MGM, 1997
Starring Lacey Chabert, Joseph Ashton, Charles Nelson Reilly, and Raphael Sbarge
Directed by Charles Grosvenor, Toby Bluth, and Paul Sabella
Music by various
This was MGM's entry into the Disney imitation race of the mid-late 90's. Unlike most of its ilk, it went direct to home media in the United States. Is this Christmas release worthy of a trip to Toyland, or is it the old-fashioned fantasy more than a little crooked? Let's join two children on their way to the famous town of childhood dreams, just in time for the holidays...
The Story: Jack (Ashton) and Jill (Chabert) are on their way to Toyland, where they're hoping their Uncle Barnaby will take care of them. On the train there, they encounter Tom Piper (Sbarge), a toy designer who's coming back with Santa's order, and Humpty Dumpty (Reilly), who runs pretty much everything in Toyland. Humpty takes the kids to Barnaby, the Crooked Man. He's only interested in their money, which will allow him to buy the Toyland Toy Factory. Mary Had a Little Lamb (Cathy Cavadini), who inherited the factory from her father, refuses to sell. It's three days before Christmas, and Mary and Tom have to get the new toy soldiers Santa wants made in time.
The kids escape from his crooked house to help in the factory. Barnaby, determined to destroy the factory and stop toy production, hires Gonzargo (Jim Belushi) and Rodrigo (Bronson Pinchot) to sabotage production. The kids catch them and chase them, but they capture them and take them to the Goblin King (Lindsay Schnebly). Even after Mary and Tom rescue the kids and the thieves, there's still Barnaby and the other goblins to contend with...
The Animation: Par for the course for this era. Everything moves pretty well, but some of the characters, especially Humpty Dumpty, look a little scarier than they probably should. The goblins are a nifty design, though, and the sequence with them is pretty well done.
The Song and Dance: Short and sweet. There's a surprisingly decent cast for a direct-to-home media animated film at this time, including Broadway star Reilly singing "Toyland" in the opening, Belushi as one of the thieves, and TV favorite Chabert as little Jill. Ashton is quite funny as Jill's tougher brother. This is also one of the few adaptations of this story that uses at least a little of the original idea of the "babes" being the ones adopted and abused by Barnaby and rescued by Toylanders.
Favorite Number: The film opens well with Humpty telling the audience what they're about to see on a moon via the title song. It continues on the train, as Jack and Jill travel on everything from balloons to swans to explore their new home. Jack, Jill, Tom, and Mary each discuss what they want from life - the kids want a real family, Tom wants to be a great toymaker, and Mary wants to live up to her father's legacy - to the rather lovely montage "My Dream."
What I Don't Like: It's obvious this is a pretty cheap production. The animation is boring, the music is dull, and most of the characters besides Humpty and Barnaby are even more so. Bland Mary and cocky Tom pretty much fade into the woodwork and are poor imitations of Disney lovers; Mary even looks and acts like a copy of Belle from Beauty and the Beast. And why couldn't they have used slightly revised versions of the rest of the original score to go with the slightly revised version of the original story?
The Big Finale: Cute time-waster for families with younger children who are looking for holiday programming or fans of the 90's animated musical boom.
Home Media: Pretty easy to find on DVD; it's currently streaming on Amazon Prime.
DVD
Amazon Prime
Reviews of musical films, from 1930s black and white to widescreen 21st century extravaganzas.
Saturday, November 30, 2019
Thursday, November 28, 2019
Happy Thanksgiving! - Meet Me In St. Louis
MGM, 1944
Starring Judy Garland, Margaret O'Brian, Tom Drake, and Louise Bremer
Directed by Vincent Minnelli
Music and Lyrics by various
Yes, I know this one is set on every holiday but Thanksgiving...but it does discuss the importance of home, family, and being thankful for those around us and what we have. It was a huge hit during World War II, at a time when many Americans were fondly looking back at the simpler, gentler world of their youth. How does this nostalgic trip into the life of the Smith family in 1903 look now? Let's peek on the Smiths at their home in St. Louis, Missouri and find out...
The Story: As we join the Smiths, the biggest excitement in the family is oldest sister Rose's (Bremer) beau calling her long-distance from New York during a family dinner and the construction of the World's Fair that will debut in the spring. Second-oldest sister Esther (Garland) is more interested in drooling over John Truitt (Drake), the handsome boy next door. She tries to encourage him during a family party, but he's oblivious to her advances. She finally gets through to him on a trolley ride to the fair grounds under construction.
Little sisters Tootie (O'Brian) and Agnes (Joan Carroll) go out as "horrible ghosts" to join the kids for playing tricks on Halloween. When one of their pranks goes wrong, Tootie runs home crying, claiming John Truitt hurt her. Esther runs over to him and pounds on him before she learns that Tootie lied. He was actually trying to keep the girls from the police. Mr. Smith (Leon Ames) creates even more havoc when he comes home and reveals that he took a new job in New York and they'll be moving there after Christmas. Everyone is upset, until he reminds them that they're still together.
It comes to a head at the local Christmas ball and afterwards, where Esther realizes how much she loves John and how upset she is when he can't come. After he sees Tootie destroying her snowmen because she can't bring them along, Mr. Smith finally realizes how much his family loves their home and how important St. Louis is about to become.
The Song and Dance: Garland was trying to distance herself from the kiddie roles she'd mostly played until then and was wary of playing another moony teen, but she ended up putting in one of her best performances as love-struck Esther. I especially loved her laying into John Truitt - do not attack that girl's family or get her upset! In fact, the entire cast is a delight, including O'Brian as the rather macabre Tootie, Ames as the eternally exasperated patriarch of the family, Majorie Main as the down-home maid Katie, and Harry Davenport as sassy Grandpa.
The production is just lovely, especially for wartime. The Technicolor cinematography and the historically-accurate sets and costumes give us a wonderful feel for a changing St. Louis of the early 20th century, from girdles and pianos to the glowing gowns at the Christmas ball and those snowpeople poor Tootie destroys. The Halloween sequence is incredibly atmospheric and spooky, with some wonderful, shadowy work from Vincent Minnelli.
And..I just love how realistic all this is, even now. Having grown up in a family of mostly women, I remember what it was like to have your whole family hear you talk to boyfriends on the phone (even after cell phones came into regular usage), drool over a guy from afar, and get Dad back in the loop when he comes home from work.
Favorite Number: We open with the title song, which is ably passed from family member to family member as we're introduced to everyone. "Skip to My Lou" is a delightful chorus number for the younger family members and their friends, while Garland and O'Brian do an adorable cakewalk to a genuine 1903 hit, "Under the Bamboo Tree."
