only one who doesn't seem touched by the horror they're facing...and it turns out, he's the one who set a trap for them. 

The Song and Dance: Creative low-budget cross between two of the 80's favorite genres, cheap bloody horror films and heavy metal. You can't get much more late 80's heavy metal than this music. Big hair on everyone, big muscles on the men, tight t-shirts, loose sweaters, lots of soft-core sexual situations between some fairly cheap (and gross) puppets. They do manage to build the scares effectively. The simple camerawork and backwoods setting actually helps add to the tense ambiance.

Favorite Number: We don't get our first actual number until more than 20 minutes into the film, but it's the band rehearsing their theme "We Live to Rock." They cut off at the end when it's not up to John's standards. The later rehearsal number "Energy" sure has a lot of it as the band throws themselves into the uptempo dance rave. "The Challenge" may be the best of the sexually-charged numbers as the possessed Stig gets a lot more into his drumming.

Trivia: This went direct-to-home-video.

Director John Fasano provided the voice of the demon monster in the finale. 

It was originally titled Edge of Hell, but the producers re-titled it to the more video-friendly Rock n' Roll Nightmare. 

Filmed in just seven days.

What I Don't Like: And the movie looks it. Everything screams "cheap low-budget 80's horror," from the paper mache puppets to the bad acting from Thor's wife and friends to the special effects that probably came off the shelves at a local craft store. The story makes no sense whatsoever. The deadly dull credits that consist of Thor's van driving across Canadian highways exist because they literally needed something to pad out the film and are boring to the point of sending people into a stupor.

That ridiculous ending not only comes completely out of nowhere and doesn't jive with what came before it, it's poorly filmed, edited, and just looks silly. Thor tries to throttle a skeleton puppet that's throwing squishy starfish at him, for heaven's sake. If you're looking for a more serious horror film or aren't into heavy metal or camp, this is not the place for you.

The Big Finale: This goes a little too heavy into the sex and gore for my taste, but I can't deny that it's certainly creepy and unique. If you're a fan of heavy metal or are looking for the perfect "so bad it's hilarious" horror movie for your Halloween party or late-night get-together, jump in the van and look up this one.

Home Media: If you're interested, this is actually pretty easy to find on disc and streaming.

DVD

Amazon Prime

Animation Celebration Saturday - Scooby Doo! Stage Fright

Warner Bros/Hanna-Barbara, 2013

Voices of Frank Welker, Gray DeLisle, Matthew Lillard, and Mindy Cohn

Directed by Victor Cook

Music and Lyrics by various

Scooby Doo! Music of the Vampire remains the only full musical Scooby Doo project to date, but they did occasionally incorporate musical numbers or songs into plots or use them as background for action scenes. Later Scooby series also frequently referenced or spoofed the pop culture of the time, as with the American Idol references in this episode. How does that tie into a Phantom of the Opera-style tale about a spook haunting the former opera house where a talent show is taking place? Let's begin just as Talent Search is about to go on...or is it? 

The Story: Fred (Welker) and Daphne (DeLisle) are finalists in Talent Search, singing and playing their own material. Velma joins for the finals and to check out local museums, while Shaggy (Lillard) and Scooby (Welker) tag along for the famous Chicago deep-dish pizza. As it turns out, there may not be a show. A "Phantom" who once terrorized the Opera House when it became a disco in the late 70's seems to have returned. He's especially interested in a bratty little girl named Chrissy (Ariel Winter) and her obnoxious show business parents who are also finalists. 

As the kids investigate further, Velma begins to realize that the Phantom seems to have distinctly different motives and goals every time he appears. Talent Search host Brick Pimento (Wayne Brady) is thrilled with the publicity, but clean freak assistant director Dewey Ottoman (Peter MacNichol) laments the mess he leaves. Little Emma the violinist (Isabella Acres) wants the money for her family farm, while magician The Great Pauldini (John O'Hurley) wants to show off. While Daphne and Fred rehearse and Velma watches miles of tape to catch a killer, Shaggy and Scooby are happier eating miles and miles of tomato pie! 

The Animation: Not bad for an animated direct-to-DVD film from a decade ago. The colors are clear and bright and the characters move fairly well, especially during chase scenes. There's even some special effects during Fred and Daphne's numbers. I will, however, point out that the rare use of CGI, notably during the car chases, sticks out like a sore thumb and is badly incorporated with the 2-D animation. 

The Song and Dance: I give them credit for trying something different with the usual "man in a mask" criminal. Mystery Inc usually pursues one villain, maybe two at most. This may be the only time that multiple characters played the same bad guy, all with very different motives. Welker and DeLisle are adorable as they try to dance around the idea of maybe liking each other after 40 years, and Cohn is an especially feisty Velma here. Winter does the best of the remaining cast as the spoiled diva child with the material and costume that's way too old for her age and her childish behavior. And frankly, the idea of the musical numbers being stage performances works better with this franchise than going full musical with characters who really can't sing. 

Favorite Number: Welker and DeLisle perform together twice. "I Love You," their sweet uptempo ballad near the end, is the one we hear in full. Their other big number is "It's Enough for Me," though the movie keeps cutting away from them before we can hear it in full. We do get to hear most of Chrissy's  "Homewrecker," a dark ballad about a woman scorned that, as Velma pointed out, is miles beyond Chrissy's years and vocal abilities. There's also Emma's two violin solos, both of which are sprightly and moving enough to make you understand why the Talent Search audiences were impressed. 

