The Black Cauldron

Tags

1980's, Animated, Disney, Fantasy, Grant Bardsley, John Byner, John Hurt, Nigel Hawthorne, Susan Sheridan, The Black Cauldron

Often forgotten in the wide spectrum of Disney movies and more frequently than not misunderstood because of its willingness to be dark, The Black Cauldron is in fact a rather excellent animated fantasy film.

In the mythical land of Prydain , Taran( Grant Bardsley) is a teenager who works as an assistant pig keeper with his guardian, the wise Dallben . Taran is a dreamer with ideas of being a warrior, but is often naive and foolhardy. One of the pigs he takes care of by the name of Hen Wen gets special attention, which Taran doesn’t understand at first. Though it becomes clear why Hen Wen is treated with such care when Dallben reveals a secret to the curious teenager . Hen Wen has the power of clairvoyance which puts her in a dangerous predicament. The ruler of Prydain is The Horned King( John Hurt), an evil demon who has his eyes set on discovering the mythical Black Cauldron. If he gets his hands on it, he can raise an army of the dead that will aid him in truly taking over the world.  fears that The Horned King would use Hen Wen to unearth The Black Cauldron and act out his diabolical plan for domination. sends Taran into hiding with Hen Wen, but Taran’s immaturity leads to Hen Wen being kidnapped by The Horned King’s minions. It’s up to Taran to rescue the pig. After infiltrating the castle inhabited by The Horned King, Taran helps Hen Wen escape but himself is captured. Thankfully along the way, he meets a host of characters who either aid him in his journey to stop the barbaric villain. There is the plucky Princess Eilonwy(Susan Sheridan), washed up and unlucky bard Fflewddur Fflam( Nigel Hawthorne) and unusual, fawning creature Gurgi( John Byner). Throw in dragon like creatures, three marsh witches and a group of underground fairies and the stage is set for adventure. 

There’s a rather epic feel to The Black Cauldron that’s reminiscent of The Lord of the Rings, and the two share a few similarities. A certain grandeur is here that adds levels of majesty for what it a film that’s really overlooked. I hope with this review I can bring The Black Cauldron to more notice among movie fans. While underrated, The Black Cauldron is far from flawless. At points, the tone can get a little scattershot and not quite know what to do with itself. Plus, some of the attempts at humour fall a bit flat and feel old hat. The story itself is standard swords and sorcery, but that shouldn’t be held against it because this movie is unabashedly dark and not afraid to be strangely mature and horrifying. Overall though and despite little foibles, it’s an undiscovered dark gem of a film that deserves a second chance and a new audience to appreciate what it was going for. The small quibbles shouldn’t detract from a Disney film with an overt difference and one that is often forgotten. When it goes for the creepy and menacing factor it definitely succeeds, due in no small part to the beautifully eerie animation and particularly The Horned King. The colours are moody and more subdued than most of Disney’s output, but is technically beautiful in their bleakness and sense of foreboding, with just enough light to bring hope. Scary and unnerving sequences abound in The Black Cauldron, it was after all the first animated film from The House of Mouse to revive a PG certificate upon release. Chief among the spooky and nightmarish scenes is the army of the dead. Anyone who has seen the film knows exactly which sequence I’m referring to and it still holds up as very disturbing and visually dazzling and dizzying. I’ll admit, The Black Cauldron is one of my favourite Disney films and mainly because it had the idea to go for something more grown up and not just pandering to little kids. The great Elmer Bernstein contributes a soaring, moody and wholly appropriate score that fits the fantasy like a glove. When the score hits the eerie heights, it’s really a thing of chilling beauty that doesn’t ignore the more rousing elements of the film.

A voice of largely English and upper crust voices bring their characters to life, though sometimes it can be a little too posh. Grant Bardsley is appropriately curious, adventurous and scrappy as our hero, while the soft voice of Susan Sheridan provides warmth and courage to the Princess Eilonwy. Nigel Hawthorne brings out distinction and humour as the bumbling bard swept along on the journey after being rescued from the dungeon; his voice is a case of it being amusing that he speaks so well and is so unlucky. John Byner uses an eccentric yet lovable voice to give life to the wild creature of Gurgi, who more often than not speaks in rhyme. He really gets the ups and down of the character well, showing both a cowardly nature and a growing loyalty. The voice you’ll remember the most though is the deep, gravelly tones of John Hurt as The Horned King. His voice booms with a menacing aura of authority and is truly spine chilling to hear. Without him as the voice, The Horned King wouldn’t work as a truly evil villain. Thankfully, the voice of John Hurt truly brings the monstrous demon to life to honestly scare the living daylights out of the viewers.

