Animation Celebration Saturday - Frosty's Winter Wonderland

Rankin-Bass/ABC, 1976

Voices of Jackie Vernon, Shelley Winters, Andy Griffith, and Dennis Day

Directed by Arthur Rankin Jr. and Jules Bass

Music and Lyrics by various

For the next three Saturdays, we'll be looking at vintage winter and Valentine's Day specials from the 70's, 80's, and 90's, starting with this lesser-known sequel from Rankin-Bass. The original Frosty the Snowman was one of their bigger hits in the late 60's, so it was likely inevitable that they would want to follow that up. They got the folksy Griffith to replace original narrator Jimmy Durante, who had a stroke a few years before and had retired, and concocted a story that gave Frosty a wife and a slightly more likely villain than an annoying and rather silly magician. How does all of this look today? Let's begin with Griffith and the kids as they try to build a snowman who'll come to life like Frosty and find out...

The Story: Frosty (Vernon) is glad to be back with the kids, but he's lonely when they're not playing with him. Since he can't go inside with them, they make him a wife to be his friend and partner. Trouble is, they can't figure out what will make her "all livin'" at first. Meanwhile, Jack Frost (Paul Frees) is jealous that the kids associate Frosty with winter more than they do him. He tries to blow Frosty's magic hat away, but gets a substitute. Frosty is the one who finally figures out what will bring Crystal (Winters) to life...and she saves him in turn after Frost returns and does get his hat. Frosty and Crystal want to be married, but they end up needing a snow priest (Day) to do the job. 

The Animation: As a later Rankin-Bass special, this absolutely shows the hand of Paul Coker Jr. It's much more rounded and anime-like than the original special (as per its Japanese origins), and definitely looks like it was designed by the man who would later do artwork for MAD Magazine. 

The Song and Dance: Vernon and Winters make an adorable couple in one of the better Rankin-Bass specials of the 70's. This is one of the few times the weirdness that marks their later efforts really works. Winters' crusty demeanor compliments Vernon's innocent cheerfulness well, and Frees makes a perfect impish Jack. I also like that this may be the only Rankin-Bass special that doesn't needlessly attempt to tie a holiday in. It doesn't mention Christmas, Valentine's Day, or even Groundhog's Day. It's just about the wonders of winter, making it perfect to watch during the colder months when other Rankin-Bass specials are sitting on the shelf. 

The Numbers: Griffith performs "Frosty the Snowman" in the opening as the kids build their new wintry friend and wish for Frosty's return. They sing it again when they're out skating and sledding with Frosty and realize that Frosty really isn't very good at counting. Day and Griffith share "Winter Wonderland" later on, during Frosty and Crystal's wedding. It really is very sweet, with the animals carrying Crystal's train and the snowman that no one has to pretend is Parson Brown.

What I Don't Like: Er, what is this a sequel to again? There's no mention of Karen, the little girl from the first special, though they do continue the running gag with the kid wrapped in that huge scarf and his weird snow people names and the cop who swallows his whistle at the sight of the snow people. While this does make more sense than such late 70's and 80's Rankin-Bass specials as The Leprechaun's Christmas Gold or Rudolph and Frosty's Christmas In July, it's still a little strange. The kids make Frosty a wife, and Jack Frost is jealous because they aren't paying attention? Sometimes I wonder what the writers at Rankin-Bass were on in the 70's and early 80's. 

The Big Finale: One of the better Rankin-Bass specials from the mid-late 70's deserves a look during the winter months for its unique story and charming performances.

Home Media: Easily found on DVD and streaming.

DVD

DVD - Frosty the Snowman/Frosty's Winter Wonderland

Amazon Prime

Family Fun Saturday - Geppetto

ABC/Disney, 2000

Starring Drew Carey, Julie Louis-Dreyfus, Brett Spiner, and Seth Adkins

Directed by Tom Moore

Music and Lyrics by Steven Schwartz

We're staying with TV films this weekend, but skipping ahead a decade and a half to the turn of the new millennium. ABC had successfully relaunched its Wonderful World of Disney in 1997 with Rodgers and Hammerstein's Cinderella. After it's 1999 version of Annie was also a hit, Disney stuck closer to home for its next big show. Drew Carey's self-titled sitcom was right in the middle of its almost 10-year run on ABC in 2000. Between his sitcom and his stint hosting the improv show Who's Line Is It Anyway, Carey was one of the most popular comedians on TV as the calendar changed to the 2000's. Louis-Dreyfus was almost as popular, coming off the run of the phenomenally beloved Seinfeld. Disney threw them both into their next TV musical, switching Pinocchio to focus on his woodcarver father and the Blue Fairy. Does this work, or should it be swallowed by a whale? Let's begin with the title character (Carey) as all of the children in town rush to his store to buy new toys, and find out...

The Story: Geppetto is tired of seeing children with scolding parents, thinking that he'd be the perfect father. He gets a chance to learn how hard it is to be a parent when the Blue Fairy (Louis-Dreyfus) makes his puppet Pinocchio (Adkins) come to life. Pinocchio is lively and funny, but he's also a bundle of questions when he should be sleeping, wanders off downtown, and isn't interested in woodcarving like his father. Geppetto sends his new son to school, only for him to come home admitting he got into a fight after imitating the other boys. Geppetto is furious with his son and with the Blue Fairy, who points out that no child or parent is perfect. 

By the time he's willing to listen, Pinocchio has run away with Stromboli (Spiner) and his puppet show. When Geppetto goes to see the show, Stromboli tells him his son went to see the world. What Pinocchio really did was board a carriage to Pleasure Island. Geppetto goes after him, encountering an inept magician (Wayne Brady) and a town filled with perfect, obedient children made by Professor Bunoragazzo (Rene Auberjononis). He and Stromboli arrive at Pleasure Island almost at the same time, but they're both thrown out for being adults. When Pinocchio and the other boys at the Island turn into donkeys, Geppetto follows him in a boat. He's swallowed by a whale, only to be reunited with a repentant Pinocchio. It then that they finally realize that being a parent means loving your child even when they're at their worst, and that the best any parent can do is help their child grow.

The Song and Dance: It's the song and dance, along with a relatively lavish production for a TV musical in 2000, that are the stand-outs. Some of the songs in Steven Schwartz's score aren't bad. I especially like "Satisfaction Guaranteed" for Professor Bunoragazzo and the townspeople and Geppetto and the Blue Fairy's counterpoint duet "Just Because It's Magic." Wayne Brady is hilarious in his sequence with Carey as the lousy magician, and Spiner makes for a funny and scary Stromboli. At the very least, this is better than the  live-action remake that focused on Pinocchio in 2022. 

The Numbers: We open with Carey singing "Once Upon a Time" as the traditional Disney Storybook opens. The first big chorus number is "Toys," as the kids in the town beg for Geppetto's wares, and Geppetto wishes he had a child of his own. "Empty Heart" is his lonely lament that he's never been blessed with a son. He's thrilled to be "Geppetto and Son," until Pinocchio constantly wanders off while he introduces him to the townspeople. The Blue Fairy tries to explain that "Just Because It's Magic" doesn't mean it guarantees a happy ending. We hear "I've Got No Strings" from the original film as Pinocchio dances with Stromboli's puppets. Stromboli's more likely to cheer himself in "Bravo Stromboli!" 

Lezamo the magician reprises "Toys" with Geppetto, reminding him that he's beloved by other children. Professor Bunoragazzo, his son (Christopher Marquette), and the townspeople of Idylla insist that they can deliver a perfect child "Satisfaction Guaranteed" in a huge chorus number, but Geppetto finds those so-called "perfect" children more creepy than delightful. Usher Raymond (aka Usher) is the "Pleasure Island" ringleader who encourages the boys there to break away from their parents' rules and do whatever they want. Geppetto reprises "Geppetto and Son" when Pinocchio finds him in the whale. He tells Stromboli he'll give him his business or anything he wants. He doesn't need anything "Since I Gave My Heart Away." This is also heard over the credits, performed by singer Sonya Issacs.

What I Don't Like: First and foremost, Carey and Louis-Dreyfus are too modern and goofy to work as a resident of fairy-tale Italy in the late 1800's and a magical fairy. Carey fully admitted he was miscast and that making this wasn't a happy affair. You don't buy him as a concerned father who just wants his son to listen. And...frankly, Geppetto's story isn't all that interesting. Some of the sequences, like the creepy "Satisfaction Guaranteed" town, have their moments, but it doesn't add up to much of a whole. You really wish they'd just done a live-action remake of Pinocchio 22 years early and focused on the character who actually does the growing up and makes the journey. 

The Big Finale: While it is better than the 2022 Pinocchio remake, considering how bad that was, that's not saying much. Unless you're a huge fan of Carey, Brady, or Louis-Dreyfus, you're better off just watching the original animated film on DVD or Disney Plus again.

Home Media: Disney is all too aware of the negative reception this one got. At press time, this is DVD only.

DVD

Merry Christmas! - The Christmas Toy

ABC, 1986

Voices of Dave Golez, Steve Whitmire, Kathryn Mullen, and Brian Henson

Directed by Eric Till

Music and Lyrics by Jeff Moss

This year, we celebrate Christmas and New Year's with the Muppets in two very different lesser-known Muppet and Sesame Street specials. The Christmas Toy was Jim Henson's second shot at a holiday special after the more subdued Emmett Otter's Jug Band Christmas on cable. Christmas Toy goes in the opposite direction, with a more traditional holiday story in bright primaries revolving around toys and holiday friendship. How does this Muppet toy story look now, after other animated tales of playthings have come and gone? Let's begin with Kermit the Frog dressed as Santa goes down the chimney and introduces us to the Jones family and the residents of the playroom and find out...