What I Don't Like: Getting beyond the gimmick with the multiple Phantoms, this pretty typical of the Scooby Doo cartoons in general. While Velma has more to do than usual, Shaggy and Scooby are limited to their attempts to show off their performing skills to Pimento and eating their way through Chicago's largest pizza. References to then-topical talent contests and reality shows date the film a bit as well. 

The Song and Dance: Not the best Scooby Doo movie ever made, but it's also far from the worst. The funny numbers and creative villain pushes this slightly above Music of the Vampire. Recommended mainly for major fans of the franchise and families with elementary school-age Scooby lovers. 

Home Media: As a relatively recent film, this is easily found in all formats.

DVD

Blu-Ray

Amazon Prime

The Ghost In the Invisible Bikini

American International Pictures, 1966

Starring Tommy Kirk, Deborah Walley, Patsy Kelly, and Basil Rathbone

Directed by Don Weiss

Music and Lyrics by Guy Hemric and Jerry Styner

We get a little spookier with our next film, the last in the Beach Party series. By this point, Annette Funicello and Frankie Avalon had bailed out. Avalon wanted to get into more serious acting; Funicello wanted to spend time with her family. AIP threw the rest of their Beach Partiers into another genre teens were into this era. Horror, which had been replaced by more serious sci-fi for much of the 50's, made a comeback in the late 50's and early 60's as older films began to play on the late-late movie and in revival houses. How do the Beach Party semi-regulars somehow get mixed up with a ghost trying to help his descendants gain his fortune look today? Let's begin with those ghosts, Hiram Stokey (Boris Karloff) and his long-dead lover Cecily (Susan Hart) as they try to decide how to get him into heaven, and find out...

The Story: Hiram can only gain access to Heaven and regain his youth if he does one good deed in 24 hours. He sends Cecily to help his remaining family members, Chuck (Kirk), Lili (Walley), and Myrtle (Kelly) inherit his estate, before his smarmy lawyer Reginald Ripper (Rathbone) can get his hands on it. Myrtle even invites her huge son Bobby (Aron Kincaid) for a pool party and sleepover. Bobby brings along a bus filled with all his friends, including his girlfriend Vicki (Nancy Sinatra). Ripper retaliates by sending his gorgeous daughter Sinestra (Quinn O'Hara) to seduce Bobby. 

Meanwhile, Ripper's goon J. Sinister Hulk (Jesse White) tries his hardest to scare or kill Chuck, Lili, and Myrtle, but Cecily's ghostly magic keeps him from succeeding. He's joined by Princess Yolanda (Bobbi Shaw) and her inept Native friend Chicken Feather (Benny Rubin). They're supposed to be terrorizing the kids, but they mainly just unleash their gorilla Monstro (George Barrows) on the group. Harry Von Zipper (Harvey Lembek) and his biker gang follow the comely Yolanda and end up sticking around the mansion to find their own share of Stokey's fortune.

The Song and Dance: This is really strange, even by Beach Party standards. Some of the cast did throw themselves whole-heartedly into the lunacy. Hart has a wonderful time in her black velvet bikini, causing unearthly antics among the flesh-and-blood party-goers. Patsy Kelly has the most fun of the adults as eccentric Myrtle, who holds a seance the first night there and insists on joining the kids when they go after the treasure. Rathbone makes a decent sleazy lawyer, and O'Hara gets some mildly amusing bits when she takes off her glasses and attempts to seduce inanimate objects. Lembeck and his crew also have some good moments, especially in the second half, when they're trying to find that treasure. 

Favorite Number: Nancy Sinatra gyrates her way through "Geronimo" with the Bobby Fuller Four after the kids arrive and the pool party gets underway. Italian exchange student Piccola Pupa (a real-life discovery of Danny Thomas) insists that the girls "Stand Up and Fight" for their men when Vicki is clearly upset over Sinsestra's attention to Bobby. 

Speaking of Sinestra, the best number goes to O'Hara. Blind as a bat without her glasses, she ends up trying to put the moves on a suit of armor. Her wriggling and breathy baby voice somehow manages to work. "Don't Try to Fight It, Baby" gets to the armor so badly, it's steaming by the end of the song!

Trivia: This is the only official Beach Party movie to not actually be set on a beach, and the only one to not feature Frankie Avalon or Annette Funicello. 

Buster Keaton originally signed to play Chicken Feather, but he declined due to illness; he passed away in February 1966.

What I Don't Like: It's obvious this movie kind of got thrown together piecemeal. Hart and Karloff's scenes were filmed and added later; they, Yolanda and Chicken Feather, and Lembeck and his gang all feel like they came from three different movies. Walley and Kirk have nothing to play other than some mild flirting and barely interact with the rest of the cast besides Kelly and Rathbone. They're bland and useless until the end, when Kirk does manage to help save Walley from another buzzsaw. Sinatra and Kincaid have even less to do; Sinatra is barely in the film, and Kincaid is a dull block of wood with little personality. There's also Chicken Feather being a goofy Indian stereotype that may offend a few folks nowadays.

The Big Finale: As with the other Beach Party movies, you know what to expect here. If you're a fan of horror from this era or liked the other movies in this franchise, you'll probably enjoy this one, too. If you didn't enjoy the others, this one won't change your mind. 

Home Media: The original double-DVD release with fellow 60's horror spoof Ghost of Dragstrip Hollow is out of print and incredibly expensive at the moment. You're better off looking for this on streaming.