While immensely dark for a movie from a company marketed towards children, The Black Cauldron is definitely that but also a rousing fantasy adventure that maybe quite mature and shocking but has enough to make it a film that needs some re-evaluation.

Watership Down

Tags

1970's, Adventure, Animated, Denholm Elliott, Drama, Harry Andrews, John Hurt, Martin Rosen, Michael Graham Cox, Richard Briers, Watership Down, Zero Mostel

Director

Martin Rosen

Voice Cast

• John Hurt
• Richard Briers
• Michael Graham Cox
• Harry Andrews
• Denholm Elliott
• Zero Mostel

An animated tale of survival in nature that is surprisingly mature( and many would say traumatising), Watership Down is often referred to as a film that terrified a generation of kids who thought they were seeing a film about cute bunnies. Yet while brutality is certainly not shied away from here, it’s the soul and message of Watership Down that shines the brightest.

In a warren in the English countryside, a group of rabbits live with their own beliefs on creation and how life is supposed to be. It seems so peaceful, but it is about to be shaken to the core. One rabbit by the name of Fiver has a strange vision of the destruction of their warren and warns everyone to get out. His brother Hazel believes him but they are shunned by the chief rabbit. Along with a small band of other rabbits, they stealthily leave the warren at night, joined by one of the Owsla( or in human terms, person of authority and order) Bigwig, who was originally skeptical of Fiver’s vision. They encounter all manner of danger in their search for a new home, including vicious predators, the human world and the only doe being picked off by a bird. Now without a woman among their number, they have to find some in order to continue their species. Aided by a crazed but helpful gull named Kehaar, they may just find it. It’s when the group encounters the tyrannical General Woundwort , who rules over his warren of rabbits with supreme brutality, that things turn very dark and tense for everyone. For Woundwort is a brute who will kill anything as soon as look at them, if they disobey his regime. With Hazel at the helm, he mounts an attempt to free the does from the harsh control of Woundwort. But it definitely isn’t going to be easy to create this dream paradise for them all to live in once everything is over.

Martin Rosen beautifully captures the poignant emotion and red and tooth in claw depiction of nature in the Richard Adams’s novel. Though a bit more on the running time might have been in order, Watership Down is really hard to find fault with. The animation, which boasts the feeling of landscape, watercolour painting and a naturalistic colour palette, is second to none and partnered with some unusual dreamlike sequences that stand out for their terror and vision. I mean, when we see what became of the original warren it is some skin crawling stuff. The claustrophobia of rabbits squashed on top of each other, their red eyes glowing as they are gassed is freaky and nightmare inducing. And people thought this was a movie simply for young kids? Now sometimes it is hard to tell the difference between certain rabbits, but this is a minor hitch in what is otherwise an immensely moving and startlingly honest look at how nature works. The morals of sticking together and the dangers of oppressive tyranny are well observed, with obvious parallels to the Second World War. The thematic value of Watership Down is what has made it endure for so long. It doesn’t pander to the audience or patronise, and while there are those who criticise the violence and horror, they should remember that the overall message of the film is one of finding peace, even though life is a hard journey. But as violence and shock are big parts of the movie, they can’t be ignored. I must admit to still being surprised how visceral many of the scenes are that are featured here, they still hold up on gruesome and unflinching score. The fighting, blood and bleakly brutal vision of nature is never far from view and many scenes have a lot of palpable tension. But in a way, featuring genuine violence( albeit involving anthropomorphic bunnies), it presents something different in an animated movie. Many times we go in expecting something squarely aimed at children, but I’m certain many were surprised when they discovered the bleak overtones and poignancy of Watership Down. I have massive amounts of respect for Watership Down in retaining the novel’s unflinching examination of survival and not dumbing it Down one ounce for audience satisfaction. Sometimes films try to be just a little bit too kid friendly, to the point that the film is ridiculously cheery. Believe me when I say, that is most definitely not the case when it comes to Watership Down. And I can’t review this movie without mentioning the haunting addition of ‘Bright Eyes’ sung with conviction by Art Garfunkel. It’s bound to bring a tear to the eyes.

The talented voice cast, featuring John Hurt, Richard Briers and Michael Graham Cox are exemplary at giving life to their characters and finding heart there. With such a wide breadth of voice work( also including Harry Andrews as the terrifying Woundwort, Denholm Elliott as a rabbit whose as enigmatic as he is creepy and the comedy stylings of Zero Mostel as a bird that helps the main rabbits out), it’s hard to not appreciate the ability and skill that each of them brings to the table.

Visceral yet beautifully rendered and vividly thematic, Watership Down is a film to treasure, no matter how graphic some of it is. After all, you’ll probably never forget this movie once you’ve viewed it.

