Tag Archives: Musical

Tangled (2010)

07 Thursday Aug 2014

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(This one is best sung to the tune of the tavern song “I’ve Got a Dream”)
 
A pregnant queen is dying; so as the kingdom’s sighing,
They seek a magic, sun-begotten flower.
They locate it, and it heals,
But one Mother Gothel steals
The newborn babe for her renewing power.
 
She raises fair Rapunzel as her child,
Keeping her locked up for her own good.
For eighteen years and counting,
Claustrophobia’s been mounting;
She dreams of going out, if she just could.
 
But then a crook
Invades her nook
With a highly valued crown that he just took.
With a frying pan he’s tackled,
And Rapunzel keeps him shackled
With tens of feet of hair, like in the book.
 
She just wants to see lights floating, which Mother’s not promoting,
But this Flynn Rider is her guide and ticket.
He agrees to take her out,
And she frolics all about.
Though guilt is there, she manages to kick it.
 
Flynn takes her to a thug-infested tavern,
Only for her charm to earn esteem.
They escape from those pursuing,
And there may be love a-brewing,
As she gets ever closer to her dream.
 
But Mom appears
To give her fears,
But Rapunzel doesn’t like the things she hears.
She is sure that Flynn does love her
As the lanterns float above her
Till Mother (with some bandits) interferes.
 
As she goes back home, her heart is broken,
But then she discerns her Mother’s lie.
Flynn is set to die, until his cohorts save the guy.
He returns to defend, just in time to meet his end;
Gothel will not let her scheming go awry.
 
But as Flynn is lying dying,
He is still not done defying;
He cuts Rapunzel’s hair and all its magic.
Mother Gothel turns to dust;
Happy endings are a must,
So magic tears don’t let things get too tragic.
 
Flynn (or Eugene)
Recovers clean,
And they reunite her with the king and queen.
As the kingdom’s happy, very,
Both Rapunzel and Flynn marry,
And “happy ever after” ends the scene.
__________________
 

With its past-participle title akin to Enchanted and Frozen, Tangled may not have returned to the good ol’ hand-drawn animation of the Disney Renaissance, like the so-so Princess and the Frog did, but it revitalized the princess genre Disney does so well, leading to the even more popular Frozen (and hopefully many more to come). It’s got all the right ingredients: a spunky young heroine, a dashing hero, a selfish villain, funny animal sidekicks, and catchy Alan Menken music. Is it as good as the Renaissance films? Perhaps not quite, but I still love it.

While past Disney films left most of the humor to the animal sidekicks, the humor in Tangled is much more prevalent, with running gags and knowing looks giving it a more modern sensibility than the somewhat more serious stories of Beauty and the Beast, Pocahontas, and The Hunchback of Notre Dame. Most of the humor is indeed funny (I love the frying pans), but it’s as if the filmmakers were trying too hard at times, such as with Flynn’s “smolder.” Still, Mandy Moore and Zachary Levi are undeniably likable as the two leads, though they reportedly weren’t satisfied with their voices.

Despite all the hilarity, there’s also a decent mix of heart. With her inward turmoil over disobeying her “mother,” Rapunzel is one of Disney’s most relatable princesses, and her romance with Flynn/Eugene recalls Cloudy with a Chance of Meatballs in its promotion of being yourself over attractive fakery. (There’s also a “bunny attack” joke that seems lifted directly from Ella Enchanted.) The brief scenes with Rapunzel’s parents instantly engender sympathy for their loss, and the final reunion is just plain heartwarming.

Upon first hearing the songs, I considered them rather unmemorable, but as I’ve re-watched the film, I’ve grown to love them just like those of Disney’s golden years. They can’t compare with Menken’s best, but I’ve hummed “When Will My Life Begin?” a time or two. As perhaps you can tell, my favorite is the show-stopping “I’ve Got a Dream,” which is hilarious, excellently rhymed, and (along with “Mother Knows Best”) the main song I can envision on the Broadway stage. The final song, Grace Potter’s “Something That I Want,” is catchy enough to earn a place in my End Credits Song Hall of Fame as well.

I followed Tangled’s progress during its production and had high expectations for its painterly animation, and the animators delivered. Almost everything—the solitary tower, the water in the dam scene, the equine details of Maximus, and especially Rapunzel’s seventy feet of luscious hair—is an astounding achievement in its combination of CGI and traditional animation. The floating marshmallow lantern visuals to “I See the Light” are particularly dazzling.

Exceptional animated films usually leave me immediately wanting to see them again, and Tangled was no exception. Though there are some departures from reality, such as how Rapunzel’s long hair never gets dirty and seems to weigh nothing, it possesses few of the Frozen-esque plot holes that people like me love to point out. With its exquisite animation, great characterization, quality music, and continual comedy, Tangled is a winning return to Disney excellence.

Best line: (Flynn, while sword fighting a horse with a frying pan) “You should know that this is the strangest thing I’ve ever done!”

 
Artistry: 7
Characters/Actors: 7
Entertainment: 8
Visual Effects: 10
Originality: 6
Watchability: 9
 
TOTAL: 47 out of 60
 

Next: #154 – The Homecoming: A Christmas Story

© 2014 S. G. Liput

177 Followers and Counting

 

Chitty Chitty Bang Bang (1968)

01 Friday Aug 2014

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(I added a verse or two, but this one is best sung to the title song)
 
Back when cars were rather rare,
A couple little kids admire one.
Though it’s needing some repair,
The both of them are keen to see it run.
 
Their dad by the name of Potts
Assembles new inventions, odd but cool.
It’s clear that he loves them lots,
But doesn’t quite ensure they go to school.
 
That’s why pretty Truly comes,
For Truly Scrumptious is her name.
Potts does not approve her prying,
Though she’s right all the same.
There’s a candy he’s been trying
That might just earn him fame.
 
