20th Century Fox, 1975
Starring Tim Curry, Susan Sarandon, Barry Boswick, and Meatloaf
Directed by Jim Sharman
Music by Richard Hartley and Richard O'Brian; Lyrics by Richard O'Brian
We celebrate the scariest of all holidays with the most "cult" of all cult flops. Mainstream audiences and most critics had no idea what to make of this when it debuted. It would finally gain an audience, not on cable or video, but in midnight showings across the country where fans in costume could get in for free. The showings continue in selected cinemas to this day...and so does this movie's rabid fandom. Is it worth the adulation, or should the curtain fall on this "science fiction double feature?" Let's head to a rainy wedding, as an innocent young couple is about to leave for a honeymoon that isn't going to go at all as they expect...
The Story: Janet (Sarandon) and Brad (Boswick) are the newlyweds whose car breaks down on a dark road somewhere in Texas. They walk to a spooky castle seeking a phone, only to find a party for an "Annual Transylvanian Convention" going on. The party guests are the strangest creatures this side of the Universal monster movies. Janet and Brad are shocked by their wild "Time Warp" dance and want out.
Before they can flee, they run headlong into the head of the group, Dr. Frank-n-Furter (Curry). The mad transvestite scientist claims to have discovered the secret to creating life. He's thoroughly in love with his creation, the beefy and hunky Rocky Horror (Peter Hinwood). Not everyone is crazy about their relationship. His brain was partially donated by Eddie (Meatloaf), a former delivery boy and biker. Frank has no intention of sharing his creation with anyone and gets rid of him.
Janet and Brad are having their own problems. Frank has tried seducing both of them, and Janet has fallen for Rocky. Frank doesn't have the time to be jealous when Eddie's uncle, noted UFO scientist Dr. Everett Scott (Johnathan Adams), comes looking for his nephew. An uncomfortable (and gross) dinner ends with everyone in Frank's clutches and dancing to his wild tune. But not everyone is a fan of the "sweet transvestite"...and before the end of the night, it's his very own servants who'll turn on him.
The Song and Dance: Yeah, I can see how this got such a cult following. Glittering costumes, amazing makeup, and some truly awesome song-and-dance sequences make this one heck of a party. Tim Curry gives one of his best performances as cinema's only alien mad scientist transvestite. This is a must if you're a fan of his; he oozes oily, wily seduction from every frame. Hinwood is oddly touching as Frank's gorgeous-but-brainless creation, and Meatloaf is almost a literal blast of energy in his brief role as the wild biker who wants a piece of the action.
Extra points for spooky location shooting in an actual castle in England. The real exteriors add quite a bit to the weird and cheesy atmosphere, as do the massive stage sets inside.
Favorite Number: Of course, the most famous song from this one is the dance routine "The Time Warp." Not only is it the catchiest and most infectious song in the movie, but the steps are fun and easy to learn...and they even include the steps right in Charles Gray's narration. Frank's entrance through the cage elevator, "Sweet Transvestite," is almost as famous, with Curry introducing himself with mincing menace. Meatball's rocking entrance through the wall in "Hot Patootie - Bless My Soul" turns his cameo appearance into the movie's highlight as he rides all over the set and flirts wildly with groupie Columbia (Nell Campbell).
My favorite song from this score may be most unique opening number in musical film history. The movie begins with a pair of women's disembodied scarlet lips performing "Science Fiction Double Feature" in a male voice. It perfectly underscores the androgyny theme with Frank...and name-drops cheesy sci-fi movies of the past that likely inspired this one, from The Day the Earth Stood Still to Flash Gordon to Forbidden Planet.
What I Don't Like: Yeah, as you may have noticed, this one is pretty damn strange. While it's not as gory or bloody as Sweeney Todd, there is at least one murder...and they eat the remains. Obviously, if you're looking for a more typically romantic fling, a stronger story, or aren't into horror or sci-fi, this isn't your show. It's also not for those looking for something lower-key - this is flashy, loud, and crazy.
The Big Finale: This is as cult as cult can get. It may have been a little too wild for me...but there's no denying its cultural impact. While it is fun to watch at home, if you want the full experience or are a huge fan of Curry or Meatloaf, you may be better off looking up one of those midnight showings.
Home Media: This film's rabid fan base has assured that it can be found in every format, usually for under 10 dollars.
DVD
Blu-Ray
Amazon Prime
Reviews of musical films, from 1930s black and white to widescreen 21st century extravaganzas.
Thursday, October 31, 2019
Tuesday, October 29, 2019
Sweeney Todd: The Demon Barber of Fleet Street (2007)
Dreamworks/Paramount, 2007
Starring Johnny Depp, Helena Bonham Carter, Alan Rickman, and Timothy Spall
Directed by Tim Burton
Music and Lyrics by Stephan Sondheim
We kick off Halloween week with our second Tim Burton horror musical featuring his regular leads Johnny Depp and Helena Bonham Carter. This one, however, is neither animated, nor remotely family-friendly. Based after the blood-soaked 1979 stage musical, this tale of blood and revenge is definitely not for the faint at heart. Let's take a boat ride to Victorian London to find out what happened to Todd to make him want to use his barbering abilities for more than scraping chins...
The Story: Benjamin Barker (Depp) has returned to London to gain revenge on Judge Turpin (Rickman), who had him unfairly imprisoned fifteen years before. Turpin attacked his wife Lucy (Laura Michelle Kelly) and took his daughter Joanna (Jayne Wisener) as his ward. Barker returns to his old digs on Fleet Street, over Mrs. Lovett's (Carter) pie shop. Mrs. Lovett has always had a crush on him and gives him his razors, which inspires him to reopen his barber shop under the name Sweeney Todd.
Meanwhile, the young sailor who came to London with Todd, Anthony Hope (Jaime Campbell Bower), has seen Joanna at the window of the Judge's home and fallen in love with her at first sight. The Judge doesn't want anyone even contemplating her and sends the Beadle Bamford (Spall) to get rid of him. Having bested Italian barber Pirelli (Sascha Baron Cohen) in a shaving contest, Todd is ready to go into business. Pirelli is the first of many bodies that pile up in the ovens at Fleet Street, as Mrs. Lovett turns the remains into pie fillings and the "worst pies in London" become the rage of the town.