Garland gets to sing the film's three best numbers. She introduces the longing "The Boy Next Door" as she admires Truitt from afar in the opening number. "The Trolley Song" is another big chorus number, probably the film's most famous, as Esther excitedly sings about how she found love on the trolley, with some fairly spirited choreography. The standard here is the touching "Have Yourself a Merry Little Christmas," which Esther sings to comfort Tootie Christmas Eve and assure her that everything will be fine, despite the move.
Trivia: "Merry Little Christmas" had even sadder lyrics when it was first written. Garland thought they were too depressing to sing to a little kid and requested that they be changed.
A TV version debuted in 1959, with Jane Powell as Esther and Patty Duke as Tootie. A 1966 pilot with Shelley Fabares and Celeste Holm wasn't picked up for a regular series. It debuted as a Broadway show in 1989, but it lasted less than a year.
Garland met and fell in love with Minnelli while working on this movie.
What I Don't Like: My sisters and I loved this movie. Dad, on the other hand, was baffled, and many men may be likewise. The Halloween sequence used to scare my brother silly when he was a kid, and it may be a little much for some other younger members of the audience as well.
The Big Finale: One of my favorite musicals, and one of Garland's best movies. Check this one out with your own family over Thanksgiving dinner.
Home Media: Easily found in all formats, including two 2-disc special editions.
DVD
Blu-Ray
Amazon Prime
Starring Judy Garland, Margaret O'Brian, Tom Drake, and Louise Bremer
Directed by Vincent Minnelli
Music and Lyrics by various
Yes, I know this one is set on every holiday but Thanksgiving...but it does discuss the importance of home, family, and being thankful for those around us and what we have. It was a huge hit during World War II, at a time when many Americans were fondly looking back at the simpler, gentler world of their youth. How does this nostalgic trip into the life of the Smith family in 1903 look now? Let's peek on the Smiths at their home in St. Louis, Missouri and find out...
The Story: As we join the Smiths, the biggest excitement in the family is oldest sister Rose's (Bremer) beau calling her long-distance from New York during a family dinner and the construction of the World's Fair that will debut in the spring. Second-oldest sister Esther (Garland) is more interested in drooling over John Truitt (Drake), the handsome boy next door. She tries to encourage him during a family party, but he's oblivious to her advances. She finally gets through to him on a trolley ride to the fair grounds under construction.
Little sisters Tootie (O'Brian) and Agnes (Joan Carroll) go out as "horrible ghosts" to join the kids for playing tricks on Halloween. When one of their pranks goes wrong, Tootie runs home crying, claiming John Truitt hurt her. Esther runs over to him and pounds on him before she learns that Tootie lied. He was actually trying to keep the girls from the police. Mr. Smith (Leon Ames) creates even more havoc when he comes home and reveals that he took a new job in New York and they'll be moving there after Christmas. Everyone is upset, until he reminds them that they're still together.
It comes to a head at the local Christmas ball and afterwards, where Esther realizes how much she loves John and how upset she is when he can't come. After he sees Tootie destroying her snowmen because she can't bring them along, Mr. Smith finally realizes how much his family loves their home and how important St. Louis is about to become.
The Song and Dance: Garland was trying to distance herself from the kiddie roles she'd mostly played until then and was wary of playing another moony teen, but she ended up putting in one of her best performances as love-struck Esther. I especially loved her laying into John Truitt - do not attack that girl's family or get her upset! In fact, the entire cast is a delight, including O'Brian as the rather macabre Tootie, Ames as the eternally exasperated patriarch of the family, Majorie Main as the down-home maid Katie, and Harry Davenport as sassy Grandpa.
The production is just lovely, especially for wartime. The Technicolor cinematography and the historically-accurate sets and costumes give us a wonderful feel for a changing St. Louis of the early 20th century, from girdles and pianos to the glowing gowns at the Christmas ball and those snowpeople poor Tootie destroys. The Halloween sequence is incredibly atmospheric and spooky, with some wonderful, shadowy work from Vincent Minnelli.
And..I just love how realistic all this is, even now. Having grown up in a family of mostly women, I remember what it was like to have your whole family hear you talk to boyfriends on the phone (even after cell phones came into regular usage), drool over a guy from afar, and get Dad back in the loop when he comes home from work.
Favorite Number: We open with the title song, which is ably passed from family member to family member as we're introduced to everyone. "Skip to My Lou" is a delightful chorus number for the younger family members and their friends, while Garland and O'Brian do an adorable cakewalk to a genuine 1903 hit, "Under the Bamboo Tree."
Garland gets to sing the film's three best numbers. She introduces the longing "The Boy Next Door" as she admires Truitt from afar in the opening number. "The Trolley Song" is another big chorus number, probably the film's most famous, as Esther excitedly sings about how she found love on the trolley, with some fairly spirited choreography. The standard here is the touching "Have Yourself a Merry Little Christmas," which Esther sings to comfort Tootie Christmas Eve and assure her that everything will be fine, despite the move.
Trivia: "Merry Little Christmas" had even sadder lyrics when it was first written. Garland thought they were too depressing to sing to a little kid and requested that they be changed.
A TV version debuted in 1959, with Jane Powell as Esther and Patty Duke as Tootie. A 1966 pilot with Shelley Fabares and Celeste Holm wasn't picked up for a regular series. It debuted as a Broadway show in 1989, but it lasted less than a year.
Garland met and fell in love with Minnelli while working on this movie.
What I Don't Like: My sisters and I loved this movie. Dad, on the other hand, was baffled, and many men may be likewise. The Halloween sequence used to scare my brother silly when he was a kid, and it may be a little much for some other younger members of the audience as well.
The Big Finale: One of my favorite musicals, and one of Garland's best movies. Check this one out with your own family over Thanksgiving dinner.
Home Media: Easily found in all formats, including two 2-disc special editions.
DVD
Blu-Ray
Amazon Prime
Tuesday, November 26, 2019
Musicals On TV - Peter Pan (1960)
NBC, 1960
Starring Mary Martin, Cyril Ritchard, Joe E. Marks, and Maureen Bailey
Directed by Vincent J. Donehue
Music by Moose Charlap and Jules Styne; Lyrics by Carolyn Leigh, Betty Comden, and Adolph Green
This was NBC's third go-around for this adaptation of the 1954 Broadway show. They broadcast live versions in 1955 and 1956, but this was their first taped showing. We saw Disney's animated retelling of this story back in January. How does a live-action version - with a woman playing Peter - look now? Let's head back to the Darling family's home in London and find out...