He tries then to sell his sweets,
Which one toots before he eats,
And Truly assists him with the treats.
They call dogs regrettably,
But not too forgettably,
And Potts is distressed by defeats.
 
But he tries to buy the car,
Because his kids have said it will be scrap,
So he grows into a star
By dancing after shaving bald a chap.
 
When he’s got it looking new,
And Truly joins them for a picnic drive,
Potts tells them a tale or two
With characters that seem to come alive.
 
In this story that he tells,
Their magic car is wanted by
Some fat villain known as Bomburst,
Who sees it float and fly.
He steals Grandpa, who is coerced
To build the car or die.
 
The four follow, as they ought,
But soon both the kids are caught,
For children are outlawed, they forgot.
Potts rescues the kids with skill,
Assisted by Benny Hill;
To Bomburst, a lesson is taught!
 
Back in the real world, where things are not as bright,
Both Mr. Potts and Truly show they care.
But it is not till his doggie treats take flight
That they discern they make a lovely pair.
 
Since both the children delightedly approve,
They take another wondrous drive,
On their Chitty Chitty Bang Bang,
The finest car alive,
On their Chitty Chitty Bang Bang,
The finest car alive!
_________________
 

With a script written by director Ken Hughes and the great children’s author Roald Dahl, Chitty Chitty Bang Bang is no Oscar-winning drama or beautiful piece of cinematic art; it’s a fun, kid-friendly romp and an entertaining bit of nostalgia from my and my parents’ childhoods. It’s not quite on the level of Mary Poppins, but it’s in the same vein of musical rollick through the imagination. Based off the book by Ian Fleming (yes, that Ian Fleming), the film’s focus on two children, songs written by the Sherman brothers, and the presence of Dick Van Dyke may make it seem like a Mary Poppins wannabe, but it’s an imaginative classic in its own right.

Like Poppins’ Bert, the role of Caractacus Potts puts Dick Van Dyke in his element, sprightly dancing, vivid imagination, and lovable chemistry with the two kids. The film’s plot is rather thin, to be honest, but the characters and songs fill it with charm. Baron Bomburst is made hilariously childish by Gert Fröbe (a.k.a. Goldfinger; the James Bond tie-ins continue; Albert Broccoli produced as well), and Robert Helpmann is genuinely frightful as the wicked Child Catcher. Did I mention Benny Hill is in it too?

Though some critics were rather harsh toward them, the Sherman brothers’ musical numbers are especially memorable. The title song is one of those classic 1960s tunes that easily get stuck in one’s head, but then again, so are most of them. “Posh!” puts Lionel Jeffries’ distinctive voice to good use, and “The Roses of Success” is a catchy little motivational speech. While “Hushabye Mountain” is a sweet lullaby (used in a much darker scene in Spielberg’s War of the Worlds), my favorite is “Me Ol’ Bamboo,” which easily matches Van Dyke’s energy in Poppins’ “Step in Time.” “Toot Sweets” probably has the best choreography though. The Bombursts’ “Chu-Chi Face” is the only song that serves little to no purpose and definitely could have been cut.

Much of the film’s appeal is for children and those who fondly remember seeing it as children. It’s certainly not perfect. The “magic” of bluescreen is obvious in the driving scenes, and the other special effects are lacking as well, though Mr. Potts’s inventions are fascinating to look at. Portions of the story within the plot are overly silly too, such as the bumbling spies sent to capture the car, who might as well be called the Two Stooges.

Chitty Chitty Bang Bang may not be award-worthy or deep in any meaningful sense, but it’s the kind of innocent, nostalgia-generating tale that isn’t made anymore. Kids’ movies nowadays have to include talking animals or constant explosions or toilet humor or pop culture references to hold their attention; this film succeeds with its own earnestness and inventive sense of fun. Which do you think is better?

Best line: (old inventor #1, describing to Grandpa the realities of working for Baron Bomburst) “They have terrible tortures: the thumb-screw, the rack….”
(old inventor #2) “They stretch you and streeeetch you.”
(unusually tall inventor #3, walking up) “When I first got here, I was a midget.”

 

Artistry: 5
Characters/Actors: 8
Entertainment: 9
Visual Effects: 3
Originality: 9
Watchability: 9
Other (memorable music): +3
 
TOTAL: 46 out of 60
 

Next: #160 – Monsters, Inc.

© 2014 S. G. Liput

171 Followers and Counting

 

Enchanted (2007)

30 Wednesday Jul 2014

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 (Best sung to Giselle’s “Happy Working Song”)
 
Pretty girl Giselle is just swell and is animated all day long;
Woodland creatures help her sing a song.
She expects her prince to come and be her new love;
When he does, they sing of true love,
Since there’s nothing wrong.
 
Then an evil witch, Edward’s stepmother, has a diabolic plan,
To evict Giselle because she can.
So she sends the princess down a well descending
Where there is no happy ending
And no perfect man.
 
In the callous streets of New York, poor Giselle is both afraid and lost,
Till one Robert finds his path has crossed
With this somewhat crazy fairy tale freethinker,
Who’s a tailor, not a drinker,
And cleans at no cost.
 
When he hears the news, Edward hunts for his darling on a hero’s trip,
With her talking chipmunk sidekick Pip,
But they stick out like a sore thumb in the city,
Searching for his dearest pretty,
Like he’s lost his grip.
 
As he tries to help out Giselle, Robert’s reeled in by her fresh appeal,
And his girlfriend Nancy has to deal.
Yet Giselle assists him with romance and crooning,
But she ends up nearly swooning
When love grows more real.
 
Edward soon arrives, but Giselle is no longer visibly naïve,
And she’s hesitant to up and leave.
So Edward and she try dating to get closer,
But it’s Robert who’ll engross her
At a ball that eve.
 