DVD - Midnite Movies Double Feature - Ghost of Dragstrip Hollow/The Ghost In the Invisible Bikini

Amazon Prime

Pennies from Heaven (1936)

Columbia Pictures, 1936

Starring Bing Crosby, Edith Fellows, Donald Meek, and Madge Evans

Directed by Norman Z. McLeod

Music by Arthur Johnson; Lyrics by Johnny Burke

We ease into the spooky season with this Crosby vehicle, the first of three he did as an independent producer releasing with studios other than Paramount. It's also the first of four vehicles where the focus is on his relationship with a child, though there is a love interest here, too. Bing has been known to dive into the Christmas season, but this is the closest any of his laid-back movies get to horror. How does the tale of a drifter who helps a little girl and her grandfather find a home look compared to the similar If I Had My Way and Sing You Sinners...and why are we including it for Halloween? Let's begin in prison, as an inmate (John Gallaudet) on his way to the chair gives a letter to his fellow inmate Larry Poole (Crosby) and find out...

The Story: Larry delivers the letter to little Patsy Smith (Fellows) and her dapper grandfather (Meek). The letter admits that the man killed Patsy's father accidentally, and he's given them the key to his home and hideout to make up for it. The house is a dilapidated wreck and reputedly haunted...and that's the least of Larry's troubles. For one thing, Larry really wants to become a gondolier in Venice, not adopt a family. Susan Sprauge (Evans) of the local Welfare Office has been trying to take Patsy to the local orphanage, claiming her grandfather can't bring her up properly. 

Larry makes a lot of con-deals in an attempt to turn the haunted house into The Haunted House Nightclub, but it comes to bite him in the rear when he's unable to con the county license board. When his attempt to make quick money for a restaurant license lands him in the hospital, Susan's boss takes Patsy away. Larry attempts to rescue her, but it's Patsy who saves herself in the end and brings Susan and Larry together.

The Song and Dance: Bing had to fight for Columbia to let Louis Armstrong and his band appear, but he was very right, and right to give him second billing. Their spooky song mid-way through livens up the film, and while his role is stereotypical, Armstrong shows some charm and works well with Crosby and Meek. Crosby gets a rare chance at drama as a former jailbird, and Evans is one of his few leading ladies to match him well as the tenacious social worker. There's a nice score, too, with one big hit in the Oscar-nominated title song that remains a standard to this day. 

Favorite Number: Our first number proper isn't until almost 20 minutes in, but it's "So Do I," with Larry playing his antique lute for a tenement and Patsy dancing along to gather those pennies. Patsy, Larry, and Gramps ride a hay wagon to their new home, singing goofy lyrics to "Old MacDonald Had a Farm." Crosby performs the title song three times, first for Patsy when she's frightened during a thunderstorm at the haunted house, briefly when singing for the orphans, and late in the film when he's searching New York for Susan. 

Armstrong gets the delightful horror-tinged "Skeleton In the Closet," with a dancer in a skeleton costume and Patsy popping jokes and tricks at the nightclub patrons. Bing joins him for the ballad "Let's Call a Heart a Heart." He gets "One, Two, Button Your Shoe" with the kids at the orphanage during the carnival's appearance there. 

What I Don't Like: Mixed feelings on the nightclub setting. On one hand, the haunted house club was so creative, and the two numbers done there so enjoyable, I wish they did more with it. On the other hand, this doesn't degenerate into a series of club numbers with little story in the end, so kudos to Columbia for attempting a stronger ending. Unfortunately, it comes off as melodramatic, meandering, and unbelievable. Crosby is no jailbird, and there's no real reason for Susan to fall for him so quickly. Fellows comes off more like a nasty brat who hates everyone than a scared kid who wants to stay with her grandfather, too. It's a little dark for one of Bing's 30's vehicles, what with Bing being a former prisoner and the child under threat of being sent to an orphanage, not to mention that haunted house. 

The Big Finale: This is too meandering and strange to be one of Bing's better vehicles. Recommended mainly for major fans of his or Armstrong's, or anyone who wants to find out where the title song came from.

Home Media: On DVD, but expensive. Your best bet is streaming. Tubi currently has it for free.

DVD

Tubi

Family Fun Saturday - A Fairy Tale After All

Vertical Entertainment, 2022

Starring Emily Shenaut, Brian Hull, Bridget Winder, and Anna Brisbin

Directed by Erik Peter Carlson

Music and Lyrics by Chelsi Hardcastle and Alistar Robinson

Our last review before we get into this year's Halloween entries is a unique fantasy film released on streaming and in select theaters last February. I never heard of this before I ran into at Tubi a week ago. It seems to be a labor of love for Carlson, who directed, wrote, and produced it. Does this story of a girl whose wish to see her father again takes her into a dark fairy tale in her mind deserve to be rescued from the tower, or should it be left in the dungeon? Let's begin, as all good fairy tales begin, with "once upon a time" and the tale of a princess who didn't want to rule her kingdom...

The Story: Sky (Shenaut) took ballet as a child, but she gave up her dreams after her beloved father (Gabriel Burrafato) died. She's now helping her mother (Amy Morse) raise her little brother (Tobin Cleary). Sky would love to get back on the stage, but she's afraid she won't find her voice without her father's support. Recruited to help with a puppet show, she dresses in a princess costume and wishes she could find the courage to follow her dreams when she's hit by a stage light.

