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.

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Funny Girl

Tags

1960's, Barbra Streisand, Drama, Funny Girl, Kay Medford, Musical, Omar Sharif, Walter Pidgeon, William Wyler

Film Title

Funny Girl

Director

William Wyler

Starring

• Barbra Streisand as Fanny Brice
• Omar Sharif as Nick Arnstein
• Kay Medford as Rose Brice
• Walter Pidgeon as Florenz Ziegfeld

A colourful and well mounted movie version of the hit play, itself loosely based on the life of comedienne Fanny Brice, Funny Girl launched Barbra Streisand to movie stardom in her debut role( which garnered her an Oscar.) It’s a wonderful showcase for her and despite a lengthy running time, has more than enough virtues, wonderful music and moments of excellence to entrance.

It is the early part of the 20th Century and in New York, Fanny Brice is Jewish girl of modest means but massive dreams to be a star. No matter who tells her that her nose is too big or her legs are too skinny, Fanny strives to attain life on stage with all she’s got. Initially she starts as a bit player on the vaudeville stage, where her lack of classical beauty and awkward movements stand out a lot, but her determination perseveres. Thankfully, during one particular show, her coltish mien and clumsy mannerisms actually endear her to the audience, and she is a resounding hit. Around this time, she also encounters the dashing gambler and businessman Nick Arnstein, who will play an important role in her life in the years to come. With her act growing more popular, she is shocked and excited when she is hired by the legendary Impresario Florenz Ziegfeld. Fanny can’t believe her luck at being given the opportunity to become a big star as a Ziegfeld girl. Yet with her comedic timing and need to be funny, she at first rubs Ziegfeld up the wrong way. Later, she takes to stage and re-invents a number in her own cheeky way. Ziegfeld is perturbed but seeing how talented she is, encourages her comedienne act. The attention then turns back to Fanny’s relationship with Nick Arnstein, who sweeps her off her feet after years of brief encounters, resulting in marriage. Passionately in love with Nick, Fanny leaves the Follies to concentrate on her love. Yet the ensuing years reveal cracks in their union as Nick becomes resentful of his run of bad luck and Fanny’s continued success. Getting back into performing yet slowly growing unhappy with events, Fanny sees that life is not always as funny as her act.

William Wyler, a most experienced and versatile director, ably and admirably directs Funny Girl; finely judging the funny and light first half and the later bittersweet and dramatic stages. