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.

The Black Stallion

Tags

1970's, Adventure, Carroll Ballard, Hoyt Axton, Kelly Reno, Mickey Rooney, Teri Garr, The Black Stallion

A captivating story of a boy and his horse, The Black Stallion is a delight for the whole family. Blessed with a sublime cinematography, love for nature and understated performance, it’s simply irresistible to all the family.

It’s 1946 and young Alec Ramsey(Kelly Reno) is sailing with his father on a boat off the East Coast of Africa. While onboard, Alec discovers an black Arabian Stallion that he becomes intrigued by. Though warned to stay away by the fearsome owner, Alec refuses to. Later that night, a violent storm hits the ship, throwing Alec and the horse overboard. They are the only survivors from the storm as Alec manages to pull on the ropes around the horse. When he awakens, he is on a deserted island. Armed with the penknife his later father gave him and resourcefulness, he learns to survive. The horse also made it to the island at first, both keep a distance from each other. Over time, however Alec wins the horse over gives the horse the name The Black. They become inseparable from that moment on as a bond is solidified. Eventually, Alec is rescued and makes sure The Black comes with him. Back home, Alec’s mother( Teri Garr) is overjoyed to see him but doesn’t quite understand the bond between her son and his horse. Alec comes across old horse trainer Henry Dailey( Mickey Rooney) accidentally when The Black runs away. Henry hasn’t raced in years but you can sense he feels a bit of regret and nostalgia creeping his way once he finds The Black. Following a bit of hostility between them, Alec and Henry become friends and Henry rekindles his love of horses with a dream of racing The Black. After a few mishaps and hurdles,  Alec and Henry enter to the horse into the race and hope for success with what they truly believe is not just a horse, but a supremely special one.

Director Carroll Ballard is the perfect choice to direct this heartwarming adventure. His love for nature and the relationships humans share with the animal kingdom are splendidly evoked. Some could write the movie off as as sickly as too much sugar, yet Ballard knows how to keep us invested without resorting to overt sentimentality. Aided by the arresting cinematography of Caleb Deschanel and vivid camerawork, the friendship at the core of The Black Stallion comes to life. The main sections on the island are largely wordless and though that might sound boring to some viewers, it certainly isn’t the case. The unspoken bond between Alec and the horse is observed with nuance and eventual trust; much like a friendship between humans. We watch as Alec wins the horse over and the horse comes to respect him and it’s very beautifully portrayed. The childlike sense of wonder and excitement is imbued within the DNA of The Black Stallion and it definitely pleases the crowd with this touch. And though many may see where the story is heading when he returns to land, they will no doubt be impressed by the eventual outcome and how things play out to a rousing and joyous finale. It’s a movie with a heart that’s sole goal is to be inspiring and for the whole family, and on that score alone it’s a winner. Carmine Coppola contributes an eclectic score that mixes Middle Eastern percussion and a soaring orchestral feel that is truly a thing of beauty. It imprints itself on your mind and is just beautifully orchestrated with obvious craftsmanship and phenomenal skill at arousing emotion.

Young Kelly Reno is full of life and wonder as the freckle-faced Alec. He’s ideal casting for the role and a genuinely convincing child actor that isn’t cloying or prone to overly annoying child acting. Mickey Rooney has fun as the slightly grouchy but brought back to life horse trainer, discovering what he’s missed for so long. Rooney is subtle yet sparkling with revived energy; both are exactly the notes he needs to star here. Just like the horse, he splendidly compliments Reno as the two things that mean the most to him. Teri Garr makes the most of her small part as Alec’s mother who doesn’t quite understand his link to the horse but comes around to the idea in a way only a mother could. Hoyt Axton is here in a brief role of father and given that he’s not on screen for long, he nails the part of adventurous dad that we miss when he’s gone. The two biggest stars however are Kelly Reno and the horse; they form the beating heart of The Black Stallion.

An outstanding, life-affirming and gentle film that knows how to touch the heart with its story, acting and cinematography, The Black Stallion is a champion.

Breakfast at Tiffany’s

Tags

1960's, Audrey Hepburn, Blake Edwards, Breakfast at Tiffany's, Buddy Ebsen, Drama, George Peppard, Martin Balsam, Mickey Rooney, Patricia Neal, Romance

Film Title

Breakfast at Tiffany’s

Director

Blake Edwards

Starring

• Audrey Hepburn as Holly Golightly
• George Peppard as Paul Varjak
• Patricia Neal as 2-E
• Buddy Ebsen as Doc
• Martin Balsam as O.J. Berman
• Mickey Rooney as Mr Yunioshi

An iconic romantic drama that boasts many memorable images that have burned themselves into pop culture forever, Breakfast at Tiffany’s is simply gorgeous and delightfully made.