Aladdin

Tags

1990's, Aladdin, Animated, Disney, Fantasy, Gilbert Gottfried, Jonathan Freeman, Linda Larkin, Musical, Robin Williams, Scott Weinger

The quite fabulous and ever so lovely Gill and splendid Crystal asked me to partake in a blogathon to honour the talents of Robin Williams. I simply couldn’t refuse this offer as I’m such a huge fan of Williams. For my choice, I decided to review the wonderful Disney flick Aladdin.

Film Title

Aladdin

Directors

Ron Clements and John Musker

Voice actors

• Scott Weinger as Aladdin
• Robin Williams as Genie
• Linda Larkin as Princess Jasmine
• Jonathan Freeman as Jafar
• Gilbert Gottfried as Iago

A joyous and energetic take on Arabian Nights from Disney, Aladdin is chock full of stuff to enjoy and be a part of.

In the streets of Agrabah, Aladdin is a young urchin who along with his monkey sidekick Abu, must steal to survive. Although he must rob, he is an inherently decent person just attempting to make it from one day to the next. His life is about to get a whole lot more eventful very soon. He meets Jasmine; a spirited girl who is actually the daughter of the Sultan and therefore a Princess. She has run away from home because according to a law, she must be married to a prince very soon. So far, she doesn’t like any of the suitors that have been selected for her. She feels stifled by royal protocol and wishes to marry for love. On their brief meeting, Aladdin falls in love with her, but fate has other plans.  Also involved is the villainous adviser Jafar, who wants to have power and never-ending domination over everything. He has identified that Aladdin is the person who can get him what he wants. That would be a magic lamp hidden within a magical cave. After imprisoning Aladdin, Jafar disguises himself as someone else to lure him to the place in the sands that is known as the Cave of Wonders. Inside, Aladdin and Abu accidentally upset the order of things and end up trapped. Upon rubbing the lamp, an energetic and fast-talking Genie emerges, ensuring Aladdin that he has three wishes that he can grant. There are limitations to what he can wish for, though Genie and Aladdin develop a friendship and Aladdin promises Genie that he will set him free as a final wish. Helping them out the cave and with Genie’s help, Aladdin masquerades as a famous prince in order to woo Jasmine and ultimately stop Jafar in his evil tracks.

From the opening of swirling sands, Aladdin looks gorgeous and magical. The vivid colours used in the animations are something to marvel at as Aladdin finds himself in an adventure and fantasy. The visuals are all in place for us to admire as well as many other key ingredients that make Aladdin a great movie. The briskness of pace bring out the fun right from the start, never letting any flab or dull moments sink in because of its fastness. The humour and adventure appeal to both grown-ups and children because it covers a wide range of styles. This is especially prominent once Genie enters the picture and all the great pop culture references and nods are in full abundance. The music is another ace high point of Aladdin with many numbers standing out. The sublime and romantic ‘A Whole New World’ is a great match for the visuals of Aladdin and Jasmine taking a magic carpet ride, while the bombastic ‘Prince Ali’ and ‘Friend Like Me’ are a perfect summation of Genie and his antics.

The assembled voice actors do extremely well with the characters they have and are all well-suited. Scott Weinger has the right amount of fun and charisma for the title character, which goes a long way with how much we like Aladdin and his journey. But its Robin Williams and his voicing of Genie that truly makes Aladdin that something to treasure. His endless impressions, vocal acrobatics and wildfire delivery are scene-stealing in a completely amazing way that is very much to Williams’ style of comedy. Genie is a character who brings an already great movie into the levels of excellence it achieves. With Williams the man behind it, it is quite impossible to not laugh along with Genie as he helps shape Aladdin with his wisdom and zany antics. It simply wouldn’t be the same movie if Williams wasn’t a part of it. Linda Larkin has a sweet but strong voice that is just perfect for Jasmine, while Jonathan Freeman is appropriately slimy and nasty as the main villain of Jafar. His voice is very snake-like, which comes in handy with such a foul and evil character. Just as Aladdin has a sidekick in Abu, Jafar has the loud-mouthed parrot of Iago, voiced with relish by Gilbert Gottfried.

A bundle of hip fun for all ages, Aladdin is dazzling movie making from the animation, music and voice acting. But best of all, it’s a showcase for the talents of Robin Williams and a special one at that.

Puss in Boots

Tags

2010's, Adventure, Amy Sedaris, Animated, Antonio Banderas, Billy Bob Thornton, Chris Miller, Comedy, Fantasy, Puss in Boots, Salma Hayek, Zach Galifianakis

Film Title

Puss in Boots

Director

Chris Miller

Voice Cast

• Antonio Banderas as Puss in Boots
• Salma Hayek as Kitty Softpaws
• Zach Galifianakis as Humpty Dumpty
• Billy Bob Thornton as Jack
• Amy Sedaris as Jill

An excellently animated and witty spin-off with the lovable rogue feline that proved so popular in the Shrek movies, Puss in Boots is proof that not all spin offs are a bad things. It becomes a bit bogged down at times when establishing some of the origins, but that doesn’t make it any less entertaining due to the mixing of humour, fantasy and animation.

