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WALL•E (Dir: Andrew Stanton, 2008).
Combining futurist sci-fi and robot rom-com with a timely ecological message, this 9th feature film from Pixar Animation Studios released by Walt Disney Pictures opens on post-apocalyptic Earth 700 years after humans mass consumerism and neglectful waste management has made the planet uninhabitable. Here trash compactor robot WALL•E, the last of his kind, stoically continues a clean-up operation. Enter Eve, a reconnaissance bot dispatched from starliner Axiom to recover life forms and asses suitability for a possible return of humans to the planet. On discovering a solitary plant sample Eve is summoned by the Axiom pursued by WALL•E. A burgeoning bot romance ensues on their quest to deliver the sapling to the Axiom’s Captain and initiate a return to Earth.
From its opening scenes of an eerie, trash-strewn abandoned Earth to its awe-inspiring space-scapes, the movie is a visual delight. With a titular character who is largely mute, the screenplay by director Andrew Stanton and Jim Reardon is a masterclass in how to tell a moving, thought provoking story with minimal dialogue. Its comments on consumerism, big business, political corruption and the human destruction of Earth are even more pertinent now than when the movie was released a decade ago.
Despite its serious message WALL•E is an utterly joyful, uplifting viewing experience and is refreshing in the entirety uncynical, optimistic approach to its subject.
In 2016 a poll of international critics conducted by BBC Culture voted WALL•E the 29th greatest film of the 21st Century. With this I would disagree, this modern masterpiece is arguably the greatest movie of the century and one of the greatest movies of all time.
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WINNIE THE POOH (Stephen J Anderson & Don Hall, 2011).
Disney’s 5th cinematic feature-length venture into the Hundred Acre Wood acts as a direct sequel to the compilation feature The Many Adventures of Winnie the Pooh (Wolfgang Reitherman & John Lounsbery, 1977). Roughly separated into three sequences, the bulk of the movie concerns the search for the mythical Backson, a fearful creature to rival Heffalumps and Woozles, who Pooh and pals mistakenly believe has kidnapped Christopher Robin after misreading the phrase ‘back soon’ on a note from Christopher to Pooh.
Thematically Winnie the Pooh covers much of the same ground as the straight-to-video sequel Pooh’s Grand Adventure (Karl Geurs, 1997). However, where that movie was dark and at times somewhat depressing, this one is an inventive, humorous and warm-hearted delight.
Animated in handcrafted 2D, the movie is visually pleasing throwback to the original Pooh featurettes (the 3 shorts comprise ‘The Many Adventures... movie). It is more faithful to Milne and to Walt Disney’s original vision of Pooh than any of the intervening features or TV adaptations.
While Sterling Holloway will never quite be replaced as the voice of Pooh, nor Paul Winchell as Tigger, Jim Cummings does a decent job of imitating both. Likewise, John Cleese is a welcome choice of narrator, although perhaps not quite possessing the warm yet authoritative tone of Sebastian Cabot. However, to criticise a fine vocal cast for not replacing the childhood memory of now deceased actors in one’s mind would be churlish; younger audience members will neither notice nor care.
The subtle ‘hums’ of Richard and Robert Sherman are missed, although Frozen songsmiths Kristen Anderson Lopez and Robert Lopez’s more elaborate musical numbers are a satisfactory substitute.
At little under an hour before the end credits roll, the movie could stand being a mite longer. As it is, Winnie the Pooh is still a winning tribute to the Pooh movies of the past. A short and sweet old-school treat that should appeal to original Pooh fans as well as newcomers.
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THE HORSE IN THE GRAY FLANNEL SUIT (Norman Tokar, 1968).
Based on Eric Hatch’s book The Year of the Horse, Walt Disney Productions’ The Horse in the Gray Flannel Suit is a lighthearted comedy set in the world of showjumping.
Madison Avenue advertising executive Fred Bolton (Dean Jones) has just 24 hours to appease a client and save a valuable account. He hits upon the idea of sponsoring showhorse Aspercel - named for his client’s brand of indigestion tablets - which his shy daughter will hopefully ride to glory.
Jones, in his 5th film for Disney is an amiable leading man. Diane Baker is equally likeable as his romantic interest. In her sole movie credit Ellen Janov impresses as Bolton’s daughter, while Disney regulars Kurt Russell and Norman Grabowski appear in smaller roles.
Yet despite this quality cast the movie is something of a disappointment.
To describe The Horse in the Gray Flannel Suit as a gentle comedy would be an understatement. There are plenty of mild chuckles but few big laughs in a movie that canters rather than gallops to the finishing line. Even its climax at a critical International Horse Show event fails to generate much excitement.