The Story: Rugby Tiger (Golez) is little Jamie's (Marsha Moreau) favorite toy that she got for Christmas last year. When he hears it's Christmas Eve, he thinks he'll be opened and found by Jamie again. Trouble is, if toys are found out of place, they're frozen permanently. Rugby and Mew the Cat Toy (Whitmire) go downstairs to climb into a box so Jamie can open him, but it's not that easy. Jamie does have a new big toy this year, Meteora the Space Queen (Camille Bonora), who thinks they're aliens. Meanwhile, Apple the Rag Doll (Mullen) convinces Cruiser the Cab Driver (Henson), Belmont the nervous ride-on horse (Richard Hunt), and Bleep the Robot (Rob Mills) to help her rescue Rugby and keep him from getting them all frozen. Rugby ends up learning a lesson in real friendship when Mew not only helps him convince Meteora to get back in the box, but sacrifices himself to save the others, too.

The Song and Dance: This charming special is faster-paced and more high-energy than Emmett Otter, but just as much fun. Golez revels in playing the hilariously egotistical Rugby, who thinks that just because he's Jessie's favorite toy means he'll stay that way forever. Whitmire is adorable as Mew, who remains a loyal friend despite Rugby insulting him about being a cat toy. The songs are really catchy too, with "Try the Impossible" and the heartbreaking "Together at Christmas" the standouts. I love the bright color palate on the toys, the deep blacks and glittering silvers and golds of Meteora and the tree in the living room, and some of the gags, especially when they try to get Meteora back in the box!

The Numbers: We open with a big chorus routine for the toys, as we're introduced to their world in the play room and how "Toys Love to Play." "I Was the Greatest Christmas Toy" is Rugby's recollection of the year before and how it made him feel like a big star. Apple reprises it briefly in the living room when she remembers it, too...but she felt left out when Jamie said Rugby was now her favorite. Apple tells Belmont and the other toys to "Try the Impossible" as she rounds up a posse to rescue Rugby and Mew. Rugby coaxes Metora back into the box by singing "The Song of Meteora," telling her how much she'll be adored the next day. Mew already adores her and occasionally adds his besotted asides. "Together at Christmas" is Rugby's sad song to Mew downstairs after he's been frozen. Kermit the Frog joins the toys to reprise it for the finale in the play room.

Trivia: This would be spun off into a series in the 90's, The Secret Life of Toys. 

The copy currently on DVD deletes the opening and closing intros with Kermit the Frog. (Fortunately, most streaming copies are uncut and retain Kermit.) 

What I Don't Like: The story itself is nothing new, and is even less original after all of the Toy Story films have come and gone. In fact, this has a lot in common with the Toy Story movies, including a space-themed protagonist who doesn't believe they're a toy, a favorite toy who is jealous of the space toy, and the general idea of toys coming to life. The special mostly focuses on Rugby, Mew, and their relationship, with a little of Apple and Belmont in the rescue sequence. I'd love to learn more about the other toys, especially wise old teddy Balthazar (Jerry Nelson), super-cool Cruiser, and the fashion doll who, in a running gag, keeps missing all the action because she's constantly changing clothes to fit the mood. 

The Big Finale: A charming special with some great songs and delightful characters that's well worth checking out with your kids this holiday weekend, especially if any of them are big Toy Story or Muppet Show fans. 

Home Media: The DVD is currently expensive, and as mentioned, is missing the opening and closing segments with Kermit anyway. You're better off looking for this one on streaming. 

DVD

Amazon Prime

Family Fun Saturday - Bye Bye Birdie (1995)

ABC, 1995

Starring Jason Alexander, Vanessa Williams, George Wendt, and Chynna Phillips

Directed by Gene Saks

Music by Charles Strouse; Lyrics by Lee Adams

Let's head back to the US for this remake of the 1963 movie. Though it did fairly well at the time and it certainly wasn't bad, it had a lot of problems, including deleting five songs and the two leading ladies being miscast. As in the Broadway show, they went with stage veterans who also knew their way around TV. How well does the story of how a rock star on his way to the army and his entourage descend on a typical small town work in a very different time period? Let's begin with those screaming fans of Conrad Birdie (Marc Kudish) and find out...

The Story: Albert Peterson (Alexander), Birdie's manager and songwriter, is trying to figure out how to deal with Birdie being drafted into the army. His long-time girlfriend Rose Alverez (Williams) would rather he gave up managing to marry her and be an English teacher, but Albert is under the thumb of his formidable mother and partner Mae (Tyne Daly). Mae sees him and Birdie as her meal ticket and threatens to kill herself every time he even remotely considers leaving show business or marrying Rose. 

Rose comes up with the idea of Birdie kissing one typical fan on The Ed Sullivan Show as a farewell publicity stunt. The girl she chooses is Kim McAffee (Phillips), a normal energetic teenage girl in Sweet Apple, Ohio. She adores Birdie, sure, but she also loves her boyfriend Hugo Peabody (Jason Gaffney). Neither Hugo nor Kim's gruff father Harry (Wendt) are thrilled with the chaos that invades their home or with Birdie's screaming fans awakening them at all hours, until Harry finds out they're going to be on television. 

Rose, however, is fed up with everything, including Mae when she turns up whining and begging her son to come back to New York. She lets Hugo hit Conrad on national television before Kim gets her kiss. Now Kim's furious with Hugo, and Conrad is bored stiff and tired of girls watching his every move. His insistence on taking Kim out for some fun and Rose's on going out on the town ends with all of the parents in Sweet Apple literally up in arms and Hugo and Albert learning how important their ladies are to them.

The Song and Dance: This time, it's the supporting cast and an impressive production for a 90's TV musical that really shines. Williams is a delight as the strong-willed Rosie, who may love Albert, but sure as heck won't let his obnoxious mother bully her. Her Shriner's Ballet, with Rose letting out her inhibitions at a local bar, is a highlight. Wendt has a few good moments as the frustrated Harry, especially early-on when he can't even read his newspaper without either Albert or Conrad's entourage interfering. Broadway star Kudisch projects so much heat as Conrad, you can totally understand why the girls are so crazy about him. The period-accurate costumes and colorful sets representing typical small-town America in 1959 are truly well-done, from Rose's dresses to Mae's fluffy furs and the pastel poodle skirts on the teenagers. I also appreciate that this comes a lot closer to the original Broadway show, without the silly subplot with Albert being a chemist that cluttered up the second half of the 1963 film. 

The Numbers: We open with the title song over footage of Conrad's many screaming fans. It's heard later at the soda shop when four of the girls lament losing their idol. At their office in New York, Rosie tries to convince Albert that he's better off being "An English Teacher." The Sweet Apple teens crowd around two telephone booths to tell each other the latest gossip about Hugo and Kim in "The Telephone Hour." "How Lovely to Be a Woman" introduces Kim, dressing for a day out with her friends in boy's clothes despite talking about dressing up in the song. Albert encourages a despondent Birdie fan to "Put On a Happy Face" in Penn Station before he leaves for New York.

Hugo is furious when he discovers his steady girl is going to kiss a rock star on national television. Kim and her friends placate him by saying there's only "One Boy" for her. Albert and Rosie give very different versions of Conrad's background as "A Healthy, Normal American Boy" when they're about to leave for Sweet Apple. They drag out his fans to sing whenever the questions get too probing. The brief "Let's Settle Down" has Rosie impressed with small-town Ohio life and hoping she and Albert can have that for themselves. Conrad claims he's "Honestly Sincere" on his arrival in Sweet Apple, which causes just about everyone in town to faint at his charms. 

Harry is finally won over by a "Hymn for a Sunday Evening" and the chance to be on national television. "One Last Kiss" is Conrad's big TV song, complete with the McAfee's in patriotic costumes and other Sweet Apple officials singing the chorus. Furious with their men, Rosie and Kim insist "What Did I Ever See In Him?" and go out for a night on the town. Conrad's pretty fed up, too, and tells Kim he has "A Lot of Livin' To Do." The McAfees wonder where they went wrong with the current generation in the ragtime lament "Kids." Rosie becomes the "Spanish Rose" Mrs. Peterson thinks she is as she sasses a bartender and dances with Shriners. The barflies become the chorus as Albert tries to get Rose to "Talk to Me" over the phone. "A Mother Doesn't Matter Anymore" wails Mae when Albert insists on dissolving their firm. Albert tells Rosie he's thrilled to have taken "A Giant Step" at the ice house and dances with his "Rosie" at the train station after he's gotten his mother and Conrad out of their lives for good.

Trivia: "A Mother Doesn't Matter Anymore" had apparently been written for the original 1960 Broadway production, but was dropped because Kay Medford wasn't a singer. It was reinstated to give Tyne Daly, who has sung on Broadway, more to do. "Let's Settle Down" and Albert's "What Did I Ever See In Her?" were written for the TV version. "A Giant Step" was written for a 1990 US tour. The title song originally turned up in the first film version and has been used in most productions of Bye Bye Birdie since. 

"What Did I Ever See In Him," "Spanish Rose," "A Healthy, Normal American Boy," "Talk to Me," "An English Teacher," and the original music for the Shriners' Ballet were dropped from the 1963 version. Rose's fantasy ballet on what she'd do to Albert if she could, "One Hundred Ways to Kill a Man," is the only number to have been omitted from both screen and TV versions. (To be fair, it's usually cut from most stage versions nowadays as well, including the 2009 Broadway revival.) 