Years before encountering Shrek, Puss is a fugitive who while being a bandit, has his own sense of code and honour. Travelling from place to place, he becomes aware of the mythical beans that lead to the clouds, promising a Golden Goose. The beans are currently in the possession of murderous outlaws Jack and Jill. Our smooth talking furry feline makes it his mission to recover them, but something gets in the way on his first attempt. A sleek and slinky feline by the name of Kitty Softpaws intervenes and distracts him in her own mission to get the magical beans. After giving chase, Puss discovers that Kitty is in fact in league with someone from his past. The person in question is the talking egg Humpty Dumpty. As children, him and Puss were like brothers, but Humpty out of spite and jealousy, betrayed Puss during a robbery that left Puss an outcast from his town. Initially reluctant to help Humpty in his quest to get the beans, Puss eventually comes around to the idea because of his quest to rebuild his reputation, but is still unsure of whether Humpty is plotting something. There’s no time to think though as he, along with the unusual Humpty and the gifted thief Kitty, are plunged into a full-on adventure of the highest order with excitement and twists along the way, closely linked with Jack and Jill who they must commandeer the beans off.

I will admit that I was skeptical at the idea of a Puss in Boots spin-off, because I often find spin-offs tend to be lesser than the films that they are originally linked too. So I was really surprised that Puss in Boots was in fact a very accomplished film. Chris Miller and his set of animators really gave it their all here, bringing verve and colour to the proceedings. From scene to scene, the lively animation brought life to the adventure and was spectacular. And while the visuals were a clear highlight, the various gags and send ups to western movies and pop culture was really amusing to watch. I’ve always been a fan of giving old fairy tales a makeover, and Puss in Boots does it with an abundance of heart and style. Now the main flaw I found with Puss in Boots was the overindulgence of flashbacks. I know they were meant to establish the origin story of Puss and many were good, it just felt a bit much. It could have been tightened a lot more in my view. Yet that is the only real thing I can pick at in the movie because it is immensely enjoyable and fresh. A Latin accented score is the perfect accompaniment to the rip-roaring and hysterical adventure that Puss finds himself dragged into.

Antonio Banderas with his thickly accented and suave voice is magnetic as the thieving feline on the adventure of a lifetime. Equal parts humour and pathos, Banderas uses his masterful vocal talent to give stunning life to the lovable Puss. Salma Hayek is an ideal choice for the voice of the slinky Kitty, who can match Puss with her fighting skill and thieving expertise. Hayek and Banderas, having worked together before, clearly have a good sense of camaraderie, chemistry and banter that feeds into the characters they voice here. Zach Galifianakis masterfully keeps us on edge with his contribution as Humpty, whose capricious changes in character are called into question. Is he leading Puss on or is he genuinely trying to reestablish a friendship again? That mystery is given life by the talented Galifianakis. As the revamped and very dangerous Jack and Jill, Billy Bob Thornton and Amy Sedaris display the right amount of villainy suited to the film with their long drawl.

Colourful, funny and with stellar animation, Puss in Boots emerges as a spin-off that is hugely charming and proves that when done right, these kinds of movies can work really well.

The Lion King

Tags

1990's, Animated, Cheech Marin, Disney, Ernie Sabella, James Earl Jones, Jeremy Irons, Jonathan Taylor Thomas, Matthew Broderick, Moira Kelly, Nathan Lane, Rowan Atkinson, The Lion King, Whoopi Goldberg

Film Title

The Lion King

Directors

Roger Allers and Rob Minkoff

Voice Cast

• Matthew Broderick as Simba
• Jeremy Irons as Scar
• James Earl Jones as Mufasa
• Jonathan Taylor Thomas as Young Simba
• Moira Kelly as Nala
• Nathan Lane as Timon
• Ernie Sabella as Pumbaa
• Whoopi Goldberg as Shenzi
• Cheech Marin as Banzai
• Rowan Atkinson as Zazu

Emotionally stirring, handsomely drawn and beautifully voiced, The Lion King is a staggering achievement in storytelling and scope and stands as one of my favourite movies.