But the evil queen shows herself since her henchman hasn’t done too well
In his efforts to dispatch Giselle.
So she employs tactics you may have seen elsewhere
And scares everybody else there
With a fearsome spell.
 
Once the queen is stopped and destroyed when a hero steps up to the plate,
Robert and Giselle conclude their date.
It is clear that they both share a love enchanted,
But Edward’s not emptyhanded,
For his loves won’t often wait.
 
Robert and his young daughter have Giselle,
Settled in this world into which she fell,
Merrily,
Happy ever after, verily,
Now that everyone has found their perfect mate.
___________________
 

Before The Princess and the Frog revisited the princess genre (with iffy results), Disney created Enchanted, a modern mish-mashing of classic fairy tales and contemporary cynicism. The animated beginning could easily have been a rejected idea from the Disney Renaissance, but the overtly saccharine telling is clearly meant to be a contrast for the rest of the film. Once Giselle actually gets to New York and its live-action acrimony, the real humor starts flowing from the disparity between her naiveté and our world’s unfriendliness.

While Edward is certainly not the perfect prince of Disney’s early films, Enchanted succeeds in its combination of opposites by being both realistic and idealistic. Based on Giselle’s first encounters with New Yorkers, she would be justified in considering it the least nice place on earth, but later on, as she explains to Robert the importance of affection, all of Central Park turns into a completely willing musical cast. This serves to accentuate how innocence and idealism can bring out the best in people, even when the world can seem so hostile at times. At the same time, Giselle’s introduction to the joys of the real world convince her these are preferable to the unsubstantial romance she had known before with Edward. That point, of course, doesn’t apply to everyone since Nancy, apparently fed up with the pitfalls of “real” relationships, obviously preferred the love-at-first-sight kind of courtship.

This is the film that hoisted Amy Adams to stardom, at least for me, and continues to be the role in which I always envision her, one of innocence. Her voice, face, and acting all lend themselves to her upright damsel persona. Roles that have allowed for this image, such as in Doubt or Night at the Museum 2, play to her strengths, while films where she attempts to act the “bad girl,” such as the recent American Hustle, just don’t seem to fit her. Patrick Dempsey took a break from Grey’s Anatomy to play single father Robert, who may be a pessimist but has obvious appeal for Nancy and Giselle. James Marsden portrays Prince Edward as an entertaining buffoon, but I do wish he had more to contribute to the plot. Susan Sarandon and Timothy Spall look like they’re enjoying their hammy villainous roles as Queen Narissa and bumbling servant Nathaniel. Lastly, I had no idea who Broadway star Idina Menzel (Nancy) was at the time, but after hearing her in Frozen, it’s a shame she didn’t get a chance to sing in this film: her one song with Marsden was cut.

The choreography and songs, written by winning duo Alan Menken and Stephen Schwartz, are outstanding, a welcome return to the good old days of both Disney excellence and classic musicals. The show-stopping “That’s How You Know” is particularly awesome, but the fact that all three of its Oscar-nominated songs lost (not unlike the previous year’s Dreamgirls) is a crying shame.

The film isn’t all good, of course. Certain scenes toward the end vacillate between an homage and a ripoff of Disney classics, and some scenes involving Pip the chipmunk, such as his defecation and Nathaniel’s cruelty toward him, were unnecessary. Still, Enchanted brings Disney’s animation to life in a fresh and funny way that my family watches whenever it’s on TV. It’s enchanting.

Best line: (a child-stressed mother, played by Judy Kuhn from Pocahontas, when she sees “Prince Charming” Edward) “You’re too late.”

 
Artistry: 6
Characters/Actors: 8
Entertainment: 8
Visual Effects: 9
Originality: 6
Watchability: 9
 
TOTAL: 46 out of 60
 

Next: #162 – Rain Man

© 2014 S. G. Liput

166 Followers and Counting

 

Pocahontas (1995)

22 Tuesday Jul 2014

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(Can be sung to “Colors of the Wind”)
 
A voyage starts in 1600s England
To journey to the New World for its gold,
But John Smith only searches for adventure
And knows that there’s one waiting to unfold.
 
This New World boasts the lovely Pocahontas,
The daughter of the reigning Indian chief.
He offers sober Kokoum for marriage,
But the maiden seeks a spirit for relief.
 
The path for her is hidden and uncertain,
But then the ship appears against the sky.
As greedy Ratcliffe starts his people digging,
Smith departs to scout the countryside nearby.
 
The Indian and Englishman make contact,
And neither’s like the other thought they’d be.
He tells her of his homeland, and the maiden
Shows the sailor things he’d never tried to see.
 
A skirmish sows distrust in both the factions,
And both believe the worst of their new foe.
They will not hear John Smith or Pocahontas,
But both unite, and love begins to grow.
 
When Kokoum decides to tail the couple,
His jealous rage just gets the warrior shot.
The tribe imprisons Smith to his friends’ horror
And plans to execute the man they’ve caught.
 
Since Ratcliffe thinks the foe is hoarding treasure,
And they think whites are savages as well,
Both sides prepare for battle at the sunrise,
Till Pocahontas chooses to rebel.
 
She saves the life of Smith at the last second
And turns her father’s warring mind to peace.
These “savages” are better than they’d reckoned,
And both sides (save for Ratcliffe) choose to cease.
 
Though Smith is saved, he still is sadly wounded,
So he departs for home to convalesce.
He bids goodbye to lovely Pocahontas,
Who will be with him forever nonetheless.
____________________
 

Don’t worry; I won’t exhaust the Disney Renaissance this low on the list, but like Mulan, Pocahontas is just not quite as absolutely stellar as the rest of those ‘90s classics. It still is a marvelous film, beautifully animated and drawing inspiration not from fairy tales or legends but from real American history. It bothers me a little that Disney rewrote history in adding much to the story of Pocahontas and John Smith while leaving out other elements, such as the Indian maiden’s conversion to Christianity. Still, it’s laudable that the filmmakers endeavored to bring history to family audiences in such an entertaining package, even if only some main events are retained from the true account (the saving of Smith’s life, his changed injury and return to England).