Todd, however, still wants revenge on Turpin, and Anthony still wants Joanna. When he discovers she's in an insane asylum and Mrs. Lovett's assistant Toby (Ed Sanders) figures out what they're doing, it sets off a chain of events that ends in tragedy as Todd discovers that revenge is a dish best served not at all, never mind in a hot meat pie.
The Song and Dance: As this is an opera, we're mainly discussing the song side of things. The voices may not be perfect, but there's some excellent performances in this Grand Guiginol melodrama. Rickman and Spall get the honors as the lusty villains who will destroy a man's reputation to get a "pretty woman," and Cohen has a blast in his brief role early on as the faux-Italian hair cutter with the so-called miracle tonic.
Burton's creepy aesthetic is all over this movie, from the dark, blood-filled sewers and streets of London to the ragged gray and white costumes. It won an Oscar for its historically-accurate sets, representing the darkest, grimiest depths of the Victorian era, and was nominated for costumes and Depp's performance as the vengeance-obsessed Todd himself.
Favorite Number: Carter and Depp have two soaring and enjoyable duets, "My Friends" when Mrs. Lovett offers him his razors back, and "A Little Priest" when they start making those pies. Carter small voice comes across better in "Poor Thing," when she explains what happened to Todd's wife, than in her insisting that she'll "Wait" for Todd to come around to her dreams. She also does well with "By the Sea" as she tells us what she hopes to do with Todd. Bower has two soaring versions of "Joanna," first when he sees her at her window, and later in the shop when he's hiding her. Depp and Rickman may not have the most operatic voices, but they still relish their version of "Pretty Women."
Trivia: Sweeney Todd originally debuted on Broadway in 1979, with Angela Landsbury as Mrs. Lovett and Len Cariou as Todd. It wasn't a long-runner, lasting just over a year. It did better with critics, winning 9 Tonys, including Best Actor and Actress for Cariou and Landsbury. The show finally became a cult favorite when the touring version, with Landsbury and later Broadway Todd George Hearn, was filmed and ran on PBS and Showtime in 1982.
While it was a flop in Todd's native London, it later became popular enough over there to have been revived four times, most recently in 2015. The show's been revived three times in New York, including a successful off-Broadway version in 2017.
What I Don't Like: Good grief, this was gross. I'm just not into gory slasher movies. If you aren't, either, don't come within a hundred miles of this film. The blood flows freely, especially towards the end as Todd starts murdering folks left and right. It's also very dark for a musical, both in the cinematography and the creepy, melodramatic story.
A lot of theater geeks and Sondheim fans have complained bitterly about the less-than stellar voices singing often-truncated versions of the operatic music. Apparently, a lot of numbers were dropped or shortened, including the opening, "The Ballad of Sweeney Todd." I don't have the cast album and can't tell you what's missing, but I do know that sometimes Carter's tiny voice isn't big enough for the soaring music, and Wisener and Bower are stiff as boards.
The Big Finale: Slasher horror just isn't my cup of tea...but if it's yours, or you're a huge fan of Burton and the cast and don't mind the song and story changes, you'll want to fire up the oven and give this one a try.
Home Media: As a relatively recent film, this one is quite easy to find in all major formats, usually for under 10 dollars.
DVD
Blu-Ray
Amazon Prime
Starring Johnny Depp, Helena Bonham Carter, Alan Rickman, and Timothy Spall
Directed by Tim Burton
Music and Lyrics by Stephan Sondheim
We kick off Halloween week with our second Tim Burton horror musical featuring his regular leads Johnny Depp and Helena Bonham Carter. This one, however, is neither animated, nor remotely family-friendly. Based after the blood-soaked 1979 stage musical, this tale of blood and revenge is definitely not for the faint at heart. Let's take a boat ride to Victorian London to find out what happened to Todd to make him want to use his barbering abilities for more than scraping chins...
The Story: Benjamin Barker (Depp) has returned to London to gain revenge on Judge Turpin (Rickman), who had him unfairly imprisoned fifteen years before. Turpin attacked his wife Lucy (Laura Michelle Kelly) and took his daughter Joanna (Jayne Wisener) as his ward. Barker returns to his old digs on Fleet Street, over Mrs. Lovett's (Carter) pie shop. Mrs. Lovett has always had a crush on him and gives him his razors, which inspires him to reopen his barber shop under the name Sweeney Todd.
Meanwhile, the young sailor who came to London with Todd, Anthony Hope (Jaime Campbell Bower), has seen Joanna at the window of the Judge's home and fallen in love with her at first sight. The Judge doesn't want anyone even contemplating her and sends the Beadle Bamford (Spall) to get rid of him. Having bested Italian barber Pirelli (Sascha Baron Cohen) in a shaving contest, Todd is ready to go into business. Pirelli is the first of many bodies that pile up in the ovens at Fleet Street, as Mrs. Lovett turns the remains into pie fillings and the "worst pies in London" become the rage of the town.
Todd, however, still wants revenge on Turpin, and Anthony still wants Joanna. When he discovers she's in an insane asylum and Mrs. Lovett's assistant Toby (Ed Sanders) figures out what they're doing, it sets off a chain of events that ends in tragedy as Todd discovers that revenge is a dish best served not at all, never mind in a hot meat pie.
The Song and Dance: As this is an opera, we're mainly discussing the song side of things. The voices may not be perfect, but there's some excellent performances in this Grand Guiginol melodrama. Rickman and Spall get the honors as the lusty villains who will destroy a man's reputation to get a "pretty woman," and Cohen has a blast in his brief role early on as the faux-Italian hair cutter with the so-called miracle tonic.
Burton's creepy aesthetic is all over this movie, from the dark, blood-filled sewers and streets of London to the ragged gray and white costumes. It won an Oscar for its historically-accurate sets, representing the darkest, grimiest depths of the Victorian era, and was nominated for costumes and Depp's performance as the vengeance-obsessed Todd himself.
Favorite Number: Carter and Depp have two soaring and enjoyable duets, "My Friends" when Mrs. Lovett offers him his razors back, and "A Little Priest" when they start making those pies. Carter small voice comes across better in "Poor Thing," when she explains what happened to Todd's wife, than in her insisting that she'll "Wait" for Todd to come around to her dreams. She also does well with "By the Sea" as she tells us what she hopes to do with Todd. Bower has two soaring versions of "Joanna," first when he sees her at her window, and later in the shop when he's hiding her. Depp and Rickman may not have the most operatic voices, but they still relish their version of "Pretty Women."