In the wild plains of Africa, a young lion cub is born to the King Mufasa and given the name Simba. One day, young Simba will rule over the animal kingdom. The birth of Simba begins to stir jealous emotions within Mufasa’s brother Scar, who has always wanted to be king but is now knocked down a place. The wise Mufasa teaches Simba about life and its many dangers, but the young cub is very rebellious and prone to trouble with his best friend Nala. Meanwhile, Scar has created a plan that will plant him on the throne. He puts this in motion by having his loyal hyena minions to create a stampede that will endanger Simba. Mufasa comes to his son’s rescue, but is killed by the evil Scar. The conniving and power-hungry Scar then makes Simba believe that he was responsible for his father’s death, causing him to flee into the wild. Scar then ceases power as ruler, while Simba runs away in exile. In the wild, Simba makes friends with double act meerkat Timon and warthog Pumbaa. The two animals take Simba under their wing and raise him. Simba learns of a carefree life with the help of Timon and Pumbaa and grows up into an adult lion. But then he comes across Nala, who has grown up and searching for help. Scar has started a rule of tyranny that has left the entire kingdom in danger. At first Simba is reluctant to return, but slowly he begins to see, through the guidance of Nala and shaman Rafiki that he is meant to be king and rightfully take his place as ruler by overthrowing cruel Scar.

From the very first frame of The Lion King, you know you’re in for an amazing experience. The animation is lively, stunning and vibrant as is to be expected of Disney. From the opening in which the animals rejoice at the birth of Simba to Simba’s vision of his father that causes him to return, the beauty and clarity of The Lion King is hard to match. The songs throughout this film are a real treat, in particular Timon and Pumbaa’s paean to forgetting cares in ‘Hakuna Matata’, the stunning opening number ‘Circle of Life’ and the romantic ‘Can You Feel the Love Tonight’ in which we see the blossoming love shared between Simba and Nala. This is truly an inspired musical score that resonates with everyone in some way. I love how The Lion King can be enjoyed by everyone, and also contain many lessons for life. Chief among these is finding one’s place in the world, which Simba goes through after the death of his father. There’s something of a coming of age tale within The Lion King that is perfectly balanced with emotions, laughs and music. I can’t wax lyrical enough about how well-constructed this movie is and how it can speak to all of us in different capacities and on many levels. The characters are so memorable and well thought out, with even the smallest role being full of presence. Special mention must go to the mandrill Rafiki, who watches Simba’s journey and provides a lot of insight into accepting oneself.

A consummate collection of voices add loving depth and strength to the characters. Matthew Broderick excellently voices Simba as an adult, having to find his place in the world and reclaim his birthright. The distinctive voice of Jeremy Irons fits the jealous and deeply evil Scar like a glove, with every condescending comment and angry growl well suited to the villainous part. Reverberating with paternal strength and wisdom, James Earl Jones provides the voice for the great king Mufasa, who teaches Simba the circle of life and how he is a big part of it. Jonathan Taylor Thomas has that youthful exuberance and energy that is just right for the part of Young Simba, while Moira Kelly’s sagacious voice provides quiet power as Nala. Nathan Lane and Ernie Sabella provides barrels of laughter as Timon and Pumbaa, with their quick comic timing and playing off one another. Whoopi Goldberg and Cheech Marin voice two of Scar’s loyal hyenas, who also provide humorous escapades. Rounding out the voices is Rowan Atkinson as Zazu, the hornbill and loyal subject of Mufasa.

I guess all I really have left to say about The Lion King is that it’s stunningly rendered and all-encompassing in its power and impact.

 

Beauty and the Beast

Tags

1990's, Angela Lansbury, Animated, Beauty and the Beast, David Ogden Stiers, Disney, Fantasy, Jerry Orbach, Musical, Paige O'Hara, Richard White, Robby Benson, Romance

Film Title

Beauty and the Beast

Directors

Gary Trousdale and Kirk Wise

Voice Cast

• Paige O’Hara as Belle
• Robby Benson as Beast
• Richard White as Gaston
• Jerry Orbach as Lumière
• David Ogden Stiers as Cogsworth
• Angela Lansbury as Mrs Potts

Enchanting, magical and enjoyable, Disney’s Beauty and the Beast is a stunning achievement in animation and emotive storytelling that will appeal to all the family. No matter how old you get, the story is still an involving and touching fable.