Mel Gibson makes John Smith quite the dreamboat, and David Ogden Stiers proves he can play a greedy Englishman with the same panache as he can a clock. As far as cute animal sidekicks go, Meeko the raccoon and Flit the hummingbird are two of the funniest and lend the otherwise serious tale some lighthearted comic relief.

One thing I’ve noticed after repeated viewings is that Pocahontas more than any other recent Disney film depends on its music for its success. All of the other Disney classics have memorable standout sequences independent of their music (the wildebeest stampede, the Cave of Wonders, Shan-Yu’s mountain charge, etc.), while Pocahontas doesn’t. Take away Alan Menken’s soundtrack, and you’ve got the familiar “noble savage” and “follow your heart” clichés and a romance that’s a tad rushed and a much less entertaining story.

Luckily, though, we do have Menken’s songs, and they are perfect. From the history-laced “The Virginia Company” to the exhilarating “Just around the Riverbend,” his music continues to amaze. Stephen Schwartz’s lyrics are also fantastic and eminently satisfying to me as a poet. “Colors of the Wind” is especially classic and earned an Academy Award for Best Song. Ratcliffe’s songs are also great, particularly the Broadway-quality “Mine, Mine, Mine.” Despite accusations of racist lyrics, I also love “Savages” and can step away enough to see that the hatred is that of the characters and not the filmmakers. I actually think the way that both sides accuse the other of being “savages” is the most nuanced element of the whole film.

Pocahontas may have turned a platonic historical account into a Romeo-and-Juliet story of warring factions, but its soundtrack makes it yet another Disney classic. I wonder if they’ll ever tackle another historical drama again.

Best line: (Powhatan, at the end) “My daughter speaks with the wisdom beyond her years. We’ve all come here with anger in our hearts, but she comes with courage and understanding. From this day forward, if there is to be more killing, it will not start with me.”

 
Artistry: 6
Characters/Actors: 6
Entertainment: 8
Visual Effects: 9
Originality: 5
Watchability: 9
Other (music): +2
 
TOTAL: 45 out of 60
 

Next: #170 – Foul Play

© 2014 S. G. Liput

159 Followers and Counting

 

Mulan (1998)

19 Saturday Jul 2014

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(Best sung to the tune of “A Girl Worth Fighting For”)
 
When the Huns invade and China is in peril
From the dark Shan-Yu who’s merciless and feral,
The threat’s appraised; an army’s raised
And every man must serve,
But a lone girl reports and proves her nerve.
 
Though Fa Mulan is quite the awkward beauty,
She won’t let her father lose his life for duty.
She impersonates the manly traits
And gallops off to war,
Hoping to save the man she’s fighting for.
 
Her ancestors send out a guarding spirit,
But who she gets is frankly nowhere near it:
The small Mushu, a dragon who
Just wants his honored shelf
And has arrived to help her prove herself.
 
The Captain Shang is tough on all the rookies
And teaches things unknown in fortune cookies.
He trains them hard as China’s guard,
And when he’s satisfied,
Mushu ensures they’ll fight to turn the tide.
 
While marching through a mountain pass while singing,
The army sees the death the Huns are bringing.
They are ambushed and nearly pushed
Right off the mountainside,
But by Mulan the victory’s supplied.
 
An avalanche destroys the Huns while riding,
But Shang soon learns the truth that Mulan’s hiding.
The laws apply, and she must die,
But Shang won’t kill Mulan.
They leave her there, her family honor gone.
 
She sees Shan-Yu and others are still living
And warns her friends, but Shang is not forgiving.
The Huns attack and plan payback
Upon the Emperor.
When Mulan calls him, Shang then follows her.
 
With female charm, they fight into the palace
And save the Emperor from Shan-Yu’s malice.
Up on the roof, the fiend goes POOF
When Mushu’s rockets shoot,
And fireworks eliminate the brute.
 
With China saved and Shan-Yu now a goner,
The Emperor grants Fa Mulan much honor.
Back home they ride with newfound pride,
And Dad and Shang agree
This lovely girl is just as she should be.
______________________
 

Ignoring the earlier-reviewed Hercules, here begins the Disney Renaissance on my list in earnest. Mulan was yet another feather in the cap of Disney’s animation department, with memorable characters, enjoyable music, and impressive animation. Inspired by the ancient Chinese poem Hua Mulan, who fought in the army in her father’s stead, the animation style emulates aspects of Chinese art, much like Hercules reflected Greek art. The filmmakers also pioneered some CGI elements to produce huge crowd scenes, such as the amazing mountain charge of the Huns.

Of the voice cast, Ming Na Wen as Mulan and Eddie Murphy as Mushu are the standouts, and James Hong and Harvey Fierstein also lend their distinctive voices to the film. (I still think of Donkey from Shrek when I hear Murphy’s voice, even though Mulan came first.) The songs are not as plentiful as in other Disney films, but they’re still outstanding. “Reflection” is beautiful (and helped start Christina Aguilera’s career), and “I’ll Make a Man Out of You” is just perfect, ranking among the best of Disney’s musical numbers.

Though the film wasn’t as successful in China, Mulan is a marvelous Disney classic that exceeds the silliness of Kung Fu Panda. With a strong female role model and humor and fun to spare, Mulan may not be my favorite of the Disney Renaissance, but it easily surpasses most of today’s animated films.

Best line: (Mushu, after roasting the Huns’ falcon) “Now, that’s what I call Mongolian barbeque.”

