Pete’s Dragon

Tags

1970's, Adventure, Disney, Don Chaffey, Fantasy, Helen Reddy, Jim Dale, Mickey Rooney, Musical, Pete's Dragon, Red Buttons, Sean Marshall, Shelley Winters

My second entry into the Shelley Winters blogathon is with the Disney fantasy adventure Pete’s Dragon, in which she plays a wicked supporting role. I must say thanks to both Erica and Gill for inviting me to take part

Charming and both bittersweet and funny in parts, Pete’s Dragon is undervalued as a film in my eyes. I think it should be reassessed and while some of it won’t hold up, you’ll definitely get some joy from it.

It’s the turn of the century and in Maine, young orphan Pete(Sean Marshall) runs away from his adoptive guardians. They are the vile Gogan’s, a hillbilly clan headed by the nasty Lena(Shelley Winters). They’ve treated him unfairly and made him a slave, prompting his escape. Aiding him is Elliott; a large, green dragon who can turn invisible and often is only seen by Pete. They venture into the town of Passamaquoddy hoping to start a new life. With Elliott being a clumsy creature, a string of mishaps occur. Eventually, Pete finds shelter with the kind-hearted Nora(Helen Reddy), who lives in a lighthouse with her often well meaning but drunk father Lampie(Mickey Rooney). This bliss is changed by the arrival of showy quack Dr. Terminus( Jim Dale) and his sidekick Hoagy(Red Buttons). Always on the lookout for money, when he gets wind of a dragon, he schemes to capture it. Though while both Pete and Elliott are wanted by nefarious forces, it seems that Nora and Lampie are there for them to face the evil that covers them.

Don Chaffey keeps events ticking over with humour and heart. You’re guaranteed to have a smile when watching a lot of this movie as Pete and experience thrills, adventure and danger. While Pete’s Dragon isn’t held in as high a rank as other Disney films, I think it’s unfairly overlooked. Sure it’s far from faultless and there are various issues with it, such as the length of the film, but the infectious energy and spirited heart can’t be ignored or resisted. Plus, it’s surprising how dark some parts of Pete’s Dragon are, like the singing of ‘The Happiest Home in these Hills”, in which the Gogan’s detail the horrible fate that Pete will meet if they get their hands on him. Though the overall tone is hopeful and cheery, the darkness and occasional bittersweet pang underneath in areas is a welcome addition as it doesn’t allow the film to overdose on sugary sentiment. Speaking of music, Pete’s Dragon has some lovely songs, with ‘Candle on the Water’ sung by Helen Reddy a great highlight and the sweet Boo Bop Bop Bop Bop a real gem. I’ve always liked this movie and may be a tad biased when reviewing it, but it really holds a certain place of nostalgia for me. I adore the blending of animation and live action, with Elliott being a wonderfully funny and endearing vision. Yes it’s not as slick as today’s effects, but damn if it isn’t darn effective at bringing to vivid life. The theme of wanting to belong resonates deeply with the viewer as it’s explored in numerous ways, not of least the eponymous orphan who is on his way to luck, if nothing bad befalls him first.

Sean Marshall takes the role of Pete and gives us a protagonist to root for, due to his honest face and general decency. He could have become annoying, but thankfully, Sean Marshall is a good child actor who doesn’t grate on the nerves. Helen Reddy is winsome and feisty when called for, plus using her gorgeous singing voice wonderfully. Mickey Rooney, all bluster and expressive eyes, is great as the initially terrified Lampie, who eventually comes around and takes Pete under his wing. Jim Dale is a hoot as the nasty but often hilarious showman Dr. Terminus, while Red Buttons is effective as his not above goodness sidekick. And now we come to the woman of the hour and her name is Shelley Winters. Dirtied up, spouting nastiness and generally being one evil villain, Winters is obviously having a blast playing such a vile character. Villains are in good order with the Gogan’s, but it’s Winters who stands out the most as the queen of mean. The villains are over the top and yet that’s what makes them good. They are just so nasty and often cartoonish that we want their plans to fail.

While flawed and a bit over long , Pete’s Dragon is very underrated and deserves a bit more love from people for its magic, music and story.

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.