NBC kept announcing a live version of Bye Bye Birdie with Jennifer Lopez, but it was finally canceled in favor of Dr. Seuss's The Grinch in 2020.

What I Don't Like: First of all, while Chyanna Phillips certainly looks more like a normal small-town woman than sensual Ann-Margaret, she's still no teenager. In fact, all of the so-called "teens" are obviously way too old for their roles and for screaming over rock idols. Stage and TV vets Daly and Alexander overdo their roles; Alexander in particular is a wonderful singer, but he's not really a leading man type. Daly's Mae is obnoxious to the point of nearly being unbearable. Vanessa Williams is African-American/Native American, not Hispanic. 

In fact, we have the opposite problem from the 1963 film, which mainly focused on Kim, her father, and Albert. Here, it's Albert who is miscast. Wendt's funny when we see him, but he doesn't really have enough to do, especially in the first half. And yes, there's a reason I'm not a huge fan of this show in general. While some of it (like it's interracial main couple) may actually have been ahead of its time, other aspects of this show haven't dated well. Though The Ed Sullivan Show is slightly more visible on streaming than it would have been on TV in 1995, it and other similar variety programs of the 50's and 60's still aren't that well-remembered by families, let alone adored enough to have a whole number around it. There's also Rose's obsession with getting Albert to settle down, which may come off as annoying or too needy nowadays. 

The Big Finale: Honestly, if you took the best parts of this and the best parts of the original 1963 film, you might get one good version of Bye Bye Birdie. As it stands, I did enjoy this one slightly more than the original film for its decent cast and fidelity to the stage show. If you love big, bold 60's musicals or the cast, you might want to give this "one last kiss" a look.

Home Media: Easily found on DVD and streaming, the latter often for free with commercials.

DVD

Tubi

Musicals On TV - Double Platinum

ABC, 1999

Starring Diana Ross, Brandy, Christine Ebersole, and Brian Stokes Mitchell

Directed by Robert Allen Ackerman

Music and Lyrics by various

We transition from Black History Month to Women's History Month this week with two TV movies featuring black actresses and singers. Ross mostly stayed away from films since The Wiz flopped in 1978, while Brandy Norwood was an up-and-coming R&B star who had a smash success in the lavish ABC version of Rodgers and Hammerstein's Cinderella two years before. Ross finally returned to films with this soap soul drama that paired her and Brandy as a mother who tries to direct the career of the daughter she'd abandoned years before. How does all this look now? Let's begin in 1981, as a music executive tells aspiring singer Olivia King (Ross) that she might have a job waiting for her in New York and find out...

The Story: Olivia's husband Adam (Mitchell) is totally against her having a music career, so she leaves in the middle of the night, vowing to return for their daughter Kayla. 19 years later, Kayla (Brandy) is now an aspiring singer who admires Olivia King. She's thrilled when she wins a contest to see her idol in concert and enjoy a night out with her. She's so thrilled, she invites Olivia to see her perform in a local club. Adam's not as happy with Olivia's attempt to get back into their daughter's life...and neither is Kayla when she learns the truth. 

Olivia finally convinces Kaya to join her in New York. She introduces her daughter to everyone she knows in the music industry, finally getting her signed to a recording contract. Olivia wants to be in her daughter's life, but her attempts to direct Kayla's career drives her into the arms of handsome older music executive Rick Ortega (Allen Payne). Kayla's bitterness towards her mother boils over at a Grammy party and during a concert where her mother's performance steals her thunder. She moves in with Ric, just as the press gets word of her true parentage. Olivia flees to a cabin to avoid the scandal, followed by Kayla when she learns Ric's true colors. Mother and daughter have a lot of talking to do, but they finally come to realize just how much they have in common.

The Song and Dance: Ross and Brandy are backed by a terrific cast of stage actors, some of them making rare TV appearances. Mitchell plays off both well as the concerned father who worries he's losing both his ladies. Payne makes a suitably smarmy record executive who thinks he's the one in charge of Kayla's career. Some of the music isn't bad, either, including a decent "He Lives In You" from The Lion King. Ackerman specialized in TV movies revolving around strong women - he went on to do the Emmy-winning miniseries Life With Judy Garland: Me and My Shadows two years later - and that shows in performances he coaxes out of Ross in particular. 

The Numbers: The film opens with Olivia singing "Back In Love With Me Again" at the lounge in 1981. Nineteen years later, she belts "He Lives In You" from The Lion King II at the concert Kayla wins tickets to.  Kayla's first number is the sultry "Almost Doesn't Count" at the club. She sees her mother sing "Someone That You Loved Before" at another concert, but she's not as happy to agree to join her backstage. The mellow R&B ballad "Have You Ever?" is the first song Kayla records after she gets that contract, and she's good enough to impress the producer (Harvey Firnstein). Olivia records her own sultry ballad, "Until We Meet Again." "Happy" is Kayla's number at her first major concert; "Carry On" is the upbeat dance number Olivia grooves to that upstages her. They finally come together in the finale for "Love Is All That Matters."

What I Don't Like: This is pretty obviously a TV movie that was shot in 20 days. The costumes are relatively lavish, especially Ross' sequined gowns, but the sets are minimal. The story is a huge pile of cliches that finally collapse onto themselves around the time Kayla suddenly realizes that mothers do know best in this case and Ric is more interested in his career than hers. This isn't for someone who's not into R&B or is looking for more action and less soap opera. The music is basically the two leading ladies bringing whatever they recorded in their last albums, and except for "He Lives In You," isn't terribly memorable.

The Big Finale: Worth checking out for fans of the two leading ladies or late 90's R&B for the songs and performances alone.

Home Media: Easily found on DVD and streaming. The latter is currently free at Tubi with commercials.

DVD

Tubi

Happy Halloween! - The Midnight Hour

ABC, 1985

Starring Lee Montgomery, Jonna Lee, Shari Belafonte, and Peter DeLuise

Directed by Jack Bender

Music and Lyrics by various

We remain in the mid-80's on this warm Halloween night with another 80's spoof of 50's and 60's cliches. We move the festivities to television, once again with bored teens out for kicks...but this time, their seemingly harmless antics don't merely dredge up a few well-meaning aliens and a crazed killer. These kids somehow manage to bring no less than the living dead out for some Halloween thrills...but we also have proof that the undead isn't always so scary when one of the living kids falls for a beauty from the 50's who is far from what she seems. How does this bloody romance look nowadays? Let's begin with one little boy preparing his bike and his costume for trick-or-treat and find out...

The Story: Hoping to find really cool Halloween costumes for a big party, high school kids Phil (Montgomery), Melissa (Belafonte), Mary (Deedee Pfiffer), Vinnie (LeVar Burton), and Mitch (DeLuise) steal their ancestor's clothes from the local history museum, along with an old chest containing a ring and a parchment scroll sealed in wax. They don't think it's a big deal to recite the words of the scroll at the local cemetary...until suddenly, the undead come to life and start lumbering around their New England town. Led by Melissa's witch ancestor Lucinda (Jonnelle Allen), they turn almost everyone into town into vampires and zombies. 

Phil is the only person in town who avoids this fate. He spends the night with Sandy (Lee), a pretty, sweet girl in a 50's cheerleader outfit whom he finds wandering around, wondering why everything looks so different. Sandy is the one who realizes that they must find the bones of Mitch's ancestor and seal the scroll, before the vampires make Phil into one of them as well. 

The Song and Dance: When the movie puts the spotlight on Sandy and Phil and their feelings for one another, it's actually kind of sweet. Montgomery and Lee have chemistry, and Lee being a 50's cheerleader instead of a lumbering zombie like some of the other creatures in this movie is unique for a horror film. I also appreciate the diverse cast, with Belafonte and Allen coming off best as the teen girl whose insistence on reading the scroll inadvertently brings in her spooky ancestress. Some of the costumes aren't bad either, including the ones they stole from the museum, Sandy's cheerleader outfit, and the very 80's outfits at the masquerade party. Killer soundtrack too, especially if you're a classic rock fan.

The Numbers: Sam the Sham and the Pharaoh's spooky hit "Little Red Riding Hood" is our first number, as a zombie wanders around town in time to the music. His "costume" is so good, no one gives him two glances, even Phil when he almost runs him over. "Clap for the Wolfman" by the Guess Who plays as Vinnie tries to get Melissa to dance with him and Phil attempts to ask Mary to join him, neither with much success. Mitch finally gets their substitute teacher to dance with him to a remake of "Sea of Love" by Phil Phillips. Bobby Vee's "Devil or Angel" accompanies Phil and Sandy as they dance in front of the mall that stands when the malt shop Sandy once hung out at used to be. Melissa turns the only original song "Get Dead" into a huge dance number with the zombified kids at the party.

Trivia: Listen for DJ Wolfman Jack in vocal cameos throughout the film, including one last request from Sandy in the finale. 

What I Don't Like: Uh...did I mention this is a made-for-TV movie from 1985? At times, it's even more confused about its genre than Voyage of the Rock Aliens was. It can't decide if it wants to be a satire of teen horror flicks, an actual teen zombie horror flick with blood and gore and everyone attacking each other, or a touching supernatural romance. I wish they'd focused even more on Sandy and Phil's relationship. You don't really learn much about Sandy, other than she realizes her time is running out. They could have at least mentioned how she died so young...and didn't come back as a zombie or a vampire like the rest of the town. 