 
Artistry: 6
Characters/Actors: 7
Entertainment: 8
Visual Effects: 9
Originality: 7
Watchability: 8
 
TOTAL: 45 out of 60
 

Next: #173 – Rudy

© 2014 S. G. Liput

158 Followers and Counting

 

Funny Girl (1968)

11 Friday Jul 2014

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(Best sung to “Don’t Rain on My Parade”)
 
When Fanny Brice was just a show-biz starter,
She couldn’t be a chorus girl, but smarter;
She had the voice to make the audience acclaim.
Though like a bagel compassed by bialys,
She was a starlet in the Ziegfeld Follies.
She made the people laugh and earned the highest fame.
 
Quite early on, she meets a handsome mister.
This Nicky Arnstein just wants to assist her,
But over time their love inevitably grows.
When he must leave to catch a ship and gamble,
She follows him and dumps her show to ramble
With him, the man who’s glad to see her and propose.
 
They’re glad together for a time, but Nicky
Runs out of luck, and earning money’s tricky.
Yet Fanny’s still the star of Ziegfeld’s latest show.
Increasingly, he can’t provide the bacon;
He feels his confidence and pride are shaken;
And he will not accept the help she can bestow.
 
This streak of bad luck—Nick cannot crack it,
So he decides to join a bond scheme racket.
He goes to jail for eighteen months, and they both part.
Though Fanny still may love her former wooer,
They both decide to start their lives the newer
By separating, but Miss Brice still sings her heart.
______________________
 

Funny Girl was Barbra Streisand’s first film, based off the Tony-nominated Broadway show she headlined, and it’s the film that won her the Academy Award for Best Actress (albeit tied with Katharine Hepburn for The Lion in Winter). The role of Fanny Brice suits her just as much as that of Dolly Levi, both strong Jewish women (at least as played by Streisand), and, though it entails her being self-conscious about her looks, her comedic and vocal talents are given great opportunity to shine.

Omar Sharif is also as “gorgeous” as ever as the charming gambler Nick Arnstein, who helps Fanny early in her career. Sharif certainly sells the character, but Arnstein is an unfortunate example of pride gone awry. Ignoring the fact that he seduces Fanny and only marries her at her suggestion, the way he handles his poor luck is frustrating to me. It’s usually admirable when some poor movie father says he won’t accept charity but will rather earn his own money, but I think most such fathers would take the contribution before turning to illegal activities. Nick was given a chance to finally have a somewhat stable career, and he turned it down because his wife was helping to finance it. That’s not even charity; it’s simple sharing! For him to knowingly commit a crime and desire divorce is perhaps not as fatal as the actions of Norman Maine in A Star Is Born, but it does show that his own pride trumped his love for Fanny. But I digress….

While the unsatisfying end and the rather long running time detract somewhat, the music makes up for it. Many songs were omitted from the stage production, but several show-stopping numbers just had to be included. Of course, Streisand’s rendition of “People” is quite popular, but “His Love Makes Me Beautiful” is a hoot. I actually prefer the more upbeat songs “I’m the Greatest Star” and “Don’t Rain on My Parade.” The lyrics are all clever, and the final notes are awe-inspiring.

Like Hello, Dolly, Funny Girl is not my favorite musical, but it’s a great mixture of drama, comedy, and music that meshes beautifully, mainly due to Streisand’s performance. While the last song “My Man” may finish it on a high note, I do wish the film overall ended more happily.

Best line: (Fanny, speaking of Nick) “I see him as he is. I love him as he is!”   (her mother Rose) “Fanny, love him a little less. Help him a little more.”

VC’s best line: (Fanny, explaining how she’s different) “I’m a bagel on a plate full of onion rolls!”

 
Artistry: 8
Characters/Actors: 9
Entertainment: 8
Visual Effects: N/A
Originality: 8
Watchability: 7
Other (great music and singing): +3
 
TOTAL: 43 out of 60
 

Next: #181 – Something the Lord Made

© 2014 S. G. Liput

153 Followers and Counting

 

Frozen (2013)

06 Sunday Jul 2014

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The kingdom of Arendelle has two princesses,
Elsa and Anna. The former distresses
Her parents with powers she cannot control,
Which conjure up ice from the depths of her soul.
When Elsa hurts Anna, they visit a troll.
 
The lead troll heals Anna but fools with her mind
To leave memories of ice powers behind.
The monarchs shut Elsa up, locking each door
And don’t give her access to sis anymore,
While Anna’s confused why things aren’t as before.
 
The two girls grow up, and the king and queen die,
Leaving Elsa alone to conceal her cold lie.
The day when Queen Elsa is due to be crowned,
A whole flood of royals and guests is inbound.
Unlike Elsa, Anna is thrilled they’re around.
 
When she meets Prince Hans, it is love at first sight.
No, literally, they seek marriage that night,
But Elsa is skeptical and won’t permit
A marriage so rushed; Anna’s flustered a bit.
In front of a crowd, she makes Elsa lose it.
 
Her powers revealed, Elsa heads for the hills,
Building castles and singing a song that gives chills.
The people are fearful for snow’s falling fast…
In summer and who knows how long it will last?
So Anna rides off through the wintry blast.
 
She meets smelly Kristoff, a man who sells ice.
He becomes Anna’s guide, though she has to ask twice.
Encountering wolves and a living snowman
Named Olaf, who craves summer days and a tan,
They head up the mount with not much of a plan.
 
When Anna begs Elsa to stop the storm now,
Her sister freaks out, for she doesn’t know how.
By accident, Anna is struck in the heart,
So Elsa, still fearful, makes Anna depart.
In Anna, Kristoff sees a chilly change start.
 
They go to the trolls, who raised Kristoff with pride.
They say Anna’s heart will soon freeze from inside.
She needs some true love, which means Hans (so they think);
She just needs a kiss to come back from the brink,
But Hans then comes out as a liar and fink.
 