It seems a little redundant to be over critical of The Horse in the Gray Flannel Suit. It is well meaning and completely inoffensive yet also predictable and slightly dull. At just shy of 2 hours it is also about 20 minutes too long. In fact it is only the game playing of the appealing cast that saves it.
If you’ve seriously nothing better to do it will while away a couple of hours. Horse lovers will undoubtedly enjoy the equine aspect but, to be honest, it is no champion.
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Movie number 60: DuckTales the Movie: Treasure of the Lost Lamp (Bob Hathcock, 1990).
Inspired by Carl Barks’ Uncle Scrooge and Donald Duck comics from the 1940s to 1960s, Disney’s DuckTales was a weekday animation series that premiered on US TV in 1987. The show proved a massive hit with audiences and critics, running 4 seasons and 100 episodes and spawned the 1990 theatrical feature film DuckTales the Movie: Treasure of the Lost Lamp.
The long form adventure stories of Barks formed the basis of many DuckTales episodes and would seem ideally suited to feature length adaptation. However for DuckTales the Movie an original story was created that drew upon both Barks and the stories of the Arabian Nights.
While treasure hunting in the Middle East, Scrooge McDuck and his nephews, accompanied by pilot Launchpad, housemaid’s grandaughter Webby and dubious guide Dijon stumble across a lost, sand covered pyramid in the Egyptian desert, resting place of the fabled Lost Treasure of Collie Baba. Among the riches is a seemingly worthless lamp which Scrooge discards but is rescued by Webby. Dijon, meanwhile, is in the employ of evil sorcerer Merlock who steals the treasure, minus the lamp and sends Scrooge home empty handed. On arriving home in Duckburg, Webby and the nephews discover the lamp contains a magical genie and before long Merlock and Dijon are back to secure the lamp for the sorcerer who wishes to use it for his evil doings.
The Barks-esq opening scenes of DuckTales are easily the movie’s best. The story lags somewhat in the Duckburg bound middle act but is back on form for an exciting climax drawn from the Arabian Nights and similar in execution to Disney’s own contemporarily produced adaptation of Aladdin (Ron Clements and John Musker, 1992).
The animation, while perhaps a step down from the classic Disney features is a notch up from the TV series and the voice work, particularly Alan Young as Scrooge and Christopher Lloyd as Merlock is excellent.
Underperforming slightly at the box office, there was to be no feature length sequel. The DuckTales franchise continued for a number of years, fittingly, in comic book form and was successfully rebooted for TV in 2017.
While DuckTales the Movie is not quite the adventure that Carl Barks aficionados may have hoped for, it is still an exciting, well executed fun movie. Treasure of the Lost Lamp is, indeed, a gem.
ALADDIN (Dir: Guy Ritchie, 2019).
Disney raids its back catalogue once again for their latest remake of an animated classic. Released in 1992, Aladdin (Ron Clements and John Musker) is one of the Disney Studios most critically acclaimed and commercially successful movies. With an excellent musical score, groundbreaking animation and a magnificent performance by Robin Williams as The Genie, it is also a difficult act to follow, not least for Will Smith stepping into the winklepickers of Williams.
This version of the Arabian Nights story of the boy who finds a magic lamp and the genie within who will grant him three wishes sticks close to Disney’s previous telling, although adding a further 40 minutes to its runtime. Surprisingly these extra minutes do not feel superfluous. Jasmine and Jafar both gain a little deeper character development and the Genie gets a love interest. Alan Menken, Howard Ashman and Tim Rice’s song score remains mostly intact with the addition of a new number, ‘Speechless’, co-written by Menken with songwriting duo Pasek and Paul.
Brit Guy Richie seemed an unlikely choice of director but acquits himself admirably with his first family friendly musical fantasy. As do the cast; Mena Massoud as Aladdin and Naomi Scott as Jasmine make attractive leads and Smith is reassuringly great as Genie. Thankfully, Disney cast actors who can also sing and the soundtrack is mercifully free of the auto-tuning that has plagued previous features.
What Aladdin lacks in originality it makes up for in spectacle. This is a very good looking movie with lavish song and dance numbers, exciting action sequences and top line special effects. Does it supplant the beloved animated version? Of course not. But it does hold up as a visually stunning, tuneful, wholly entertaining 130 minutes. While perhaps not as essential as its animated predecessor it is still a lot of fun and well worth a watch.
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DINOSAUR (Dir: Ralph Zondag & Eric Leighton, 2000).
Travel back 65 million years in Walt Disney Pictures' visually stunning Dinosaur.