Trivia: Sweeney Todd originally debuted on Broadway in 1979, with Angela Landsbury as Mrs. Lovett and Len Cariou as Todd. It wasn't a long-runner, lasting just over a year. It did better with critics, winning 9 Tonys, including Best Actor and Actress for Cariou and Landsbury. The show finally became a cult favorite when the touring version, with Landsbury and later Broadway Todd George Hearn, was filmed and ran on PBS and Showtime in 1982.
While it was a flop in Todd's native London, it later became popular enough over there to have been revived four times, most recently in 2015. The show's been revived three times in New York, including a successful off-Broadway version in 2017.
What I Don't Like: Good grief, this was gross. I'm just not into gory slasher movies. If you aren't, either, don't come within a hundred miles of this film. The blood flows freely, especially towards the end as Todd starts murdering folks left and right. It's also very dark for a musical, both in the cinematography and the creepy, melodramatic story.
A lot of theater geeks and Sondheim fans have complained bitterly about the less-than stellar voices singing often-truncated versions of the operatic music. Apparently, a lot of numbers were dropped or shortened, including the opening, "The Ballad of Sweeney Todd." I don't have the cast album and can't tell you what's missing, but I do know that sometimes Carter's tiny voice isn't big enough for the soaring music, and Wisener and Bower are stiff as boards.
The Big Finale: Slasher horror just isn't my cup of tea...but if it's yours, or you're a huge fan of Burton and the cast and don't mind the song and story changes, you'll want to fire up the oven and give this one a try.
Home Media: As a relatively recent film, this one is quite easy to find in all major formats, usually for under 10 dollars.
DVD
Blu-Ray
Amazon Prime
Saturday, October 26, 2019
Animation Celebration Saturday - Snow White and the Seven Dwarfs (1937)
Disney, 1937
Voices of Adriana Caselotti, Lucile LaVerne, Harry Stockwell, and Pinto Colvig
Directed by David Hand, Wilfred Jackson, and others
Music by Frank Churchill; Lyrics by Larry Morey
And here's the one that kicked off Disney's beloved Animated "Canon" films. There had been animated movies made before this in Europe, but it had never been attempted in the US. Other studios called it "Walt's Folly" and thought it would never catch on. They couldn't have been more wrong. The movie was a sensation, capturing the imaginations of audiences and critics alike. Does it still measure up to that adoration today? Let's head to the courtyard of the Evil Queen's (LaVerne) castle and finds out...
The Story: The Queen is deeply jealous of sweet and pretty Snow White, forcing her to work as a scullery maid. That doesn't stop her from encountering a handsome prince (Stockwell) while cleaning the courtyard. When her magic mirror tells her that Snow White is now the "fairest of them all," She sends her huntsman (Stuart Buchanan) to kill the girl, but he doesn't have the heart and sends her into the woods.
She ends up in the home of the Seven Dwarfs, a septet of diminutive miners. They don't know what to do with her at first, until she tells them she's willing to keep house and cook for them. The Queen, however, has figured out that she's still alive, and she'll do anything to eliminate the competition - including turning herself into a hag and bringing the girl a poisoned apple herself!
The Animation: We're looking at real history here, folks. Walt and his animators had been developing this since at least 1934, and the work shows. It's leaps and bounds above their previous shorts, with fairly realistic movement in the characters and lush watercolor backgrounds, especially during Snow White's flight through the forest and when the Dwarfs are chasing the Evil Queen in the finale.
The Song and Dance: This is another Disney animated film where the supporting cast pretty much steals the show. The Dwarfs are so funny and have such distinct personalities that it's hard for many people to think of the story without them. The Evil Queen is so cold and scary, she even spooked Walt Disney, who swore he'd never do a villain that frightening again. (That didn't last long.) The musical score by Leigh Harline is lush and beautiful, starting a long tradition of stunning orchestra scores for Disney animated features.
Favorite Number: The movie starts in stirring fashion with not one, but two ravishing ballads, Snow White's lovely "I'm Wishing" over a well, and the Prince's gorgeous "One Song" under her balcony. The Dwarfs are introduced in the mine with their famous marching song, "Heigh Ho." Snow White and the Dwarfs have fun with their big chorus number "The Silly Song"; one could spend a viewing alone checking out the details in that one, from the creative wooden instruments to Snow White's fairly smooth movements. Her "Someday My Prince Will Come" was the major hit, and remains one of the most popular ballads from any Disney animated film.
What I Don't Like: Once again, the problem is with the leads. Snow White is sticky-sweet and horribly cutesy. Her prince is even less interesting, showing up in the beginning and the end and not doing much else. The Queen, as scary as she is, doesn't really have much to her, either.
Also, as sweet as the movie can be at times, it can also be very dark, particularly where the Queen is involved. The spooky atmosphere makes this a little too dark for very young princesses and anyone who expecting all sweetness and light.
The Big Finale: Not my favorite Disney movie, but it is the first animated film, and it does have great music, a decent villain, and the very funny Dwarfs. Might still be a lot of fun for romantic older kids and adults who love animation history or fairy tales.
Home Media: Easily found on all formats and for purchase on streaming.
DVD
Blu-Ray
Amazon Prime (buy only)
Voices of Adriana Caselotti, Lucile LaVerne, Harry Stockwell, and Pinto Colvig
Directed by David Hand, Wilfred Jackson, and others
Music by Frank Churchill; Lyrics by Larry Morey
And here's the one that kicked off Disney's beloved Animated "Canon" films. There had been animated movies made before this in Europe, but it had never been attempted in the US. Other studios called it "Walt's Folly" and thought it would never catch on. They couldn't have been more wrong. The movie was a sensation, capturing the imaginations of audiences and critics alike. Does it still measure up to that adoration today? Let's head to the courtyard of the Evil Queen's (LaVerne) castle and finds out...
The Story: The Queen is deeply jealous of sweet and pretty Snow White, forcing her to work as a scullery maid. That doesn't stop her from encountering a handsome prince (Stockwell) while cleaning the courtyard. When her magic mirror tells her that Snow White is now the "fairest of them all," She sends her huntsman (Stuart Buchanan) to kill the girl, but he doesn't have the heart and sends her into the woods.