In the prologue, we learn of a handsome but supremely selfish prince who turned away an old beggar woman offering him a rose in return for shelter. She was in fact an enchantress who transformed him into a hideous beast and turned his servants into animated objects. The curse could be broken if he gained the love of a woman before the last petal fell from the enchanted rose she offered him, if not he will remain a beast forever. Years later in 18th Century France, Belle is a smart and strong-willed young woman living with her inventor father. Belle is beautiful but a nonconformist who prefers the company of her books and yearning for adventure rather than the many advances of the self-obsessed hunter Gaston. Belle’s father Maurice travels through the forest but loses his way. He stumbles upon the Beast’s castle and is imprisoned by the master in the dungeon. Belle later comes to his rescue and bravely sacrifices her freedom so that her father can be released. She is given company by the animated house objects: the rebellious candlestick Lumière, the tightly wound and loyal clock Cogsworth and the motherly teapot Mrs Potts. Initially distant from the Beast, Belle slowly begins to understand him and the two tentatively fall in love, with Belle seeing passed the scary exterior and connecting with the wounded soul beneath. But what will happen when Gaston becomes aware of this? And can Belle’s love for the Beast break the spell? Magical animation, stunning musical numbers and splendid voice work give Beauty and the Beast a lovely elegance that can be treasured.

The animation is truly magnificent and ambitious in equal measure, really making the gloomy world of the castle come alive with colours. Stunning imagery is ever-present such as the splendid ballroom which the Beast and Belle dance in and the snow-covered entrance to the castle. The screenplay excellently shows us the romance between Belle and the Beast, yet also manages to cover the deep theme of accepting others for who they are and that beauty lies within a person. The film soars in the musical numbers that are still as catchy as they were all those years ago. The opening number ‘Belle’ provides a humorous introduction to the eponymous beauty as the villagers discuss how she doesn’t fit in with their society. ‘Gaston’ is a tongue in cheek song about the self-obsessed brute who has Belle firmly in his sights. The main show stopping number is ‘Be Our Guest’ sung by the objects of the castle in an attempt to cheer her up. Taking cues from broadway and old movies, the number is full of dancing plates, sweeping dusters and joyful love that is impossible not to sing along with. And who can forget the haunting title song sung with wise assurance by the incomparable Angela Lansbury?

The voice cast are perfectly suited to their roles and imbue them with dexterity and flair. Paige O’Hara splendidly combines strength and touching bravery as Belle. Her singing voice is a marvel as well, singing with clarity and loving kindness. Robby Benson’s deep but engaging voice is ideally suited to the Beast, and gives him depth and mournful sorrow that subsides into happiness as he develops feelings for Belle. Richard White provides arrogance and unnerving intensity as the selfish Gaston. Jerry Orbach excellently lends his vocal talents to the role of Lumière, the funny and lovable candlestick who often finds himself in trouble. David Ogden Stiers effortlessly voices the rigid and regimented Cogsworth, who clashes with Lumière over various issues. And Angela Lansbury deserves praise for her warm delivery as Mrs Potts.

Joyous, emotionally involving and full of dazzling animation, Beauty and the Beast is a film that will never get old.

The Emperor’s New Groove

Tags

2000's, Adventure, Animated, Comedy, David Spade, Disney, Eartha Kitt, John Goodman, Patrick Warburton, The Emperor's New Groove

Film Title

The Emperor’s New Groove

Director

Mark Dindal

Voice cast

• David Spade as Emperor Kuzco
• John Goodman as Pacha
• Eartha Kitt as Yzma
• Patrick Warburton as Kronk

A fresh take on the buddy genre with a moral lesson at the centre, The Emperor’s New Groove is a funky entry into the Disney canon that is often overlooked in my view. Why it is I’m not sure because it has humour, eccentric characters and some excellent voice work.

Kuzco is the selfish, bratty emperor of an Incan Empire. He has no patience for anyone and is always used to getting his own way. He summons Pacha, the leader of a nearby village to inform him that his town will be destroyed for the building of an amusement park for Kuzco. Angry and dejected, Pacha is uncertain of what to do. But he isn’t the only person that Kuzco has rubbed the wrong way. His power-hungry advisor/sorceress Yzma is left bitterly angry when she is fired for attempting to assume Kuzco’s position. Rather than just take being fired nicely, Yzma along with her dim-witted sidekick Kronk, concoct a plan to kill Kuzco. This in turn will elevate the malicious Yzma to the role of Empress. Their plan backfires when the potion to kill Kuzco is misplaced and he drinks a potion which transforms him into a llama. Kronk whilst trying to get rid of Kuzco accidentally loses him and he ends up in the hands of Pacha. Although they are initially belligerent towards one another, Kuzco and Pacha eventually develop a friendship as they take the hazardous journey back to the palace through the jungle. This is whilst being chased by Yzma and Kronk after the revelation that Kuzco isn’t dead emerges. Through his friendship with Pacha, Kuzco begins to change as a person and considers the effects of his selfish needs. Laughs, groovy music and memorable characters make The Emperor’s New Groove a treat that the whole family can enjoy.

Firstly, the animation is superb as is to be expected by Disney. In this movie they craft some excellent scenes of Kuzco and Pacha travelling through the dangerous jungles. The script is razor-sharp and full of hilarious lines, especially in the form of Yzma’s. Interestingly the humour is funny for children but also manages to be appealing to older people in the audience. The music is fresh and comical in equal measure.