Iguanodon Aladar, separated from his mother while still an egg, is adopted by a family of lemurs and raised in the lush tropical surrounds of Lemur Island. When a devastating meteor shower hits, the ensuing deadly dust cloud forces the family to leave their now barren home. Joining a herd of dinos heading for the Nesting Ground, Aladar clashes with group leader Kron whilst catching the eye of his sister Neera. A dino romance ensues, but drought, rockslides and a pair of hungry Carnotaurus threatens the perilous mission at every turn.
With its real life filmed backdrops and detailed CGI dinosaurs, the movie looks beautiful. Yet, this groundbreaking approach to filming is undermined by a pretty pedestrian screenplay which is marred by some unfortunate glib, facile dialogue.
It is perhaps best not to dwell on the story and screenplay elements of Dinosaur, after all its writers didn't. Anyone above the age of 7 is clearly here for the spectacular visuals. This was the first time Disney had utilised CGI on such an elaborate scale in one of its own non-Pixar movies. While computer graphics have undoubtedly been refined in the two decades since its release, the visuals are still mightily impressive. Its most spectacular set-pieces include the meteor storm, the Carnotaurus attack and an opening, following the journey of Aladar's egg from nest to Lemur island, which the studio used as the film's trailer, such was their belief in the strength of the animation.
Dinosaur was a hit with cinema audiences, but not on the scale the studio had hoped. A better script would have undoubtedly elevated it above the status of matinee popcorn fodder; its visuals belonging to an epic on a much grander scale than dialogue and plot suggest. None the less, Dinosaur is a highly entertaining movie, both for dino obsessed kids and grown-ups who are willing to overlook its shortcomings to enjoy the awesome visuals.
Read an unedited version of this review and reviews of other Disney classics on my new blog: jinglebonesmovietime.blogspot.com
TOY STORY 4 (Dir: Josh Cooley, 2019).
Since the first movie was released in 1995, the Toy Story franchise has proven to be one of the most robust, not to mention most lucrative, Hollywood franchises of all time. The original film, a Pixar Animation Studios production released through Walt Disney Pictures, was a massive critical and commercial success, spawning a further two equally successful sequels. After the fairly definitive conclusion of Toy Story 3 (Lee Unkrich, 2010), the prospect of a fourth entry seemed to many unnecessary, albeit not entirely unwelcome.
Toy Story 4 reunites Woody, Buzz, Jessie and the gang and introduces new character Forky. Forky, made by the toys' new owner Bonnie from a plastic spork, pipe-cleaners and other discarded items, is determined to throw himself into the trash where he believes he belongs. Determined not to let this happen, Woody places himself in charge of the spork, a decision which results in the pair becoming separated from Bonnie and their pals. As lost toys they encounter the sinister doll Gabby Gabby and her ventriloquist dummy cohorts and Woody is reunited with old flame Bo Peep.
Happily Toy Story 4 is a sequel which lives up to its mighty predecessors. Director Josh Cooley and screenwriters Stephany Folsom and Andrew Stanton have created a movie that is by turns witty, exciting and ultimately moving. Its message is certainly as poignant as others in the franchise and comes with a climax that that seems pretty darn final.
It goes without saying that the computer generated animation in Disney/Pixar's Toy Story 4 is beautiful. Once again, the vocal performances, notably Tom Hanks as Woody, Tim Allen as Buzz, Annie Potts as Bo and Tony Hale as Forky, are exemplary.
This latest episode of the Toy Story saga thankfully does nothing to tarnish what is arguably the most consistent franchise of them all, while its finale suggests that this really will be the last we see of the gang. If this is the case then more's the pity, although Toy Story 4 definitely provides them with a high on which to go out on.
Read an unedited version of this review on my new blog: jinglebonesmovietime.blogspot.com
DUMBO (Dir: Tim Burton, 2019).
Being of the opinion that Walt Disney’s Dumbo (Ben Sharpsteen, 1941) is one of the greatest movies ever made, I was not entirely thrilled at the prospect of a remake, in spite of my admiration for director Tim Burton. But, ever the open-minded film enthusiast, I watched it anyways!
Dumbo is, of course, the story of the circus elephant born with oversized ears who silences his naysayers when his ears provide him with the ability of flight.
The first half of Burton’s movie roughly follows the original, while the second half continues Dumbo’s story after the events of the first movie, chronicling his tenure as the star attraction of an early amusement park and a daring rescue attempt of his imprisoned mother.
Predictably it is the first half which suffers most in comparison with the original. While the original movie runs little more than an hour, its basic story is retold here in about 40 minutes. The result of which is the narrative beats all fall a little off the mark. For example, Dumbo’s ability to fly is established within the first 20 minutes of the movie, rather than at the climax. The introduction of an antagonist who is swiftly dispensed with roughly halfway through is also slightly jarring.