She ends up in the home of the Seven Dwarfs, a septet of diminutive miners. They don't know what to do with her at first, until she tells them she's willing to keep house and cook for them. The Queen, however, has figured out that she's still alive, and she'll do anything to eliminate the competition - including turning herself into a hag and bringing the girl a poisoned apple herself!
The Animation: We're looking at real history here, folks. Walt and his animators had been developing this since at least 1934, and the work shows. It's leaps and bounds above their previous shorts, with fairly realistic movement in the characters and lush watercolor backgrounds, especially during Snow White's flight through the forest and when the Dwarfs are chasing the Evil Queen in the finale.
The Song and Dance: This is another Disney animated film where the supporting cast pretty much steals the show. The Dwarfs are so funny and have such distinct personalities that it's hard for many people to think of the story without them. The Evil Queen is so cold and scary, she even spooked Walt Disney, who swore he'd never do a villain that frightening again. (That didn't last long.) The musical score by Leigh Harline is lush and beautiful, starting a long tradition of stunning orchestra scores for Disney animated features.
Favorite Number: The movie starts in stirring fashion with not one, but two ravishing ballads, Snow White's lovely "I'm Wishing" over a well, and the Prince's gorgeous "One Song" under her balcony. The Dwarfs are introduced in the mine with their famous marching song, "Heigh Ho." Snow White and the Dwarfs have fun with their big chorus number "The Silly Song"; one could spend a viewing alone checking out the details in that one, from the creative wooden instruments to Snow White's fairly smooth movements. Her "Someday My Prince Will Come" was the major hit, and remains one of the most popular ballads from any Disney animated film.
What I Don't Like: Once again, the problem is with the leads. Snow White is sticky-sweet and horribly cutesy. Her prince is even less interesting, showing up in the beginning and the end and not doing much else. The Queen, as scary as she is, doesn't really have much to her, either.
Also, as sweet as the movie can be at times, it can also be very dark, particularly where the Queen is involved. The spooky atmosphere makes this a little too dark for very young princesses and anyone who expecting all sweetness and light.
The Big Finale: Not my favorite Disney movie, but it is the first animated film, and it does have great music, a decent villain, and the very funny Dwarfs. Might still be a lot of fun for romantic older kids and adults who love animation history or fairy tales.
Home Media: Easily found on all formats and for purchase on streaming.
DVD
Blu-Ray
Amazon Prime (buy only)
Thursday, October 24, 2019
Cult Flops - Little Shop of Horrors
Warner Bros, 1986
Starring Rick Moranis, Ellen Greene, Vincent Gardenia, and Steve Martin
Directed by Frank Oz
Music by Alan Menken; Lyrics by Howard Ashman
Our next scare-fest comes to us from off-Broadway. This goofy comedy was not without its filming problems, including a totally re-shot ending. How does the original version look now? Let's head to Skid Row, where a black girl-group chorus is introducing us to the concept and the residents of the street, and find out...
The Story: Seymour Krelbourn (Moranis) works in a low-rent flower shop on Skid Row that's about to go under. Desperate to save his job and that of his crush Audrey (Greene), he brings out an "exotic" fly trap-like plant he's been nurturing and puts it in the window. He named the plant Audrey II (voice of Levi Stubbs) after the woman he loves. Turns out Audrey has no interest in flies. He wants blood, the fresher, the better. He thinks he's found a perfect candidate in Audrey I's obnoxious laughing gas-sniffing dentist boyfriend Orin (Martin). Pretty soon, Audrey II's popularity is spreading, even as the police investigate Orin's disappearance. Now Seymour has to stop Audrey II from gobbling everything in sight, before the fiendish flytrap can execute its plan for world domination!
The Song and Dance: I've never been the biggest horror fan, and this was still one of my favorite movies when I was a kid. Hilarious performances all around, especially from Moranis as the nebbish florist who just wants to impress his girl and Martin as the sadistic dentist we've all had nightmares about. The cameos that pop up add to the fun, including Bill Murray as a pain-loving patient and John Candy as a radio talk show host.
Even to this day, the Audrey II puppet still looks awesome. You really believe this is a talking plant out to eat its way across the planet. I'm not surprised the movie got an Oscar nomination for Visual Effects.
Favorite Number: Seymour gets two great solos, "Da Doo" as he explains how he aquired Audrey II, and "Grow for Me" when he's trying to figure out what to feed it to make it get bigger. The human Audrey explains what she really wants - a typical home with her true love - in "Somewhere That's Green" and gets an impassioned duet with said crush towards the end, "Suddenly Seymour." The girl group chorus opens the film in vigorous fashion with the dynamic title song and join Orin as he explains how much he loves his job in "Dentist!"
The movie's coolest number was written for the film. Audrey II reveals that he's a "Mean Green Mother From Outer Space" in the finale as he tells Seymour how he and his sprouts plan on conquering the Earth. The puppeteering work on those tiny sprouts and the action-packed final routine is beautifully done.
Trivia: The original off-Broadway show debuted in 1982 and was a huge hit, running five years. While the London version didn't run quite that long, it still did fairly well in a larger theater, running three years. A Broadway version in 2003 didn't do quite as well, running a year. Greene was Audrey in the original run, as well as in a critically acclaimed Encore! concert in 2015.
The original ending had Audrey II eating Seymour and Audrey I and running amok in New York, eventually ending up on top of the Statue of Liberty. There was also a longer "Meek Shall Inherit" montage, with an elaborate dream sequence for Seymour. Both were cut after negative test screenings and thought lost until 2012, when work in progress reels were found and restored for DVD.
A disappointment in the theater, the movie was a top-seller when it came out on video. A short-lived cartoon based on this film and the original 1960 Roger Corman movie debuted in 1991.
What I Don't Like: Although I don't really have problems the current ending, many people find it too be too sentimental, going against the grain of the mostly satirical and relatively dark film. I can't help but wonder what would have happened if they'd stuck to Oz's original vision and stuck to the scarier finale.
Several songs from the original show were cut, including the one that went along with that darker ending, "Don't Feed the Plants."