There's also Phil's so-called friends being smarmy, obnoxious brats whose instance on stealing from a museum started all the trouble in the first place. Not to mention, they think of the most ridiculous excuse to get them and the costumes into a cemetery. They couldn't have tried them on anywhere else, especially on Halloween? The sets and special effects are pretty chintzy, too. 

The Big Finale: Critics came down pretty hard on this in 1985, and while it's far from the best horror comedy ever, it's certainly more palatable than Voyage of the Rock Aliens. Worth checking out at least once during your Halloween party, especially if you have actual teens around. 

Home Media: Out of print on DVD for years. Your best best at the moment would be YouTube. 

YouTube

Musicals On TV - The Canterville Ghost (1966)

ABC, 1966

Starring Sir Michael Redgrave, Tippy Walker, Peter Noone, and Douglas Fairbanks Jr.

Directed by John Robins

Music by Jerry Bock; Lyrics by Sheldon Harnick

The Oscar Wilde short story The Canterville Ghost has been adapted for television almost since the medium began, but this was the first musical version. ABC Stage 67 was their attempt to revive the anthology format that had been so successful in the 50's. It didn't take, but the show did produce four hour-long musicals. We've already seen one, the supremely strange Stephen Sondheim horror show Evening Primrose. Is this one just as good...and weird? Let's begin with Lord Canterville showing Mr. Otis (Fairbanks Jr.), the American ambassador, and his wife (Natalie Schafer) and children a beautiful old English manor and find out...

The Story: When Mr. Otis buys Canterville Manor, he also picks up a genuine ghost. Sir Simon Canterville (Redgrave) has haunted the halls for four hundred years, and is very upset when Mr. and Mrs. Otis and their sons Matthew (Mark Colleano) and Mark (David Charkham) refuse to believe in him. Their daughter Virginia (Walker) and her sweetheart Duke David of Cheshire (Noone) do believe, and she's genuinely concerned about the ghost. Sir Simon first tries to scare them away...but then Virginia discovers his hiding place and why he's haunted the house for so long...

The Song and Dance: Surprisingly sweet comedy actually does a really good job updating the original short story. It's actually pretty accurate, other than adding Noone as Virginia's laid-back nobleman boyfriend to sing ballads. Redgrave gives Sir Simon a great deal of gravity and even a note of humor that makes you understand why Virginia finds him so fascinating. The Harnick-Bock score is really cute, too, including the three parodies of TV jingles (which, amazingly enough, also come from the original book). Love the filming in a real British manor house, too. Thank goodness the color exists for this one, as it's exquisite, with the bright colors of the Otis' mid-60's wardrobes contrasting with the gray castle and Sir Simon's wispy pastels and grays. 

The Numbers: The opening number "Canterville Hall" sets up the premise as the servants explain the legend of the Hall and the ghosts to the Otises. Mrs. Otis doesn't take the stain that keeps reappearing seriously. A little "Undertow" cleaner will remove that. "I Worry" is Virginia's song as she admits that she's concerned about pretty much everything that goes on around her, while David reminds her that she won't get a kiss from him "If You Never Try." 

"Rattletrap" is another singing ad, this time from Mr. Otis as he oils a squeaking door. Sir Simon is more interested in getting "Vengeance" against this tacky and non-believing family. All David can tell Virginia when she asks for him to talk romance to her is "You're Super." "Overhead" is another jingle parody, this time from Virginia. The lovely "Peace" is the writing on the tomb of Sir Simon's wife, which they sing together.

What I Don't Like: This is pretty typical of TV programs at the time. Noone was clearly added for the teen market, as his role is basically to sing ballads with the daughter and not do much else. Wispy Walker is a bit spacey as the teen who actually does believe in Sir Simon. As a TV production, some of the special effects, particularly the ghost moving around, can occasionally look chintzy. 

The Big Finale: Charming horror comedy features terrific music and a lovely performance by Redgrave and definitely deserves to be better-known.

Home Media: To my knowledge, the only way to see this one is on YouTube and the Internet Archive. The YouTube version comes complete with the original commercials for Singer sewing machines and Burlington Industries.

YouTube

Internet Archive

Musicals On TV - Alice In Wonderland (Or What's a Nice Girl Like You Doing In a Place Like This?)

ABC, 1966

Voices of Janet Waldo, Allan Melvin, Howard Morris, and Daws Butler

Directed by Alex Lovy

Music by Charles Strouse; Lyrics by Lee Adams

Though Hanna-Barbara is mainly known nowadays for their shorts and TV shows revolving around goofy animal characters like Yogi Bear or for sitcoms like The Flintstones, they made a far wider variety of programming than comedies and funny animal cartoons. This is one of their lesser-known ones, a take on Alice In Wonderland with an all-star cast and music by Broadway vets Strouse and Adams. How does this very modern Alice's travels through Wonderland look today? Let's begin with Alice (Waldo) outside, playing with her dog Fluff (Don Messick), as her father (Melvin) calls her inside to do homework and find out...

The Story: Alice would rather be playing with Fluff, but when she throws the ball one last time, Fluff follows it into the TV set. Alice jumps in after him and finds herself in a very unique Wonderland, populated with two-headed cave-caterpillars (Mel Blanc and Alan Reed), glamorous Hungarian Queens of Hearts (Zsa Zsa Gabor), and scatting hipster Cheshire Cats (Sammy Davis Jr.). All Alice wants is to find Fluff and get home, but the White Rabbit (Morris) is too obsessed with games to help her, the White Knight (Bill Dana) is too shy, and the Mad Hatter (Harvey Korman) and March Hare (Daws Butler) too involved with hats and tea to be of much use. Alice first has to deal with being on trial for her life after the Queen lies about her taking tarts, and then escaping prison with the help of Humpty Dumpty (Melvin).

The Animation: Typical of the Hanna-Barbara cartoons in the 60's, it doesn't really look so hot nowadays. There's some minor effects with the Cheshire Cat's quick changes and Hedda Hopper and her hats, but it generally looks as cheap as it is. The characters move well enough, but there's little detail on the backgrounds, even in Wonderland. This isn't helped by the washed-out copy currently on YouTube, which makes this look a lot less colorful than it likely was.

The Song and Dance: The music and some funny performances carry the day here. Waldo is a charming and adorable mid-60's Alice, especially dealing with the White Rabbit and his games and point system known only to him. Reed and Blanc are a riot as Fred Flintstone and Barney Rubble, the only familiar characters who appear, as a two-headed caterpillar singing "They'll Never Split Us Up." Charles and Adams created a decent score, too, with the opening number "Life's a Game" also standing out. 

I also appreciate the relative fidelity to the story. This is one of the few Alice adaptations that limits additions from its sequel Through the Looking Glass to Humpty Dumpty showing up at the very end in prison. Otherwise, it's a pretty decent condensed, modernized version of the first book. 

Favorite Number: We open with that "Life's a Game" number, as the White Rabbit explains to Alice why he treats everything like a game, including finding Fluff. Sammy Davis Jr. sings "What's a Nice Girl Like You Doing In a Place Like This?" as he separates into two, disappears, and appears again. Two-headed caterpillar Fred and Barney do their vaudeville hat and cane routine as they explain to Alice why "They'll Never Split Us Apart." Alice tries to show the gloomy White Knight that "Today's a Wonderful Day" as she romps with small animals around a lovely meadow. Hedda Hopper talk-sings about how different and special all her "Hats" are. Alice despairs of ever being able to say "I'm Home" in the end.

Trivia: There's a record retelling of this story, with Scatman Crothers taking over as the Cheshire Cat, Don Messick as the White Rabbit, Mel Blanc as the March Hare, Daws Butler as the Mad Hatter, Henry Cordon as Fred Flintstone, and Janet Waldo as the Queen of Hearts along with Alice. Apparently there was a one-sided soundtrack with the original cast as well, sold in limited quantities at the drug store chain Rexall that sponsored the show.

What I Don't Like: You can't get much more mid-60's than this. This was likely supposed to be a spoof of TV in 1966, with voices by familiar celebrities of the time...but it's dated rather badly. Of the celebrities and voice actors heard here, Davis, Korman, and to a degree Gabor are probably the only ones even mildly recognizable to audiences today. Fred and Barney are the only familiar characters, making it all the more ironic that their one number pretty much steals the show. Waldo is the only one who gets anywhere near them. 

The Big Finale: Really cute way to pass an hour if you're a fan of the Flintstones or want to see a really different Alice In Wonderland retelling.

Home Media: Never on disc or streaming, the only place you can currently find this one is in a washed-out copy floating around online that admittedly does include the original animated plugs for Rexall and Coca-Cola. The copy on Dailymotion is better, but lacks the plugs.

YouTube

Dailymotion

Musicals On TV - Cindy (1978)

ABC, 1978

Starring Charlayne Woodard, Scoey Mitchilll, Mae Mercer, and Cleavant Derricks

Directed by William A. Graham

Music and Lyrics by Stan Daniels

Let's celebrate Juneteenth this week with two very different takes on the African-American experience during the mid-late 20th century. Tales of American history were all the rage on TV in the late 70's after the success of mini-series like Roots and Rich Man, Poor Man. Minstrel Man is one result of this increased interest in both African-American history and American history in general. This is another. The World War II setting may also be part of the nostalgia craze of the 70's that had people looking to the recent past to escape the horrors of the present. How does that feed into this unique version of the beloved fairy tale? Let's begin with a narrator flat-out admitting over a more traditional fairy-tale book that this is a modern adaptation as a random jazz quartet starts the opening credits music and find out...