What really gives The Emperor’s New Groove spark is the talented voice cast. David Spade nails the role of the arrogant Kuzco, and his many extravagant and eccentric antics are really funny to watch. John Goodman provides the suitably kind but firm voice of Pacha, who eventually begins to break through to Kuzco’s kinder nature. Stealing the show has to be Eartha Kitt, whose slinky voice and flair for theatricality lead to some great comical scenes. Whether barking orders at the put-upon Kronk, mistakenly bragging about her supposed beauty(which no one seems to see) or plotting the many ways she should eliminate Kuzco, Yzma is a hoot of a villain. Patrick Warburton gives the character of Kronk a soft heart that often leads him into trouble when it comes to going through with the many heinous plans of Yzma. Yzma and Kronk are the two characters that really stick in the imagination because of the humour involved in their scenes. Just watch the scene in the jungle when Kronk confers with a squirrel and Yzma tries to gain knowledge of Kuzco’s whereabouts and you will see the hysterical humour on show.

So if it’s a funny moral story mixed with elements of the buddy genre and comedy that you’re looking for, The Emperor’s New Groove is the film you should watch.

The Prince of Egypt

Tags

1990's, Animated, Biblical, Danny Glover, Helen Mirren, Jeff Goldblum, Martin Short, Michelle Pfeiffer, Patrick Stewart, Ralph Fiennes, Sandra Bullock, Steve Martin, The Prince of Egypt, Val Kilmer

Film Title

The Prince of Egypt

Directors

Simon Wells, Brenda Chapman and Steve Hickner

Voice Cast

• Val Kilmer as Moses
• Ralph Fiennes as Rameses
• Michelle Pfeiffer as Tzipporah
• Sandra Bullock as Miriam
• Jeff Goldblum as Aaron
• Danny Glover as Jethro
• Patrick Stewart as Pharaoh Seti
• Helen Mirren as Queen Tuya
• Steve Martin as Hotep
• Martin Short as Huy

DreamWorks take on the biblical story of Moses is a stunningly animated and powerfully constructed film. From the stirring music to the talented voice cast, The Prince of Egypt is a powerful achievement in animation as Moses discovers his destiny to lead the Israelites out of Egypt.

In Ancient Egypt, a female slave, in order to save her baby son from a cull of Hebrew children, sends him down the river in a basket in the hopes that he will be able to live free. The baby is discovered by the Queen, who adopts him and gives him the name Moses. Years later, Moses is grown up and has a friendly rivalry with his older brother Rameses, who will one day become Pharaoh. Moses is unaware of his mother’s sacrifice all those years ago or the fact that he is a Hebrew by birth. That is until he meets Miriam, his biological sister and a slave who informs him of the truth. Confused and shocked by this, he begins to see that everything he’s ever known has been a lie. Now aware of his past, he can’t just stand and watch as the Hebrews are enslaved by the Egyptians. Fleeing into the desert after accidentally killing a slave driver beating an elderly slave, Moses is visited by God in the form of a burning bush. Moses now begins to understand his destiny but his views are at odds with the newly crowned Rameses. Their differing beliefs will forever change the close relationship of the two. Evocative, well executed and filled with images of great wonder and beauty, The Prince of Egypt is a staggeringly staged marvel of animation that will engage you regardless of whether you’re religious or not.

The first thing to praise is the grand and beautiful animation that captures the interest from the first frame. Scenes live long in the memory from the slaves praying through their arduous work to Moses being sent down the river, visual splendour abounds. Special attention must go to the sequences of the Plagues of Egypt; as frogs emerge from the river, livestock perishes and the last plague of the death of the first-born occur. These scenes are carefully constructed and detailed to the highest degree as well as dealing with some deep themes such as faith and religion. The music of the film is stirring and very memorable. The two songs that stand out the most are ‘Deliver Us’, sung by the slaves as they ask God for mercy and the Oscar-winning ‘When You Believe’, a stunning song about the eventual reward of patience and the joy that comes from undying faith.

The voice cast assembled are an exceptionally talented bunch that invest their characters with both heart and emotion. Val Kilmer strongly voices Moses and shows us the gradual bravery after initial uncertainty that Moses gets as he realises his destiny. The commanding voice of Ralph Fiennes portrays Rameses who struggles with his brother’s calling and won’t back down as he sees it as a sign of weakness. Michelle Pfeiffer combines feisty determination with loving warmth as Tzipporah, the eventual wife of Moses who he helped escape from Egypt after being kidnapped. Sandra Bullock is earnest and passionate as Miriam, the sister of Moses who is the first person to show him the truth about his destiny. Fleshing out the other skilled voices are Jeff Goldblum, Danny Glover, Patrick Stewart and Helen Mirren, who all contribute emotional depth to this tale. Steve Martin and Martin Short voice the court magicians who add the comic relief.