When she comes to, a fox puppet named Thumpkin (Hull) reveals she's the long-missing Princess Geneva of Celestia. She's been imprisoned with his human friend Cornelis (Timothy N. Kopacz) by the evil sorceress Madam Mizerbel (Winder), who wants to take over the kingdom for her Master Willow (Phillip Nathaniel Freeman). With the help of her strange new friends and the transformed monster child Cassidy Lemon (Hayley Emin), she seeks her father in the dark dungeon...and to confront her childhood fears of abandonment. 

The Song and Dance: YouTubers Carlson and Hull were inspired by the dark fantasy films of the 80's like Labrynth and Legend that made extensive use of puppetry and then-cutting-edge special effects to tell the tale of budding young girls and their journeys through strange lands. There's times when they have a lot of fun with the premise, especially when Cassidy's jabbering away to Sky's father in the dungeon or Sky is trying to deal with how plain goofy Thumpkin and Cornelis are. Some of the makeup actually isn't bad for the low budget, especially on Mizrabel. 

Favorite Number: All Princess Geneva wants is for everyone to "Leave Me Be" in the opening book illustration segment. Sky sobs in her room how all she wants is to "See You Again" and spend one more day with her father. She thinks "Fairy Tales" won't come true for her now, but admits as she dances around the puppet show she can't help still loving them. Thumpkin explains how the "Fourth Wall" works in film speak, and that she really can't break it - not in the usual sense. Winter lays into "Mizrabel" as she explains why she's doing what she did. 

What I Don't Like: They could have thrown in a better script. This is confusing, even for a family fantasy musical. The wrap-around with Sky and her brother and mother doesn't seem to fit with the fairy tale set-up, and Mizrabel's complicated backstory doesn't help there. The fact that most of these people were YouTubers and likely amateur filmmakers shows in the dark, dreary lighting, dull cardboard sets, and goofy Muppet-like puppets that clash with the dark tone. However, there's also the Shroud, the Hoglets, and other truly terrifying puppets that push the film too far into the other direction. They can't seem to decide whether they want this to be a light, silly Muppet fairy tale spoof or a pitch-black Return to Oz-esque fantasy.

There's also the casting. Shenaut is way too old to be a troubled teen...and Hardcastle, who dubbed her, sounds too old. All the pink ruffles, hair flowers, and short plaid skirts in the world won't make her believable as a 16-year-old who gave up on her dreams too quickly. It's also way too short for all the world-building they're trying to cram in. Expanding it to a full hour and a half would have given the story more room to breathe and maybe even gotten them out of the dungeon quicker. 

The Big Finale: Opinion online seems to be divided on this one. Some get what Carlson's going for and appreciate the puppetry, special effects for the budget, and attempt at an original fantasy. Others, particularly those who aren't fans of fantasy and/or musicals to begin with, find it to be confusing, dull, or too silly. I thought it was charming, but also a bit amateur, with its obvious low-budget. Recommended for princess-crazy girls, fantasy lovers, and those who grew up with those 80's Jim Henson fairy tales like the YouTubers and I did.

Home Media: Streaming only at the moment, but it can be found on most major websites; Tubi currently has it for free. 

Amazon Prime

Tubi

It Started With Eve

Universal, 1941

Starring Deanna Durbin, Robert Cummings, Charles Laughton, and Guy Kibbee

Directed by Henry Koster

Music and Lyrics by various

First Love was not the last time Durbin played a modern Cinderella. This one started life as a comedy named Almost an Angel, intended for a series of European actresses. When that wasn't made, they reworked it as a semi-musical romantic comedy for Durbin and character actor Laughton. How does that look today? Let's start on a rainy day, just as millionaire Jonathan Reynolds (Laughton) is on his deathbed, and find out...

The Story:  Reynolds' dying wish is to get to know his son Johnny's (Cummings) future wife. Trouble is, Johnny's fiancee Gloria (Margaret Talichet) just left their hotel with her mother (Catherine Doucet). Desperate, Johnny grabs the first girl on the street he finds to play his fiancee for his father. The girl is Anne Terry (Durbin), an aspiring opera singer who is on the verge of leaving New York. Her kind manner so pleases Jonathan, he actually recovers and wants to see Anne again. Johnny has to retrieve her from the train station and convince her to keep playing his fiancee until the real one comes back. 

It works too well. Jonathan adores Anne and her beautiful voice. Anne, who wants to be introduced to Jonathan's contacts in the opera world, insists on holding a party. Johnny sees this as an opportunity to introduce his real fiancee and tries to stage a break-up with Anne, but she comes back, claiming she forgives him. Johnny's fiancee and her mother aren't amused, and neither is Johnny. Jonathan, however, is feeling fine now, and he's ready to hit the nightclubs. His son's shocked and blames Anne. Anne's had enough and takes off...and now Jonathan has to find a way to bring his two favorite young people together!

The Song and Dance: This one is all about the charming interaction between cinema's most famous curmudgeon and Little Miss Sunshine. Deanna's playing a slightly more seasoned young woman here. She's much sassier and even a bit tougher, while still retaining the gentle charm that makes Jonathan adore her. Laughton didn't get too many chances to play pure comedy, and he seems to be having a great time, whether he's listening to Anne sing a song on the piano or dancing a conga with her at a nightclub. There's also Walter Catlett, who has some nice moments with the always-ill Doctor Harvey, and Clara Blandick as Jonathan's stuffy nurse. 