The Story: Cindy (Woodard) has come from the south to live with her daddy (Mitchilll) in 1943 Harlem. She's out of place in the faster pace of the city, and especially with her money-hungry stepmother Sara (Mercer) and snooty stepsisters Olive (Nell Carter) and Venus (Alaina Reed Hall). Her only friend is Michael Simpson (Derricks), the guy who lives on the fire escape over her and is too lazy to join the draft.

Cindy desperately wants to attend the Sugar Hill Ball, but her father can't earn the money for a dress, and her stepmother and stepsisters don't want her there anyway. Michael takes pity on her and loans her a dress he borrowed from the wife of his employer. At the ball, she's swept off her feet by handsome Captain Joe Prince (Clifton Davies), but loses one of her sneakers when she flees because Michael has to get the dress back. Captain Prince is determined to find the girl of his dreams...but even when he does, Cindy realizes when Michael makes the ultimate sacrifice who is really the man for her.

The Song and Dance: Sweet story is anchored by eager Woodard and relaxed Mitchilll as her daddy who fibs about his real status at work to impress her and her stepmother. Hall and Carter are a riot as the tough, man-crazy stepsisters, and Davies has a few funny moments as the princely heroic captain who only need to dance with Cindy to fall in love with her. There's some amusing touches, like the jazz quartet who keep popping up to provide background music and comment on the action, or the montage of the private detective (W. Benson Terry) trying on that sneaker to Fats Waller's "Your Feet's Too Big." The period-perfect costumes and gorgeous ball gowns (including Cindy's head-turning white lace outfit) were nominated for Emmys in 1978. 

Favorite Number: We open with Cindy joining little girls jumping rope on the street with an enthusiastic version of the jump rope chant "One for the Money." It doesn't go so well for her stepsisters when they try. Despite her father telling her that city folks worship far quieter than country folks, Cindy still tears into "Jesus, Lover of My Soul." Her stepsisters claim the "Sugar Hill Ball" is so wonderful, they can't describe it. We get several instrumental swing numbers at the ball as everyone swirls to the music...and then Cindy arrives, and the music becomes everything from slow ballads to tango. 

"Your Feet's Too Big" is the montage as the private detective tries that sneaker on every eligible maiden in Harlem. Cindy's daddy tells his fussy wife that he's been lying about his job, but he's proud to be a "Men's Room Attendant." It amusingly turns into a big chorus number, with guys popping out of stalls to sing along. Joe tells Cindy that you know "When It Happens." Her family encourages her to accept his proposal, but there's someone else Cindy loves more. The movie ends with Cindy admitting that "Love Is the Magic" as she thinks of how happy she is.

What I Don't Like: Other than the "Feet's Too Big" montage, the new songs are period-accurate jazz and showtunes, but otherwise not terribly memorable. Derricks' Michael is well-meaning but a bit dull. There's not much to him other than he won't join the war. I do like the twist about whom Cindy ends up with, but I wish we'd seen a little more of them together before that. And yes, this is a low-budget TV musical from the late 70's. The costumes are lovely, but the sets are mainly cramped rooms, ball rooms, and fire escapes. 

The Big Finale: Like Minstrel Man, this is a charming and enjoyable bit of black TV history that really deserves to be better-known. 

Home Media: Also like Minstrel Man, at press time it can only be found in a washed-out copy on YouTube.

YouTube

Seuss Short Subject Special - Dr. Seuss On the Loose & Pontoffel Pock, Where Are You?

Let's go on vacation with these two unique Seuss specials. On the Loose is the only animated Seuss anthology; Pontoffel Pock is one of four made exclusively for television and not based on a previous book. Are they as much fun as more familiar stories like How the Grinch Stole Christmas, or should they be left unbudged in the desert? Let's begin with the Cat (Allan Sherman) explaining the Sneeches and their problem and find out...

Dr. Seuss On the Loose (Green Eggs and Ham and Other Stories)

CBS, 1973

Voices of Allan Sherman, Hans Conried, Paul Winchell, and Bob Holt

Directed by Hawley Pratt

Music by Dean Elliot; Lyrics by Dr. Seuss

The Story: Since this is based on a Seuss anthology, we actually have three stories:

The Sneeches: The Sneeches (Winchell and Holt) are yellow bird-like creatures who live on the beaches. Sneeches who have green stars on their bellies snub those who don't have them, until Sylvester McMonkey McBean (Holt) turns up with his "fix-it-up machines" that can add and remove stars. Now Sneeches are running all over the beaches, trying to one-up the other crowd...at least until they spend all their money, and McBean leaves with his machines and a lesson learned.

The Zax: A north-going Zax (Conried) and a south-going Zax (Conried) meet in the middle of the desert. They will not budge and let the other pass for anything...even when the world continues around them.

Green Eggs and Ham: Sam-I-Am (Winchell) will do anything to convince a man (Winchell) to eat his favorite dish. After following him everywhere from a house to a box to a car to a train to a boat, the man finally learns that it can be fun to try something new, even if it looks strange at first.

The Animation: Same as the other Dr. Seuss specials of the 1970's and 80's. It's bright and colorful sketchy line drawings that closely resemble the Seuss books these specials came from. They have the most fun with all the details in Green Eggs and Ham. Some of the background details here are really funny, from Sam introducing the animals to what happens to the boat. 

The Song and Dance: Some of Dr. Seuss' most unusual characters can be found in these stories. Kudos to the voice actors, especially Holt and Winchell, for managing to make each and every character sound different. Conried does equally well narrating the Zax and giving us an idea of how stubborn they are. And I actually like the idea of them doing three stories, as per the original Dr Seuss On the Loose book. We get a lot of variety, from the Sneeches' race and class parable to the super-short Zax to the purely comic Green Eggs and Ham. 

Favorite Number: We open with the Cat In the Hat explaining about "The Sneeches" as he prances on their beaches. "Twinkle, Twinkle Lovely Star" is the Sneeches' first number as the star-bellied Sneeches lord their tummy badges over the ones that don't have them, and the others wish they could join in. The star-bellies sing "A Toast" to their stars at their first marshmallow roast. When everyone reprises it in the end, it's now about how they've learned that what matters is what you're like inside, not the stars on the outside.

The Cat's introduction to "The Zax" is the only song in that super-short segment. He also gives us a brief introductory song for "Green Eggs and Ham." The chorus gets the number heard throughout the special, "He Will Eat Them." The man finally reprises it in the end with the animals as he finally gives those pesky emerald-hued breakfast food a try. 

Trivia: Allan Sherman's last role. He died a month after this first aired.

The only Seuss special to feature more than one story.

What I Don't Like: Ham is slightly more violent than the original story, and while there's not nearly as much padding as there would be in the heavily revised Netflix TV show, there's still quite a bit of random slapstick. Green Eggs and Ham is also not from the original Dr. Seuss On the Loose book. The other two stories in that book are "Too Many Daves," about a mother who wonders what else she could have named her 23 sons, and "What Was I Scared Of," about a child afraid of moving pants. They may have been too short and/or odd to adapt. 

The Big Finale: Another favorite Seuss special. Check this out with your kids, especially those who are starting to learn about race and class relations. 

Home Media: Easily available in every format, both on its own and as part of Seuss collections. Can currently be found on DVD paired with Pontoffel Pock and The Butter Battle Book. 

DVD - Dr. Seuss' Green Eggs and Ham and Other Stories Deluxe Edition

DVD - Hats Off to Dr. Seuss!

Blu-Ray - Dr. Seuss' Green Eggs and Ham and Other Stories Deluxe Edition

YouTube

Pontoffel Pock, Where are You? (Pontoffel Pock and His Magic Piano) 

ABC, 1980

Voices of Wayne Morton, Joe Raposo, Hal Smith, and Sue Allen

Directed by Gerald Baldwin

Music and Lyrics by Joe Raposo

The Story: A "schnook" by his own admission, Pontoffel Pock (Morton) would do anything to get away from his family's decaying home and his failed dill pickle factory job. The fairy MacGillicuddy (Smith) hears his plea and gives him a magic piano that can take him anywhere at the press of a button. He first visits the mountain country Groogan, but his showing off wrecks so much havoc, they shoot paint at him instead. 

After he begs MacGillicuddy for a second chance, he heads to the desert town of Casbahmopolis. He hasn't been there more than two minutes when he falls for the "eyeball dancer" Neefa Feefa (Allen), a performer for the sultan who also hates her job and wants to get away from it all. He rescues Neefa, only to drop her on his escape. When he gets hopelessly lost, the fairies all chase after him to return the piano, but he just wants to get back to his Neefa.

The Animation: Same deal here. This one may be even more colorful, as per the around-the-world setting. Groogan is vaguely Swiss, with its lederhosen and Germanic accents, while Casbahopolis gives us purples, deep blues, and brilliant golds straight out of Arabian Nights. Some nice character animation too, especially on the fairies and Neefa Feefa.

The Song and Dance: The nifty animation and Raposo's catchy songs are the order of the day here. Smith has a field day as both the fussy fairy who can't believe anyone could make such a mess of a flying piano and the weary fairy-in-chief after they've been chasing Pock for the last five minutes. This is also one of the more action-packed Seuss stories, with everyone chasing Pock and him trying to first rescue, then find his Neefa again in the second half. 