Absent are the crows and Timothy Mouse, replaced by elephant wrangler Colin Farrell and his children Nico Parker and Finley Hobbins. The relationship between Dumbo and his only friend Timothy is sorely missed and as a result the emotional core of the movie seems sadly lacking. The tragic-comic original contains both moments of great joy and great sadness, while this Dumbo is content to coast along without reaching such emotional depths.
That said, being a Burton production it looks fabulous and has an appealing cast including a neat turn from Danny DeVito as the circus ringmaster. The Climactic rescue attempt does have some genuine moments of excitement.
By all means watch and enjoy Tim Burton’s Dumbo, especially it’s superior second half. Just don’t expect it to soar to the same thrilling heights as Walt Disney’s masterful original.
Read a longer, more in-depth version of this review on my blog: jinglebonesmovietime.blogspot.com
LADY AND THE TRAMP II: SCAMP’S ADVENTURE (Dir: Darrell Rooney, 2001).
46 years after Walt Disney’s original Lady and the Tramp (Clyde Geronimi, Wilfred Jackson & Hamilton Luske, 1955) comes this belated straight-to-video sequel.
Lady and Tramp’s only son Scamp rebels at life on a leash, runs away from home and hooks up with a gang of tough junkyard dogs. Clashing with gang leader Buster and falling for fetching young pup Angel, Scamp eventually must choose between his family or freedom.
Produced by Walt Disney Television Animation (lately DisneyToon Studios) on a much smaller budget than a Walt Disney Animation Studios feature, resulting in a markedly less polished production than that of its sister studio. The character animation is flat and cartoony, replacing the original movie’s studied realism. The backgrounds, likewise, lack the depth and detail of the first movie, while a homage to Lady and the Tramp’s famous spaghetti sequence and a train dodge scenario lifted from The Aristocats (Wolfgang Reitherman, 1970) are a reminder of how superior those movies are.
Among the cast you may recognise the familiar voices of Disney’s own little mermaid Ariel Jodi Benson as Lady and Hollywood legend Mickey Rooney as Scamp’s pal Sparky. While certainly perfunctory, none of the voice actors make much of an impression. Some serviceable but forgettable songs punctuate the soundtrack, none coming close to Peggy Lee and Sonny Burke’s majestic originals. Here lies the problem with Lady and the Tramp II; it is simply weaker than the first movie in all departments.
In truth, there are worse movies than Lady and the Tramp II. There are probably even worse Disney straight-to-videos sequels. But I honestly do not understand why you would watch this film instead of the masterful original. Lady and the Tramp endures as one of Walt Disney’s greatest animated features. Sadly, this cannot be said about its sequel; a pale imitation of the original and a soulless, artless exercise in exploitation.
A review of the original Lady and the Tramp and a longer, more in-depth review of Lady and the Tramp II can be found on my blog JINGLE BONES MOVIE TIME! Link below.
THE RICHEST CAT IN THE WORLD (Dir: Greg Beeman, 1986).
By 1986 Walt Disney branded feature films had all but died out, the studio finding greater success with movies released through its adult oriented Touchstone Pictures division. Conversely the opposite was true on television where the success of the fledgling Disney Channel (launched in 1983) and the re-invigorated Disney anthology TV series had created a demand for new made-for-television feature content. One such feature was The Richest Cat in the World.
Palmer the cat stars as Leo, a pampered puss left $5 million in the will of his deceased owner Oscar (Ramon Bieri). When Oscar’s nephew learns of this he and his wife set out to kidnap and dispose of Leo, thereby inheriting the cash themselves. Leo confides his ability to speak (!) to an employee’s children who determine to protect the cat and stop the catnappers from stealing his fortune.
The Richest Cat in the World debuted on the newly re-titled The Disney Sunday Movie on the ABC network. In truth, TV is where this modest comedy-thriller belongs. Greg Beeman directs with a smooth efficiency but cannot disguise the movie's TV origins. The teleplay by Marshall Efron and Alfa-Betty Olsen is satisfactory enough, but with marked similarities to Disney's animated The Aristocats (Wolfgang Reitherman, 1970) is not particularly original. To describe the slapstick humour of the movie as broad would be an understatement. To be fair, there are some laughs to be had, not just ironically; there is something inherently funny about a cat using a touchpad telephone to order a pizza!
The Richest Cat in the World is just silly enough to appeal to young audiences and nostalgic enough to appeal to adults who enjoyed it when they were young. It is wholly innocent and appealing in a ramshackle kind of way, especially if you like cute cats. It is the kind of movie where you can predict the ending in the first five minutes but, if you are in the right mood, it should raise the odd chuckle and honestly, I can think of worse ways to waste 90 minutes.