The Big Finale: I loved this movie as a child, and it's every bit as enjoyable today. If you're looking for something that's scary and yet very funny, with a terrific cast and still-impressive special effects, you'll want to head downtown and check this one out.
Home Media: The original theatrical version that I reviewed and the "director's cut" with the original ending are widely available in all formats.
DVD
DVD - The Director's Cut
Blu-Ray - The Director's Cut
Amazon Prime
Starring Rick Moranis, Ellen Greene, Vincent Gardenia, and Steve Martin
Directed by Frank Oz
Music by Alan Menken; Lyrics by Howard Ashman
Our next scare-fest comes to us from off-Broadway. This goofy comedy was not without its filming problems, including a totally re-shot ending. How does the original version look now? Let's head to Skid Row, where a black girl-group chorus is introducing us to the concept and the residents of the street, and find out...
The Story: Seymour Krelbourn (Moranis) works in a low-rent flower shop on Skid Row that's about to go under. Desperate to save his job and that of his crush Audrey (Greene), he brings out an "exotic" fly trap-like plant he's been nurturing and puts it in the window. He named the plant Audrey II (voice of Levi Stubbs) after the woman he loves. Turns out Audrey has no interest in flies. He wants blood, the fresher, the better. He thinks he's found a perfect candidate in Audrey I's obnoxious laughing gas-sniffing dentist boyfriend Orin (Martin). Pretty soon, Audrey II's popularity is spreading, even as the police investigate Orin's disappearance. Now Seymour has to stop Audrey II from gobbling everything in sight, before the fiendish flytrap can execute its plan for world domination!
The Song and Dance: I've never been the biggest horror fan, and this was still one of my favorite movies when I was a kid. Hilarious performances all around, especially from Moranis as the nebbish florist who just wants to impress his girl and Martin as the sadistic dentist we've all had nightmares about. The cameos that pop up add to the fun, including Bill Murray as a pain-loving patient and John Candy as a radio talk show host.
Even to this day, the Audrey II puppet still looks awesome. You really believe this is a talking plant out to eat its way across the planet. I'm not surprised the movie got an Oscar nomination for Visual Effects.
Favorite Number: Seymour gets two great solos, "Da Doo" as he explains how he aquired Audrey II, and "Grow for Me" when he's trying to figure out what to feed it to make it get bigger. The human Audrey explains what she really wants - a typical home with her true love - in "Somewhere That's Green" and gets an impassioned duet with said crush towards the end, "Suddenly Seymour." The girl group chorus opens the film in vigorous fashion with the dynamic title song and join Orin as he explains how much he loves his job in "Dentist!"
The movie's coolest number was written for the film. Audrey II reveals that he's a "Mean Green Mother From Outer Space" in the finale as he tells Seymour how he and his sprouts plan on conquering the Earth. The puppeteering work on those tiny sprouts and the action-packed final routine is beautifully done.
Trivia: The original off-Broadway show debuted in 1982 and was a huge hit, running five years. While the London version didn't run quite that long, it still did fairly well in a larger theater, running three years. A Broadway version in 2003 didn't do quite as well, running a year. Greene was Audrey in the original run, as well as in a critically acclaimed Encore! concert in 2015.
The original ending had Audrey II eating Seymour and Audrey I and running amok in New York, eventually ending up on top of the Statue of Liberty. There was also a longer "Meek Shall Inherit" montage, with an elaborate dream sequence for Seymour. Both were cut after negative test screenings and thought lost until 2012, when work in progress reels were found and restored for DVD.
A disappointment in the theater, the movie was a top-seller when it came out on video. A short-lived cartoon based on this film and the original 1960 Roger Corman movie debuted in 1991.
What I Don't Like: Although I don't really have problems the current ending, many people find it too be too sentimental, going against the grain of the mostly satirical and relatively dark film. I can't help but wonder what would have happened if they'd stuck to Oz's original vision and stuck to the scarier finale.
Several songs from the original show were cut, including the one that went along with that darker ending, "Don't Feed the Plants."
The Big Finale: I loved this movie as a child, and it's every bit as enjoyable today. If you're looking for something that's scary and yet very funny, with a terrific cast and still-impressive special effects, you'll want to head downtown and check this one out.
Home Media: The original theatrical version that I reviewed and the "director's cut" with the original ending are widely available in all formats.
DVD
DVD - The Director's Cut
Blu-Ray - The Director's Cut
Amazon Prime
Tuesday, October 22, 2019
The Corpse Bride
Warner Bros, 2005
Voices of Johnny Depp, Helena Bonham Carter, Emily Watson, and Joanna Lumley
Directed by Tim Burton
Music by Danny Elfman; Lyrics by John August
For the next two weeks, we're going to celebrate the spookiest time of the year with four frightening tales of musical mayhem, starting with this stop-motion romance. Having had success with The Nightmare Before Christmas in the 90's, Burton once again dove into animation with this melodrama about a young man who literally goes from the underworld and back to return to his beloved. Is it as much fun as the earlier film? Let's head to a small village in Europe, where two families are preparing for a wedding, and find out...
The Story: Victor Van Dort (Depp) and Victoria Everglot (Watson) are being brought together in an arranged marriage by their two influential families. Victor's is newly rich and searching for status. Victoria's is penniless but high in social standing. Victor is so nervous, he makes a hash of the wedding rehearsal. He wanders out to the woods to practice his wedding vows, placing the ring on what he thinks is a wooden branch. It turns out to be the hand of a deceased bride, Emily (Bonham Carter), who now believes they're married. Victor faints and finds himself among the colorful skeleton residents of the Underworld, who explain how Emily was betrayed and killed by the man who was supposed to elope with her. He tricks her into returning above, but Victoria is less than happy to find him in the arms of even a dead woman. Now Victor has to explain to the dead bride that he loves another and keep his own living intended from marrying a rather sketchy nobleman.
The Animation: Not as bright or creative as Nightmare, but still excellent. The stiff gray designs of the Victorian world above reminds me of Burton's even creepier stop-motion short from the 80's, Vincent, with its wide, dark-ringed eyes and angular designs. The Underworld is more fluid and whimsical, with more movement and some very creative character models.
The Song and Dance: Alternately bittersweet and goofy, this is actually less creepy than you might think, despite all the dead people roaming around. As good as Depp is as the confused groom, he's outshown by both ladies. Bonham Carter does well with Emily's sweet and more vengeful sides, while Watson brings more strength than you might think to dainty Victoria.