Stunningly animated and sonically beautiful, The Prince of Egypt is a marvellous film. Some may say it is religious propaganda, but one can’t deny the amount of talented work at play here in bringing this story to the screen.

The Hunchback of Notre Dame

Tags

1990's, Animated, Demi Moore, Disney, Kevin Kline, The Hunchback of Notre Dame, Tom Hulce, Tony Jay

Film Title

The Hunchback of Notre Dame

Directors

Gary Trousdale and Kirk Wise

Voice Cast

• Tom Hulce as Quasimodo
• Demi Moore as Esmeralda
• Tony Jay as Judge Claude Frollo
• Kevin Kline as Phoebus

One of Disney’s darkest and most mature animated films, The Hunchback of Notre Dame emerges as an excellently crafted drama on faith, acceptance and prejudice inspired by the Victor Hugo novel of the same name. It may not be as cute and cuddly as other Disney films, but it boasts a mature and important  message about not judging people simply because they are different.

1482 Paris. Quasimodo is the kind and gentle deformed bell-ringer in Notre Dame. He is watched by Judge Claude Frollo, a cruel minister who hides behind the cloak of religion and who has a deep loathing of gypsies. Unbeknownst to Quasimodo, Frollo had a part in the death of his mother who was a gypsy on the steps of Notre Dame. He tells Quasimodo that he must never leave the bell tower as he is a deformed creature. Yet Quasimodo yearns for a taste of freedom and urged by his only friends, the trio of gargoyles known as Victor, Hugo and Laverne, defying his master sneaks off to the annual Festival of Fools. Quasimodo is crowned the King of Fools and appears to be enjoying himself. That is until the crowd begin to turn on him and viciously torment him. As he struggles for help, Frollo lets the cruelty continue to teach Quasimodo a lesson even though the kind Captain Phoebus wants to end the humiliation. Quasimodo is saved by another outcast, the beautiful and selfless gypsy dancer Esmeralda who voices her views on Frollo’s intolerance towards those who are different. This encounter between Quasimodo and Esmeralda forever changes both of them in this tale of prejudice, bravery and how although we are all different, we still have the right to be treated fairly.

I’ve always found The Hunchback of Notre Dame to be an underrated entry into the Disney collection of films. The animation is second to none in recreating the bustling streets of Paris and the gloomy splendour of Notre Dame in which Quasimodo resides. For a Disney film, it does deal with some deep themes such as prejudice, religious hypocrisy and also lust. The theme of prejudice is handled in a sophisticated manner, we as an audience grow to like Quasimodo and see the kindness of him rather than just his outward appearance that others judge him on. Religious hypocrisy is embodied by the evil Frollo, who often conceals his hatred of those behind the veil of faith.  He truly is a frightening villain because of the cruelty he inflicts on those, especially Quasimodo. It is interesting to watch Frollo because he says he hates gypsies, yet he finds himself lusting after Esmeralda. The scene in which he sings the song “Hellfire” and the fireplace displays visions of Esmeralda dancing is a strange, sinister moment indeed.

The songs in the movie are not as memorable as other Disney tunes, but there is a haunting level of maturity to them. “Out There” sung by Quasimodo is a yearning number about his longing to be free from being trapped in the bell tower. The previously mentioned “Hellfire” is a Gothic song of uncertainty as the pious Frollo wrestles with his passion for Esmeralda. But the song that is most beautiful and memorable is “God help the outcasts”, an earnest ballad sung by Esmeralda inside the eponymous cathedral as she asks God to look over those around her who suffer prejudice and ridicule on a daily basis. One of the biggest highlights of this startling mature Disney venture is the voice cast assembled. Tom Hulce provides pathos and wonder as the downtrodden Quasimodo, a character who is a victim of cruelty because of his appearance. Demi Moore combines passionate selflessness and feisty attitude as the dancing gypsy Esmeralda, who is the first person to show Quasimodo kindness and understand his plight.  Tony Jay is villainy personified as Frollo, his deep angered voice and all-consuming power quite scary to behold. Rounding out the deeply poignant voices is Kevin Kline as Phoebus, the captain who comes to resist Frollo’s persecution of others and begins to see life differently after meeting both Quasimodo and Esmeralda. The gargoyles provide some side-splitting comic relief throughout the story and act as humourous advisors to Quasimodo in his journey.

Dark yet hopeful and important, The Hunchback of Notre Dame is an underrated Disney gem that shows  a level of maturity and awareness than isn’t often seen in other pieces.