Favorite Number: We open with "Pull On the Pull 'Em" as Gil Gickler, the Master Dill Pickler (Raposo) explains how his job works. After the disaster at the factory, Pock admits "I Had Failed" and introduces "The House My Family Left Me." MacGillicuddy introduces "That Wonderful Piano" when he answers Pock's request. 

"Welcome to Groogan" say the townspeople, until Pock swooping around in "I'm Flying Free" makes a mess of their home. After that, it's "Load Up that Goomy Gun" and shoot that show-off down! Neefa Feefa complains about her own job dancing for the sultan in "Optic Coptic (The Eyes Song)." Everyone gets involved in the title song as the fairies chase Pock, Pock tries to figure out how to get back to Eefa, and Eefa wonders why he hasn't returned to her yet. We end with a reprise of "Pull On," this time with Eefa joining in as well.

Trivia: The last Dr. Seuss special done by Freleng-DePatie Enterprises before they were sold to Marvel Comics and became Marvel Productions. 

Nominated for Outstanding Animated Program at the Emmys in 1980. 

What I Don't Like: Kind of a strange story, even for Seuss. Pock's so much of a "schnook," he comes off as a little bland or annoying other than his showing off to the Groogans. The story can get a little jumbled and hard to follow near the end, when everyone is chasing Pock. The Arabian stereotypes during the Casbahopolis sequences might be slightly offensive to some people.

The Big Finale: There's enough worth checking out here for those who are fans of Seuss or want to try a different Seuss with their elementary school-age kids.

Home Media: As mentioned, this is on disc paired with Dr. Seuss On the Loose and The Butter Battle Book. The only place it can currently be found solo is on YouTube. 

YouTube

Animation Celebration Saturday - The Return of the King (1980)

ABC/Rankin-Bass, 1980

Voices of Orson Bean, John Huston, Theodore Bikel, and Roddy McDowell

Directed by Jules Bass and Arthur Rankin Jr.

Music by Maury Laws; Lyrics by Jules Bass

After the success of The Hobbit, Rankin-Bass set about making a sequel. Ralph Bakshi's Lord of the Rings debuted in 1978 as Rankin-Bass prepared storyboards for their film and proved that there was ample interest in the material. How well did they do adapting the final Lord of the Ring novel to animation? Let's begin as Frodo (Bean) explains to his uncle Bilbo (Bean) what happened with him getting rid of the Ring of Power that led to him losing his finger and find out...

The Story: Frodo and his friend Samwise Gamgee (McDowell) are charged with traveling to Mordor to destroy the Ring of Power that Bilbo once stole from little green frog-like monster Gollum (Brother Theodore). Sam first must rescue Frodo from the Orcs at Cirith Ungol. Sam's briefly tempted by the Ring, but he does manage to get Frodo away. They disguise themselves in Orc armor to infiltrate their army and get past to Mount Doom. They're first attacked by Gollum, who badly wants his "precious" back, and then Frodo seems to go crazy with the strain of being the Ring Bearer.

Meanwhile, their friend Pippin (Sonny Melendrez) warns Gandalf (Huston) about the impending invasion of the Orc army. Pippin tries to warn King of Rohan Denethor (William Conrad), but he's already gone mad. The Witch-King of Agmar (John Stephenson) and his forces seem to have the upper hand in battle after he slays King Theoden (Don Messik). What he never expected is for his boast that no man can kill him to be challenged by Eowyn (Nellie Bellflower), who is "no man," and then for the king of Middle Earth, Aragorn (Theodore Bikel), to return at last.

The Animation: Decent for them, especially at Mordor as Gollum, Sam, and Frodo fight for the ring and in some of the battle scenes. The end, with the White Ship riding off into the horizon, and the arrival of Aragon also manage to drum up the appropriate majesty. The bleak, earthy color scheme reminds us that this is no Christmas special and definitely gives the sense of Middle Earth's dark worlds. 

The Song and Dance: Rankin-Bass really went all-out with this one. There's a few career-best performances from voice actors who are known for lighter material. Kasem does well with Merry's heartbreak at the loss of Theoden and how he ends up helping Eowyn, Conrad makes the most of his brief role as the mad king Denethor, and Bean and McDowell beautifully portray how the two young Hobbits get caught up in the ring's temptations. Messick shows why he played so many Hanna Barbara characters over the years by making The Voice of Sauron and Theoden two entirely different personalities with different voices. 

Favorite Number: We open with the Minstrel (Glenn Yarborough) explaining "The Ballad of Frodo" and what ultimately transpired that ended with the loss of Frodo's finger. The booming choral number "Wearer of the Ring" is heard three times, notably in the beginning where Sam is tempted by the ring's power, and in the end, when Frodo has seemingly succumbed to it. Sam finally breaks himself of the ring's hold by reminding himself that "Less Is More," and he prefers the simple life. The chorus briefly warn "Beware the Power," then admonish that "It's So Easy Not to Try" when they follow the Orc Army. 

The Orcs treat all their slaves, including Hobbitts, the same, as they remind them "Where There's a Whip, There's a Way." The hobbits wish they were at home and imagine what'll happen "'Till Yesterday." "Standing Underneath the Towers" and "Return of the King" are the big chorus numbers at the battle before and during Aragon's return. The title number shows  how he finally defeats the Orcs and reclaims his throne. The film ends with the haunting "You Will Never Say Goodbye" as the remaining three Hobbits watch the White Ship carrying Erond (Paul Frees), Gandalf, Bilbo, and Frodo over the horizon.

What I Don't Like: Yeah, this has a lot of the same problems as its predecessors The Hobbit and Lord of the Rings. There's just too much story (and too much in the stories that isn't exactly family-friendly) to compress into an hour-and-a-half animated film. A ton was dropped to make this more accessible at the time, including most of the first half of the book. You don't really feel Sam and Frodo's friendship like you should, or care who kills the Witch-King or know who Aragon even is. Bikel barely appears in the last 20 minutes and doesn't have enough to do; Bellflower doesn't give Eowyn nearly the passion she needs. 

The Big Finale: Older elementary schoolers who are too young for the live-action movies but are still fans of fantasy may be intrigued by this earlier and slightly more kid-friendly visit to Middle Earth.

Home Media: Currently hard to find and pricey on DVD. Your best bet is to check used venues and look for uploads online.

DVD

Internet Archive

Animation Celebration Saturday - The Emperor's New Clothes (1972)

Rankin-Bass/ABC, 1972

Voices of Danny Kaye, Cyril Ritchard, Imogene Coca, and Allen Swift

Directed by Arthur Rankin Jr. and Jules Bass

Music by Maury Laws; Lyrics by Jules Bass

Though Rankin-Bass is most associated with holidays nowadays, they did release specials at other times of the year. This was intended to be the first in a series of hour shows featuring Kaye narrating and appearing in various fairy tales. The series never came to fruition, but they did get this pilot special out. Kaye was still associated with Hans Christian Andersen after his success in the 1952 film of that title, so Rankin-Bass opted to adapt one of his stories. Did it come out as well as their holiday shows, or should it be dumped on the Boulevard of Rogues? Let's begin with Kaye in live-action as he explains what we're about to see and find out...

The Story: Kaye takes the role of Marmaduke, a con artist who makes his way to the Empire of Bibbin when he hears about a tailoring contest. Emperor Klochenlocher (Ritchard), who is obsessed with clothes since the death of his wife, is holding a contest for a tailor to make him the best suit. Though the prize is one million gold pieces, the Emperor's daughter Princess Jane (Coca) claims there's no money in the treasury. The Emperor's jester Jasper (Bob McFadden) encourages his master's clothes addiction so he'll focus on clothes and spend himself bankrupt, allowing him to pay the emperor's tailors starvation wages and get rich himself. He tries throwing Marmaduke and his partner Mufti (Swift) into the Boulevard of Rogues, but they're able to escape.

The duo tell the Emperor and his prime ministers they can make a suit out of an amazing cloth that's invisible to those who are fools or unfit to rule. The Emperor doesn't want to look unfit, so he claims he can see it. Meanwhile, the two con men and Bucky, the orphan they've adopted (Gary Shapiro), hide the gold coins in a cannon, not realizing that Jasper's man Ivan intends to use it to shoot at the Boulevard of Rogues! Marmaduke's fallen for Jane, too, but Jasper intends to marry her and take the throne for good.

The Animation: By this point, Rankin-Bass were at their height of success with their stop-motion specials. The character designs are creative and fun, especially Jasper and Mufti, and they move fairly well. Some of the special effects are decent as well, especially when they shoot out the coins towards the end!

The Song and Dance: Kaye is clearly having a ball here playing against type as the roguish anti-hero who intends to take the Emperor for all he's worth, until he finds out what Jasper's up to. Ritchard has almost as much fun as the befuddled ruler who learns the hard way that clothes don't always make the man. Coca also has some good lines as the sensible princess who just wants her father to pay attention to her. The live-action opening sequences, with Kaye cavorting among real children in Denmark, are adorable and fairly well-done.

Favorite Number: We open with Kaye and the kids in Denmark as Kaye sings "Come Along With Me" to a world of fantasy. Our first number in the animated sequence is Marmaduke explaining to Mufti why "Clothes Make the Man." The Emperor reveals why he's such an easy mark for Jasper and the con men in "I See What I Want to See," a creative 2-D animation sequence that shows how he can ignore everything but his wardrobe. The other tailors who have come to Bibbin for the contest sing "The Tailor's Song" for Marmaduke. He tells the Emperor how the "Creation" of a new suit is a breeze for him and Mufti. Jane claims that "All You Need Is Money to Be Rich," and Marmaduke certainly thinks so!