Favorite Number: "Remains of the Day" is a jazzy number for Bojangles (Elfman) and his skeleton combo as they tell Victor the sad tale of how Emily was tricked into eloping with a man who only wanted her money and jewels. Carter also gets the touching "Tears to Shed" after she finds out about Victor and Victoria.
What I Don't Like: The music, while not bad, isn't quite as memorable as the scores for Nightmare Before Christmas and James and the Giant Peach, and there isn't nearly enough of it. A song for Victoria to explain her feelings, or a duet for Victor and Victoria or Victor and Emily, might have been nice.
The Big Finale: If you love Burton's other stop-motion projects, unusual love stories, or the cast, you'll want to take a chance and join the Underworld in celebrating this one.
Home Media: Oddly, while the widescreen DVD is out of print, the full screen disc is still available. It can be found in widescreen on Blu Ray and most streaming companies.
DVD
Blu Ray
Amazon Prime
Voices of Johnny Depp, Helena Bonham Carter, Emily Watson, and Joanna Lumley
Directed by Tim Burton
Music by Danny Elfman; Lyrics by John August
For the next two weeks, we're going to celebrate the spookiest time of the year with four frightening tales of musical mayhem, starting with this stop-motion romance. Having had success with The Nightmare Before Christmas in the 90's, Burton once again dove into animation with this melodrama about a young man who literally goes from the underworld and back to return to his beloved. Is it as much fun as the earlier film? Let's head to a small village in Europe, where two families are preparing for a wedding, and find out...
The Story: Victor Van Dort (Depp) and Victoria Everglot (Watson) are being brought together in an arranged marriage by their two influential families. Victor's is newly rich and searching for status. Victoria's is penniless but high in social standing. Victor is so nervous, he makes a hash of the wedding rehearsal. He wanders out to the woods to practice his wedding vows, placing the ring on what he thinks is a wooden branch. It turns out to be the hand of a deceased bride, Emily (Bonham Carter), who now believes they're married. Victor faints and finds himself among the colorful skeleton residents of the Underworld, who explain how Emily was betrayed and killed by the man who was supposed to elope with her. He tricks her into returning above, but Victoria is less than happy to find him in the arms of even a dead woman. Now Victor has to explain to the dead bride that he loves another and keep his own living intended from marrying a rather sketchy nobleman.
The Animation: Not as bright or creative as Nightmare, but still excellent. The stiff gray designs of the Victorian world above reminds me of Burton's even creepier stop-motion short from the 80's, Vincent, with its wide, dark-ringed eyes and angular designs. The Underworld is more fluid and whimsical, with more movement and some very creative character models.
The Song and Dance: Alternately bittersweet and goofy, this is actually less creepy than you might think, despite all the dead people roaming around. As good as Depp is as the confused groom, he's outshown by both ladies. Bonham Carter does well with Emily's sweet and more vengeful sides, while Watson brings more strength than you might think to dainty Victoria.
Favorite Number: "Remains of the Day" is a jazzy number for Bojangles (Elfman) and his skeleton combo as they tell Victor the sad tale of how Emily was tricked into eloping with a man who only wanted her money and jewels. Carter also gets the touching "Tears to Shed" after she finds out about Victor and Victoria.
What I Don't Like: The music, while not bad, isn't quite as memorable as the scores for Nightmare Before Christmas and James and the Giant Peach, and there isn't nearly enough of it. A song for Victoria to explain her feelings, or a duet for Victor and Victoria or Victor and Emily, might have been nice.
The Big Finale: If you love Burton's other stop-motion projects, unusual love stories, or the cast, you'll want to take a chance and join the Underworld in celebrating this one.
Home Media: Oddly, while the widescreen DVD is out of print, the full screen disc is still available. It can be found in widescreen on Blu Ray and most streaming companies.
DVD
Blu Ray
Amazon Prime
Saturday, October 19, 2019
Family Fun Saturday - Pete's Dragon (1977)
Disney, 1977
Starring Sean Marshall, Helen Reddy, Mickey Rooney, and Jim Dale
Directed by Don Chaffey
Music by Al Kasha; Lyrics by Joel Hirschhorn
Before we get into this year's horror musical reviews for Halloween, I thought we'd try something a tad lighter. This is an old childhood favorite of mine. A re-release was one of the first movies I ever saw in a theater. How well does the unusual story of a boy and his dragon who help out a New England town look today? Let's take to the road with Pete (Marshall) and his buddy Elliott and find out...
The Story: Pete (Marshall) is on the run from the Grogans, the combative hillbilly family who bought him from the orphanage and treat him like a slave. His only friend is Elliott (voice of Charlie Callas), a friendly green dragon who becomes invisible when anyone but Pete is around. They flee to the New England coastal town of Passamaquaddy, but Elliot's size wrecks havoc on the people of the town. They hide in a cave, where Pete is found by Nora (Reddy), the kindly daughter of the lighthouse keeper Lampy (Rooney). Nora and Lampy take Pete in, and even let him go to school. Not only are the Grogans still on Pete's trail, though, but the snake-oil salesman Dr. Terminus (Dale) and his assistant Hoagy (Red Buttons) are determined to get their hands on Elliott to use him to make their bogus remedies.
The Animation: Par for the course in this time period. Elliot moves relatively well, but his "invisible" spells are obviously moving wires, and you can pretty much see the green screen around him when he's with actual people.
The Song and Dance: It's the supporting cast who shine here. Dale and Buttons have a blast as the con men who think dragon parts will make them rich, while Rooney's having his own fun as eternally inebriated Lampy. Sean Marshall's actually not bad as Pete. He really does make you believe his best friend is a dragon (even when the special effects don't). Reddy is a warm and witty Nora (and gets to introduce this movie's sole standard, "Candle On the Water"). They're abetted by a cast of favorite TV hams, including Jim Backus as the mayor and Jane Kean as the strict school teacher.
The other plus here, along with the music, is gorgeous cinematography. That may be California substituting for New England (complete with a specially-built lighthouse), but it still looks great. "Razzle Dazzle Day," filmed on top of the lighthouse, takes full advantage of the widescreen process as the trio get a load of the stunning views.
Favorite Number: "Candle On the Water" is Nora's big ballad about mid-way through, as she hopes that her own love will be like the lighthouse and find his way home. It's a really lovely song that deserved its Oscar nomination. Nora also gets a sweet duet with Pete as they discuss Elliott and their odd friendship, "It's Not Easy."
Dale throws himself wholeheartedly into the flourishing villain song, "Every Little Piece," as he and Buttons reveal what they intend to do with Elliot. Nora explains to the kids of Passamaquaddy why Pete's so close to his friend - and why they should let all kinds of people (and dragons) into their lives - as they turn the docks into a playground in "There's Room for Everyone." There's also that widescreen view in "Brazzle Dazzle Day" as Nora, Lampy, and Pete clean and paint the lighthouse.
What I Don't Like: Yeah, the story isn't the strongest in the universe. It doesn't match either of Disney's earlier ventures into live action/animation, Mary Poppins and Bedknobs and Broomsticks. The special effects look almost annoyingly dated now, and even then weren't great compared to the big sci-fi fantasy movies of the time. You can easily see the wires and green screen, especially in the big action finale. There's also the Grogans, who come off as ridiculous hillbilly stereotypes and aren't nearly as much fun as Dale and Buttons. Frankly, the whole thing comes off as more than a little cheesy.
The Big Finale: Too goofy for older kids, but for youngsters and those who grew up watching this on cable or video, the music and cast alone is worth giving this this one a look.
Home Media: The "High Flying Edition" is easily found in all formats.
DVD
Blu-Ray
Amazon Prime
Starring Sean Marshall, Helen Reddy, Mickey Rooney, and Jim Dale
Directed by Don Chaffey
Music by Al Kasha; Lyrics by Joel Hirschhorn
Before we get into this year's horror musical reviews for Halloween, I thought we'd try something a tad lighter. This is an old childhood favorite of mine. A re-release was one of the first movies I ever saw in a theater. How well does the unusual story of a boy and his dragon who help out a New England town look today? Let's take to the road with Pete (Marshall) and his buddy Elliott and find out...
The Story: Pete (Marshall) is on the run from the Grogans, the combative hillbilly family who bought him from the orphanage and treat him like a slave. His only friend is Elliott (voice of Charlie Callas), a friendly green dragon who becomes invisible when anyone but Pete is around. They flee to the New England coastal town of Passamaquaddy, but Elliot's size wrecks havoc on the people of the town. They hide in a cave, where Pete is found by Nora (Reddy), the kindly daughter of the lighthouse keeper Lampy (Rooney). Nora and Lampy take Pete in, and even let him go to school. Not only are the Grogans still on Pete's trail, though, but the snake-oil salesman Dr. Terminus (Dale) and his assistant Hoagy (Red Buttons) are determined to get their hands on Elliott to use him to make their bogus remedies.
The Animation: Par for the course in this time period. Elliot moves relatively well, but his "invisible" spells are obviously moving wires, and you can pretty much see the green screen around him when he's with actual people.
The Song and Dance: It's the supporting cast who shine here. Dale and Buttons have a blast as the con men who think dragon parts will make them rich, while Rooney's having his own fun as eternally inebriated Lampy. Sean Marshall's actually not bad as Pete. He really does make you believe his best friend is a dragon (even when the special effects don't). Reddy is a warm and witty Nora (and gets to introduce this movie's sole standard, "Candle On the Water"). They're abetted by a cast of favorite TV hams, including Jim Backus as the mayor and Jane Kean as the strict school teacher.
The other plus here, along with the music, is gorgeous cinematography. That may be California substituting for New England (complete with a specially-built lighthouse), but it still looks great. "Razzle Dazzle Day," filmed on top of the lighthouse, takes full advantage of the widescreen process as the trio get a load of the stunning views.
Favorite Number: "Candle On the Water" is Nora's big ballad about mid-way through, as she hopes that her own love will be like the lighthouse and find his way home. It's a really lovely song that deserved its Oscar nomination. Nora also gets a sweet duet with Pete as they discuss Elliott and their odd friendship, "It's Not Easy."
Dale throws himself wholeheartedly into the flourishing villain song, "Every Little Piece," as he and Buttons reveal what they intend to do with Elliot. Nora explains to the kids of Passamaquaddy why Pete's so close to his friend - and why they should let all kinds of people (and dragons) into their lives - as they turn the docks into a playground in "There's Room for Everyone." There's also that widescreen view in "Brazzle Dazzle Day" as Nora, Lampy, and Pete clean and paint the lighthouse.
What I Don't Like: Yeah, the story isn't the strongest in the universe. It doesn't match either of Disney's earlier ventures into live action/animation, Mary Poppins and Bedknobs and Broomsticks. The special effects look almost annoyingly dated now, and even then weren't great compared to the big sci-fi fantasy movies of the time. You can easily see the wires and green screen, especially in the big action finale. There's also the Grogans, who come off as ridiculous hillbilly stereotypes and aren't nearly as much fun as Dale and Buttons. Frankly, the whole thing comes off as more than a little cheesy.
The Big Finale: Too goofy for older kids, but for youngsters and those who grew up watching this on cable or video, the music and cast alone is worth giving this this one a look.
Home Media: The "High Flying Edition" is easily found in all formats.
DVD
Blu-Ray
Amazon Prime
Thursday, October 17, 2019
All That Jazz
20th Century Fox, 1979
Starring Roy Scheider, Jessica Lange, Leland Palmer, Ann Renking
Directed by Bob Fosse
Music and Lyrics by various
Fosse was riding high through most of the 70's, becoming the first person to win a best director Oscar (for Cabaret), Emmy (for the special Liza With a Z), and Tony (for directing and choreographing Pippin) in one year, but all that activity took its toll. This movie is Fosse's version of that tumultuous time in his life, when he was directing Chicago while trying to edit the film Lenny. Let's head to New York to meet Fosse's avatar Joe Gideon (Scheider) and find out just how bad things got...