Although he brought Elsa back home in a chain,
He wants them both dead so that he can now reign.
Leaving Anna to die, Hans tries killing her sister,
But Anna steps in, knowing Kristoff’s her mister,
And freezes rock solid since nobody kissed her.
 
Her own sacrificial love brings Anna back
And helps Elsa see love is what she may lack.
This aids her control so that people don’t fear,
And Anna loves Kristoff, who’s rough but sincere.
The doors are now open, and skies are all clear.
____________________
 

Last year’s Frozen was an unforeseen megahit that eventually surpassed Toy Story 3 as the highest grossing animated film, and it just recently dropped out of the global box office top 10. A welcome return to the musical princess genre for which Disney is famous, Frozen perhaps fed the hunger that family audiences had for new but familiar quality. It’s certainly a great fairy tale with gorgeous animation, catchy music, and (mostly) likable characters.

All that being said, I can’t help but point out some issues that detract from it and make its gargantuan success a tad puzzling. The actual storyline is innovative in its inclusion of two princesses, but Anna is a much better realized character than Elsa. I can sympathize with Elsa’s fear of herself, but that’s about it. All the characterization is given to Anna, while Elsa seems pretty directionless. What was she doing in that castle she constructed, just wringing her hands in worry? And the ultimate resolution is too rushed: just “love” and boom, she has perfect control over the powers she spent a lifetime repressing.

I also take issue with the character of Hans. The filmmakers tried so hard to make him seem like a nice guy that his sudden reversal was too out-of-nowhere. I mean, if he wanted to kill Elsa anyway, why didn’t he just let the Duke’s guards shoot her instead of valiantly rescuing her for no reason? I like the story, but I was expecting some different directions. Perhaps Hans could have been left as a good guy and paired with Elsa. I would have preferred that kind of reversal. I liked Anna’s sacrifice at the end, but it did remind me somewhat of the finale of Pokémon: The First Movie. I also thought that Anna may have hidden warming powers to offset Elsa’s, but no. Oh, well, maybe in the sequel.

After the previous two paragraphs, it might sound as if I dislike the film overall, but that’s not true. It’s a flawed tale but one I still very much enjoy viewing. Anna and Kristoff make a good pair, and though I was prepared to be annoyed by Olaf the snowman, I actually liked him more than I’d expected. The CGI animation is absolutely gorgeous, setting a new high for non-Pixar films.

Plus, the music is first-rate, even if it’s not from Alan Menken. The first song about ice is rather forgettable, but “Love Is an Open Door” and “For the First Time in Forever” are both excellent starting numbers. When I first heard the Oscar-winning song “Let It Go” on YouTube, I knew I had to see this movie. It’s Disney’s best song in years, and I’m sure most have seen at least one of the hundreds of parody videos out there for it. My VC also very much liked the “Fixer Upper” song by the trolls, even if they seem like an afterthought as characters.

Frozen may not be up there with Disney’s Renaissance classics of the ‘90s, but it’s not the worst (The Princess and the Frog didn’t make my list). It’s memorable, quality family entertainment. Let’s hope Disney will take the hint and not let the princess genre die.

Best line: (Olaf, singing) “Winter’s a good time to stay in and cuddle / But put me in summer and I’ll be a… [pauses in front of a puddle] …happy snowman!”

 
Artistry: 7
Characters/Actors: 7
Entertainment: 9
Visual Effects: 10
Originality: 6
Watchability: 8
Other (aforementioned issues): -4
 
TOTAL: 43 out of 60
 

Next: #186 – The Way

© 2014 S. G. Liput

148 Followers and Counting

 

#190: Hello, Dolly (1969)

03 Thursday Jul 2014

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Back in 1890 Yonkers,
Dolly Levi always conquers
Any obstacle she sees.
Love and money have compelled her
To seek Horace Vandergelder,
Who’ll be hers, she guarantees.
 
Though he is a cross curmudgeon,
He just needs a little nudge on
Choosing her above the rest.
As a mover and a shaker
And New York’s most loved matchmaker,
She’s not easily suppressed.
 
After Horace tears to pieces
A beloved of his niece’s,
He intends to look for joy.
With the cash at his disposal,
He is planning a proposal
To New York’s Irene Malloy.
 
Since his feed store must stay open,
He puts his reluctant hope in
His two unfulfilled young clerks.
Once he’s gone, Cornelius Hackl
And pal Barnaby then tackle
Life at large and all its perks.
 
Dolly tells the two assistants
Of the heaven-sent existence
Of two women meant for them.
So they journey with elation
To Irene Malloy’s location,
Thinking they’ll each find a gem.
 
While Irene and gal pal Minnie
Like the pair, naïve and skinny,
Both employees quickly hide
When their boss arrives to proffer
Miss Malloy a marriage offer,
Till he learns of men inside.
 
Dolly then begins preparing
For a date night they’ll be sharing,
Though the poor clerks are afraid.
She ties off her latest scheming
As the city streets are teeming
For the 14th Street Parade.
 
By the time that night is falling,
All the characters are calling
On the restaurant that she chose.
Both the clerks cannot afford to
Spend a lot, though they’re implored to,
And their bluffing frankly shows.
 
Dolly’s welcomed with much fanfare;
Horace is her chosen man there,
Though she causes him much stress.
Dolly has arranged a chance for
His niece and her beau to dance for
Contest money to impress.
 
Mr. Hackl starts confessing
With Irene and Minnie’s blessing,
For they knew it all along.
They then try to be the winner
Of the dance to pay for dinner,
But then everything goes wrong.
 
Horace sees his niece cavorting
With the man he’d banned from courting,
And he quickly goes berserk.
What a messy picture this is!
Both his workers he dismisses
When he sees they’re not at work.
 