What I Don't Like: The songs are cute, but they're not as memorable as some of the standards Laws and Bass wrote for their holiday extravaganzas. Oh, and there's a lot that's changed from the original Andersen story, probably to pad this out to an hour and make Kaye's character more sympathetic. The con artists were after money and their own gain, pure and simple, and they got away scot-free with everything. There was no princess or evil jester; the Emperor himself was the one who taxed people for his wardrobe. 

The Big Finale: If you're a fan of Rankin-Bass or are really into Kaye, this very funny fairy tale is worth parading the streets for. 

Home Media: Alas, this one is very hard to find on DVD nowadays and expensive when it does appear. You're best looking for it used. 

DVD

Valentine's Short Subject Special - The Bernstein Bears' Comic Valentine and Winnie the Pooh: A Valentine for You

Let's kick off the season of romance with two "bear-y" good specials from the 80's and 90's. These animated shorts on the funny side of love, featuring some of literature's favorite bears, will melt your heart during this long winter. 

The Bernstein Bears' Comic Valentine

NBC, 1982

Voices of Ron McLarty, Pat Lysinger, Knowl Johnson, and Gabriela Glatzer

Directed by Mordecai Gerstein and Al Kouzel

Music by Elliot Lawrence; Lyrics by Stan Bernstein

The Story: Sister Bear (Glatzer) loves love, and she's a huge fan of Valentine's Day. Brother's (Johnson) only interest in February is hockey season. The Bear Country Cousins are going up against their rivals the Beartown Bullies. He tries to concentrate and practice, but it's hard with someone leaving him mysterious valentines signed "Honey Bear," and seeing the lovely Charlene (Glatzer) everywhere. Meanwhile, Papa Bear (McLarty) wants to show the depths of his feelings for Mama (Lysinger), but as usual, Mama reminds him that simple gestures are better than all the grand statements in the world. 

The Animation: Not the flashiest, but that's not to be expected of a TV special from this time period. The characters can be a little stiff, but the animation does at least somewhat resemble the characters in the books, which is probably all that matters for this franchise. 

The Song and Dance: All of the Bernstein Bears specials have their fun moments, this one included. It's hilarious to see Brother claim he's not interested in love, then moon over Charlene. Papa and Mama's roles are somewhat downplayed compared to the other specials, but Papa gets a few good gags in his attempts to carve mountains to show how much he loves his wife. I love whom the massive mystery goalie on the Bullies turns out to be, too!

Favorite Number: We open with the Bear Family describing what they do during the seasons "In Bear Country." "Love Is," Mama's sprightly number explaining how love is a lot simpler and more intimate than carving up mountains, is also heard under the closing credits. Brother derides Valentine's Day as "All That Mush," even as his little sibling skates heart rings around him. 

What I Don't Like: As mentioned, I sort of wish Mama and Papa had more to do. Their roles are somewhat downplayed compared to some of the other specials and the early books these are inspired by. 

The Big Finale: If you or your kids are fans of the earlier Bears books or the cartoon series, you'll want to check out this adorably funny hymn to love in all its forms. 

Home Media: Currently on DVD bundled with a few episodes of the 1980's TV series. 

DVD - The Bernstein Bears: Kindness, Caring, and Sharing

Winnie the Pooh: A Valentine For You

Disney/ABC, 1999

Voices of Jim Cummings, Paul Winchell, John Fielder, and Ken Sansom

Directed by Keith Ingham

Music by Micheal Silversher; Lyrics by Patty Silversher

The Story: Pooh (Cummings) and his friends are shocked when they find Christopher Robin (Brady Bluhm) writing a valentine for a girl named Winifred. Owl convinces them he's been bitten by the "Smitten" bug, and the only way to undo it is to find another one to bite him again. They all chase after what they think is a "Smitten" and get lost, only for its glow to lead them back to each other and to Christopher Robin. Pooh sees how happy the boy is and can't bring himself to unleash it on him...but Christopher reminds him that there's always room for all kinds of friends, old and new.

The Animation: While it does move slightly better than Comic Valentine, it's still nothing flashy. Once again, all this needs to do is somewhat resemble the artwork in the books and move well enough to get the job done. 

The Song and Dance: The last Pooh holiday special on TV to date is sweet and charming, and maybe even a tad dark compared to some of the other specials. The look on Pooh's face in the end when he releases the "Smitten" after he thinks he's lost his best friend is heartbreaking. On the other hand, we get the very funny search for the "Smitten," and this is one of only two holiday specials to give Owl a major role. 

Favorite Number: Owl warns Pooh and his pals what happens when "The Smitten Bites," in a sequence reminiscent of the later "Backson" number in the 2011 Winnie the Pooh. Christopher Robin ends the show with a lovely ballad explaining how there are "Places In the Heart" for all friends, old and new.

Trivia: The last time Paul Winchell voiced Tigger. 

What I Don't Like: This time, we have Owl and are missing Kanga and Roo. They're only seen as stuffed animals in the opening. As mentioned, this is neither the first, nor the last time Pooh and his friends went on an adventure when they thought something took Christopher Robin away from them. This seems to have been somewhat inspired by Pooh's Grand Adventure, where they were worried about the boy being trapped in "skull," and would crop up again in Winnie the Pooh. 

The Big Finale: Charming and adorable, this is worth checking out on Valentine's Day for younger children and Pooh fans.

Home Media: To date, this is the only Pooh holiday special to be available on DVD and streaming in its original half-hour format, without a direct-to-home media movie surrounding it (including its release on Disney Plus). The DVD is packaged with two additional New Adventures of Winnie the Pooh shorts, "Un-Valentine's Day" and "The Three Little Piglets." 

DVD - Special Edition

Disney Plus

Musicals On TV - The Little Mermaid Live!

Disney/ABC, 2019

Starring Auli'i Cravalho, Graham Phillips, Queen Latifah, and Shaggy

Directed by Hamish Hamilton

Music by Alan Menken; Lyrics by Howard Ashman and Glenn Slater

Disney took its sweet time getting into the live musical craze. It was 2017 before they announced a live version of their beloved 1989 animated film The Little Mermaid as ABC's next big special. Technical difficulties caused it to be pushed off the schedule for two years, until it finally made it to the air in November 2019 in time to celebrate the 30th anniversary of the original film. With another live-action Mermaid coming out next year, how does this initial attempt at doing the story with living actors fare? Let's begin with dancing sailors singing about the stories of mermaids and fantastical creatures who live in the "Mysterious Fathoms Below" and find out...

The Story: Ariel (Cravalho) is a mermaid who lives under the sea, but she longs to see the world on land. After she falls for the human Prince Eric (Phillips), she goes to the sea witch Ursula (Queen Latifah) to give her legs. Ursula will, but for the price of her beautiful voice. Eric only heard her sing and doesn't recognize her as a human. Now she and her friends Flounder the fish, Skuttle the seagull, and Sebastian the crab (Shaggy) have to find a way to prove to Eric she's the real deal, whether she can sing about it or not.

The Song and Dance: I really wish Disney didn't chicken out on the technical problems and went full-on live with this. What we see of the physical production is gorgeous and creative, with some nifty costumes for the mermaids and Ursula and incredible oversized sets. The split "If Only" ballad for Ariel and Eric, showing her wishing she could sing for him in her bedroom while he's "outside" on the other side, was very well done. 

Favorite Number: "Mysterious Fathoms Below" turns the opening number into an elaborately choreographed routine for Prince Eric and his sailors as he returns home and they tell him about mermaids and their siren voices. Amber Reily introduces the "Daughters of Triton" in their flashy sequined mermaid costumes. Cravalho pours her heart into a lovely "Part of Your World" in a beautifully recreated and detailed underwater grotto. "Under the Sea" has Shaggy in a simple red jacket wiggling through pure chaos as we see everything from acrobats on the ceiling to puppet fish to people in huge foam fish costumes playing "the toot of soul." 

"Poor Unfortunate Souls" is staged largely the same as in the film, with a gold light representing Ariel's voice and two huge puppets standing in for Ursula's eels. Making their debuts here are "Her Voice," a touching solo for Eric after Grimsby reminds him that he's just chasing a fantasy, and "If Only," a duet for Ariel and Eric where he wishes he could find that dream girl, and she wishes she could tell him. "Les Poissons" becomes a huge dance routine for everyone in the kitchen as they chase huge crabs in foam costumes for dinner, including John Stamos as the crazed Chef Louis.

Trivia: "If Only," "Her Voice," and the reprise of "Poor Unfortunate Souls" are from the stage Little Mermaid that debuted on Broadway in 2007. 

What I Don't Like: Once again, I really wish Disney had gone full-on live. As much as I enjoy the animated film, it really takes away from the stage production. They either should have let the stage show stand on its own, or ditched the live version permanently and just re-ran the animated film. It's too bad, because some of the performances are excellent. Latifiah in particular has a ball as Ursula, and Cravalaho makes a charming and sweet Ariel.

The Big Finale: This is cute, but could have been so much more. You're better off showing your kids the animated film again and waiting for the live-action version to come out next year. 

Home Media: Streaming exclusive at the moment. Disney Plus has it with a subscription.

Disney Plus

Animation Celebration Double Feature - The First Christmas & Nestor the Long-Eared Christmas Donkey

The Little Drummer Boy is probably the most popular Rankin-Bass special based around the birth of Christ, but it's not the only one they made. We dive into the vaults for two of the company's less well-known stop-motion shorts, one an original story, the other based after country holiday song. How do these simple tales of faith and hope look today? Let's begin at a seaside abbey with a group of nuns painting Christmas scenes and find out...