The Story: Gideon is not the most pleasant guy. He's trying to edit his new movie The Stand Up about a stage comedian (Cliff Gorman) and choreograph and direct the big Broadway show NY/LA, but it's all starting to get to him. He takes pills, drinks and smokes too much, chases women, and neglects them when he gets them. His wife Audrey (Palmer) is playing a role in NY/LA that she's way too old for and wishes he'd slow down for five minutes. His daughter Michelle (Erzebet Foldi) wants him to settle down and marry someone, anyone. His current girl Kate (Reniking) is fed up with his workaholic tendencies and is ready to leave him. The producers of his movie are threatening to take it out of his hands if he doesn't deliver it on time.
With all this, it's probably no surprise to anyone but Joe when he finally has a massive heart attack while doing a read-through of his show with his producers. Even after he's diagnosed with severe chest pain, he still continues to drink, smoke, and chase the ladies. He's literally flirting with death, represented as a beautiful lady in white (Lange). A bad review of his film sends him into cardiac arrest, requiring open heart surgery...and prompting a final dream of a musical number representing all the people and events of his life.
The Song and Dance: Whew, this is a weird one. Even when the story is at its strangest, it's anchored by some stellar performances. Scheider is the stand-out as Gideon, the man determined to cheat death and use everyone he can, including the devoted women in his life. Foldi, Reniking, and Palmer are excellent as his muses, who care about him despite his multitude of faults. The massive "Bye Bye Life" finale is as lavish, glittery, and overstuffed as one could wish; the costumes and sets won an Oscar (as did the score and editing).
Favorite Number: Reniking and Foldi delight Scheider - and the audience - with their peppy, upbeat dance routine to Peter Allen's "Everything Old Is New Again." The choreography is fast and fun, the girls are having a blast, and he clearly appreciates it. "Take Off With Us (Airerotica)" takes off more than a plane with the sexy, mostly-nude routine to one of two news songs written directly for the film. As one producer said, it's not for the family audiences, but there's some awesome dancing and the song is fun.
Probably the best-known aspect of this today is the huge finale. Ben Vereen, as a smarmy talk show host, introduces a series of songs representing different facets of Gideon's life. My favorite is the feathers-and-fans "Who's Sorry Now?," as well as the faster-paced opening "After You've Gone."
What I Don't Like: This is definitely not a musical for children, for anyone expecting a more typically romantic or upbeat story, or for those who aren't into Fosse's dark style. It's also not a story about terribly pleasant people. Joe Gideon is, quite frankly, a jerk, and a lot of the folks around him aren't much better. There's also the footage of actual open heart surgery juxtaposed against the musical numbers in the finale. And yeah, the musical number is overproduced, over done, and just too strange for words.
The Big Finale: This is not a movie for everyone, but if you love Fosse or are interested in trying a different and darker story, you'll want to give this one a look.
Home Media: The Criterion Collection DVD and Blu-Ray are absolutely worth the money, with a wealth of extras and stunning picture and audio.
DVD
Blu-Ray
Starring Roy Scheider, Jessica Lange, Leland Palmer, Ann Renking
Directed by Bob Fosse
Music and Lyrics by various
Fosse was riding high through most of the 70's, becoming the first person to win a best director Oscar (for Cabaret), Emmy (for the special Liza With a Z), and Tony (for directing and choreographing Pippin) in one year, but all that activity took its toll. This movie is Fosse's version of that tumultuous time in his life, when he was directing Chicago while trying to edit the film Lenny. Let's head to New York to meet Fosse's avatar Joe Gideon (Scheider) and find out just how bad things got...
The Story: Gideon is not the most pleasant guy. He's trying to edit his new movie The Stand Up about a stage comedian (Cliff Gorman) and choreograph and direct the big Broadway show NY/LA, but it's all starting to get to him. He takes pills, drinks and smokes too much, chases women, and neglects them when he gets them. His wife Audrey (Palmer) is playing a role in NY/LA that she's way too old for and wishes he'd slow down for five minutes. His daughter Michelle (Erzebet Foldi) wants him to settle down and marry someone, anyone. His current girl Kate (Reniking) is fed up with his workaholic tendencies and is ready to leave him. The producers of his movie are threatening to take it out of his hands if he doesn't deliver it on time.
With all this, it's probably no surprise to anyone but Joe when he finally has a massive heart attack while doing a read-through of his show with his producers. Even after he's diagnosed with severe chest pain, he still continues to drink, smoke, and chase the ladies. He's literally flirting with death, represented as a beautiful lady in white (Lange). A bad review of his film sends him into cardiac arrest, requiring open heart surgery...and prompting a final dream of a musical number representing all the people and events of his life.
The Song and Dance: Whew, this is a weird one. Even when the story is at its strangest, it's anchored by some stellar performances. Scheider is the stand-out as Gideon, the man determined to cheat death and use everyone he can, including the devoted women in his life. Foldi, Reniking, and Palmer are excellent as his muses, who care about him despite his multitude of faults. The massive "Bye Bye Life" finale is as lavish, glittery, and overstuffed as one could wish; the costumes and sets won an Oscar (as did the score and editing).
Favorite Number: Reniking and Foldi delight Scheider - and the audience - with their peppy, upbeat dance routine to Peter Allen's "Everything Old Is New Again." The choreography is fast and fun, the girls are having a blast, and he clearly appreciates it. "Take Off With Us (Airerotica)" takes off more than a plane with the sexy, mostly-nude routine to one of two news songs written directly for the film. As one producer said, it's not for the family audiences, but there's some awesome dancing and the song is fun.
Probably the best-known aspect of this today is the huge finale. Ben Vereen, as a smarmy talk show host, introduces a series of songs representing different facets of Gideon's life. My favorite is the feathers-and-fans "Who's Sorry Now?," as well as the faster-paced opening "After You've Gone."
What I Don't Like: This is definitely not a musical for children, for anyone expecting a more typically romantic or upbeat story, or for those who aren't into Fosse's dark style. It's also not a story about terribly pleasant people. Joe Gideon is, quite frankly, a jerk, and a lot of the folks around him aren't much better. There's also the footage of actual open heart surgery juxtaposed against the musical numbers in the finale. And yeah, the musical number is overproduced, over done, and just too strange for words.
The Big Finale: This is not a movie for everyone, but if you love Fosse or are interested in trying a different and darker story, you'll want to give this one a look.
Home Media: The Criterion Collection DVD and Blu-Ray are absolutely worth the money, with a wealth of extras and stunning picture and audio.
DVD
Blu-Ray
Subscribe to:
Posts (Atom)