United Artists, 1968
Starring Dick Van Dyke, Sally Ann Howes, Lionel Jeffries, Gert Frobe
Directed by Ken Hughes
Music and Lyrics by Richard M and Robert B Sherman
We salute all fathers with this elaborate family musical from the late 60's. The success of Mary Poppins made both epic, super-long musicals and family-oriented musicals all the rage in the mid-late 60's. This may be the closest anyone came to replicating that film's success...and a close father-child relationship is at the heart of the story of an inventor who spins a crazy yarn about his newly-repaired car. Let's head to the races in the early 1900's to find out how well this story works nowadays...
The Story: Chitty Chitty Bang Bang was once the most decorated race car in Europe, until its career ended in a fiery crash. Two children, Jeremy (Adrian Hall) and Jemima (Heather Ripley), regard Chitty as their own playground at the local junkyard and are horrified when the owner intends to sell it for scrap. They run into the lovely Truly Scrumptious (Howes) on the road, who takes them home to their doting father, Cartaculous Potts (Van Dyke). Potts is an inventor whose creations tend towards the fantastic side, like the candies he'd been working on with holes in them. He tries to market them to Truly's father Lord Scrumptious (James Robinson Justice) as a candy you can play, but the whistling sound brings dozens of dogs into the factory. He does manage to raise the money dancing with a folk group at a fair after his hair-cutting machine doesn't work out.
A day out with Chitty, Cartaculous, the kids, and Truly turns into an opportunity for the rousing tale of how the family dodged the child-like Baron Bombhurst of Vugaria (Frobe) and his spoiled and silly wife (Anna Quale) and rescued Cartaculous' father (Jeffries) from his dungeons and the children from the tower and the terrifying Child Catcher (Robert Helpmann).
The Song and Dance: Van Dyke and Howes make a charming couple in this fantastical tale. I think I like Van Dyke's performance even better here. He's warm with the kids and hilarious with Jefferies, the imagined explorer who wishes his son would do something concrete with his life besides tinker. Quale and Frobe are also very funny as the royal couple who care more about playing with toys than with each other. The lavish production includes widescreen cinematography with filming locations England, France, and Germany and lovely, colorful costumes ably depicting the early Edwardian period in Europe.
Favorite Number: "Toot Sweets," with its dancers whirling around a stark Victorian candy factory, plays almost like a warm up for Willy Wonka and the Chocolate Factory three years later. The Oscar-nominated title song is performed several times, including as they're going to the beach for the picnic after Chitty was finished. The children sing the sweet and charming "Truly Scrumptious" to Truly at the beach to tell her how much they appreciate her joining them. "Me Old Bamboo" is the folk dance Dick Van Dyke joined in on at the fair. His sheer energy level there is amazing; he keeps up well with the other dancers. He sings the lovely lullaby "Hushabye Mountain" twice, the second time as a duet with Howes when they're trying to comfort the hidden children of Vulgaria. Grandpa has two great solos, "Posh" when he's been kidnapped, and "The Roses of Success" with a group of scientists trying to invent a flying car.
Frobe and Quale's "Chu-Chi Face" sounds like something a loving couple would perform, but it's really the darkest song in the movie as the Baron continues to attempt to kill his wife.
Trivia: This was based the book of the same name by Ian Fleming of James Bond fame, but didn't really use much besides a few character names and the idea of a flying car.
It was a big hit in 1969, the tenth-most-popular film of that year.
What I Don't Like: First and foremost, it's way too long at over two hours, especially for a musical intended for families. The sequence with the goofy spies and the entire second half of the film in Vulgaria feel like obvious padding. The special effects, which were much-touted at the time, haven't really dated that well. Chitty going over the cliff is some of the most obvious green-screen I've ever seen in a movie. Howes' solo ballad "Lovely, Lonely Man" is notoriously dull and only serves as a buffer between the first and the second half. It's not hard to tell Road Dahl worked on the screenplay; there's a dark undercurrent to the film's antics, especially in the Vulgaria sequence, with the creepy Child Catcher, child-hating royalty, and the Baron gleefully attempting to kill his wife.
Did this really need to be set in the Edwardian era? The costumes are appropriate, but the story just doesn't feel that historical.
The Big Finale: If you can get your kids to sit for it and they can handle some of the darker elements, this is a fun ride with some great songs and catchy musical numbers.
Home Media: As one of the most beloved family musicals ever created, this is easily found in all major formats, including streaming.
DVD
Blu-Ray
Amazon Prime
Reviews of musical films, from 1930s black and white to widescreen 21st century extravaganzas.
Saturday, June 15, 2019
Thursday, June 13, 2019
Words and Music
MGM, 1948
Starring Mickey Rooney, Betty Garrett, Tom Drake, and Janet Leigh
Directed by Norman Taurog
Music by Richard Rodgers; Lyrics by Lorenz Hart
This was the second lavish MGM musical biography about popular songwriters of the early part of the 20th century after Till the Clouds Roll By in 1946. The spotlight here is on Richard Rodgers and his first partner, the complex and troubled lyricist Lorenz "Larry" Hart. Hart had a difficult and tragic life that was often reflected in his dark, introspective words to Rodgers' graceful music. How does that come across on-screen in this time period? Let's join Tom Drake as Rodgers as he discusses how his relationship with Hart began to find out...
The Story: Richard Rodgers (Drake) first meets Lorenz Hart (Rooney) when their friend Eddie Anders (Perry Como) introduces them in the early 20's. Larry's late for their very first meeting, but he arrives with the lyrics for "Manhattan" already hashed out. They have little success for the next few years, until starlet Peggy McNeill (Garrett) performs their songs at a party. The number used in the revue The Garrick Gaieties is a hit and turns them into one of the most popular songwriting duos on Broadway. Their words and music are a perfect match, but Dick is getting tired of Larry's habit of disappearing for weeks while working on lyrics, his obsession with his height and lack of looks, and his partying, and his never being on time.
Neither man does especially well with the opposite sex at first. Peggy continuously turns Larry down; Dick is rejected by older Broadway star Joyce Harmon (Ann Southern) and teenager Dorothy Feiner (Leigh). Dick does eventually marry Dorothy and have two girls with her, but Larry never manages to settle down. Even when they go out to Hollywood, Larry still pops up whenever he feels like it after a spree. He's seriously depressed and sick, especially after Peggy rejects him one last time. Dick's tired of his never being on time, his heavy partying, and constantly disappearing and is considering taking a new partner. Larry is deliriously feverish, even as he wanders dazed into the theater in the rain to see one last show.
The Song and Dance: As with Till the Clouds Roll By, the musical numbers are the thing here. Energetic Rooney really throws himself into playing Hart, the brilliant wordsmith who ultimately succumbed to his demons, and Jeanette Nolan is very sweet as his beloved mother (whom he lived with for much of his life). Some of the costumes are gorgeous; I especially love the outfits for Southern's "Where's That Rainbow?" routine.
Favorite Number: "Where's That Rainbow?" was the only song I'd never heard of before I saw this movie. I'm glad I discovered it. Ann Southern and the chorus have a great time with the lively routine in their colorful dance outfits. June Allyson is squired by the Blackburn Twins in their adorable trio "Thou Swell." Lena Horne scores with stunning renditions of two of Rodgers and Hart's best songs, "Where Or When" and "The Lady Is a Tramp." Rooney and Drake (dubbed by Bill Lee) kick things off with a very cute version of "Manhattan." Cyd Charisse dances a lovely "Blue Room," sung by Como, while Ann Alyn McLerie and the chorus join him for rustic Okalahoma-esque "Mountain Greenery."
The movie is probably best known for two numbers towards the end of the film. Rooney and his long-time friend Judy Garland performed together on the big screen one last time, and it was worth it to get them together. Their "I Wish I Were In Love Again" is absolutely hilarious. Gene Kelly and Vera-Ellen perform the Rodgers ballet "Slaughter On Tenth Avenue" from the Broadway show On Their Toes as far darker and more dramatic than pretty much anything else in the movie.
Trivia: Although the movie was a hit, it was so expensive that it barely recouped its costs.