Visit my blog JINGLE BONES MOVIE TIME to read a longer, more in-depth review of The Richest Cat in the World! Link below.
THE LITTLE MERMAID (Dir: Ron Clements & John Musker, 1989).
Based upon Hans Christian Andersen’s classic tale, The Little Mermaid was Walt Disney Animation’s first fairytale adaptation in three decades. It was their biggest critical and commercial success in years and is credited with starting a renaissance in Disney feature animation.
As I am sure you know, The Little Mermaid is the story of Ariel, the teenage mermaid who trades her voice for a man. Not the most feminist of plots but I don’t think it raised eyebrows back in 1989. Be thankful we are more enlightened now and don’t let it spoil your entertainment. Because The Little Mermaid is very entertaining.
The most cinematic Disney animation to date, thanks to inventive use of ‘camera’ angles; directors Ron Clements and John Musker and the talented Disney artists created a movie which felt simultaneously contemporary and classic Disney. Clichéd as it may sound, there is a sense of magic in The Little Mermaid that had been absent from Disney movies for some time.
As the voice of Ariel, Jodi Benson has the right amount of naive wonder and youthful determination while Pat Carroll’s lends her husky tones to Ursula, one of Disney’s most hissable villains. Comic relief comes in the form of Samuel E Wright as Ariel’s crustacean custodian Sebastian who brings a Caribbean vibe to musical numbers Under the Sea and Kiss the Girl.
Howard Ashman and Alen Menken’s excellent musical score is, arguably, what elevates The Little Mermaid from a good movie to a great one and in the modern Disney era has only ever been matched for greatness by Ashman and Menken’s Beauty and the Beast (Gary Trousdale & Kirk Wise, 1991).
It is unfortunate that in subsequent years the Disney Company chose to market The Little Mermaid, and the ‘princess’ movies in general, almost exclusively to little girls. The appeal of great filmmaking should extend beyond age or gender and The Little Mermaid undoubtedly does; its status as a classic is entirely justified.
Visit my blog JINGLE BONES MOVIE TIME to read a longer more in-depth version of this review and reviews of other Disney classics! Link below.
THE LITTLE MERMAID II: RETURN TO THE SEA (Dir: Jim Kammerud, 2000).
Released 11 years after the original, The Little Mermaid II: Return to the Sea is the first of two sequels to Walt Disney Pictures The Little Mermaid (Ron Clements & John Musker, 1989).
Flipping the events of the first movie, The Little Mermaid II is the story of Melody, the tweenage human daughter of Ariel and Prince Eric. Knowing nothing of her mother’s past and longing to explore the forbidden ocean, Melody strikes a deal with Morgana, the equally villainous sister of sea witch Ursula. With the safety of Melody and the merfolk kingdom of Atlantica at risk, Ariel must ‘return to the Sea’ in a bid to save them.
What drives me to watch a movie like The Little Mermaid II? Let’s say morbid curiosity. Plus the fact that Disney is no longer churning out these straight-to-video cash-ins means I am not supporting their production.
Is it any good? Well, considering its made for the home market origins, this is not a bad looking movie. Produced by Walt Disney Television Animation (latterly DisneyToon Studios), it’s not up to the high standards of a Walt Disney Animation Studios production but it is a step up from usual television fare. Also in its favour is the return of much of the original vocal cast including Jodi Benson as Ariel and Pat Carroll as Morgana.
The returning cast members and the above average visuals suggest that Disney was wary of damaging a popular franchise. However, whatever qualities the movie has are scuppered by some doggedly pedestrian storytelling.
To be fair, I found The Little Mermaid II to be passable entertainment and better than many Disney sequels. Very young viewers, especially those with a penchant for mermaids, should enjoy it. Older children and adults, meanwhile, would do better to stick with the superior original.
Visit my blog JINGLE BONES MOVIE TIME for more reviews of Disney classics and their sequels! Link below.
THE LITTLE MERMAID: ARIEL’S BEGINNING (Dir: Peggy Holmes, 2008).
The third and to date final movie of Disney’s animated Little Mermaid franchise. As its title would suggest Ariel’s Beginning is a prequel to the original The Little Mermaid (Ron Clements & John Musker, 1989).
Following the death of his wife Queen Athena, King Triton bans all music from Atlantica. Ariel and pals set about showing him the error of his ways and returning music and happiness to the kingdom. Yes, the plot really is that silly.
The Little Mermaid: Ariel’s Beginning was to be the last of Disney's animated made for video sequels, a line of movies that began 14 years earlier with Aladdin follow-up The Return of Jafar (Toby Shelton, Tad Stones & Alan Zaslove, 1994). Yet while these movies brought in the big bucks, their lower quality animation and storytelling had a detrimental effect on the public perception of Disney animation, possibly contributing to the disappointing box office returns of the studio’s product in the early 2000s.