Favorite Number: The big one here is "When I Sing," an adaptation of "The Sleeping Beauty Waltz," which Anne performs on the piano at the foot of the stairs so Jonathan can hear it. She does "Clavitas," a short but sweet Spanish song, a bit earlier. The other memorable number from this one is the instrumental dance routine at the nightclub. Jonathan and Anne really get into their conga. Laughton in particular seems to be enjoying himself.

Trivia: Cummings appeared in the Warners drama King's Row at the same time he made this. He'd have to dash back and forth across town to keep up with the filming schedules. 

The movie's production was plagued with problems. Durbin was upset Henry Koster had decided to move to MGM with producer Joe Pasternak, and she and Laughton both got sick during filming. Veteran character actor Richard Carle died and had to be replaced by Catlett. Two electricians were injured in accidents, and Koster was in the midst of a divorce. 

What I Don't Like: First of all, Durbin's songs aside, this is just barely a musical. It's really more of a romantic comedy with one goofy dance number and a few opera tunes. Second, Cummings' hasty schedule shows. He's not up to either Durbin or Laughton and can come off as more of a jerk than a well-meaning son. 

The Big Finale: Along with First Love, this is one of Durbin's best early vehicles. Great for lovers of Laughton, Durbin, or vintage romantic comedy.

Home Media: Not on streaming at present, but is on DVD in an individual Universal Vault made-to-order title and on DVD and Blu Ray as part of two Durbin collections.

DVD - Universal Vault

DVD - Deanna Durbin Sweetheart Collection

Blu-Ray

Blu-Ray - Deanna Durbin Collection

First Love (1939)

Universal, 1939

Starring Deanna Durbin, Robert Stack, Eugene Pallatte, and Helen Parrish

Directed by Henry Koster

Music and Lyrics by various

This week, we're switching streams to the less flamboyant vehicles of a very different musical performer. Teen soprano Deanna Durbin's films were such major hits in the late 30's, they were credited with helping Universal through a very rough financial time. This began as a more traditional fantasy version of Cinderella in 1938, but Walt Disney already had a hold on that title and protested. They retooled it into a modern-day version, with the little cinder girl now replaced by a poor orphan who returns to an uncaring family and falls for a prince charming at a New York dance. How does this version look today? Let's begin on graduation day at Miss Wiggins' (Kathleen Howard) School for Girls and find out...

The Story: Constance "Connie" Harding's (Durbin) schooling has been paid for by her Uncle James Clinton (Eugene Pallatte), who didn't attend graduation and has never wanted anything to do with her. With no other home to go to, she has no choice but to move in with them. Uncle James and the servants like her, but his daughter Barbara (Parrish) is jealous of her sweet, innocent charm, son Walter (Lewis Howard) is too lazy to care about anyone, and his flaky wife Grace (Leatrice Joy) cares more about what her astrological charts say than anything going on with her family. 

Spoiled Barbara sends Connie on an errand to stall her current crush Ted Drake (Stack) at the country club before he can ride off without here. She tries to lure his horse away, but only succeeds in embarrassing herself. Ted thinks she's adorable, but Barbara's livid and claims he hates her. Barbara is so jealous, she refuses to let Connie come to the Drake family's ball with them, despite her mother claiming she could. The servants find a way to let her come anyhow. She manages to sing for the crowds there, impressing Tom and his father (Thurston Hall). Barbara is so angry, she fires the servants and once again tells Connie Ted thinks nothing of her. Connie runs off..but she has help from Uncle James, who has had enough of his family's snobbish behavior, and Miss Wiggins, who wants to see her best student happy.

The Song and Dance: Durbin is adorable in this sweet modern fairy tale, and who knew later tough-guy Stack would make such a dashing prince charming? They're backed by a collection of Universal's best character actors. Pallatte is the stand-out as the stern father with a soft spot for Connie who would rather see her be happy than let his family get away with abusing her. There's also Dorothy Vaughn and Mary Treen as the housemaids who help transform Connie's graduation gown into a ball gown, Charles Coleman as the sensible butler, and Kathleen Howard as Connie's crusty but loving teacher. Gorgeous costumes, too, especially the gown for Connie that caused all the fuss before the ball. 

And...kudos to Universal for letting Durbin realistically grow up onscreen (something 20th Century Fox never really managed with Shirley Temple). This role would lead her to do more mature films in the future, including two thrillers in the early 40's.

Favorite Number: We open with Durbin singing "Home Sweet Home" for her fellow finishing school graduates...but bursts into tears before the end because she's leaving for an uncertain future. She proves to the servants she has an opera-worthy voice by singing "Amapola (Pretty Little Poppy)" for them just as her Uncle James walks in. She's delighted to have "Spring In My Heart" as she sings her heart out for everyone at the ball. Miss Wiggins insists she perform the difficult aria "Un Bel Di" from Madame Butterfly for her music teacher audition in front of the school. She thinks it's too sad, but Miss Wiggins has her reasons for choosing that song...

Trivia: First film for Robert Stack and Lewis Howard. Stack won a nation-wide search for a man to give Durbin her first onscreen kiss.

Silent screen actress Leatrice Joy's first movie since 1930. 

What I Don't Like: Pallatte is such a scene stealer, he almost walks away with the movie, especially in the end when he lays into his obnoxious children and ditzy wife and shows them exactly what he thinks of their laziness and selfishness! This really isn't much of a musical. We just get a few songs for Durbin. It's more of a sweet romantic comedy, with all the inherent cliches of the genre. Parrish's Barbara was such a spiteful wench from the beginning, I'm amazed Connie believed what she said about Ted twice. Frankly, I wouldn't have believed a word that came out of her mouth from the get-go. 