The film centres around the beautiful Holly Golightly, a New York City party girl who enjoys the gifts from the many men in her circle. She is something of a kooky young lady with strange mannerisms, that are nonetheless charming. One day in her apartment block, struggling writer Paul Varjak moves in and by chance bumps into the wild Holly. He soon becomes entranced yet bewildered by the young lady who lives below. She throws huge parties that are pouring with energy and drink, yet underneath Holly appears to be a very different person. She puts across that she is an independent girl who desires to be free from constraints, but at the same time you can tell that she is really searching for something more. The money she gets from men is something to help her with her life, but she would love someday to discover her true self. Paul observes Holly from a distance, as he is something of a kept men of an older women he nicknames 2-E. Slowly, he falls for Holly though she is often at odds with how he is feeling. Will Holly ever let the mask slide and discover happiness that doesn’t come from money?

Director Blake Edwards hits all the right notes of comedy, romance and drama here. He stylishly crafts the slightly unusual tale with a deep heart that is wistful as it is observant of the two principal characters. It is a gorgeous love letter to New York City, which makes the place positively sparkle from beginning to end. The film is loosely based on a novel by Truman Capote and from what I’ve heard toned down from the source material. Now I haven’t read the book so I can’t really judge, but I found Breakfast at Tiffany’s a lovely film. Due to censorship of the time, various parts of the story were glossed over. The biggest one is what Holly does for a living( of which I’m told in the book she is a call girl). As shown in the film, she seems to be a girl who enjoys the company of men and having a good time. Yet watching through modern eyes, there are areas where sometimes it gives an insight into Holly’s professional life. The same goes for Paul, who appears to be something of a gigolo himself. I found these parts of the movie interesting as while it is toned down and done subtly, you can get parts of the film that reference these things quietly and not in your face. The movie neatly balances romance and laughs throughout it. Yet many may be surprised by the percolating tone of melancholy that runs through it, mostly in the shape of the conflicted Holly. And if you’re talking about a film of iconic moments, Breakfast at Tiffany’s is practically overflowing with them. There is the opening where Holly observes Tiffany’s from outside in a beautiful black dress and sunglasses, that still influences fashion today no doubt. Then we have Holly crooning ‘Moon River’ on her fire escape as a bewitched Paul watches. And I can’t forget that lovely rain-soaked kiss that occurs and is romance at its most glorious. One of the most successful parts of the film is the score from Henry Mancini, that hits the notes of romanticism and wistful sadness perfectly, including the aforementioned ‘Moon River’. All of these elements fuse together to craft an entertaining and magical experience that has remained evergreen.

This film ultimately belongs to Audrey Hepburn, who is enchanting as the wild and kooky Holly. She displays the zest for life of an extrovert perfectly, showing a disarming and amusing young lady. But the biggest achievement of Hepburn’s performance is how well she shades the character. Holly is a somewhat complex character of contradictions and Hepburn marvellously gets all the sides across. She’s funny, witty yet underneath it melancholy and searching for meaning. It’s a wonderfully constructed performance from a luminous Audrey Hepburn, who never looked lovelier than she did here. George Peppard sensitively plays the curious Paul, who is enchanted by Holly yet frustrated by her outlook on life and men in general. The two share a somewhat unusual chemistry that begins as friendly and then moves into love as Paul discovers the extent of his feelings for the kooky Holly. In supporting roles, Patricia Neal is cynical and sexy as Paul’s benefactor and Buddy Ebsen has the required sadness for playing someone from Holly’s past. And Martin Balsam is a smooth and perceptive presence as Holly’s agent, who sums her up perfectly with the line “She’s a phony, but she’s a real phony”. The only flaw that can be found in Breakfast at Tiffany’s is Mickey Rooney portraying Holly’s Japanese landlord. Not only is the role racist and very offensive by today’s standards, it is supposed to be funny in the film but is cringe inducing and grotesque to watch.

Directed with style, laced with humour and pathos, as well as a superbly radiant Audrey Hepburn, Breakfast at Tiffany’s is a classic for a reason. They simply don’t make them like they used to and this is one of those films that retains a magical glamour.