Considering its made for video origins, Ariel’s Beginning is a visually pleasing film. Unfortunately the quality does not to extend to the storytelling which is decidedly puerile and aimed squarely at the youngest of mermaid obsessives. The movie also suffers, as do many prequels, from the fact that we know the story’s outcome before it has begun.
Returning as the voice of Ariel is Jodi Benson. While her performance is undoubtedly the movie’s highlight it is a shame that no-one thought to write her any decent new songs. The movie as a whole suffers from an overall lack of original tunes, ironic considering its subject. Sadly, the few that are included are instantly forgettable.
With its impressive visuals and its abysmal storytelling The Little Mermaid: Ariel’s Beginning showcases the best and worst of DisneyToon Studios output simultaneously. I personally found it a chore to watch. The most undemanding of very young mermaid fans may disagree.
A longer version of this review is available to read on my blog jinglebonesmovietime.blogspot.com
THE LEFTOVERS (Dir: Paul Schneider, 1986).
If there is a more 1980's way to open your movie than with Howard Jones' New Song, than I do not know what it is. I am also unsure as to who this lightweight comedy will resonate with, other than 1980's kids.
The Leftovers stars singer turned actor John Denver as Max Sinclair, director of The Middleburg Orphanage and surrogate father to the ragtag bunch of kids who live there. Cindy Williams is the live in help. Together they fend off plans to redevelop the home by underhanded means, while the kids do all they can to keep from being adopted.
Originally aired on television as part of ABC's The Disney Sunday Movie weekly series in November 1986. It's not hard to imagine that a decade earlier The Leftovers would have been released to cinemas, with Dean Jones and Sandy Duncan as possible leads. It is old fashioned, inoffensive but not without charm.
It may be a generational thing, but I did enjoy this movie. It is nothing spectacular but the leads are likeable and while the plot has a few too many contrivances and conveniences for its own good, most of its laughs are genuine.
However, it is low-key in the extreme and although I had seen this movie at around the age of 12 or 13, only one scene stuck in my head and that was the opening, probably because my tweenage self was a big fan of Howard Jones!
I am sure I enjoyed The Leftovers as a kid because I lapped up anything Disney. Revisiting it as an adult I am aware that it is no classic, even by 80's Disney TV movie standards. But it is an entertaining 90 odd minutes; if you are in the mood for some gentle 1980's nostalgia you might find it hits the spot. Just don't expect to remember much about it afterwards!
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THE JOURNEY OF NATTY GANN (Dir: Jeremy Kagan, 1985).
Dating from an era when Walt Disney Pictures were pursuing edgier family entertainment, The Journey of Natty Gann is a road movie drama set during the Great Depression of the 1930s.
In her movie debut Meredith Salenger stars as the titular Natty. Separated from her father (Ray Wise), she travels the length of Chicago to Washington to find him, accompanied by an unusual travelling companion in the shape of a wolf. She also strikes up a friendship cum chaste romance with a young drifter (John Cusack).
Director Jeremy Kagan delivers a thoughtful, intelligent movie that’s pulls no punches in its believable and affecting account of the hardships caused by poverty and mass unemployment. It also touches, albeit lightly, on subjects such as union activism and police brutality.
The movie treats it subject matter seriously, yet the tone is never too sombre and its uplifting moments offset the gentle melancholic mood which runs through it. Certainly, it is sentimental but it is never sticky and the sentimentality never seems false, while its female lead gives it a feminist slant not usually found in family films of the era.
While the performances are uniformly excellent, the standout is undoubtedly Salenger. Age just 14 during filming, her performance is both moving and charismatic. How she did not become a massive star is anybody’s guess. John Cusack also impresses in an early role as Natty's drifter friend Harry. It is beautifully photographed by cinematographer Dick Bush, capturing the crisp Canadian wilderness (standing in for the US) and the grimy back alleys with a cinematic grace rare in 80s Hollywood.
Although The Journey of Natty Gann won admiration from critics it was not, initially, a hit with audiences. It would eventually find a more appreciative audience on the burgeoning home video market. Still, the movie seems vastly underrated today. It is among the Disney Studios’ best live action releases and one of the most artful major Hollywood releases of the 1980s.
Check out my blog jinglebonesmovietime.blogspot.com for a longer, more in-depth version of this review.
FREAKY FRIDAY (Dir: Gary Nelson, 1976).
Walt Disney Productions' Freaky Friday is an early example of the 'body swap' comedy.