The Watcher in the Woods

Tags

1980's, Benedict Taylor, Bette Davis, Carroll Baker, David McCallum, Disney, Frances Cuka, Horror, Ian Bannen, John Hough, Kyle Richards, Lynn-Holly Johnson, Richard Pasco, The Watcher in the Woods

Film Title

The Watcher in the Woods

Director

John Hough

Starring

• Bette Davis as Mrs. Aylwood
• Lynn-Holly Johnson as Jan Curtis
• Kyle Richards as Ellie Curtis
• Carroll Baker as Helen Curtis
• David McCallum as Paul Curtis
• Ian Bannen as John Keller
• Richard Pasco as Tom Colley
• Frances Cuka as Mary Fleming
• Benedict Taylor as Mike Fleming

The Watcher in the Woods was Disney’s attempt to reach a slightly older audience with a spooky tale. Although critics may have sniffed at it, it has since become a cult film and one that I fondly recall enjoying as a child. Sure, there may be some parts that aren’t as effective as they once where, but I was pleasantly surprised that the film holds up rather well and is creepy, atmospheric viewing as Halloween approaches.

Paul Curtis, his wife Helen and there two daughters Jan and Ellie are an American family that move into a country house in England. The property is owned by the old Mrs. Aylwood who decides them stay as she is very particular on who lives there and who lives in a cottage on the grounds. Part of the reason that the old woman lets the family move in is because Jan bears a striking resemblance to someone important from her past. Soon after moving in, Jan and her sister Ellie begin experiencing strange events around them: Jan suddenly can’t see herself in a mirror and instead sees the figure of a girl begging for help while blindfolded, Ellie goes into various trance like states that talk of a past event, a blue light appears from the woods and they both have the feeling that something eerie is afoot in the surrounding area, most notably the large woods. Mrs. Aylwood, after helping Jan when she falls into a pond and nearly drowns, begins to explain what may be behind the peculiar events that have plagued the girls. She had a daughter named Karen who she adored, but who mysteriously vanished while playing a game in a church with three of her friends located in the woods thirty years earlier. Jan begins to dig deeper into the mysterious disappearance and how it relates to the spectre haunting her, though the kids who were playing with Karen who have now grown up are reluctant to talk about what happened. With the help of nice local boy Mike, she starts to uncover what transpired all those years ago and how it haunts the present.

I must say that while Watcher in the Woods is aimed at young adults rather than grown ups, it does have its share of scares that will make you jump. Director John Hough utilities the setting of the woods and the forming mystery very effectively, peppering the movie with suspense and eeriness. A roving camera forming point of view shots, obscured by branches and foliage sends shivers down the spine as strange phenomena unfolds. The overall atmosphere lingers with strange and unnatural ambience that is hard to shake due to the ghostly visuals in the woods. The striking set of the woods brings uneasiness to the film and the dark, cavernous tress and mist is wholly appropriate. Now I must say that there are times when the movie becomes a bit dull, has some corny dialogue and needs an injection of pace, but mostly it keeps things ticking over. A marvellously sinister score, encompassing the pretty sound of a music box with unusual drums and brass makes many scenes in The Watcher in the Woods with a whole lot of mystery and darkness. The movie is not really frightening in a graphic way or really horrifying; its more of a creepy, slowly unwinding story with a ghostly sense of menace that makes it ideal for youngsters to see it but adults to enjoy too.

A generally well-chosen cast play their roles in decent fashion, though some get lost in the mix of it all and hardly have anything to really contribute. Bette Davis is on scene-stealing form as Mrs. Aylwood, imbuing her with a strangeness, sadness and weariness that really suit the character whose daughter’s disappearance forms the main story of the piece. Lynn-Holly Johnson is not the best actress out there, but she’s very good at displaying Jan’s fear and curiosity as the mystery targets her and she’s forced to get to the bottom of it. Young Kyle Richards is well-cast as the adventurous Ellie, who also finds herself plagued by strange visions and trance like channeling. Carroll Baker and David McCallum are really wasted in this film and they don’t bring much to it because their characters are so poorly written. More successful in terms of the adult actors are Ian Bannen, Richard Pasco and Frances Cuka as the grown ups whose childhood game ended in darkness and how these events have haunted them ever since. Benedict Taylor is thoroughly bland as a possible love interest for Jan that never really goes anywhere.

Some of it may be dated and weak, but overall The Watcher in the Woods is still an eerily effective movie of atmosphere and chills.

 

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.