The Story: Wendy Darling (Bailey) loves telling her brothers Michael (Kent Fletcher) and John (Joey Trent) stories of Peter Pan (Martin) and his exploits in the magical island Neverland. Their father (Ritchard) isn't as amused by them, their noise, or their nursemaid dog, Nana. Mrs. Darling (Margalo Gilmore) says she frightened off a boy who flew in the window, but he won't hear it. Turns out the boy was Peter Pan himself, and he wants the shadow Nana got off him. After Wendy sews the shadow back on, he shows them all how to use the pixie dust from his fairy friend Tinkerbell and fly to Neverland.
Wendy is shot down by Peter's Lost Boys, who think she's a bird, almost as soon as she arrives. After Peter admonishes them that she's to be their mother, they build a home for her. Thankfully, she's fine. She even stops them from eating cakes that were left by Peter's adversary Captain Hook (Ritchard), admonishing that they aren't good for them. Having been foiled in that plot, Hook tries again, kidnapping Tiger Lilly the Indian princess (Sondra Lee), but Peter, and then her Indian braves, rescue her.
Wendy and Peter play mother and father, but Peter's sad song at this point reminds the Darlings of home. They want to go back, and the Lost Boys insist on coming with them. Peter has no desire to grow up and insists on remaining. Hook and his boys are still determined to get the Boy Who Won't Grow up and take him out for good, but Tinkerbell won't let that happen!
The Song and Dance: You'd think Martin, a middle-aged woman, would be creepy as Peter. She's actually a lot of fun, especially when she's goading Hook with "Mysterious Lady" or leading the Boys in capturing the Indians. Ritchard easily matches her as a hilariously mincing Captain Hook. There's some nifty choreography too, especially with Lee and the Indians right before the kids arrive and Hook and the pirates towards the end.
Favorite Number: Jerome Robbins' dances were recreated for the first three versions in all their rousing glory. "I'm Flying" has Peter showing the Darling children how to take off, and it's pure joy (even when you can see the wires in the flying harnesses). Richard, Joe E. Marks as Smee, and the pirates have a great time with all their numbers, especially "Hook's Tartanella" and "Captain Hook's Waltz" on the ship after they've captured the Lost Boys and Wendy. The Boys and Peter get the lilting "Wendy" as they put up her little home. The most iconic number besides "I'm Flying" may be "I Won't Grow Up," Peter and the Boys' rousing manifesto as they seek adventure and claim they'll always remain young and have fun.
There's two lovely lullabies here. Mrs. Darling sings "Tender Shepard" to her children as she sets them down to sheep, just prior to Peter's arrival. "Distant Melody" is Peter's response to a request for a song as he gently explains why he wants to remain a child.
Trivia: Peter Pan debuted on Broadway in 1954, with Martin and Ritchard in the lead roles. The show was actually closed early to film for television with its original cast in 1955, and again in 1956. It was even more successful in a 1979 revival with Sandy Duncan. Gymnast Cathy Ridgby made several short-lived appearances in Broadway revivals throughout the 90's. Her last appearance was filmed in 2000. Peter Pan showed up in another live NBC broadcast with Allison Williams as Peter and Christopher Walken as Hook in 2014.
What I Don't Like: While the campy Indians depicted here are slightly less offensive than the ones in the Disney version (their big song sticks to nonsense lyrics like "ugga wugga meatball"), they're still obviously white dancers playing Native Americans in stereotypical costumes. I find Martin to be charming and funny, if a bit noisy, but some folks may think her too old or creepy for the role. Older TV prints cut a reprise of "Wendy" and a dance sequence with the housemaid Eliza and the animals of Never Land.
The Big Finale: Worth seeing for Martin and Ritchard's performances and the spirited choreography alone.
Home Media: The 1960 broadcast is currently DVD-only.
DVD
Starring Mary Martin, Cyril Ritchard, Joe E. Marks, and Maureen Bailey
Directed by Vincent J. Donehue
Music by Moose Charlap and Jules Styne; Lyrics by Carolyn Leigh, Betty Comden, and Adolph Green
This was NBC's third go-around for this adaptation of the 1954 Broadway show. They broadcast live versions in 1955 and 1956, but this was their first taped showing. We saw Disney's animated retelling of this story back in January. How does a live-action version - with a woman playing Peter - look now? Let's head back to the Darling family's home in London and find out...
The Story: Wendy Darling (Bailey) loves telling her brothers Michael (Kent Fletcher) and John (Joey Trent) stories of Peter Pan (Martin) and his exploits in the magical island Neverland. Their father (Ritchard) isn't as amused by them, their noise, or their nursemaid dog, Nana. Mrs. Darling (Margalo Gilmore) says she frightened off a boy who flew in the window, but he won't hear it. Turns out the boy was Peter Pan himself, and he wants the shadow Nana got off him. After Wendy sews the shadow back on, he shows them all how to use the pixie dust from his fairy friend Tinkerbell and fly to Neverland.
Wendy is shot down by Peter's Lost Boys, who think she's a bird, almost as soon as she arrives. After Peter admonishes them that she's to be their mother, they build a home for her. Thankfully, she's fine. She even stops them from eating cakes that were left by Peter's adversary Captain Hook (Ritchard), admonishing that they aren't good for them. Having been foiled in that plot, Hook tries again, kidnapping Tiger Lilly the Indian princess (Sondra Lee), but Peter, and then her Indian braves, rescue her.
Wendy and Peter play mother and father, but Peter's sad song at this point reminds the Darlings of home. They want to go back, and the Lost Boys insist on coming with them. Peter has no desire to grow up and insists on remaining. Hook and his boys are still determined to get the Boy Who Won't Grow up and take him out for good, but Tinkerbell won't let that happen!
The Song and Dance: You'd think Martin, a middle-aged woman, would be creepy as Peter. She's actually a lot of fun, especially when she's goading Hook with "Mysterious Lady" or leading the Boys in capturing the Indians. Ritchard easily matches her as a hilariously mincing Captain Hook. There's some nifty choreography too, especially with Lee and the Indians right before the kids arrive and Hook and the pirates towards the end.
Favorite Number: Jerome Robbins' dances were recreated for the first three versions in all their rousing glory. "I'm Flying" has Peter showing the Darling children how to take off, and it's pure joy (even when you can see the wires in the flying harnesses). Richard, Joe E. Marks as Smee, and the pirates have a great time with all their numbers, especially "Hook's Tartanella" and "Captain Hook's Waltz" on the ship after they've captured the Lost Boys and Wendy. The Boys and Peter get the lilting "Wendy" as they put up her little home. The most iconic number besides "I'm Flying" may be "I Won't Grow Up," Peter and the Boys' rousing manifesto as they seek adventure and claim they'll always remain young and have fun.
There's two lovely lullabies here. Mrs. Darling sings "Tender Shepard" to her children as she sets them down to sheep, just prior to Peter's arrival. "Distant Melody" is Peter's response to a request for a song as he gently explains why he wants to remain a child.
Trivia: Peter Pan debuted on Broadway in 1954, with Martin and Ritchard in the lead roles. The show was actually closed early to film for television with its original cast in 1955, and again in 1956. It was even more successful in a 1979 revival with Sandy Duncan. Gymnast Cathy Ridgby made several short-lived appearances in Broadway revivals throughout the 90's. Her last appearance was filmed in 2000. Peter Pan showed up in another live NBC broadcast with Allison Williams as Peter and Christopher Walken as Hook in 2014.
What I Don't Like: While the campy Indians depicted here are slightly less offensive than the ones in the Disney version (their big song sticks to nonsense lyrics like "ugga wugga meatball"), they're still obviously white dancers playing Native Americans in stereotypical costumes. I find Martin to be charming and funny, if a bit noisy, but some folks may think her too old or creepy for the role. Older TV prints cut a reprise of "Wendy" and a dance sequence with the housemaid Eliza and the animals of Never Land.
The Big Finale: Worth seeing for Martin and Ritchard's performances and the spirited choreography alone.
Home Media: The 1960 broadcast is currently DVD-only.
DVD
Saturday, November 23, 2019
Animation Celebration Saturday - FernGully: The Last Rainforest
20th Century Fox, 1992
Voices of Samantha Mathis, Robin Williams, Johnathan Ward, and Tim Curry
Directed by Bill Kroyer
Music and Lyrics by various
Messages about the importance of saving the environment were all over TV and movies in the late 80's and early 90's. The Exxon-Valdez oil spill and other ecological disasters made people more aware of just how fragile nature was. Along with the TV series Captain Planet and the Planeteers, this was probably the most famous cartoon - and to my knowledge, the only musical - to deal with the importance of saving our Earth. How well does its message come across today? Let's head to the title rain forest on the eastern coast of Australia and find out...
The Story: Young fairy Crysta (Mathis) is in training with elderly Magi Lune (Grace Zabriskie) to take over her role as protector of the forest, but she'd rather be out exploring the many wonders of FernGully. On one such expedition, she encounters Batty Koda (Williams), a fruit bat humans experimented on. His experience left him with an antenna on his head, a constantly-changing personality, and a hatred of all humans. The other fairies believe humans are extinct, but Crysta agrees to check this out.
She discovers a lumberjack, Zack (Ward), helping his buddies cut down trees for a new highway. When a tree nearly falls on him, she shrinks him to save him...but can't figure out how to change him back. Meanwhile, his buddies have cut down the tree that imprisoned Hexxus (Curry), the spirit of pollution and waste. Hexxus targets FernGully, laying waste to all before him. Zack can't bring himself to admit that it was humans who freed Hexxus, but he may not have a choice when the fairies have to defend their homes against this oily menace.
The Animation: Absolutely gorgeous, and probably the best thing about the movie. The animators actually went to Australia to learn more about the rain forests there, and it's obvious they did their homework. Each frame bursts with life, light, and color, from the well-integrated CGI flocks of tropical birds to the lush, hand-drawn flowers and trees. "Dream Worth Keeping," with its glowing fungi and glittering backdrops, is particularly stunning.
The Song and Dance: My family used to watch this quite a bit in the early 90's. It's funnier than I remember, partially due to Williams' wild and creative improvisational riffs (seven months before the release of his more famous role in Aladdin), but mostly thanks to a script that's better than most people give it credit for. Some of Ward's lines are hilarious as he tries to deal with his change in size and his odd new friends who think humans were long gone from this world.
If nothing else, this features one of Tim Curry's best performances as the evil pollution spirit who wants to obliterate everything in his path. He's so over-the-top, he outshines everyone but Williams by a wide margin. Indeed, many fans of the film cheer more for him than for the fairies.
Favorite Number: Williams' "Batty Rap" shows just how batty this rodent went after humans got into his head. This stream-of-consciousness song gives Williams a chance to really go to town with his many references and breathless lunacy. "Dream Worth Keeping" is a slightly syrupy Sheena Easton ballad, but it does accompany a lovely sequence with Crysta showing Zak the forest and its beauty and falling in love with him. Curry scores with "Toxic Love," which was so sexually-charged, it had to be cut down before release in order to get a PG.
Two routines seem a tad out-of-place. A lizard (Tone Loc) tries to eat Zack, to the tune of "If I'm Gonna Eat Somebody (It May as Well Be You)." It's not a bad number, but the lizard is never seen, nor heard of again after Crysta saves Zach from becoming his meal. Likewise, the fairies' routine to a cover of "Land of 1,000 Dances" comes out of nowhere and serves no function, other than introducing the fairies to more of the human world.
Trivia: This was a passion project of producer Wayne Young, whose ex-wife Diana Young wrote the original FernGully book in 1977. Most of the money from film was donated to various environmental causes.
Though by no means a record-setter, it did well enough at the box office to warrant a direct-to-video sequel, FernGully 2: The Magical Rescue, in 1998.
What I Don't Like: While the side message on the dangers of animal testing still comes across thanks to Williams' performance, the main one about the damage to the environment caused by pollution and human negligence is well-meaning but muddled and and annoyingly preachy. Having a "toxic spirit" be the one who causes the damage is too obvious and kind of takes the easy way out, no matter how much fun Curry has with the role. And speaking of Curry, he and Williams pretty much leave anyone else in the dust. Ward isn't bad as sarcastic Zach, but Mathis is too cutesy as curious Crysta, and Christian Slater just sounds bored as her jealous fairy guy friend Pips.
The Big Finale: It's too dark for young guys, but older kids who can handle some of the scarier elements and have any interest in nature or saving the Earth, or folks who grew up watching it on video or cable in the 90's, may find much to enjoy in this one if they can get around the pushy message.
Home Media: Easily found in all formats, often for under 10 dollars.
DVD
Blu-Ray
Amazon Prime
Voices of Samantha Mathis, Robin Williams, Johnathan Ward, and Tim Curry
Directed by Bill Kroyer
Music and Lyrics by various
Messages about the importance of saving the environment were all over TV and movies in the late 80's and early 90's. The Exxon-Valdez oil spill and other ecological disasters made people more aware of just how fragile nature was. Along with the TV series Captain Planet and the Planeteers, this was probably the most famous cartoon - and to my knowledge, the only musical - to deal with the importance of saving our Earth. How well does its message come across today? Let's head to the title rain forest on the eastern coast of Australia and find out...
The Story: Young fairy Crysta (Mathis) is in training with elderly Magi Lune (Grace Zabriskie) to take over her role as protector of the forest, but she'd rather be out exploring the many wonders of FernGully. On one such expedition, she encounters Batty Koda (Williams), a fruit bat humans experimented on. His experience left him with an antenna on his head, a constantly-changing personality, and a hatred of all humans. The other fairies believe humans are extinct, but Crysta agrees to check this out.
She discovers a lumberjack, Zack (Ward), helping his buddies cut down trees for a new highway. When a tree nearly falls on him, she shrinks him to save him...but can't figure out how to change him back. Meanwhile, his buddies have cut down the tree that imprisoned Hexxus (Curry), the spirit of pollution and waste. Hexxus targets FernGully, laying waste to all before him. Zack can't bring himself to admit that it was humans who freed Hexxus, but he may not have a choice when the fairies have to defend their homes against this oily menace.
The Animation: Absolutely gorgeous, and probably the best thing about the movie. The animators actually went to Australia to learn more about the rain forests there, and it's obvious they did their homework. Each frame bursts with life, light, and color, from the well-integrated CGI flocks of tropical birds to the lush, hand-drawn flowers and trees. "Dream Worth Keeping," with its glowing fungi and glittering backdrops, is particularly stunning.
The Song and Dance: My family used to watch this quite a bit in the early 90's. It's funnier than I remember, partially due to Williams' wild and creative improvisational riffs (seven months before the release of his more famous role in Aladdin), but mostly thanks to a script that's better than most people give it credit for. Some of Ward's lines are hilarious as he tries to deal with his change in size and his odd new friends who think humans were long gone from this world.
If nothing else, this features one of Tim Curry's best performances as the evil pollution spirit who wants to obliterate everything in his path. He's so over-the-top, he outshines everyone but Williams by a wide margin. Indeed, many fans of the film cheer more for him than for the fairies.
Favorite Number: Williams' "Batty Rap" shows just how batty this rodent went after humans got into his head. This stream-of-consciousness song gives Williams a chance to really go to town with his many references and breathless lunacy. "Dream Worth Keeping" is a slightly syrupy Sheena Easton ballad, but it does accompany a lovely sequence with Crysta showing Zak the forest and its beauty and falling in love with him. Curry scores with "Toxic Love," which was so sexually-charged, it had to be cut down before release in order to get a PG.
Two routines seem a tad out-of-place. A lizard (Tone Loc) tries to eat Zack, to the tune of "If I'm Gonna Eat Somebody (It May as Well Be You)." It's not a bad number, but the lizard is never seen, nor heard of again after Crysta saves Zach from becoming his meal. Likewise, the fairies' routine to a cover of "Land of 1,000 Dances" comes out of nowhere and serves no function, other than introducing the fairies to more of the human world.
Trivia: This was a passion project of producer Wayne Young, whose ex-wife Diana Young wrote the original FernGully book in 1977. Most of the money from film was donated to various environmental causes.
Though by no means a record-setter, it did well enough at the box office to warrant a direct-to-video sequel, FernGully 2: The Magical Rescue, in 1998.
What I Don't Like: While the side message on the dangers of animal testing still comes across thanks to Williams' performance, the main one about the damage to the environment caused by pollution and human negligence is well-meaning but muddled and and annoyingly preachy. Having a "toxic spirit" be the one who causes the damage is too obvious and kind of takes the easy way out, no matter how much fun Curry has with the role. And speaking of Curry, he and Williams pretty much leave anyone else in the dust. Ward isn't bad as sarcastic Zach, but Mathis is too cutesy as curious Crysta, and Christian Slater just sounds bored as her jealous fairy guy friend Pips.
The Big Finale: It's too dark for young guys, but older kids who can handle some of the scarier elements and have any interest in nature or saving the Earth, or folks who grew up watching it on video or cable in the 90's, may find much to enjoy in this one if they can get around the pushy message.
Home Media: Easily found in all formats, often for under 10 dollars.
DVD
Blu-Ray
Amazon Prime
Thursday, November 21, 2019
Little Miss Broadway
20th Century Fox, 1938
Starring Shirley Temple, George Murphy, Edna Mae Oliver, and Edward Ellis
Directed by Irving Cummings
Music by Harold Spina; Lyrics by Walter Bullock
Judy Garland was hardly the only girl who figured putting on a show during the Depression would save her family. Shirley Temple, probably the most famous child star in Hollywood, appeared in several variations on that particular plot. How does this stand up against the similar Everybody Sing and other similar backstage films of the time? Let's head to an orphanage in New York and find out...
The Story: Betsy Brown (Temple) is delighted when Pop Shea (Ellis), an old friend of her parents, takes her in. He runs a theatrical hotel, where many different show business types rent rooms. She makes friends with everyone in the hotel, including Pop's daughter Barbara (Phyllis Brooks) and malaprop-prone bandleader Jimmy Claydon (Jimmy Durante). Their next-door neighbor and the owner of the hotel, grouchy old Sarah Wendling (Oliver), isn't crazy about performers or the noise they make while rehearsing. She orders Pop to either pay the back rent or vacate the premises. Betsy goes to her to make an appeal and meets her nephew Roger (Murphy). Roger eventually falls for Barbara, to the delight of Betsy, who considers them to be her parents. Sarah's appalled by pretty much everything. She tries to cut off Roger, but he opts to fight for his part of the building and his inheritance. Betsy is sent back to the orphanage. She doesn't stay there for long before she hurries off to help her unusual family, even if the show has to go on in the courtroom.
The Song and Dance: Not every movie Shirley did was a musical, but this is one of the more charming ones. She has a couple of nice dances with Murphy and works very well with him, especially when they're invading the stuff club where Sarah's brother Willoughby (Donald Meek) tries to practice with his glee club and proceed to make noise. If nothing else, this is the only backstage musical I've ever seen where the big show in the end is performed before a judge in a court of law!
Favorite Number: The opening at the orphanage gives us the girls and Temple performing what could be the theme song for her films in general, "Be Optimistic." She gets the charming "We Should Be Together" at the mansion with Murphy as they begin their friendship. The big finale in the courtroom encompasses two cute numbers. Temple teaches Willoghby and his group how to "Swing an Old Fashioned Song" after their initial version of "When You Were Sweet Sixteen" doesn't go over. The title song is the sole large-scale production number. Temple and Murphy really put it over, complete with an intricate dance and elaborate sets.
Trivia: Murphy wasn't satisfied with "We Should Be Together" and asked to redo "Little Miss Broadway." Temple agreed (despite her mother's worries), and apparently it went over so well, the crew requested encores.
What I Don't Like: If you've seen one of Temple's films, you've pretty much seen them all. She did the same idea in most of her films - she's adopted by an odd group of people, brings young lovers together, and manages to barely avoid being separated from her new family by an old sourpuss. Durante is ill-used - he's barely in most of the movie - and Brooks is an especially dull love interest. The songs are cute, but not especially memorable.