It tells the story of frustrated housewife Ellen Andrews (Barbara Harris) and her daughter Annabel (Jodie Foster). Following an argument on the morning of Friday the 13th the pair wish to change places, both believing the other has the more desirable life. Magically their wish is granted. Mom has to try to make it through a school day, while daughter deals with the pressures of housework. Comedy high jinks ensue.
While its concept no longer seems original, Freaky Friday is still a fairly fresh and funny movie, largely due to the excellent performances from its leads. Jodie Foster is terrific as the 35 year old mind in the body of a 13 year old, but the real revelation is Barbara Harris. Playing baseball with a team of 8 year olds, flirting with a teenage neighbour, having a meltdown over household chores; Harris perfectly captures the manic mind of 13 year old let loose in the body of a grown woman, proving herself an adept comedy actress in a fairly demanding physical role. Solid support from John Astin as bemused husband/father Bill Andrews, Sparky Marcus as Annabel’s brother ‘Ape Face’, Marc McClure as neighbourhood crush Boris and Patsy Kelly as the Andrew’s boozy housekeeper round out an appealing principle cast.
For the most part director Gary Nelson avoids the formulaic, cookie-cutter approach associated with Disney comedy movies of the era, thanks to Mary Rodger's superior script which stays close to spirit of her book. The movie occasionally veers a little too far into slapstick but most of it works and there are more big laughs than not. The mother/daughter relationship at the movies core is completely believable, through the misunderstandings to the inevitable reconciliation. The denouncement is nicely handled, not too sentimental and quite touching.
Freaky Friday is a good natured romp, with plenty of big laughs and let's be honest, who among us hasn't wondered what it would be like to switch places with Jodie Foster?
Read a longer, more in-depth version of this review on my blog: jinglebonesmovietime.blogspot.com
THE BLACK CAULDRON (Dir: Ted Berman & Richard Rich, 1985).
Walt Disney Pictures' The Black Cauldron is an ambitious animated fantasy based upon Lloyd Alexander's The Chronicles of Prydain, an acclaimed series of novels with a medieval setting.
With dreams of becoming a great warrior, assistant pig keeper Taran embarks on a quest to rescue his missing porcine ward, Hen Wen. The evil Horned King kidnaps the pig to use her oracular powers to secure a magical black cauldron in order to resurrect a skeletal army. Joining him are Eilonwy (Disney's forgotten princess), minstrel Fflewddur Fflam and the eternally hungry Gurgi, a furry creature of undisclosed origin. The gang must locate the cauldron and destroy it before it falls into the Horned King's hands.
The Black Cauldron had a famously troubled production and was subject to editing by a new studio regime who found it too dark for family audiences.
As might be expected from a film based on a five volume series of books, the movie suffers from an episodic, rambling narrative. The detrimental effect of editing is felt most in the sequence in which the Horned King unleashes his army of skeletal deathless warriors; it is all too brief and feels anti-climatic. The overall pacing of The Black Cauldron feels slightly off, languid at time.
However, those lucky enough to see this on original release in all its 70mm glory were treated to the most visually stunning of all Disney movies in years. The looser, sketchier art which chracterised Disney features of the 1960s and 70s is replaced by a fuller, bolder animation style, recalling the Disney product of earlier decades. The extensive use of the multi-plane camera and effects animation, particularly effective use of light and shadow, giving the film a rich texture and lavish quality.
The Black Cauldron is fresh, experimental and edgy while retaining an old-school Disney feel. Its arresting visuals alone make it worthy of far more recognition than it receives; an underrated movie from an overlooked period in Disney history and one that I believe is long overdue for reassessment.
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WHITE FANG 2: MYTH OF THE WHITE WOLF (Dir: Ken Olin, 1994).
Walt Disney Pictures’ action/adventure sequel to their 1991 hit White Fang (Randall Kleiser).
White Fang told the story of Jack Conroy (Ethan Hawke) and his adventures during the Klondike Gold Rush with the wolfdog of the title. White Fang 2 picks up with Jack now in San Fransisco having left White Fang in the care of his friend Henry Casey (Scott Bairstow). Nearly drowning in a boating accident, Henry is rescued by Lily Joseph (Charmaine Craig) of the native Haida village. Lily Joseph believes Henry to be the human form of a mythical white wolf sent to help her starving tribe. Henry decides to help the Haida locate the caribou while also dealing with a corrupt mining organisation who are exploiting the Haida.
Published in 1906 Jack London's White Fang was a partly autobiographical novel inspired by his experiences in the Klondike. A sequel to a film based on an iconic literary work is unusual. It also seems a little unnecessary, especially one that largely deals with a different set of characters.