Even Universal had concerns about the abrupt ending. There's no New York-wide search for the girl with the shoe, and we never do find out how Miss Wiggins got the other slipper from Tom. They really could have done more with this, or at least showed Tom actively looking for her.

The Big Finale: One of Durbin's better early vehicles; highly recommended for fans of her, unique Cinderella stories, or those who are interested in a young Stack before his TV years. 

Home Media: Currently DVD-only as part of the Deanna Durbin Sweetheart Collection.

DVD - Deanna Durbin Sweetheart Collection

Happy Columbus Day! - The Magic Voyage

Bavaria Film, 1992

Voices of Dom DeLuise, Corey Feldman, Irene Cara, and Samantha Eggar

Directed by Michael Schoemann

Music and Lyrics by Scott Santaro

There were a flurry of movies released in 1992 in honor of the 500th anniversary of Columbus crossing the Atlantic in search of treasure. The Magic Voyage began life in Germany as a spoof of the historical vision of Columbus as a scholar and adventurer, with the addition of a woodworm character from an earlier animated film on Noah's Ark. After it inflated to Germany's most expensive animated film to that point, the US stepped in and started making changes. How well did this work out? Let's start with the narrator (Mickey Rooney) as he reveals how people (supposedly) still thought the world was flat in 1492, and find out...

The Story: Pico the Woodworm (Feldman) is looking for more adventure than he ever found eating books. He moves in with bumbling Christopher Columbus (DeLuise), who believes the world is a cube. Pico eats his globe until it's round and Columbus changes his tune. While Columbus convinces the fawning Queen Isabella (Eggar) and her less impressed husband King Ferdinand (Dan Haggarty) to give him three ships so he can find gold in the Indies, Pico falls for the lovely moon sprite Princess Marilyn. She's being held in the castle chandelier by a wicked being known as The Swarm Lord. Pico tries to free her, but the Swarm Lord takes her overseas instead.

Pico's late joining Columbus on his voyage, thanks to a trio of rats who think he's lunch. He convinces them that there's cheese on-board, but they leave him behind, and he has to ride over on a seagull. Even after he joins Columbus, there's still trouble. Columbus is a terrible sailor who gets horribly seasick, and the entire crew is tired of his shenanigans and are ready to mutiny. Columbus barely manages to avoid being hung when he finally sees the New World...but even when they arrive, they encounter out-of-place wildlife, natives, and the Swarm Lord, who is determined to get Marilyn's powers no matter what.

The Animation: Well, we do have some lush artwork under the credits in the opening and backdrops in Marilyn's description of her home and when they get to the New World. Otherwise, I'm not sure where those millions of dollars went. It wasn't to the animation. The characters move jerkily, and the designs waver between too cartoony for the subject matter and too stiff.

The Song and Dance: The sheer audacity of doing a musical satire about one of history's worst sailors gives this a sheen of kitsch that's really its only saving grace now, along with some mildly funny lines from DeLuise. At the least, it's slightly more interesting than the notoriously dull live-action movies about Columbus released in 1992, 1492: Conquest of Paradise and Christopher Columbus: The Discovery. And they did get a few historical details at least somewhat right; Columbus really was a lousy sailor and leader, and his crew really did almost mutiny. 

Favorite Number: We kick off with Pico describing why he opted to trade eating and reading books for the open road in "Pico the Adventurer." Columbus and Pico tell each other - and all of Madrid - why "A Fellow Like You" is a treasure. Marilyn describes "A World of Magic" to Pico when they're in the chandelier. Columbus and Pico placate the mutinous sailors with "A Life of the Sea" and why they love their jobs. 

Trivia: There's actually two English-dubbed versions of this movie. My review is based after the far-easier-to-find Hemdale Corporation release. Atlas Pictures put out an earlier version with an entirely different cast that's never been on home video in North America.

What I Don't Like: Hoooo boy. Where do I begin with this one? How about all the historical facts they got wrong, from King Ferdinand and his screechy advisor being bad guys to Columbus actually finding gold (he never did in San Salvador in real life and died a broken man) to the misconception about people thinking the world was flat? (In real-life, people knew the world was round since the time of the Greeks.) Pico's not the only one who finds the affair between Isabella and Columbus to be silly and distasteful, too. And even if they had to include Pico as comic relief, they did not need the side plot of Marilyn and the Swarm. That not only made no sense, it seemed to come from another movie entirely. Speaking of the supposedly fearsome Swarm, not only did Columbus take them down way too easily in the end, but he did it the dumbest and most anti-climatic way possible. 

What's with all the talking? Everyone is constantly talking in this movie, even when the visuals should be enough to carry it. Apparently, there was a lot of ad-libbing from the cast that got into the film. That can add spontaneity, but in this case, it doesn't move the film along or have really much of anything to do with the plot and should have been trimmed or cut. The songs are annoyingly generic, and Feldman isn't that great of a singer. 

And what was with all the other talking animal sidekicks? The rats and beaver add nothing to the story (though at least they did admit the beaver was out of place), and the seagull only carries Pico around. There's also the brief and awkward appearance of the natives at the end. Anyone with even the remote knowledge of Columbus knows he treated the natives badly and took many as slaves. Here, they just let him go with the gold and a smile.