The Big Finale: If you're a fan of Temple or are looking for a musical for younger kids, you can do far worse than this charmer.
Home Media: The Shirley Temple movies are pretty easily found on DVD and streaming.
DVD
DVD - The Shirley Temple Collection, Volume 1
Amazon Prime
Starring Shirley Temple, George Murphy, Edna Mae Oliver, and Edward Ellis
Directed by Irving Cummings
Music by Harold Spina; Lyrics by Walter Bullock
Judy Garland was hardly the only girl who figured putting on a show during the Depression would save her family. Shirley Temple, probably the most famous child star in Hollywood, appeared in several variations on that particular plot. How does this stand up against the similar Everybody Sing and other similar backstage films of the time? Let's head to an orphanage in New York and find out...
The Story: Betsy Brown (Temple) is delighted when Pop Shea (Ellis), an old friend of her parents, takes her in. He runs a theatrical hotel, where many different show business types rent rooms. She makes friends with everyone in the hotel, including Pop's daughter Barbara (Phyllis Brooks) and malaprop-prone bandleader Jimmy Claydon (Jimmy Durante). Their next-door neighbor and the owner of the hotel, grouchy old Sarah Wendling (Oliver), isn't crazy about performers or the noise they make while rehearsing. She orders Pop to either pay the back rent or vacate the premises. Betsy goes to her to make an appeal and meets her nephew Roger (Murphy). Roger eventually falls for Barbara, to the delight of Betsy, who considers them to be her parents. Sarah's appalled by pretty much everything. She tries to cut off Roger, but he opts to fight for his part of the building and his inheritance. Betsy is sent back to the orphanage. She doesn't stay there for long before she hurries off to help her unusual family, even if the show has to go on in the courtroom.
The Song and Dance: Not every movie Shirley did was a musical, but this is one of the more charming ones. She has a couple of nice dances with Murphy and works very well with him, especially when they're invading the stuff club where Sarah's brother Willoughby (Donald Meek) tries to practice with his glee club and proceed to make noise. If nothing else, this is the only backstage musical I've ever seen where the big show in the end is performed before a judge in a court of law!
Favorite Number: The opening at the orphanage gives us the girls and Temple performing what could be the theme song for her films in general, "Be Optimistic." She gets the charming "We Should Be Together" at the mansion with Murphy as they begin their friendship. The big finale in the courtroom encompasses two cute numbers. Temple teaches Willoghby and his group how to "Swing an Old Fashioned Song" after their initial version of "When You Were Sweet Sixteen" doesn't go over. The title song is the sole large-scale production number. Temple and Murphy really put it over, complete with an intricate dance and elaborate sets.
Trivia: Murphy wasn't satisfied with "We Should Be Together" and asked to redo "Little Miss Broadway." Temple agreed (despite her mother's worries), and apparently it went over so well, the crew requested encores.
What I Don't Like: If you've seen one of Temple's films, you've pretty much seen them all. She did the same idea in most of her films - she's adopted by an odd group of people, brings young lovers together, and manages to barely avoid being separated from her new family by an old sourpuss. Durante is ill-used - he's barely in most of the movie - and Brooks is an especially dull love interest. The songs are cute, but not especially memorable.
The Big Finale: If you're a fan of Temple or are looking for a musical for younger kids, you can do far worse than this charmer.
Home Media: The Shirley Temple movies are pretty easily found on DVD and streaming.
DVD
DVD - The Shirley Temple Collection, Volume 1
Amazon Prime
Tuesday, November 19, 2019
Everybody Sing
MGM, 1938
Starring Judy Garland, Billie Burke, Fannie Brice, and Allan Jones
Directed by Elwin L. Marin
Music and Lyrics by various
Judy Garland was just starting to get noticed at MGM when she made this backstage tale, coming on the heels of her success in The Broadway Melody of 1938. How does this effervescent cross between a coming-of-age story and a Busby Berkeley-type revue look nowadays? Let's head to a music class at a stuffy private girls' school, and find out...
The Story: Judy Bellaire (Garland) was just expelled from private school for singing swing in choir class when she was supposed to be performing a spiritual. She returns home to discover that her parents, actress Diana (Burke) and playwright Hillary (Reginald Owen), are nearly broke. Her sister Sylvia (Lynne Carver) is in love with the handsome singing cook Ricky Saboni (Jones), but is being pursued by wealthy Jerrod Hope (Reginald Gardiner).
As it turns out, Ricky's not the only servant who is a terrific performer. Russian housemaid Olga Chekloff (Brice) is a wonderful singer and a cut-up onstage. Judy thinks they could put together a show to save her family from ruin. The second her father catches wind of her plans, he tries to send her to another school in Europe, but she breaks out and auditions for the show herself. Meanwhile, Sylvia finally agrees to marry Jerrod, despite her not being in love with him. Now Judy has to figure out how to bring everyone together without being dragged away...and get to show off her jazzy style to her parents and all of New York.
The Song and Dance: The story may be thin, but there's an awesome cast doing everything they can with the material. Fannie Brice has a lot screen time than she did in The Great Ziegfeld, including a big solo and a rare chance to see her play her radio character Baby Snooks on the big screen. Garland adorable as the teen who only wants to be able to show her stuff. The movie plays like a warm-up for Judy's later backstage movies with Mickey Rooney, only with a more adult cast, endearingly low-key compared to earlier big backstagers like the Broadway Melody series.
Favorite Number: The movie kicks off with Judy's high-energy "Swing Mr. Mendelssohn" number that gets her into trouble at school. Jones gets to reprise "Cosi Cosa" from the Marx Brothers vehicle A Night at the Opera at a nightclub, where Judy also gets the cute solo country spoof "(Down On) Melody Farm."
Fannie Brice gets to make fun of romantic Jane Austin-style heroines in "Dainty, Quainty Me" that allows her to show off her signature pratfalls with aplomb. Her Baby Snooks number with Judy, "Why? Because!" is brief but hilarious. No wonder the critics loved Judy in this - they're right that there's not many people who can hold their own with Brice and come out well. The big finale "The Show Must Go On" is the lone venture into elaborate Busby Berkeley territory, with dancers in sequined costumes.
Trivia: This was Jones' last movie for MGM.
Judy went on a seven-week, seven-city tour to promote the movie, with her mentor Roger Edens accompanying her on the piano. It was her first time performing in front of huge crowds.
The St. Brendan's Boys Choir performed for the girls in the opening classroom number.
What I Don't Like: Did I mention how thin the story is? This isn't that far removed from Judy's later Mickey Rooney musical or other similar backstage films; it also has some roots in the screwball comedies of the era that plays "normal" folks against wacky rich families. It's a pretty typical "B" movie of the time with an "A" cast. All the whining and yelling this particular family does with each other can get on some folks' nerves after a while.