His uncredited appearance, limited to the prologue, suggests that Ethan Hawke declined a larger role in the film. As his replacement Scott Bairstow is a somewhat bland leading man and looks like he would be more comfortable in a 90s boy band than in the Klondike. In fairness, the role demands little of him, other than looking pretty while carrying out some mild heroics. Meatier roles are given to Alfred Molina and Geoffrey Lewis as the bad guys, but in general the movie suffers from too much focus on the humans and not enough of the magnificent White Fang; the beautiful half dog/half wolf reduced to supporting player in his own movie.
White Fang 2 is not without entertainment value. Its old fashioned adventure story is pleasant but unspectacular. Those young enough to forgive its simplistic storytelling will enjoy it but older audiences will be wishing this canine caper had a little more bite. Worth a look, especially if you enjoyed the original but, ultimately a bit of a disappointment.
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CANDLESHOE (Dir: Norman Tokar, 1977).
Walt Disney Poductions' Candleshoe is a comedy crime caper based upon Michael Innes' novel Christmas at Candleshoe.
Leaving the mean streets of Los Angeles, Casey Brown (Jodie Foster) heads to England to hustle the elderly Lady St Edmund (Helen Hayes) out of her dilapidated stately home Candleshoe. Within Candleshoe lays the hidden treasure of pirate Captain St Edmund to which Casey holds the first clue. In cahoots are disgraced former Candleshoe employee Clara (Vivien Pickles) and her brother Bundage (Leo Mckern) who masterminds the misdemeanour. Welcomed into the Candleshoe family, Casey turns the tables on Bundage and sets about the treasure hunt with intent to save the debt racked estate from foreclosure.
A first rate cast was assembled for this production. 15 year old Jodie Foster was fresh from her Oscar nominated turn in Taxi Driver (Martin Scorsese, 1976). She does excellent work here too and it is to her credit that she is not overshadowed by the acting heavyweights in support. Most notably David Niven, donning multiple disguises as butler, gardener, chauffeur and a visiting Colonel, in what is perhaps his best late career role.
A neat premise also lifts the movie above the usual formulaic fluff the Disney Studios were producing in the late 70s. Rosemary Anne Sisson's and David Swift's screenplay mixes humour and excitement as the race is on to recover the spoils before the bad guys. Norman Tokar directs at a surprisingly steady pace, but one that allows the mystery to unfold and for characters to develop so that Casey's change of heart is completely believable.
Candleshoe’s view of a genteel England of stately homes and steam trains must have seemed downright archaic in 1977. However, in 2019 it feels innocent and charming; nostalgic for an idealised period in British history which never really existed.
With a superior story and a distinguished cast Candleshoe is easily a highlight of the Disney Studios' live-action catalogue. Equally entertaining for children and adults, this treasure hunt movie is a gem.
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THE COMPUTER WORE TENNIS SHOES (Dir: Robert Butler, 1969).
Kurt Russell stars in the first of Walt Disney Productions' Dexter Riley trilogy.
Ordinary Medfield College student Dexter Riley (Russell) acquires extraordinary knowledge after an electric shock from the science lab computer. Now able to learn facts and figures at lightning speeds, he finds himself mingling with the world's top intellectuals and winning TV game shows. However, he also finds himself dealing with bent bookie A J Arno; details of his illegal gambling ring having also been stored on the machine.
A decade after their first foray into live action fantasy comedy with The Shaggy Dog (Charles Barton, 1959) one might expect the formula to be wearing a little thin. But actually The Computer Wore Tennis Shoes finds it in pretty robust form. It's all innocent, inoffensive fun, with the attractive youths, inept crooks and car chases that fans of 60s/70s era Disney comedies had come to expect.
Much of the movies appeal comes from the game playing of its appealing cast. 18 year old Kurt Russell was always one of Disney's most likeable leading men and here proves himself adept at light comedy. He is supported by an accomplished cast, notably Joe Flynn as the long-suffering Dean Higgins and TV Batman's The Joker Cesar Romero as shady businessman A J Arno. Disney regular Richard Bakalyan played one of his many small-time hood characters; a role in which he seemed eternally typecast.
The Computer Wore Tennis Shoes was a significant hit for Disney and spawned a valuable franchise. Two sequels followed Now You See Him, Now You Don't (Robert Butler, 1972) and The Strongest Man in the World (Vincent McEveety, 1975), while a remake would appear on US TV in 1995.
Nobody would argue that The Computer Wore Tennis Shoes is a masterpiece. Yet, at the same time it would be churlish to be over critical of it. It is lightweight fun that sets out to entertain and in this it succeeds. Perhaps best enjoyed for nostalgia value today; a whimsical period piece but with enough easygoing charm to coast through its 90 odd minutes.
Visit my blog JINGLE BONES MOVIE TIME for a longer, more in-depth review of The Computer Wore Tennis Shoes. Link below.