During this confused occasion,
There’s some stealthy pay evasion,
As two couples sneak away.
Hackl and Irene now know that
They’re in love, and both then show that
In a song to end the day.
 
Dolly then leaves Vandergelder,
Who regrets he ever smelled her,
But that changes very soon.
Back in Yonkers, he’s unmarried,
With no workers to be harried,
Just a lonely rich tycoon.
 
Dolly and the rest come calling,
And he sees no point in stalling,
So he asks her in his life.
She suggests that he be smarter
And take Hackl as a partner,
And she’s glad to be his wife.
_________________
 

Coming just a year after her rise to stardom in 1968’s Funny Girl, Hello, Dolly gave Barbra Streisand yet another enduring musical role that seems perfect for her. Many criticized the fact that she was only 27 years old at the time, perhaps too young for the role of a pushy widow seeking a husband. Yet she makes the role her own and fills it with such fast-talking chutzpah that I can’t see anyone else playing Dolly Levi. Carol Channing may have been the immortal Dolly on Broadway, but in my opinion (and my VC’s) Streisand blows her away, in both the strength and the mellifluence of her voice.

Walter Matthau sings for the first and only time in his career (that I’m aware of) as the bossy and crotchety storeowner Horace Vandergelder. Michael Crawford also does a fine job as Cornelius Hackl and is so lovably nerdy that it’s hard to believe he’s the original Tony-winning Phantom of the Opera. All the other roles are filled ideally, and Louis Armstrong’s cameo during the title song is classic as all get-out.

The music itself is wonderful stuff. From Mr. Vandergelder’s humorously selfish “It Takes a Woman” to the charming, street-walking “Elegance,” the songs clearly have just the right balance of humor, clever lyrics, and hummable tunes. “Hello, Dolly” is another great number, and the entire part in the Harmonia Gardens Restaurant is filled with energetic physical comedy and Michael Kidd’s impressive choreography. And of course, there are the two songs made even more timeless by their inclusion in the Pixar film WALL-E, those being “Put on Your Sunday Clothes” and “It Only Takes a Moment.” A few of the unnecessary songs like “Love Is Only Love” slow the film down a bit, but showstoppers like “Before the Parade Passes By” truly make the film (Streisand’s long end note is awe-inspiring). My personal favorite, though, is the opening song “Just Leave Everything to Me,” which was written specifically for the film and Barbra Streisand.

Hello, Dolly isn’t my favorite musical, even though I love most of the songs. Perhaps I don’t care for Dolly’s overly pushy manner. I mean, Mr. Vandergelder was an overbearing, self-centered boor, but by the end, I almost sympathized with his exasperation. His turnaround and marriage proposal are rather sudden, yet it shows Dolly knew just the right buttons to push to get the desired outcome. Despite Dolly’s busybody personality, Streisand sells it for the most part, and she and Crawford are perfectly cast. My VC loves the film even more than I, and though other musicals and Barbra Streisand films are higher on my list, this one stands out as a Broadway-style gem.

Best line: (Vandergelder, to his niece’s beloved Ambrose) “You are a seven-foot-tall nincompoop!”   (Ambrose) “That’s an insult!”   (Vandergelder) “All the facts about you are insults!”

VC’s best line: (Vandergelder, while being shaved) “Eighty percent of the people in the world are fools, and the rest of us are in danger of contamination.”

 
Artistry: 8
Characters/Actors: 9
Entertainment: 9
Visual Effects: N/A
Originality: 8
Watchability: 8
 
TOTAL: 42 out of 60
 

Next: #189 – Rocky III

© 2014 S. G. Liput

146 Followers and Counting

 

Peter Pan (1953)

19 Thursday Jun 2014

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(This one is best sung to the tune of “You Can Fly”)
 
Wendy and Michael and John
Like to listen, play, and fawn
Over tales of Peter Pan,
Who won’t grow into a man
But always stay a boy
With his youth as the source of his joy.
 
Their father can’t stand the thought
Of these silly games they’ve got.
Since she is no more a pup,
He insists his girl grow up.
But when parents go out,
Peter and Tinker Bell sneak about.
 
Once Peter’s shadow is caught,
Wendy starts to talk a lot.
When she mentions loving mothers,
Pan wants her for him and others
Back in Neverland
And she won’t have to grow up, as planned.
 
Tinker Bell’s envy is plain,
But her protests are in vain.
With some faith, and trust as well,
And some dust from Tinker Bell,
The kids are soaring high.
They can fly! They can fly! They can fly!
 
Soon they arrive there and—Look!
It’s the pirate Captain Hook,
Who feared throughout the isle,
But he fears a crocodile.
Hook despises Pan,
For the lad once cut off Hook’s left hand.
 
After a couple close calls
From falls and Hook’s cannonballs,
Wendy goes to see mermaids;
John and Michael lead parades,
But soon the boys are caught
By the Indians; happy they’re not.
 
Wendy and Peter behold
Hook’s next evil plan unfold:
He has nabbed the chief’s own daughter,
Placing her in rising water,
But Pan does outsmart
Hook and Smee, and the croc plays its part.
 
After the Lost Boys and Pan
Revel with the Indian clan,
Wendy quickly feels ignored,
But her value is restored
When she decides to sing
Of the joys that a mother can bring.
 
Hook uses Tinker Bell’s spite
Against Wendy to, one night,
Learn of Peter’s whereabouts
And to kidnap all his scouts,
While leaving a surprise
To ensure that his enemy dies.
 
Tinker Bell saves Peter Pan,
Who flies off to stop Hook’s plan.
First, he frees his captured friends,
And the company defends
Against the pirate crew;
Pan and Hook have a duel overdue.
 