For all the inaccuracies, some things really did happen. Most of Hart's destructive habits, including his chronic lateness, his running off for weeks while working, his obsession with his lack of looks and his shortness, and his partying, are portrayed more-or-less realistically. A friend really did introduce Rodgers to Hart; their first big show was The Garrick Gaieties. Hart was considered to be part of the Rodgers family. Dick and Dorothy's daughters thought of him as a fun-loving uncle.
Sadly, Hart's death is also portrayed fairly accurately. He did indeed die of pneumonia after wandering around in the rain the night of the the opening of the revival of A Connecticut Yankee.
What I Don't Like: This was even more sanitized than Till the Clouds Roll By. Hart was a closeted homosexual, something they couldn't exactly discuss in 1948. He did have problems with his relationships...with men. Richard Rodgers, who was consulted on the film, was well-known for being a control freak and a bit of a jerk. He was nothing like the blandly attractive Drake. Hart was actually witty and soft-spoken, very different from the brash and energetic Rooney. Drake's romances mid-way through the film feel almost as manufactured as most of the second half of Clouds Roll By. His attempt to woo the ladies just isn't that interesting.
Once again, there's no attempts whatsoever to represent the clothes of time period accurately. It looks like 1948 for the entire movie, including in the 20's in the opening.
The Big Picture: Same deal here. If you're a big fan of Rodgers and Hart or the MGM musicals of the 40's and 50's, you'll find a lot to enjoy if you can ignore the inaccuracies.
Home Media: Currently available on DVD and several streaming companies.
DVD
Amazon Prime
Starring Mickey Rooney, Betty Garrett, Tom Drake, and Janet Leigh
Directed by Norman Taurog
Music by Richard Rodgers; Lyrics by Lorenz Hart
This was the second lavish MGM musical biography about popular songwriters of the early part of the 20th century after Till the Clouds Roll By in 1946. The spotlight here is on Richard Rodgers and his first partner, the complex and troubled lyricist Lorenz "Larry" Hart. Hart had a difficult and tragic life that was often reflected in his dark, introspective words to Rodgers' graceful music. How does that come across on-screen in this time period? Let's join Tom Drake as Rodgers as he discusses how his relationship with Hart began to find out...
The Story: Richard Rodgers (Drake) first meets Lorenz Hart (Rooney) when their friend Eddie Anders (Perry Como) introduces them in the early 20's. Larry's late for their very first meeting, but he arrives with the lyrics for "Manhattan" already hashed out. They have little success for the next few years, until starlet Peggy McNeill (Garrett) performs their songs at a party. The number used in the revue The Garrick Gaieties is a hit and turns them into one of the most popular songwriting duos on Broadway. Their words and music are a perfect match, but Dick is getting tired of Larry's habit of disappearing for weeks while working on lyrics, his obsession with his height and lack of looks, and his partying, and his never being on time.
Neither man does especially well with the opposite sex at first. Peggy continuously turns Larry down; Dick is rejected by older Broadway star Joyce Harmon (Ann Southern) and teenager Dorothy Feiner (Leigh). Dick does eventually marry Dorothy and have two girls with her, but Larry never manages to settle down. Even when they go out to Hollywood, Larry still pops up whenever he feels like it after a spree. He's seriously depressed and sick, especially after Peggy rejects him one last time. Dick's tired of his never being on time, his heavy partying, and constantly disappearing and is considering taking a new partner. Larry is deliriously feverish, even as he wanders dazed into the theater in the rain to see one last show.
The Song and Dance: As with Till the Clouds Roll By, the musical numbers are the thing here. Energetic Rooney really throws himself into playing Hart, the brilliant wordsmith who ultimately succumbed to his demons, and Jeanette Nolan is very sweet as his beloved mother (whom he lived with for much of his life). Some of the costumes are gorgeous; I especially love the outfits for Southern's "Where's That Rainbow?" routine.
Favorite Number: "Where's That Rainbow?" was the only song I'd never heard of before I saw this movie. I'm glad I discovered it. Ann Southern and the chorus have a great time with the lively routine in their colorful dance outfits. June Allyson is squired by the Blackburn Twins in their adorable trio "Thou Swell." Lena Horne scores with stunning renditions of two of Rodgers and Hart's best songs, "Where Or When" and "The Lady Is a Tramp." Rooney and Drake (dubbed by Bill Lee) kick things off with a very cute version of "Manhattan." Cyd Charisse dances a lovely "Blue Room," sung by Como, while Ann Alyn McLerie and the chorus join him for rustic Okalahoma-esque "Mountain Greenery."
The movie is probably best known for two numbers towards the end of the film. Rooney and his long-time friend Judy Garland performed together on the big screen one last time, and it was worth it to get them together. Their "I Wish I Were In Love Again" is absolutely hilarious. Gene Kelly and Vera-Ellen perform the Rodgers ballet "Slaughter On Tenth Avenue" from the Broadway show On Their Toes as far darker and more dramatic than pretty much anything else in the movie.
Trivia: Although the movie was a hit, it was so expensive that it barely recouped its costs.
For all the inaccuracies, some things really did happen. Most of Hart's destructive habits, including his chronic lateness, his running off for weeks while working, his obsession with his lack of looks and his shortness, and his partying, are portrayed more-or-less realistically. A friend really did introduce Rodgers to Hart; their first big show was The Garrick Gaieties. Hart was considered to be part of the Rodgers family. Dick and Dorothy's daughters thought of him as a fun-loving uncle.
Sadly, Hart's death is also portrayed fairly accurately. He did indeed die of pneumonia after wandering around in the rain the night of the the opening of the revival of A Connecticut Yankee.
What I Don't Like: This was even more sanitized than Till the Clouds Roll By. Hart was a closeted homosexual, something they couldn't exactly discuss in 1948. He did have problems with his relationships...with men. Richard Rodgers, who was consulted on the film, was well-known for being a control freak and a bit of a jerk. He was nothing like the blandly attractive Drake. Hart was actually witty and soft-spoken, very different from the brash and energetic Rooney. Drake's romances mid-way through the film feel almost as manufactured as most of the second half of Clouds Roll By. His attempt to woo the ladies just isn't that interesting.
Once again, there's no attempts whatsoever to represent the clothes of time period accurately. It looks like 1948 for the entire movie, including in the 20's in the opening.
The Big Picture: Same deal here. If you're a big fan of Rodgers and Hart or the MGM musicals of the 40's and 50's, you'll find a lot to enjoy if you can ignore the inaccuracies.
Home Media: Currently available on DVD and several streaming companies.
DVD
Amazon Prime
Tuesday, June 11, 2019
Rocketman
Paramount, 2019
Starring Taron Egerton, Jamie Bell, Richard Madden, and Bryce Dallas Howard
Directed by Dexter Fletcher
Music by Elton John; Lyrics by Bernie Taupin and others
I've been a huge fan of Elton John for as long as I could remember. His albums were always among my mother's record collection in the 80's, especially after he made his big comeback with "I'm Still Standing" when I was four years old. Unlike Bohemian Rhapsody, which mostly relies on concert footage, this is a full-blown jukebox musical, complete with splashy chorus numbers, reprises, and a five o'clock number. How does the life of one of England's most beloved and successful rock stars look on the big screen? Let's head to a rehab center with Elton himself to find out...
The Story: Elton John (Egerton) narrates his life story to an addiction rehabilitation group after fleeing a concert at Madison Square Garden. He started life as Reginald Dwight (Kit Connor), growing up in a cold and unfeeling household. His mother Sheila (Howard) hadn't wanted children and remains cold to him; his father Stanley (Steven Macintosh) is mostly out of his life in the Royal Air Force, and when he's around, he's even less affectionate. Only Reggie's kindly grandmother Ivy (Gemma Jones) supports his musical talent, especially after he gets a scholarship to the Royal Academy of Music. His father walks out of his life after his mother has an affair, and while this does hurt him deeply, his mother's new boyfriend introduces him to rock and roll.
Reggie takes to this brash new sound like a duck takes to water, playing at local pubs. He joins a band, Bluesology, and discovers while backing an American soul group that he definitely has homosexual leanings. He's encouraged to start writing music and to change his life and name. Becoming Elton John, he's introduced to lyricist Bernie Taupin (Bell), with whom he has an instant bond. The two become fast friends and start writing songs together. "Your Song" is a big enough hit to prompt a performance as the wildly popular Los Angeles venue The Troubadour. It's here that John overcomes his stage fright and discovers his frenzied and electric performing style.