The First Christmas: The Story of the First Christmas Snow

Rankin-Bass/NBC, 1975

Voices of Angela Landsbury, Cyril Ritchard, David Kelley, and Dina Lynn

Directed by Arthur Rankin Jr. and Jules Bass

Music by Maury Laws and others; Lyrics by Jules Bass and others

The Story: Sister Teresa (Landsbury) and the nuns at an abbey by the sea find a young shepherd struck by lightning during a storm. They take him in and give him shelter with his sheep in the stable. Poor Lucas (Kelley) was struck blind by shock and has no place to go. Sister Teresa wants him to stay, but fussy Father Thomas (Ritchard) worries that he might be better off in an orphanage. Meanwhile, Teresa explains snow to Lucas, who's never seen it, and lets him join the angel choir in the school pageant. Three boys tease him when they make the sheep run away, but regret it after Lucas and the sheep get lost.

The Animation: Paul Coker Jr. was designing the specials by this point, and it shows in the round heads and large, expressive eyes and mouths on the characters. Everyone, from the kids to the nuns to the dog, has wide saucer eyes that crinkle upwards when they're happy or become triangular when angry. There's a slightly more realistic vibe on this one, especially the nuns; the abbey and stable backdrops are appropriately cozy and intimate.

The Song and Dance: Landsbury and Ritchard are the thing in this unusual tale, one of the most unique to come from Rankin-Bass. She's warm and thoughtful, he's fussy and fun. I also appreciate that this may be the only Rankin-Bass special with no real villain. Father Thomas and the three bullies are set up to be, but the priest is just worried that the abbey lacks the resources to take care of Lucas and his wooly charges properly, and the kids immediately realize what they did was wrong and help find the sheep. 

Favorite Number: Sister Teresa describes a real white Christmas to Lucas as she recalls a song her father taught her, "Christmas Snow Is Magic," while Lucas wonders what a real "White Christmas" would feel like. Father Thomas admonishes the kids and nuns to "Save a Little Christmas" for later in the season when they try to put up the tree too early.

What I Don't Like: As much as I like Landsbury, she does seem a bit miscast as a nun. This isn't one of their more exciting or campy specials. The story is pure melodrama, with the lightning strike and the blinded orphan, and a bit of a muddle. The entire sequence with the bad kids and the missing sheep seems more like padding added to fill out the middle.

The Big Finale: Not one of their major specials, but it's charming enough if you love Landsbury or are looking for something short and sweet to show kids around Christmas. 

Home Media: Easily found on DVD; turns up often on AMC during the holiday season. 

DVD

DVD - 4 Kid Favorites: Merry Masterpieces

Nestor the Long-Eared Christmas Donkey

Rankin-Bass/ABC, 1977

Voices of Roger Miller, Shelly Hines, Brenda Vaccaro, and Paul Frees

Directed by Arthur Rankin Jr. and Jules Bass

Music by Maury Laws and others; Lyrics by Jules Bass and others

The Story: Spieltoe (Miller), the donkey who works with Santa at the North Pole, tells the story of his ancestor Nestor (Hines). Nestor had very long ears that made him the laughingstock of the stable in Scandinavia where he lived with his mother (Linda Gary) and the bane of the owner Olaf (Frees). Roman soldiers came to take the young donkeys for their troops. They throw back Nestor when they see his ears, accusing Olaf of tricking him. Olaf angrily throws Nestor out in the snow. His mother follows him and sacrifices herself shielding him from the storm. 

Nestor's devastated by the loss of his mother until he meets Tilly (Vaccaro), a cherub. She tells him his ears will let him do wonderous things and he'll save another, as his mother once saved him. They end up on the outskirts of Bethehem, when Nestor winds up in another stable. He's about to give up when a certain Mary (Taryn Davies) and Joseph (Harry Maurice Rosner) love his "gentle eyes" and buy him to take Mary to Bethlehem.

The Animation: Same deal here, with almost the same animators. The designs are slightly cartoonier and more exaggerated, as befitting a story featuring a cherub and a little donkey with excessively long ears. The sandstorm sequence with the cherubs towards the end is especially well-done.

The Song and Dance: This is such a sweet story. Simpler and a bit rougher than the similar Rudolph the Red-Nosed Reindeer, it may be even more charming. Vaccaro is especially funny as the endearing and eager Tilly, who shows Nestor the first respect he's seen in his life outside of his mother. 

Favorite Number: Country star Roger Whittaker starts us off with the title number, as he tells us why the elves' version of the donkey in the manger is inaccurate. He also admonishes the animals of the frozen north "Don't Laugh and Make Somebody Cry" as Tilly and Nestor travel to Bethlehem. Only Nestor's ears can "Follow the Song of the Angels" and hear a cherub choir in a sandstorm.

What I Don't Like: Like the song it's based on, it's obvious this is a religious version of Rudolph the Red-Nosed Reindeer. It even begins and ends with Santa. Nestor himself is a bit of nonentity besides his ears and doesn't actually do much until that sandstorm. In fact, Tilly's so much fun, I really wish she was in more of the special. She's barely there for five minutes and the one number. Miller doesn't really have much to do besides narrate, either.

The Big Finale: Adorable but derivative; once again, best for major Rankin-Bass fans, fans of Miller, or those looking for religious holiday programming for kids. 

Home Media: Your best bet on DVD is the big Classic Christmas Favorites set that includes everything from the Grinch to The Leprechaun's Christmas Gold; it turns up frequently on AMC as well. 

DVD - The Year Without a Santa Claus

DVD - Classic Christmas Favorites

Musicals on TV - The Dangerous Christmas of Red Riding Hood

ABC, 1965

Starring Liza Minnelli, Cyril Ritchard, Vic Damone, and The Animals (Eric Burdon, Chas Chandler, Dave Rowberry, John Steele, and Hilton Valentine)

Directed by Sid Smith

Music by Jules Styne; Lyrics by Bob Merrill

Stephen Sondheim wasn't the only major songwriter in the 60's who lent his talents to a TV musical. This was actually Styne and Merrill's second shot at a holiday musical extravaganza, their first being the animated Mr. Magoo's Christmas Carol in 1962. Does this wacky fairy tale spoof reach the heights of the Magoo special, or should it be tossed into the Big Bad Wolf's (Ritchard) stew pot? Let's begin at the zoo, where the Big Bad Wolf tells what he considers to be a tragic tale, and find out...

The Story: Lillian (Minnelli) is a naïve teen living in the forest with her mother. She's disappointed when her mother gives her a blue cloak, until she turns it inside out and wears the red lining. She loves it so much, she calls herself Little Red Riding Hood. On a day when her mother sends her to Granny's house to bring goodies, she encounters the Wolf on the road. He's already been made fun of by the younger wolves in his pack (The Animals) for not being aggressive enough and tries hard to snare her, but she's terrified of wolves. She does no better with a handsome woodsman who believes he's an enchanted prince (Damone). It isn't until she encounters the Wolf in drag at Granny's house that she realizes what he's really after...and he proves he's not so "refined" after all.

The Song and Dance: Charming satire has a lot of fun goofing on familiar fairy tale tropes, from the horny wolf to the clueless enchanted prince to the heroine who is too impossibly sweet to get by on anything but sheer luck. Richard does the best playing the role of the erudite canine who thinks he's too smart for the woods, especially when he throws on Granny's dress and camps it up with Minnelli towards the end. Some of the score isn't bad, especially "We Wish the World a Happy Yule" in the finale. Liza has a great time going to town with Ritchard on "Ding-a-Ling" at Granny's, too. 

Favorite Number: Lillian sings happily to her mother about why she loves "My Red Riding Hood" - it allows her to stand out. The Big Bad Wolf laments with his pack The Animals about how he's "Snubbed" by the other wolves for not being scarier. The woodsman tries to sing to Lillian why she should have someone help her "Along the Way," even as he continues to split a log. Lillian tells the wolf how "I'm Naïve" and will believe whatever she hears. The Wolf in drag joins Lillian for an energetic "Ring a Ding" while he's trying to get her in the stew pot. The show ends with the entire cast back in the woods, singing "We Wish the World a Happy Yule."

Trivia: Like Evening Primrose, this was original broadcast in color, but the masters have since been lost. 

The Animals were a popular British rock group in the mid-60's. Their biggest and best-known hit is probably "House of the Rising Sun."

What I Don't Like: The presence of the Animals alone dates this badly. Their solo "We're Going to Howl Tonight" is the least-interesting number in the show, and other than tease Ritchard a bit, they don't have that much to do. There's a lot of references that those who don't know their mid-20th century history may not get, including Ritchard's line about "people needing people" from the Styne-Merrill hit Funny Girl. This is a flat-out wacky comedy, more like an American version of the pantomimes that are popular in the United Kingdom during the holidays. It's probably a little too goofy and weird for those expecting a darker fairy-tale ala Into the Woods, especially the silly and cheap animal costumes.

And...other than the opening and closing at the zoo and Lillian bringing her granny Christmas goodies, what does any of this have to do with the holidays? It could have been set at any time of the year without missing a beat. Not to mention, the prints currently available are dim black and white, watchable, but not even as good as the ones for Evening Primrose. 

The Big Finale: Worth checking out once for really big fans of the stars, Styne and Merrill, 60's rock, or families looking for the closest we'll likely get to an English pantomime in the US.

Home Media: Only on DVD from Jef Films

DVD