The Big Finale: I've heard this movie went over better in its native Germany. It does supposedly have a few fans with fond memories of renting this on video in the mid-90's, but...I'm not one of them. The animation is terrible, the characters are dull, the story is silly, and the music is useless. Unless you share those fond memories, I wouldn't touch this voyage with a hundred-foot-telescope. 

Home Media: If you absolutely must see this, the second English dub can be easily found on streaming, usually for free. (The DVDs for both the English and German dubs are insanely expensive.) 

Tubi

On the Riviera

20th Century Fox, 1951

Starring Danny Kaye, Gene Tierney, Corinne Calvert, and Marcel Dalio

Directed by Walter Lang

Music and Lyrics by various

Wonder Man was far from the last time Kaye played a double role. This is a remake of two earlier Fox musicals, the Maurice Chevalier vehicle Follies Bergere from 1935 and That Night In Rio with Don Ameche from 1941. How does this version stack up with those two? Let's begin with a montage of fun on the French Rivera as the title song accompanies glimpses of water skiing, sun-kissed shores, and beautiful people and find out...

The Story: American comedian Jack Martin (Kaye) is performing at a major nightclub in the Riviera with his French girlfriend and partner Colette (Calvert). One of his acts happens to make fun of a famous French aviator and hero, Captain Henri Duran (Kaye). Henri may be a hero in the eyes of the public, but to his glamorous wife Lili (Tierney), he's a philanderer who cares little about her. 

His partners are more concerned when they learn their aviation business may go under. Henri goes to Paris to secure funding, but his rival Felix Puriton (Jean Murat) has already come to the Riviera. Henri's partners hire Jack to play Henri and fool Felix into giving them money for their business, and then to play Henri at a party Lili's giving in his honor. Lili's delighted with the sudden change in her husband, and Jack's smitten. Collette, however, is not amused...and neither is Henri when he finally comes back.

The Song and Dance: Kaye's uncanny ability to play two people and a few good numbers carry this story. He's as believable as the smooth Henri as he is the everyman Jack and deserved his Golden Globe win. In fact, it's nice to see Kaye playing at least one non-nervous, non-foolish normal guy. Also, kudos to 20th Century Fox for attempting at least some authenticity in its mostly French cast. There's some nice Technicolor here, too, and absolutely stunning early 50's gowns. 

Favorite Number: As mentioned, the movie begins with the title song over a montage of the sights and sounds of the French Riviera. Jack picks it up with a bevy of dancers at the club. "Popo the Puppet" is a bizarre chorus number for Jack's big TV appearance that has the chorus in pirouette costumes and strings singing about Jack's annoying marionette character. (The song went over so well, Kaye continued to use it in his real-life act for years.) He sings "Chica Chica Boom Chic" while doing a wacky and kind of weird impersonation of Carmen Miranda. The stylized "Happy Ending" has Jack explaining why all movies should end pleasantly while dancers in black and yellow stripes do strange dramatic modern dance moves behind him. 

For my number, the best song here is "Ballin' the Jack." It's just Jack at the club, no chorus or fancy costumes...but Kaye gives it the right soft sell, and even manages to make it sexy. 

Trivia: The painting of Lili over the fireplace is actually the one of Tierney from the 1944 film noir Laura. It's the only time the portrait appeared in color. 

The color TV set they watch the "Popo the Puppet" number on is ahead of its time. Color debuted on American TV in the early 50's, but it wouldn't be seen in France until 1967, and even the US didn't really have regular color broadcasts until the mid-60's. 

What I Don't Like: "Ballin' the Jack" aside, this is a little bland compared to the antics and lunacy of Wonder Man. A heroic French aviator isn't nearly as much fun as a wacky nightclub comic. The story is also a bit dull, and the new songs other than "Popo" aren't that memorable. Tierney is obviously uncomfortable. She's a block of ice, not even really thawing after her husband admits he's willing to fight for her, and is clearly out of her element in a musical. 

The Big Finale: Fun for fans of Kaye who are willing to see him in a slightly different light.

Home Media: DVD only from 20th Century Fox's Marquee Musicals series. 

DVD

Wonder Man

Samuel Goldwyn/RKO, 1945

Starring Danny Kaye, Virginia Mayo, Vera-Ellen, and Donald Woods

Directed by H. Bruce Humberstone

Music and Lyrics by Sylvia Fine

This week, we're going to dive into Danny Kaye's career with two of his more unique musicals. Not too many comedians could pull off a dual role...but Danny did it four times, twice in musical films, including this one. This was his second film for Samuel Goldwyn, and may be the first to show off the full range of his talents - singing, dancing, manic comedy, slapstick, even a bit of drama. How does this story of a history writer who gets involved with his louder twin's troubles look now? Let's start with the recent headlines in New York that reveal how comic Buzzy Bellew (Kaye) is the only witness to the murder of a chorus girl by gangster "Ten Grand" Jackson (Steve Cochran) and find out...

The Story: The moment Ten Grand is let out of jail, he has his goons Chimp (Allen Jenkins) and Torso (Edward Brophy) murder Buzzy in his dressing room. The only one who knows is Buzzy's meek twin Edwin (Kaye). He's more interested in writing his history book and dating pretty and smart librarian Ellen Shandley (Mayo) than his twin's problems, until Buzzy gets him into the park and possesses his body. Now Edwin has to dodge the crooks, do Buzzy's nightclub act, figure out what to do about his amorous fiancee Midge Mallon (Vera-Ellen), and explain to Ellen and the district attorney (Otto Kruger) that he's not crazy, before he joins his twin ten feet under!