He meets the handsome music businessman John Reid (Madden) at Mama Cass' after-show party. Reid becomes his manager and lover, introducing him to the drinking, drugs, and partying that would mark most of Elton's career in the 70's. By the mid-70's, John is at the top of the charts, one of the biggest rock stars in the world...but his life is starting to spiral out of control. His parents don't mind his homosexuality, but they still don't show him any love. Reid is not only cheating on him, but stealing from him as well. John's attempt at a straight marriage only lasts a few years, and Taupin's had it up to here and leaves briefly. It's the loss of his best friend and a near-suicide attempt that makes John realize how bad things have gotten...and finally prompts him to clean up his act for good.
The Song and Dance: The eclectic numbers and spot-on performances are reason enough to check this one out. Egerton was selected to play John by the man himself. His instincts proved to be solid. Egerton is awesome, nailing many of John's mannerisms and beautifully portraying both the shy and flamboyant sides of John's personality. Bell's almost as good as Taupin, who continues as John's partner to this day, and Connor is a dead-ringer for the young John. Howard also does well as John's icy and uncaring mother. Madden portrays his lover as a charming cad who is out to use him and his career.
In fact, what I like is how honest the movie is about John's life, especially given that John himself agreed to it. Unlike Bohemian Rhapsody, it has no qualms about showing the darker side of the glamorous rock star life of the 70's or John's sexual relationships. I believe it's the first Hollywood movie from a major studio to depict a sexual relationship between two men.
Goes without saying that the costumes are especially incredible here, with John's most infamous costumes recreated in all their glittering glory. Dexter Fletcher also worked on Bohemian Rhapsody, and he does even better work here; the numbers are electric and beautifully staged, with some very catchy choreography.
Favorite Number: The opening number "The Bitch Is Back," with Connor and Egerton introducing John's drab early life, is catchy start that may be a bit surprising, with it's juxtaposition of John's bright colors against the pale pastels and black and white of his memories. "I Want Love," the Dwight family's realization that they're breaking apart, is absolutely heartbreaking. "Crocodile Rock" is as electric as it must have been the first night at the real Troubadour, with some great effects as Egerton literally lifts himself on the piano keys. "Pinball Wizard" depicts John's real-life concert tours, with swirling effects as we move from one venue to another. The title song starts underwater after John's suicide, giving us some nice underwater photography, and ends up in one of John's most famous performances at Dodgers Stadium in LA (complete with sparkling Dodgers uniform).
Special kudos to the finale, "I'm Still Standing." I was 4 when that song debuted, and I vividly recall seeing the music video on MTV when it came out. It's a near-perfect re-creation of that video, right down to John's white suit and the dancers' domino effect at one point.
What I Don't Like: While it's more honest about it's subject matter than Bohemian Rhapsody, it's still fairly cliched. It's also an R rating, and very much so. In addition to the man-on-man sex, there's some heavy swearing (including a ton of F-bombs dropped) and minor violence. The effects of John's lifestyle are shown on-screen, including his battle with bulimia and all the drugs and liquor he consumed. This is absolutely not for children, "fantasy" or not. Start them on The Lion King or John's earlier music videos if you want to give them a taste of his work. Egerton is electric as John, but he may actually be a little too conventionally handsome to pass for him (something John never was).
The Big Finale: If you love John and his music, musicals, or the cast, you won't want the sun to go down on this one before you check it out.
Home Media: The soundtrack is available on CD and on streaming from several companies, including Amazon Music.
CD
MP3
Amazon Music
Starring Taron Egerton, Jamie Bell, Richard Madden, and Bryce Dallas Howard
Directed by Dexter Fletcher
Music by Elton John; Lyrics by Bernie Taupin and others
I've been a huge fan of Elton John for as long as I could remember. His albums were always among my mother's record collection in the 80's, especially after he made his big comeback with "I'm Still Standing" when I was four years old. Unlike Bohemian Rhapsody, which mostly relies on concert footage, this is a full-blown jukebox musical, complete with splashy chorus numbers, reprises, and a five o'clock number. How does the life of one of England's most beloved and successful rock stars look on the big screen? Let's head to a rehab center with Elton himself to find out...
The Story: Elton John (Egerton) narrates his life story to an addiction rehabilitation group after fleeing a concert at Madison Square Garden. He started life as Reginald Dwight (Kit Connor), growing up in a cold and unfeeling household. His mother Sheila (Howard) hadn't wanted children and remains cold to him; his father Stanley (Steven Macintosh) is mostly out of his life in the Royal Air Force, and when he's around, he's even less affectionate. Only Reggie's kindly grandmother Ivy (Gemma Jones) supports his musical talent, especially after he gets a scholarship to the Royal Academy of Music. His father walks out of his life after his mother has an affair, and while this does hurt him deeply, his mother's new boyfriend introduces him to rock and roll.
Reggie takes to this brash new sound like a duck takes to water, playing at local pubs. He joins a band, Bluesology, and discovers while backing an American soul group that he definitely has homosexual leanings. He's encouraged to start writing music and to change his life and name. Becoming Elton John, he's introduced to lyricist Bernie Taupin (Bell), with whom he has an instant bond. The two become fast friends and start writing songs together. "Your Song" is a big enough hit to prompt a performance as the wildly popular Los Angeles venue The Troubadour. It's here that John overcomes his stage fright and discovers his frenzied and electric performing style.
He meets the handsome music businessman John Reid (Madden) at Mama Cass' after-show party. Reid becomes his manager and lover, introducing him to the drinking, drugs, and partying that would mark most of Elton's career in the 70's. By the mid-70's, John is at the top of the charts, one of the biggest rock stars in the world...but his life is starting to spiral out of control. His parents don't mind his homosexuality, but they still don't show him any love. Reid is not only cheating on him, but stealing from him as well. John's attempt at a straight marriage only lasts a few years, and Taupin's had it up to here and leaves briefly. It's the loss of his best friend and a near-suicide attempt that makes John realize how bad things have gotten...and finally prompts him to clean up his act for good.
The Song and Dance: The eclectic numbers and spot-on performances are reason enough to check this one out. Egerton was selected to play John by the man himself. His instincts proved to be solid. Egerton is awesome, nailing many of John's mannerisms and beautifully portraying both the shy and flamboyant sides of John's personality. Bell's almost as good as Taupin, who continues as John's partner to this day, and Connor is a dead-ringer for the young John. Howard also does well as John's icy and uncaring mother. Madden portrays his lover as a charming cad who is out to use him and his career.
In fact, what I like is how honest the movie is about John's life, especially given that John himself agreed to it. Unlike Bohemian Rhapsody, it has no qualms about showing the darker side of the glamorous rock star life of the 70's or John's sexual relationships. I believe it's the first Hollywood movie from a major studio to depict a sexual relationship between two men.
Goes without saying that the costumes are especially incredible here, with John's most infamous costumes recreated in all their glittering glory. Dexter Fletcher also worked on Bohemian Rhapsody, and he does even better work here; the numbers are electric and beautifully staged, with some very catchy choreography.
Favorite Number: The opening number "The Bitch Is Back," with Connor and Egerton introducing John's drab early life, is catchy start that may be a bit surprising, with it's juxtaposition of John's bright colors against the pale pastels and black and white of his memories. "I Want Love," the Dwight family's realization that they're breaking apart, is absolutely heartbreaking. "Crocodile Rock" is as electric as it must have been the first night at the real Troubadour, with some great effects as Egerton literally lifts himself on the piano keys. "Pinball Wizard" depicts John's real-life concert tours, with swirling effects as we move from one venue to another. The title song starts underwater after John's suicide, giving us some nice underwater photography, and ends up in one of John's most famous performances at Dodgers Stadium in LA (complete with sparkling Dodgers uniform).
Special kudos to the finale, "I'm Still Standing." I was 4 when that song debuted, and I vividly recall seeing the music video on MTV when it came out. It's a near-perfect re-creation of that video, right down to John's white suit and the dancers' domino effect at one point.