 

Into the Woods

Tags

2010's, Anna Kendrick, Billy Magnussen, Chris Pine, Daniel Huttlestone, Disney, Emily Blunt, Fantasy, Into the Woods, James Corden, Johnny Depp, Lilla Crawford, MacKenzie Mauzy, Meryl Streep, Musical, Rob Marshall

Film Title

Into the Woods

Director

Rob Marshall

Starring

• James Corden as The Baker
• Emily Blunt as The Baker’s Wife
• Meryl Streep as The Witch
• Anna Kendrick as Cinderella
• Daniel Huttlestone as Jack
• Chris Pine as Cinderella’s Prince
• Lilla Crawford as Little Red Riding Hood
• Billy Magnussen as Rapunzel’s Prince
• MacKenzie Mauzy as Rapunzel
• Johnny Depp as The Big Bad Wolf

Something of a re imagining of classic fairy tales bound together with a newer story and put into a musical/fantasy hybrid from Disney, Into the Woods is also a mixed bag of sorts.

In classic fairy tale fashion, the movie opens with the words ‘Once Upon a Time’. The main story is of a Baker and his Wife who more than anything in the world want a child, yet somehow for them it has proved impossible. The source of this comes literally spinning into their home like a whirlwind in the form of an evil and very powerful Witch. The evil being explains that due to the Baker’s father stealing beans of magical properties from her precious garden, she placed a curse upon his family so that future generations would be unable to have children. The devious hag also took the Baker’s baby daughter and raised her as her own. The girl eventually became the long-haired Rapunzel, imprisoned in a tower from the outside world, singing lilting lullabies to pass the time. She is later discovered thanks to her lovely voice by a handsome prince, who falls deeply in love with her. Meanwhile, desperate to break the curse upon their family, the Baker and his Wife accept the terms of the Witch’s hard bargain. If they can procure four specific items from classic fantasy stories within the days before the third full moon, the curse will be forever lifted. This in turns means they must both journey deep into the mist enshrouded woods where magical mayhem and mystical mischief awaits them. We also have the stories running alongside this one, that include the items needed to break the curse. These consist of a young boy named Jack selling his beloved cow for magical beans that grow the famous beanstalk, a greedy girl in a red cape visiting her Grandmother as well as being stalked by a hungry wolf and a downtrodden Cinderella transformed from rags to riches so she can attend the nearby ball held by another dashing royal prince.

As aforementioned, Into the Woods is something of a mixed film of both excellence and parts that could have been improved upon. Rob Marshall does infuse the piece with visual style and theatricality, which is very befitting of the musical genre. And boy does the visual style deliver with the Gothic woods being a particular highlight of production design. The costumes are also very well crafted with technique and effortless skill. I must say I enjoyed Corden’s narration, he brought a wry delivery to it as magical events continued to mount. Where Into the Woods falters is in its length and lack of memorable musical numbers. Although the pacing in the beginning of the movie, in the second half it tends to drag and become a little boring. As for the musical numbers, the stream of consciousness approach is actually rather good for a while. Yet it can become very monotonous and though some numbers bristle with energy, there isn’t really a killer song to be remembered once the movie ends. The same can be said about the altering of classic fairy tales. In some cases it provides interesting and often dark viewing, but in others it should really have been left to the classic version. Saying all this, Into the Woods is definitely a more enjoyable movie that Marshall’s last musical Nine, but it still has many flaws.

James Corden and Emily Blunt are really good in the central roles and have humorous yet loving chemistry with one another. Blunt is especially excellent at portraying the good-hearted Wife with warmth and shows off considerable skills in the vocal department. Meryl Streep takes what is essentially a pantomime villain role as the crone and breathes life into it. You can really see that Streep is having a ball here portraying the evil and cunning Witch and she plays it with such delicious glee. As always when Streep is in a movie, she gives it calibre with her engaging and highly talented presence. Anna Kendrick combines a beautiful voice and sympathetic delivery to give a modern interpretation of Cinderella; as we watch her wrestle with indecision over a union with her Prince. Daniel Huttlestone plays Jack with wide-eyed charm and youthful energy as he inadvertently gets himself tangled up in this magical quest. Chris Pine is used too little to be really memorable. Though it must be said that his musical number where he argues that the pain caused by love is greatest of all is particularly funny. Lilla Crawford brings a bratty and not so sweet disposition to a successful revamp of Little Red Riding Hood. And it’s quite good to see another take on a character that is so often portrayed as winsome and lamb like. Billy Magnussen doesn’t have much to work with as Rapunzel’s Prince, just like MacKenzie Mauzy as the imprisoned maiden. Johnny Depp contributes a creepy cameo as the predatory Wolf looking to make Red Riding Hood his next meal.

So all in all, Into the Woods has its share of excellent moments partly because of some stylish direction and fine performances. It’s a shame that it couldn’t be more memorable considering all the attributes it had.

 

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 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.