The Song and Dance: Kaye jumps into the roles of the mild and shy Edwin and the wild and wacky Buzzy with relish. The special effects that allows Kaye to interact with himself won an Oscar in 1945 and still look good today, especially when Buzzy's possessing Edwin, or he's running around the park, grabbing onto tree limbs and kicking cops. Jenkins and Brophy have a few funny moments as Jackson's men, who can't believe Buzzy keeps turning up after they killed him. Lavish sets and costumes and gorgeous Technicolor bring sparkle to a relatively dark story.

Favorite Number: The film kicks off with the peculiar "Bali Boogie," a cross between Javanese dancing and swing that gives Vera-Ellen a chance to show off her dancing and Danny Kaye to mug outrageously. "So In Love" is Vera-Ellen's other big number as the Goldwyn Girls encourage her to wait for her boyfriend in colorful gowns and she ends up dancing with other guys. Buzzy takes control of Edwin's body to imitate a Russian going into sneezing fits over flowers at the nightclub in "Otchi Tchorniya," but it's Edwin who gets into the spirit of his big opera number in full Renaissance dress with real-life diva Alice Mock.

Trivia: Vera-Ellen's first film.

Fans of the East Side Kids and Bowery Boys comedies may recognize the sailor who punches Edwin after he thinks he's flirting with his girl. It's Huntz Hall, aka Satch, appearing in his only color film. 

What I Don't Like: Obviously, if you're not into Kaye's brand of manic comedy, this isn't for you. Vera-Ellen does get in on one big number and has another to herself, but Virginia Mayo could have been given more to do than fuss over Edwin standing her up. The songs aren't that great, and none of them really have much to do with anything, other than the opera spoof keeping Edwin away from the gangsters in the end. 

The Big Finale: One of Kaye's better Goldwyn vehicles if you're a fan of his or the two leading ladies.

Home Media: On DVD as part of the Danny Kaye: The Goldwyn Years set from Warner Archives; can also be found on streaming. 

DVD - Danny Kaye: The Goldwyn Years

Amazon Prime

Family Fun Saturday - Heidi (1937)

20th Century Fox, 1937

Starring Shirley Temple, Jean Hersholt, Marcia Mae Jones, and Arthur Treacher

Directed by Allan Dwan

Music by Lew Pollack and others; Lyrics by Sidney D. Mitchell and others

This is one of eight adaptations of classic children's literature Temple appeared in, and possibly the most popular. It's also one of the most typical, and is often the movie people think of when she comes to mind. Swiss writer Joanna Spyri's tale of the little orphan who comes to the Alps to live with her grandfather has been made into a movie many times. We've already seen it once on this blog, in an animated version from Hanna-Barbara in the early 80's. How does this live-action retelling compare? Let's begin with Aunt Dede (Mady Christiens) as she brings little Heidi (Temple) to her grandfather's remote cabin in the Alps and see...

The Story: Grandfather (Hersholt) isn't popular among the people in the tiny Swiss village below his cabin. The people fear him after he turned away his son for marrying a woman he didn't approve of. Heidi is the result of that union...and indeed, he resents her at first. She finally wins him and everyone else in the town over with her sweet and bubbly personality. Grandfather even comes down to the village church for the first time in a decade.

Aunt Dede returns to sweep Heidi away to the German town of Frankfurt, where she's to be a companion for crippled Klara Seseman (Marcia Mae Jones). Klara thinks she's adorable, but her nanny Frouline Rottenmeyer (Mary Nash) wishes she'd stop encouraging Klara to recover faster. Rottenmeyer's worried she'll lose her job if her charge can walk. Heidi, for her part, only wants to return to her grandfather and her beloved mountain home by any means possible.

The Song and Dance: To be honest, this is more of a melodrama than a musical, but there's still some nice performances. Jean Hersholt is a delightfully gruff Grandfather and plays very well off Temple's darling Heidi, especially when they're in the Alps during the first half. Jones did so well playing Klara, she actually got letters from real disabled children who appreciated her performance. Marsh makes a nice hissable Rottenmeyer who lives up to her name, and Arthur Treacher has a few good moments as the Sesemans' stuffy butler Andrews.

Favorite Number: Heidi has a dream sequence when Grandfather reads her the story of a little Dutch girl as she imagines herself surrounded by children "In My Little Wooden Shoes," and then as a grown-up lady at a fancy costume ball. Everyone in the village - including Heidi - is surprised when Grandfather joins them at the church for the hymn "Holy God, We Praise Thy Name." 

What I Don't Like: The first half is a relatively faithful version of the original novel, with a few condensed characters and situations. It's the finale where things go off the rails. The big finale, with Heidi being dragged off in the snow by Rottemeyer while her grandfather is in prison, is way too melodramatic for the mostly comic story that came before it. Even if it does end happily, it's still too much. Klara doesn't really get to meet most of the mountain people, and we don't get to see her walk for long, either. 

Like Heidi's Song, this does feature a pair of somewhat out of place young lovers in the minister and schoolteacher. At least here, they are based on characters from the book and have slightly more to do. The minister hears Grandfather's backstory from the blind grandmother (Helen Wesley), and they parrot the villagers' opinions when they try to get Heidi to attend school.

The Big Finale: Not my favorite Temple movie, but there's enough to recommend, especially in the less-overwrought first half, for families or fans of hers or the book.

Home Media: Easy to find on DVD and streaming.

DVD

Amazon Prime