What I Don't Like: While it's more honest about it's subject matter than Bohemian Rhapsody, it's still fairly cliched. It's also an R rating, and very much so. In addition to the man-on-man sex, there's some heavy swearing (including a ton of F-bombs dropped) and minor violence. The effects of John's lifestyle are shown on-screen, including his battle with bulimia and all the drugs and liquor he consumed. This is absolutely not for children, "fantasy" or not. Start them on The Lion King or John's earlier music videos if you want to give them a taste of his work. Egerton is electric as John, but he may actually be a little too conventionally handsome to pass for him (something John never was).
The Big Finale: If you love John and his music, musicals, or the cast, you won't want the sun to go down on this one before you check it out.
Home Media: The soundtrack is available on CD and on streaming from several companies, including Amazon Music.
CD
MP3
Amazon Music
Saturday, June 8, 2019
Family Fun Saturday - High School Musical 3: Senior Year
Disney, 2008
Starring Zac Efron, Vanessa Hudgens, Ashley Tisdale, and Lucas Grabeel
Directed by Kenny Ortega
Music and Lyrics by various writers
I'm returning to this franchise in honor of the end of the school year here in Southern New Jersey. By the late 2000's, the High School Musical films were such a major phenomenon, especially among young children, the small screen was too small to contain them. It became Disney's first live-action big-screen musical since Newsies in 1991...and unlike that film, it wound up being one of the bigger hits of the fall of 2008. How well do the antics of the Wildcats come across on the big screen? Let's return to East High in Utah and find out...
The Story: The end of the basketball season brings the beginning of the rehearsals for the spring musical...and of the seniors at East High considering their futures. Kelsi (Oleysa Rulin) has signed her entire homeroom up for the show. None of them are thrilled at first, as they're all busy with school activities and homework, but they eventually agree to it. Not only that, but there will be people from Juliard coming to consider Sharpay (Tisdale), Troy (Efron), Ryan (Grabeel), and Kelsi for drama scholarships. Troy has no idea where he wants to go. Sharpay wants that scholarship badly and gets her twin Ryan to try to butter up Kelsi in order for her to give her best songs to them.
Meanwhile, most of the kids are focusing on prom. Troy's best friend Chad (Corbin Bleu) is trying to figure out how to ask out brilliant scholar Taylor (Monique Coleman), while Sharpay hires British exchange student Tiara (Jemma McKenzie-Brown) to be her assistant, and later, her understudy. Troy's devoted girlfriend Gabriella (Hudgens) gets a scholarship to a freshman program at Stanford. Sharpay convinces him that he's holding Gabriella back from her dream, and he encourages her to leave. He's shocked when she won't come back for prom and the spring musical...but he still manages to find a way to have his last dance with her.
The Song and Dance: The increased budget for the big screen really shows in the numbers. There's some attempts at special effects, including in Efron's solo "Scream," and some glowing cinematography. The story is slightly more interesting than the last one, with the kids trying to figure out what they want to do with their futures. The scene where Troy tells Gabriella she should go to Stamford is especially effecting.
Favorite Number: Once again, the chorus numbers are the stand-outs. High-energy routines like the opening basketball routine "Now or Never" come complete with some excellent choreography by director Kenny Ortega. Along with Troy's "Scream" on his confusion over Gabriella leaving and where he wants to go to college, Efron gets in on two good duets, his memories of childhood with Bleu "The Boys are Back" in the junkyard, and the first version of "Can I Have This Dance?" with Hudgens on the Garden Club roof in the rain.
What I Don't Like: Anyone who is a lot less self-involved than Sharpay can probably telegraph Tiara's real intentions from a mile off. Yes, while the story is a little better than last time, it's still a mass of cliches, and the ballads are still bland and too sugary. If you like your musicals darker or more thoughtful, or you weren't a fan of the first film or aren't into Ortega's style, this won't be your show.
The Big Finale: I'm probably the wrong audience for these movies. They're enough fun that I'm glad I saw them again...but they're also not something I'm going to actively seek out or watch a lot. If you have younger kids who were fans of the first ones, you'll want to show them the Wildcats' final performance.
Home Media: Like the rest of the series, this is very easy to find, both as a stand-alone film and bundled with the other two movies.
DVD
DVD - High School Musical: 3 Movies Collection
Blu-Ray
Amazon Prime
Starring Zac Efron, Vanessa Hudgens, Ashley Tisdale, and Lucas Grabeel
Directed by Kenny Ortega
Music and Lyrics by various writers
I'm returning to this franchise in honor of the end of the school year here in Southern New Jersey. By the late 2000's, the High School Musical films were such a major phenomenon, especially among young children, the small screen was too small to contain them. It became Disney's first live-action big-screen musical since Newsies in 1991...and unlike that film, it wound up being one of the bigger hits of the fall of 2008. How well do the antics of the Wildcats come across on the big screen? Let's return to East High in Utah and find out...
The Story: The end of the basketball season brings the beginning of the rehearsals for the spring musical...and of the seniors at East High considering their futures. Kelsi (Oleysa Rulin) has signed her entire homeroom up for the show. None of them are thrilled at first, as they're all busy with school activities and homework, but they eventually agree to it. Not only that, but there will be people from Juliard coming to consider Sharpay (Tisdale), Troy (Efron), Ryan (Grabeel), and Kelsi for drama scholarships. Troy has no idea where he wants to go. Sharpay wants that scholarship badly and gets her twin Ryan to try to butter up Kelsi in order for her to give her best songs to them.
Meanwhile, most of the kids are focusing on prom. Troy's best friend Chad (Corbin Bleu) is trying to figure out how to ask out brilliant scholar Taylor (Monique Coleman), while Sharpay hires British exchange student Tiara (Jemma McKenzie-Brown) to be her assistant, and later, her understudy. Troy's devoted girlfriend Gabriella (Hudgens) gets a scholarship to a freshman program at Stanford. Sharpay convinces him that he's holding Gabriella back from her dream, and he encourages her to leave. He's shocked when she won't come back for prom and the spring musical...but he still manages to find a way to have his last dance with her.
The Song and Dance: The increased budget for the big screen really shows in the numbers. There's some attempts at special effects, including in Efron's solo "Scream," and some glowing cinematography. The story is slightly more interesting than the last one, with the kids trying to figure out what they want to do with their futures. The scene where Troy tells Gabriella she should go to Stamford is especially effecting.
Favorite Number: Once again, the chorus numbers are the stand-outs. High-energy routines like the opening basketball routine "Now or Never" come complete with some excellent choreography by director Kenny Ortega. Along with Troy's "Scream" on his confusion over Gabriella leaving and where he wants to go to college, Efron gets in on two good duets, his memories of childhood with Bleu "The Boys are Back" in the junkyard, and the first version of "Can I Have This Dance?" with Hudgens on the Garden Club roof in the rain.
What I Don't Like: Anyone who is a lot less self-involved than Sharpay can probably telegraph Tiara's real intentions from a mile off. Yes, while the story is a little better than last time, it's still a mass of cliches, and the ballads are still bland and too sugary. If you like your musicals darker or more thoughtful, or you weren't a fan of the first film or aren't into Ortega's style, this won't be your show.
The Big Finale: I'm probably the wrong audience for these movies. They're enough fun that I'm glad I saw them again...but they're also not something I'm going to actively seek out or watch a lot. If you have younger kids who were fans of the first ones, you'll want to show them the Wildcats' final performance.
Home Media: Like the rest of the series, this is very easy to find, both as a stand-alone film and bundled with the other two movies.
DVD
DVD - High School Musical: 3 Movies Collection
Blu-Ray
Amazon Prime
Thursday, June 6, 2019
Cult Flops - The Pirates of Penzance
Universal, 1983
Starring Kevin Kline, Angela Landsbury, Rex Smith, and Linda Rondstat
Directed by Wilford Leach
Music by Arthur Sullivan; Lyrics by W.S Gilbert
This more faithful adaptation of the hit 1981 revival of the Gilbert and Sullivan nautical favorite came out about six months after The Pirate Movie...and despite using most of the original cast and music, it didn't do any better at the box office than its predecessor. Is this one an improvement over the very goofy Pirate Movie? Let's head to the sleepy English seaside town of Penzance, just before it receives a few rude and noisy guests, and find out...