And then, there's Judy's blackface number, which she uses to try to get an audition without anyone knowing how young she is. It's full-on black makeup-white lips, and she keeps it on while doing a dramatic scene. It can be anything from disconcerting to incredibly offensive for many audiences today.
The Big Finale: I'm glad I found this one. This was a charming film with a nice glimpse at Garland, just prior to her fame in The Wizard of Oz and Babes In Arms. Necessary if you're a fan of her or Brice; also worth a look for fans of 30's musicals or MGM musicals.
Home Media: I'm afraid the Warner Archives DVD is currently out of print. Your best bet is to check used venues like I did.
DVD
Starring Judy Garland, Billie Burke, Fannie Brice, and Allan Jones
Directed by Elwin L. Marin
Music and Lyrics by various
Judy Garland was just starting to get noticed at MGM when she made this backstage tale, coming on the heels of her success in The Broadway Melody of 1938. How does this effervescent cross between a coming-of-age story and a Busby Berkeley-type revue look nowadays? Let's head to a music class at a stuffy private girls' school, and find out...
The Story: Judy Bellaire (Garland) was just expelled from private school for singing swing in choir class when she was supposed to be performing a spiritual. She returns home to discover that her parents, actress Diana (Burke) and playwright Hillary (Reginald Owen), are nearly broke. Her sister Sylvia (Lynne Carver) is in love with the handsome singing cook Ricky Saboni (Jones), but is being pursued by wealthy Jerrod Hope (Reginald Gardiner).
As it turns out, Ricky's not the only servant who is a terrific performer. Russian housemaid Olga Chekloff (Brice) is a wonderful singer and a cut-up onstage. Judy thinks they could put together a show to save her family from ruin. The second her father catches wind of her plans, he tries to send her to another school in Europe, but she breaks out and auditions for the show herself. Meanwhile, Sylvia finally agrees to marry Jerrod, despite her not being in love with him. Now Judy has to figure out how to bring everyone together without being dragged away...and get to show off her jazzy style to her parents and all of New York.
The Song and Dance: The story may be thin, but there's an awesome cast doing everything they can with the material. Fannie Brice has a lot screen time than she did in The Great Ziegfeld, including a big solo and a rare chance to see her play her radio character Baby Snooks on the big screen. Garland adorable as the teen who only wants to be able to show her stuff. The movie plays like a warm-up for Judy's later backstage movies with Mickey Rooney, only with a more adult cast, endearingly low-key compared to earlier big backstagers like the Broadway Melody series.
Favorite Number: The movie kicks off with Judy's high-energy "Swing Mr. Mendelssohn" number that gets her into trouble at school. Jones gets to reprise "Cosi Cosa" from the Marx Brothers vehicle A Night at the Opera at a nightclub, where Judy also gets the cute solo country spoof "(Down On) Melody Farm."
Fannie Brice gets to make fun of romantic Jane Austin-style heroines in "Dainty, Quainty Me" that allows her to show off her signature pratfalls with aplomb. Her Baby Snooks number with Judy, "Why? Because!" is brief but hilarious. No wonder the critics loved Judy in this - they're right that there's not many people who can hold their own with Brice and come out well. The big finale "The Show Must Go On" is the lone venture into elaborate Busby Berkeley territory, with dancers in sequined costumes.
Trivia: This was Jones' last movie for MGM.
Judy went on a seven-week, seven-city tour to promote the movie, with her mentor Roger Edens accompanying her on the piano. It was her first time performing in front of huge crowds.
The St. Brendan's Boys Choir performed for the girls in the opening classroom number.
What I Don't Like: Did I mention how thin the story is? This isn't that far removed from Judy's later Mickey Rooney musical or other similar backstage films; it also has some roots in the screwball comedies of the era that plays "normal" folks against wacky rich families. It's a pretty typical "B" movie of the time with an "A" cast. All the whining and yelling this particular family does with each other can get on some folks' nerves after a while.
And then, there's Judy's blackface number, which she uses to try to get an audition without anyone knowing how young she is. It's full-on black makeup-white lips, and she keeps it on while doing a dramatic scene. It can be anything from disconcerting to incredibly offensive for many audiences today.
The Big Finale: I'm glad I found this one. This was a charming film with a nice glimpse at Garland, just prior to her fame in The Wizard of Oz and Babes In Arms. Necessary if you're a fan of her or Brice; also worth a look for fans of 30's musicals or MGM musicals.
Home Media: I'm afraid the Warner Archives DVD is currently out of print. Your best bet is to check used venues like I did.
DVD
Saturday, November 16, 2019
Family Fun Saturday - Beauty and the Beast (2017)
Disney, 2017
Starring Emma Watson, Dan Stevens, Kevin Kline, and Emma Thompson
Directed by Bill Condon
Music by Alan Menken; Lyrics by Howard Ashman and Tim Rice
I was more than a little concerned when Disney announced they were remaking this one. While I do like the stage musical, the original animated film is one of my favorite movies of all time. I actually went to see this in the theater as a birthday present to myself in April 2017. Is it as enchanting as its animated predecessor, or does it shrivel up like a dying rose? Let's return to that small town in 18th century France and find out...
The Story: Belle (Watson) is an outcast in the tiny town of Villeneuve. She's the daughter of Maurice (Kline), an inventor and artist, and loves books, reading, and adventure. The dull and illiterate citizens of the town regard her as an uppity child who doesn't know her place. Former soldier Gaston (Luke Evans) wants to marry her, not because he loves her, but because he believes the handsomest man in town should have the most beautiful wife. Belle thinks he's an idiot and brushes him off.
Her life changes when she learns that her father has been imprisoned in a dark, spooky castle after trying to bring her a rose. She convinces the terrifying Beast (Stevens) who captured him to let her take his place. With the encouragement of the moving objects who act as his servants, they begin to gradually understand and befriend one another.
Back in town, Gaston still hasn't given up on taking Belle for his wife...whether she wants it or not. He first abandons Maurice in the woods, but the town hermit Agathe (Hattie Morahan) rescues him. When the old inventor shows up ranting about a Beast, he has him sent to an insane asylum. Belle gets the Beast to let her go long enough to go after her father...but Gaston intercepts her and, convincing the townspeople that the Beast will hurt them, takes them to raid the castle. Only Belle can truly end the curse on the Beast and show everyone that real love means a lot more than admiring the first pretty face that comes along.
The Song and Dance: Absolutely gorgeous, possibly the best-produced of the Disney live-action remakes. The meticulous details on everything from the grimy small town to the Beast's shadowy monstrosity of a castle, along with some of the best special effects of any recent Disney film, make this a delight for the eyes. The cast is fantastic, too. Thompson makes a warm and wise Mrs. Potts, Watson is a charming Belle, Stevens more than matches her as a more intelligent Beast, and Evans is a hoot as the vain and selfish Gaston. Josh Gad also has a lot of fun as LaFou, Gaston's oblivious and adoring best friend.
At the very least, they did try to do some things that would set it apart from the animated film (unlike the remake of The Lion King). I like that they re-added some details from the original French fairy tale like Maurice stealing the rose, as well as the greater emphasis on how Belle and the Beast's education set them apart from the illiterate townspeople (including Gaston) and their backstories.
Favorite Number: "Be Our Guest" is nearly as much fun to watch here as it was in the original, with Ewan MacGregor as Lumeire swirling around dancing black and white feather dusters and delicate tea cups. The pub-set stomp to "Gaston" is even better. showing off terrific choreography as Gad and Evans sings the praises of being macho. "Something There" gets a lovely montage as Belle and the Beast realize that they have a lot more in common than previously suspected, and "Beauty and the Beast" is just as swirling and romantic here.
Three new songs were written directly for the film. "Days In the Sun" has Belle, the Beast, and the Enchanted Objects sadly recalling lost childhood memories or days of glory. "Evermore" is the Beast's tortured ballad when Belle leaves to save her father and he thinks he's lost her forever. "How Does a Moment Last Forever" is a touching ballad first sung by Maurice to the accompaniment of a music box as he recalls his late wife, and then by Belle after she learns how her mother died.
What I Don't Like: Did Disney really need to remake this? Frankly, no. As lovely as it is, it still lacks a lot of the simple spark and charm that made the original so wildly popular, not to mention its Broadway-worthy cast. Watson is wonderful in the book scenes, but she's not really much of a singer or a dancer, and Stevens lacks Robby Benson's gruff charisma. I also wish they could have used at least some of the songs from the stage show. "Home" and "No Matter What" might have been especially nice here.
The Big Finale: It may not be necessary, but that doesn't mean it isn't lovely, romantic, and exquisite. This is by far my favorite of the Disney live-action remakes I've seen, and the only one to be anywhere near as delightful as its source material.
Home Media: As one of the more recent films I've reviewed and the second-biggest hit of 2017, this is easily found in all formats.
DVD
Blu-Ray
Google Play
Starring Emma Watson, Dan Stevens, Kevin Kline, and Emma Thompson
Directed by Bill Condon
Music by Alan Menken; Lyrics by Howard Ashman and Tim Rice
I was more than a little concerned when Disney announced they were remaking this one. While I do like the stage musical, the original animated film is one of my favorite movies of all time. I actually went to see this in the theater as a birthday present to myself in April 2017. Is it as enchanting as its animated predecessor, or does it shrivel up like a dying rose? Let's return to that small town in 18th century France and find out...
The Story: Belle (Watson) is an outcast in the tiny town of Villeneuve. She's the daughter of Maurice (Kline), an inventor and artist, and loves books, reading, and adventure. The dull and illiterate citizens of the town regard her as an uppity child who doesn't know her place. Former soldier Gaston (Luke Evans) wants to marry her, not because he loves her, but because he believes the handsomest man in town should have the most beautiful wife. Belle thinks he's an idiot and brushes him off.
Her life changes when she learns that her father has been imprisoned in a dark, spooky castle after trying to bring her a rose. She convinces the terrifying Beast (Stevens) who captured him to let her take his place. With the encouragement of the moving objects who act as his servants, they begin to gradually understand and befriend one another.
Back in town, Gaston still hasn't given up on taking Belle for his wife...whether she wants it or not. He first abandons Maurice in the woods, but the town hermit Agathe (Hattie Morahan) rescues him. When the old inventor shows up ranting about a Beast, he has him sent to an insane asylum. Belle gets the Beast to let her go long enough to go after her father...but Gaston intercepts her and, convincing the townspeople that the Beast will hurt them, takes them to raid the castle. Only Belle can truly end the curse on the Beast and show everyone that real love means a lot more than admiring the first pretty face that comes along.
The Song and Dance: Absolutely gorgeous, possibly the best-produced of the Disney live-action remakes. The meticulous details on everything from the grimy small town to the Beast's shadowy monstrosity of a castle, along with some of the best special effects of any recent Disney film, make this a delight for the eyes. The cast is fantastic, too. Thompson makes a warm and wise Mrs. Potts, Watson is a charming Belle, Stevens more than matches her as a more intelligent Beast, and Evans is a hoot as the vain and selfish Gaston. Josh Gad also has a lot of fun as LaFou, Gaston's oblivious and adoring best friend.
At the very least, they did try to do some things that would set it apart from the animated film (unlike the remake of The Lion King). I like that they re-added some details from the original French fairy tale like Maurice stealing the rose, as well as the greater emphasis on how Belle and the Beast's education set them apart from the illiterate townspeople (including Gaston) and their backstories.
Favorite Number: "Be Our Guest" is nearly as much fun to watch here as it was in the original, with Ewan MacGregor as Lumeire swirling around dancing black and white feather dusters and delicate tea cups. The pub-set stomp to "Gaston" is even better. showing off terrific choreography as Gad and Evans sings the praises of being macho. "Something There" gets a lovely montage as Belle and the Beast realize that they have a lot more in common than previously suspected, and "Beauty and the Beast" is just as swirling and romantic here.
Three new songs were written directly for the film. "Days In the Sun" has Belle, the Beast, and the Enchanted Objects sadly recalling lost childhood memories or days of glory. "Evermore" is the Beast's tortured ballad when Belle leaves to save her father and he thinks he's lost her forever. "How Does a Moment Last Forever" is a touching ballad first sung by Maurice to the accompaniment of a music box as he recalls his late wife, and then by Belle after she learns how her mother died.
What I Don't Like: Did Disney really need to remake this? Frankly, no. As lovely as it is, it still lacks a lot of the simple spark and charm that made the original so wildly popular, not to mention its Broadway-worthy cast. Watson is wonderful in the book scenes, but she's not really much of a singer or a dancer, and Stevens lacks Robby Benson's gruff charisma. I also wish they could have used at least some of the songs from the stage show. "Home" and "No Matter What" might have been especially nice here.
The Big Finale: It may not be necessary, but that doesn't mean it isn't lovely, romantic, and exquisite. This is by far my favorite of the Disney live-action remakes I've seen, and the only one to be anywhere near as delightful as its source material.
Home Media: As one of the more recent films I've reviewed and the second-biggest hit of 2017, this is easily found in all formats.
DVD
Blu-Ray
Google Play
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