Once Pan has bested the crook
And replaced ol’ Captain Hook,
Back to London they’ve a trip
On a flying pirate ship,
And Wendy’s parents see
Being young’s not a bad thing to be.
________________
 

Walt Disney had hoped Peter Pan would be his second animated film after Snow White, but, though he had to wait about fifteen years due to legal issues and World War II, his animation and storytelling had merely improved over that time to make Peter Pan yet another children’s classic (and incidentally Michael Jackson’s favorite film). There are plenty of small details that make it timeless, from Hans Conreid’s distinctive voice as both Hook and Mr. Darling to memorable scenes like the children landing on the face of Big Ben.

Like Pinocchio, I don’t always think of Peter Pan as a musical, but its melodies are certainly distinctive. While “The Second Star to the Right” and “You Can Fly” are the most memorable, little elements of the score are instantly recognizable, including the crocodile’s tick-tocking theme to the low tune heard when the Indians are introduced. It’s true that the portrayal of the Indians in the film is outdated, stereotypical, and potentially offensive, but, for good or bad, the deep-voiced “How!” remains an enduring line from the film.

There are a number of changes from J. M. Barrie’s original stage play, such as deleting the clap-if-you-believe-in-fairies audience participation in favor of a bomb left by Hook and foiled by Tinker Bell. Still, it’s one of the best of Disney’s original lineup. Peter Pan is a nostalgic visit to Neverland that never gets old.

Best line: (Peter Pan; classic as they come) “Second star to the right and straight on till morning.”

 
Artistry: 5
Characters/Actors: 8
Entertainment: 8
Visual Effects: 8
Originality: 6
Watchability: 6
 
TOTAL: 41 out of 60
 

Next: #203 – The Iron Lady

© 2014 S. G. Liput

135 Followers and Counting

 

Annie (1999)

12 Thursday Jun 2014

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Young Annie’s a sweethearted orphan
In New York, as sharp as a tack.
Her parents left her with a note and a locket
That make her dream they will come back.
 
The orphanage isn’t too homey.
In fact, it’s all work and no play.
Her “caretaker” Hannigan hates little girls,
Who happen to fill her whole day.
 
When Annie escapes for the first time,
She finds a dog, Sandy, and sings,
But soon she is captured and back with Miss H,
Who plans several new sufferings.
 
But then good luck shines upon Annie
As they get a visit from Grace,
The personal aide to rich Oliver Warbucks,
A tycoon who wants to save face.
 
For Christmas, he’ll take in an orphan,
And Annie is given the prize.
She is unaccustomed to servants and fun
But likes it, to no one’s surprise.
 
While Oliver Warbucks seems stodgy,
She charms her way into his heart.
Before Christmas comes, he decides to adopt her,
In hopes that they never will part.
 
But Annie still hopes for her parents;
Thus Warbucks then puts out a test.
He sets a reward for her folks but attracts
Just fakers, including the best.
 
For Hannigan’s brother is greedy,
So “Rooster” and she play the Mudges.
They fool everyone into thinking they’re real,
And Annie is sad as she budges.
 
But Rooster’s girlfriend blows their cover
And sends them all packing to jail.
So Annie’s adopted, as are all her friends,
And thus ends this musical tale.
___________________
 

For my list, I chose the 1999 Disney television version of the 1977 musical Annie instead of the 1982 film version simply because I saw it first. As I first watched the Wonderful World of Disney, this film became an indelible part of my childhood. It may not have Albert Finney, Carol Burnett, Tim Curry, and Bernadette Peters, who filled iconic roles quite well in the 1982 film, but it still boasts several big stars. These include Kathy Bates as the villainous Miss Hannigan, Victor Garber as “Daddy” Warbucks, Alan Cumming (known to me as Floop and Nightcrawler) as “Rooster,” Kristen Chenoweth as Rooster’s girlfriend Lily, and Audra McDonald as Grace. While McDonald’s casting seems out-of-place considering the time period, it’s interesting that she starred in this TV musical as well as the more recent revival of such productions, the Carrie Underwood version of The Sound of Music, in which McDonald played the Mother Abbess.

Annie is certainly a classic musical, but I couldn’t help but reflect on why. The typical Broadway music is certainly catchy with clever lyrics and strong end notes, particularly the songs “Tomorrow” and “N.Y.C.” Yet it doesn’t have the uniqueness or the masterful acting of musicals like Les Miserables, The Music Man, or My Fair Lady. I suppose what makes it unique is that, unlike most other musicals, the main character and several main singers are real children. These pipsqueak performers have just the right amount of heartwarming charm and sincerity to make the musical something special, just like Annie endears herself to Mr. Warbucks. And, of course, the title role (Alicia Morton in this film) is the most enchanting of all.

Though it left out several unnecessary songs, I also like this TV version because it not only sticks closer to the play’s plot but also often feels like actually watching a Broadway play. Whereas some of the songs in the 1982 Annie became sprawling numbers that could never have happened on a stage, the ones in this film feel contained but as energetic as something seen on Broadway. Some may consider this smaller feel a liability, but I think of it as a strength.

In addition to the musical winning multiple Tony Awards, this 1999 film won two Emmys for Outstanding Choreography and Outstanding Music Direction. It was one of the last TV musicals for a while too, as far as I know. The Sound of Music has luckily rekindled interest in such musicals, just as Les Mis has in the film industry. With an updated version of Annie to be released later this year (starring Quvenzhané Wallis and Jamie Foxx), I’d say the cinematic musical is alive and well.

Best line: (Warbucks, after inviting FDR to Christmas dinner) “I wonder what Democrats eat.”

 
Artistry: 5
Characters/Actors: 7
Entertainment: 8
Visual Effects: N/A
Originality: 8
Watchability: 8
Other (music): +4
 
TOTAL: 40 out of 60
 

Next: #210 – The Poseidon Adventure

© 2014 S. G. Liput

126 Followers and Counting