The Story: Fredric (Smith) is about to leave the apprenticeship of a group of less-than-bloodthirsty pirates, including its lively Pirate King (Kline). Turns out that his nurse Ruth (Landsbury) was hard of hearing and accidentally apprenticed him to the pirates, rather than to a pilot. That sends both Fredric and Ruth to shore. Ruth's hoping to flirt with him, but after Fredric sees a group of lovely lasses on the shore, he realizes that Ruth is past her prime and not quite so beautiful as them. He arrives at shore to greet the ladies. They're all afraid of him, except for sweet youngest Mabel (Rondstat). The pirates follow him and try to kidnap the ladies, but their Major General father (George Rose) claims to be an orphan. The pirates won't hurt orphans and take off.
Fredric is ready to lead the local police force against the pirates, at least until the Pirate King and Ruth turn up again and reveal that the terms of his apprenticeship insist that he stays until he's 21 - and his birthday is on Leap Year Day. Fredric tells them that, not only are the cops after them, but the Major General lied. The ensuing battle eventually takes over the entirety of Penzance, including a performance of the other big seaside-themed Gilbert and Sullivan show, H.M.S Pinafore.
The Song and Dance: The cast is the thing here. Kevin Kline is in his element as the randy ruler of the buccaneers, chewing every bit of scenery and having a blast swinging around the sets. Landsbury is almost as fun as Ruth, especially in the second half when she's joined the pirates. Smith and Rondstat sing beautifully together, and the chorus is having a ball. There isn't even a a passing attempt at the outdoor shooting in Pirate Movie. It's all detailed, very theatrical sets and costumes.
Favorite Number: Kline tears into his opening solo "I am the Pirate King" with relish, while Landsbury does well by her "When Fredric Was a Little Lad" and her duet with Smith on the beach, "You Deceived Me." Rondstat does a lovely "Poor Wandering One" and joins Smith for a gorgeous series of duets ending with "Oh Here Is Love and Here Is Truth." Smith's best moment is his spoof of Elvis Prestley and other rockers of the 50's and 60's in "Oh Is There Not One Maiden Breast."
I'm especially fond of the chorus numbers. "Climbing Over Rocky Mountain" is just as much fun here sans parasols, and the entire finale, from "When a Felon's Not Engaged In His Employment" to the last dance, is an absolute delight. (Especially how they burst into that performance of Pinafore. It reminds me a bit of a similar sequence in Blazing Saddles when the townspeople's fight disrupts a musical being filmed.)
What I Don't Like: This may stick a little too closely to the original production. It's very artificial and theatrical, lacking the gorgeous real-life scenery of The Pirate Movie. If you don't love stage musicals, you probably won't get what this is going for. It's not for people who don't love operetta, either. It's almost entirely through-sung, with only a little dialogue. While the "modern" gags aren't nearly as numerous as in Pirate Movie, there's still a few that may take people out of the late 19th-century setting (including Smith's Elvis spoof in "Maiden Breast").
The Big Finale: This is the one for Gilbert and Sullivan purists. If you love their shows, the cast, swashbucklers, or the theater, you'll want to "take heart" and wander over to Penzance to check this one out.
Home Media: Unlike Pirate Movie, this one is easily found in all formats, including many streaming companies.
DVD
Blu-Ray
Amazon Prime
Starring Kevin Kline, Angela Landsbury, Rex Smith, and Linda Rondstat
Directed by Wilford Leach
Music by Arthur Sullivan; Lyrics by W.S Gilbert
This more faithful adaptation of the hit 1981 revival of the Gilbert and Sullivan nautical favorite came out about six months after The Pirate Movie...and despite using most of the original cast and music, it didn't do any better at the box office than its predecessor. Is this one an improvement over the very goofy Pirate Movie? Let's head to the sleepy English seaside town of Penzance, just before it receives a few rude and noisy guests, and find out...
The Story: Fredric (Smith) is about to leave the apprenticeship of a group of less-than-bloodthirsty pirates, including its lively Pirate King (Kline). Turns out that his nurse Ruth (Landsbury) was hard of hearing and accidentally apprenticed him to the pirates, rather than to a pilot. That sends both Fredric and Ruth to shore. Ruth's hoping to flirt with him, but after Fredric sees a group of lovely lasses on the shore, he realizes that Ruth is past her prime and not quite so beautiful as them. He arrives at shore to greet the ladies. They're all afraid of him, except for sweet youngest Mabel (Rondstat). The pirates follow him and try to kidnap the ladies, but their Major General father (George Rose) claims to be an orphan. The pirates won't hurt orphans and take off.
Fredric is ready to lead the local police force against the pirates, at least until the Pirate King and Ruth turn up again and reveal that the terms of his apprenticeship insist that he stays until he's 21 - and his birthday is on Leap Year Day. Fredric tells them that, not only are the cops after them, but the Major General lied. The ensuing battle eventually takes over the entirety of Penzance, including a performance of the other big seaside-themed Gilbert and Sullivan show, H.M.S Pinafore.
The Song and Dance: The cast is the thing here. Kevin Kline is in his element as the randy ruler of the buccaneers, chewing every bit of scenery and having a blast swinging around the sets. Landsbury is almost as fun as Ruth, especially in the second half when she's joined the pirates. Smith and Rondstat sing beautifully together, and the chorus is having a ball. There isn't even a a passing attempt at the outdoor shooting in Pirate Movie. It's all detailed, very theatrical sets and costumes.
Favorite Number: Kline tears into his opening solo "I am the Pirate King" with relish, while Landsbury does well by her "When Fredric Was a Little Lad" and her duet with Smith on the beach, "You Deceived Me." Rondstat does a lovely "Poor Wandering One" and joins Smith for a gorgeous series of duets ending with "Oh Here Is Love and Here Is Truth." Smith's best moment is his spoof of Elvis Prestley and other rockers of the 50's and 60's in "Oh Is There Not One Maiden Breast."
I'm especially fond of the chorus numbers. "Climbing Over Rocky Mountain" is just as much fun here sans parasols, and the entire finale, from "When a Felon's Not Engaged In His Employment" to the last dance, is an absolute delight. (Especially how they burst into that performance of Pinafore. It reminds me a bit of a similar sequence in Blazing Saddles when the townspeople's fight disrupts a musical being filmed.)
What I Don't Like: This may stick a little too closely to the original production. It's very artificial and theatrical, lacking the gorgeous real-life scenery of The Pirate Movie. If you don't love stage musicals, you probably won't get what this is going for. It's not for people who don't love operetta, either. It's almost entirely through-sung, with only a little dialogue. While the "modern" gags aren't nearly as numerous as in Pirate Movie, there's still a few that may take people out of the late 19th-century setting (including Smith's Elvis spoof in "Maiden Breast").
The Big Finale: This is the one for Gilbert and Sullivan purists. If you love their shows, the cast, swashbucklers, or the theater, you'll want to "take heart" and wander over to Penzance to check this one out.
Home Media: Unlike Pirate Movie, this one is easily found in all formats, including many streaming companies.
DVD
Blu-Ray
Amazon Prime
Tuesday, June 4, 2019
Cult Flops - The Pirate Movie
20th Century Fox, 1982
Starring Kristy MacNichol, Christopher Atkins, Ted Hamilton, and Bill Kerr
Directed by Ken Annikin
Music by Arthur Sullivan and others; Lyrics by W.S Gilbert and others
In a response to the success of the revival of Pirates of Penzance in New York in 1981, there were two versions of the classic Gilbert and Sullivan operettas on the big screen in 1982 and 1983. Neither was a success, but both would pick up a bit more of an audience on cable in the 80's and early 90's. This rock-and-roll Australian spoof came out first, in the summer of 1982. Is it still worthy of a modern major general, or should it be made to walk the plank? Let's join a young woman and her friends at a pirate festival on the docks at Sydney, Australia and find out...
The Story: Mabel (MacNichol) is a rather nerdy Australian girl who is on an outing with her gorgeous friends at a pirate festival. The swordfighting instructor (Atkins) she meets on a pier invites her and her friends on a trip with him, but they kick her off. She rents a pontoon and follows them, only to fall off and wash up on an island.
It's there that she dreams that she's the daughter of a very modern Major General (Kerr) in the late 1800's. The instructor becomes Fredrick, a young man raised by less-than-bloodthirsty pirates, including the sex-crazed Pirate King (Hamilton). It's his birthday, and he wants to leave his apprenticeship with the buccaneers and work towards their destruction. He heads to shore; while the ship's nurse Ruth (Maggie Kirkpatrick) tries to flirt with him, but he's more interested in the young women frolicking behind parasols on shore. They're the daughters of Major General Stanley, and they're all afraid of a pirate...except the bold and sarcastic Mabel. Mabel finds herself having to first defend her sisters against the randy Pirate King and his men, then leading Fredrick to find the pirates' lost treasure.
The Pirate King finds Fredrick first. He and Ruth reveal that Fredrick's birthday isn't exactly what he thinks it is. When he switches sides, Mabel takes his place. She has to try to lead a group of very frightened cops to victory against pirates twice their size...and remember that in dreams, everyone can make their own happy ending.
The Song and Dance: I have such fond memories of watching this on cable as a kid in the early-mid 80's. For the most part, it's still as much fun as I remember it, kind of a musical cross between Pirates of the Caribbean and the Mel Brooks movies of the 70's and 80's. MacNichol is having a blast as the shy girl who dreams herself into the role of a strong and smart heroine. This movie was originally Hamilton's idea, and he's very funny as the leader of the buccaneers who is determined to chase anything in a skirt, with Kirkpatrick almost as good as Ruth, who is more-or-less his female counterpart in flirting. He and Atkins have the best non-musical moment in the hilarious duel all over Werribee Mansion.
One of my favorite things about this is the gorgeous cinematography. The movie was shot on location in and around the historic Werribee Park Mansion in Victoria, Australia, and even when the plot is at it's silliest, it never looks less than beautiful.
Favorite Number: My own sisters and I used to love "The Sisters' Song (Riding Over Rocky Mountain)," mainly because of their cute frilly pink and yellow parasols that they twirl throughout the number. The choreography here is pretty nifty, too. Mom got a kick out of the revised lyrics for "Modern Major General" that makes references to the Beatles and the Rolling Stones. In fact, most of the ensemble numbers here are a lot of fun to watch, including the finale "Happy Ending" (despite a few questionable hand-and-arm movements in that one). Mabel also gets the animated-live action segment "Pumpin' and Blowin'," as she does just that while Fredrick searches for the treasure.
Trivia: Ken Annikin was a mentor of George Lucas, hence the Star Wars reference (and Annkin's name being used for the character of Anakin Skywalker).
What I Don't Like: A lot of the gags here are either very sexually-oriented, misogynist, or dated. (The Pink Panther sequence is funny only if you've seen the later movies in that franchise.) The sex jokes went over our heads when we were kids, but they may be a little too randy for some adults today. Mabel and Fredrick's big duet and their solo love songs are fairly bland 80's pop ballads and are at odds with the more uptempo rock songs and the Gilbert and Sullivan. Speaking of Gilbert and Sullivan, this is obviously not for purists or those looking for for a more traditional version of Pirates of Penzance.
The Big Finale: With its jokey tone, perky pop songs, and strong heroine, this might actually have been ahead of its time. If you love comic swashbucklers, goofy musicals, or action movies with a good female lead, you'll want to dig up this treasure.
Home Media: Unfortunately, the lone Anchor Bay Entertainment DVD release that I have is currently out of print. Your best bet may be to look for this at used venues like eBay or Goodwill.
DVD
Starring Kristy MacNichol, Christopher Atkins, Ted Hamilton, and Bill Kerr
Directed by Ken Annikin
Music by Arthur Sullivan and others; Lyrics by W.S Gilbert and others
In a response to the success of the revival of Pirates of Penzance in New York in 1981, there were two versions of the classic Gilbert and Sullivan operettas on the big screen in 1982 and 1983. Neither was a success, but both would pick up a bit more of an audience on cable in the 80's and early 90's. This rock-and-roll Australian spoof came out first, in the summer of 1982. Is it still worthy of a modern major general, or should it be made to walk the plank? Let's join a young woman and her friends at a pirate festival on the docks at Sydney, Australia and find out...
The Story: Mabel (MacNichol) is a rather nerdy Australian girl who is on an outing with her gorgeous friends at a pirate festival. The swordfighting instructor (Atkins) she meets on a pier invites her and her friends on a trip with him, but they kick her off. She rents a pontoon and follows them, only to fall off and wash up on an island.
It's there that she dreams that she's the daughter of a very modern Major General (Kerr) in the late 1800's. The instructor becomes Fredrick, a young man raised by less-than-bloodthirsty pirates, including the sex-crazed Pirate King (Hamilton). It's his birthday, and he wants to leave his apprenticeship with the buccaneers and work towards their destruction. He heads to shore; while the ship's nurse Ruth (Maggie Kirkpatrick) tries to flirt with him, but he's more interested in the young women frolicking behind parasols on shore. They're the daughters of Major General Stanley, and they're all afraid of a pirate...except the bold and sarcastic Mabel. Mabel finds herself having to first defend her sisters against the randy Pirate King and his men, then leading Fredrick to find the pirates' lost treasure.
The Pirate King finds Fredrick first. He and Ruth reveal that Fredrick's birthday isn't exactly what he thinks it is. When he switches sides, Mabel takes his place. She has to try to lead a group of very frightened cops to victory against pirates twice their size...and remember that in dreams, everyone can make their own happy ending.
The Song and Dance: I have such fond memories of watching this on cable as a kid in the early-mid 80's. For the most part, it's still as much fun as I remember it, kind of a musical cross between Pirates of the Caribbean and the Mel Brooks movies of the 70's and 80's. MacNichol is having a blast as the shy girl who dreams herself into the role of a strong and smart heroine. This movie was originally Hamilton's idea, and he's very funny as the leader of the buccaneers who is determined to chase anything in a skirt, with Kirkpatrick almost as good as Ruth, who is more-or-less his female counterpart in flirting. He and Atkins have the best non-musical moment in the hilarious duel all over Werribee Mansion.
One of my favorite things about this is the gorgeous cinematography. The movie was shot on location in and around the historic Werribee Park Mansion in Victoria, Australia, and even when the plot is at it's silliest, it never looks less than beautiful.
Favorite Number: My own sisters and I used to love "The Sisters' Song (Riding Over Rocky Mountain)," mainly because of their cute frilly pink and yellow parasols that they twirl throughout the number. The choreography here is pretty nifty, too. Mom got a kick out of the revised lyrics for "Modern Major General" that makes references to the Beatles and the Rolling Stones. In fact, most of the ensemble numbers here are a lot of fun to watch, including the finale "Happy Ending" (despite a few questionable hand-and-arm movements in that one). Mabel also gets the animated-live action segment "Pumpin' and Blowin'," as she does just that while Fredrick searches for the treasure.
Trivia: Ken Annikin was a mentor of George Lucas, hence the Star Wars reference (and Annkin's name being used for the character of Anakin Skywalker).
What I Don't Like: A lot of the gags here are either very sexually-oriented, misogynist, or dated. (The Pink Panther sequence is funny only if you've seen the later movies in that franchise.) The sex jokes went over our heads when we were kids, but they may be a little too randy for some adults today. Mabel and Fredrick's big duet and their solo love songs are fairly bland 80's pop ballads and are at odds with the more uptempo rock songs and the Gilbert and Sullivan. Speaking of Gilbert and Sullivan, this is obviously not for purists or those looking for for a more traditional version of Pirates of Penzance.
The Big Finale: With its jokey tone, perky pop songs, and strong heroine, this might actually have been ahead of its time. If you love comic swashbucklers, goofy musicals, or action movies with a good female lead, you'll want to dig up this treasure.
Home Media: Unfortunately, the lone Anchor Bay Entertainment DVD release that I have is currently out of print. Your best bet may be to look for this at used venues like eBay or Goodwill.
DVD
Saturday, June 1, 2019
Animation Celebration Double Feature - All Dogs Go to Heaven & All Dogs Go to Heaven 2
Don Bluth was riding high at the end of the 1980's. His independent animation studio had hit it big with An American Tail and The Land Before Time, unusually dramatic stories with strong child protagonists, and in the case of Tail, a couple of lovely songs. Things fell apart almost as soon as All Dogs Go To Heaven was released...on the same day in November 1989 as The Little Mermaid. The non-Bluth sequel went out amid a glut of animated musicals in 1996 and did even worse. Did they deserve their un-heavenly fate, or do they earn their canine wings? Let's head to a dog pound in New Orleans, where a certain pooch is about to be sprung from jail, and find out...
All Dogs Go to Heaven
United Artists, 1989
Voices of Burt Reynolds, Dom DeLouise, Vic Tayback, and Judith Barsi
Directed by Don Bluth
Music by Ralph Burns; Lyrics by Charles Strouse, T.J Kuenster, Al Kasha, and Joel Hirchhorn
The Story: In 1939 New Orleans, German Shepard Charlie Barkin (Reynolds) is rescued from the pound by his good friend Itchy (DeLouise), only to be murdered by his greedy partner Carface Carruthers (Vic Tayback). Bored in heaven, he resets the watch that represents his life and returns to Earth. He and Itchy discover that Carface is using a little human girl named Anne Marie (Barsi) who can talk to animals and find out which rat is going to win at the races. Charlie convinces her to join him by telling the orphan that he'll help her find parents. Her abilities help them win enough money at various animal races for Charlie to open his own club. Carface, meanwhile, isn't happy that he lost his money ticket or that Charlie seems to have cheated death, and Charlie's worried that losing that watch will mean he'll end up in a far worse place than heaven...
The Animation: Colorful and lively, this isn't as groundbreaking as Mermaid, but it does have a charm of its own. The backgrounds are lush and detailed, especially in two rather scary nightmare sequences with Itchy dreaming of what happened to his friend and Charlie's reverie on what'll happen if he does end up in Hell. The animals in particular are well-designed.
The Song and Dance: This may be Don Bluth's strangest movie...and considering his films feature everything from roosters whose voice controls the sun to the Earth blowing up, that's saying a lot. Reynolds and DeLouise were good friends in real life who apparently recorded together and ad-libbed a lot of their dialogue (as did Tayback and Reilly), and it shows in the loosey-goosey structure and some very funny lines. At the very least, you can't say it isn't original, probably one of the most unique animated films in existence. It's also fairly mature for an animated movie from this era, with its frank discussions of death, murder, betrayal, and the afterlife.
Favorite Number: Charlie's "You Can't Keep a Good Dog Down" is his introductory number after he's sprung from the pound. It's a catchy tune with lyrics that perfectly emphasize Charlie's "never say die" (pardon the pun) attitude. "Let's Make Music Together" with King Gator in the sewer may not make much sense, but it's probably the film's best song, and Reynolds and Ken Page have a lot of fun with it. My favorite song from this as a kid was the charming "What's Mine Is Yours," which Charlie sings to the puppies of his old girlfriend Flo (Reynolds' then-wife Loni Anderson) in an attempt to get them to share a slice of pizza.
Trivia: This was the last movie for Judith Barsi, who was tragically murdered by her father shortly after recording her dialogue for the film, and Vic Tayback, who died in 1990. Barsi's death and several other shocking shootings around the same time prompted Bluth to remove some of the more extreme violence and change Killer's machine gun to a "Buck Rogers ray gun."
For all the problems it had on release, like Charlie, the movie did get a second chance at a happy ending. It was a best-seller when it came out on video, in fact the top-selling video of 1990. The popularity of the video is how it earned a sequel in the first place (see below).
What I Don't Like: Despite Bluth removing some of the darker scenes, this is still very disturbing for a kid's movie. Along with the fairly heavy violence, the dogs drink, smoke, abuse every animal around (including humans), gamble, and kill each other. It was too dark for many critics at the time, who complained noisily about the violence and the gangster theme. It was so grim, I remember there being a brief snippet at the end of the original VHS release that had Dom DeLouise basically warning kids not to do anything that Charlie or his friends do in the film.
The tone is all over the place. Charlie and Carface are playing a 30's Warner gangster movie, but Anne Marie is basically a cross between Snow White and Annie. She's way too sticky-sweet, especially in her big song, "Soon You'll Come Home." Then there's the cutesy "Mine Is Yours" number, the rather infamous King Gator song that has nothing whatsoever to do with the rest of the movie (though Gator does show up later to deal with Carface), and the Grand Chawhee horse that wins the race comes off as a bit of a mentally disabled stereotype.
The Big Finale: While not Bluth's best picture (or as good as Mermaid), it's still got some decent animation, a good score, and a nice cast in a truly original story. If you have older kids who love animals and can handle the grittier aspects of the plot, they may find a lot to enjoy here.
Home Media: The movie's popularity on video has continued into the disc and streaming era. It can easily be found in all major formats, often bundled with it's sequel (see below).
DVD
Blu-Ray
Amazon Prime
All Dogs Go to Heaven 2
MGM/United Artists, 1996
Voices of Charlie Sheen, Sheena Easton, Dom DeLouise, and Ernest Borganine
Directed by Paul Sabella and Larry Leker
Music by Mark Watters
The Story: Heaven still doesn't do much for Charlie (Sheen), even after Itchy (DeLouise) arrives. It's even less fun for Carface (Borganine). Bored stiff, he steals Gabriel's Horn, then loses it somewhere over San Francisco in 1995. Annabelle (Bebe Neuwirth), the head angel, sends Charlie and Itchy back to Earth to collect it, armed with one miracle. They're ghosts when they arrive, unable to be seen by the physical world, including pretty Irish setter singer Sasha (Easton). Carface, however, is able to interact with those around him, thanks to a red collar he got from a fortune teller (George Hearn). Charlie and Itchy get their own collars that allow them to be seen for one day.
They befriend Sasha, who brings them to visit David (Adam Wylie), the little boy she's living with. David wants to become a street performer, and even makes the dogs part of his act. Charlie does manage to find the horn...but he hides it in order to remain on Earth. What he doesn't know is that fortune teller isn't what he seems...and he has plans for that horn, and for the three ghostly pooches and their human...
The Animation: A mild step down. On one hand, it retains the gorgeous color palatte of the original film, but otherwise, the animation is less lush and detailed and more Saturday morning cartoon. Some of the effects in Heaven and during the villain's big numbers are rather well-done, and the action-packed finale looks pretty good.
The Song and Dance: Considering most animated sequels from the 90's and early 2000's range from "ok" to "should be in Hell with Carface," this one is surprisingly not bad. At the very least, it's a bit less violent than the previous film, with a lighter and somewhat more even tone. Adam is less sugary than Anne-Marie and gets in on the action a lot more, and Sheena Easton is quite good as sassy and tough Sasha. Sheen isn't bad as Charlie, either; his relationship with Sasha is funny and even touching. Red is honestly a far better villain than Carface, and George Hearn (who knows a bit about scary villains - he was the title character during the later run of the original Broadway cast of Sweeney Todd) has a great time playing him to the hilt.
Favorite Number: Sheena Easton gets two pretty good numbers, her big solo in the bar "Count Me Out" that has Charlie trying to flirt with her even though she can't see him, and their lovely duet "I Will Always Be With You." Hearn has a blast with his big evil solo telling how he'll take over two realms, "It Feels So Good to Be So Bad." (It has a number worthy of it, too, with some of the best animation in the movie.)
Trivia: Though the movie failed at the box office, it still lead to an animated series that ran from 1996 to 1999 and a Christmas special, An All Dogs Christmas Carol.
What I Don't Like: The lighter tone does make it more kid-friendly, but there's still a lot of violence for a family musical. The plot involving the theft of the horn and how Red wants to take over Heaven makes no sense whatsoever. As much fun as Hearn is, his character is pure evil for evil's sake and isn't really that deep. I really wish they'd retained the 1930's setting, or maybe moved it ahead a bit to the 50's or 60's. The 90's backdrop makes it look like every other animated action movie from the mid-90's onwards. Some of the goofier slapstick probably could have been trimmed, too.
The Big Finale: If you have younger kids who love dogs, I'd start them on this or the series before going to the original film. For everyone else, it's a cute enough time-passer if you're a fan of the original film, Easton, or Sheen.
Home Media: Same deal; this can be found easily on every format, often bundled with the original film.
DVD
DVD - All Dogs Go to Heaven 1 & 2
Blu-Ray
Amazon Prime
All Dogs Go to Heaven
United Artists, 1989
Voices of Burt Reynolds, Dom DeLouise, Vic Tayback, and Judith Barsi
Directed by Don Bluth
Music by Ralph Burns; Lyrics by Charles Strouse, T.J Kuenster, Al Kasha, and Joel Hirchhorn
The Story: In 1939 New Orleans, German Shepard Charlie Barkin (Reynolds) is rescued from the pound by his good friend Itchy (DeLouise), only to be murdered by his greedy partner Carface Carruthers (Vic Tayback). Bored in heaven, he resets the watch that represents his life and returns to Earth. He and Itchy discover that Carface is using a little human girl named Anne Marie (Barsi) who can talk to animals and find out which rat is going to win at the races. Charlie convinces her to join him by telling the orphan that he'll help her find parents. Her abilities help them win enough money at various animal races for Charlie to open his own club. Carface, meanwhile, isn't happy that he lost his money ticket or that Charlie seems to have cheated death, and Charlie's worried that losing that watch will mean he'll end up in a far worse place than heaven...
The Animation: Colorful and lively, this isn't as groundbreaking as Mermaid, but it does have a charm of its own. The backgrounds are lush and detailed, especially in two rather scary nightmare sequences with Itchy dreaming of what happened to his friend and Charlie's reverie on what'll happen if he does end up in Hell. The animals in particular are well-designed.
The Song and Dance: This may be Don Bluth's strangest movie...and considering his films feature everything from roosters whose voice controls the sun to the Earth blowing up, that's saying a lot. Reynolds and DeLouise were good friends in real life who apparently recorded together and ad-libbed a lot of their dialogue (as did Tayback and Reilly), and it shows in the loosey-goosey structure and some very funny lines. At the very least, you can't say it isn't original, probably one of the most unique animated films in existence. It's also fairly mature for an animated movie from this era, with its frank discussions of death, murder, betrayal, and the afterlife.
Favorite Number: Charlie's "You Can't Keep a Good Dog Down" is his introductory number after he's sprung from the pound. It's a catchy tune with lyrics that perfectly emphasize Charlie's "never say die" (pardon the pun) attitude. "Let's Make Music Together" with King Gator in the sewer may not make much sense, but it's probably the film's best song, and Reynolds and Ken Page have a lot of fun with it. My favorite song from this as a kid was the charming "What's Mine Is Yours," which Charlie sings to the puppies of his old girlfriend Flo (Reynolds' then-wife Loni Anderson) in an attempt to get them to share a slice of pizza.
Trivia: This was the last movie for Judith Barsi, who was tragically murdered by her father shortly after recording her dialogue for the film, and Vic Tayback, who died in 1990. Barsi's death and several other shocking shootings around the same time prompted Bluth to remove some of the more extreme violence and change Killer's machine gun to a "Buck Rogers ray gun."
For all the problems it had on release, like Charlie, the movie did get a second chance at a happy ending. It was a best-seller when it came out on video, in fact the top-selling video of 1990. The popularity of the video is how it earned a sequel in the first place (see below).
What I Don't Like: Despite Bluth removing some of the darker scenes, this is still very disturbing for a kid's movie. Along with the fairly heavy violence, the dogs drink, smoke, abuse every animal around (including humans), gamble, and kill each other. It was too dark for many critics at the time, who complained noisily about the violence and the gangster theme. It was so grim, I remember there being a brief snippet at the end of the original VHS release that had Dom DeLouise basically warning kids not to do anything that Charlie or his friends do in the film.
The tone is all over the place. Charlie and Carface are playing a 30's Warner gangster movie, but Anne Marie is basically a cross between Snow White and Annie. She's way too sticky-sweet, especially in her big song, "Soon You'll Come Home." Then there's the cutesy "Mine Is Yours" number, the rather infamous King Gator song that has nothing whatsoever to do with the rest of the movie (though Gator does show up later to deal with Carface), and the Grand Chawhee horse that wins the race comes off as a bit of a mentally disabled stereotype.
The Big Finale: While not Bluth's best picture (or as good as Mermaid), it's still got some decent animation, a good score, and a nice cast in a truly original story. If you have older kids who love animals and can handle the grittier aspects of the plot, they may find a lot to enjoy here.
Home Media: The movie's popularity on video has continued into the disc and streaming era. It can easily be found in all major formats, often bundled with it's sequel (see below).
DVD
Blu-Ray
Amazon Prime
All Dogs Go to Heaven 2
MGM/United Artists, 1996
Voices of Charlie Sheen, Sheena Easton, Dom DeLouise, and Ernest Borganine
Directed by Paul Sabella and Larry Leker
Music by Mark Watters
The Story: Heaven still doesn't do much for Charlie (Sheen), even after Itchy (DeLouise) arrives. It's even less fun for Carface (Borganine). Bored stiff, he steals Gabriel's Horn, then loses it somewhere over San Francisco in 1995. Annabelle (Bebe Neuwirth), the head angel, sends Charlie and Itchy back to Earth to collect it, armed with one miracle. They're ghosts when they arrive, unable to be seen by the physical world, including pretty Irish setter singer Sasha (Easton). Carface, however, is able to interact with those around him, thanks to a red collar he got from a fortune teller (George Hearn). Charlie and Itchy get their own collars that allow them to be seen for one day.
They befriend Sasha, who brings them to visit David (Adam Wylie), the little boy she's living with. David wants to become a street performer, and even makes the dogs part of his act. Charlie does manage to find the horn...but he hides it in order to remain on Earth. What he doesn't know is that fortune teller isn't what he seems...and he has plans for that horn, and for the three ghostly pooches and their human...
The Animation: A mild step down. On one hand, it retains the gorgeous color palatte of the original film, but otherwise, the animation is less lush and detailed and more Saturday morning cartoon. Some of the effects in Heaven and during the villain's big numbers are rather well-done, and the action-packed finale looks pretty good.
The Song and Dance: Considering most animated sequels from the 90's and early 2000's range from "ok" to "should be in Hell with Carface," this one is surprisingly not bad. At the very least, it's a bit less violent than the previous film, with a lighter and somewhat more even tone. Adam is less sugary than Anne-Marie and gets in on the action a lot more, and Sheena Easton is quite good as sassy and tough Sasha. Sheen isn't bad as Charlie, either; his relationship with Sasha is funny and even touching. Red is honestly a far better villain than Carface, and George Hearn (who knows a bit about scary villains - he was the title character during the later run of the original Broadway cast of Sweeney Todd) has a great time playing him to the hilt.
Favorite Number: Sheena Easton gets two pretty good numbers, her big solo in the bar "Count Me Out" that has Charlie trying to flirt with her even though she can't see him, and their lovely duet "I Will Always Be With You." Hearn has a blast with his big evil solo telling how he'll take over two realms, "It Feels So Good to Be So Bad." (It has a number worthy of it, too, with some of the best animation in the movie.)
Trivia: Though the movie failed at the box office, it still lead to an animated series that ran from 1996 to 1999 and a Christmas special, An All Dogs Christmas Carol.
What I Don't Like: The lighter tone does make it more kid-friendly, but there's still a lot of violence for a family musical. The plot involving the theft of the horn and how Red wants to take over Heaven makes no sense whatsoever. As much fun as Hearn is, his character is pure evil for evil's sake and isn't really that deep. I really wish they'd retained the 1930's setting, or maybe moved it ahead a bit to the 50's or 60's. The 90's backdrop makes it look like every other animated action movie from the mid-90's onwards. Some of the goofier slapstick probably could have been trimmed, too.
The Big Finale: If you have younger kids who love dogs, I'd start them on this or the series before going to the original film. For everyone else, it's a cute enough time-passer if you're a fan of the original film, Easton, or Sheen.
Home Media: Same deal; this can be found easily on every format, often bundled with the original film.
DVD
DVD - All Dogs Go to Heaven 1 & 2
Blu-Ray
Amazon Prime
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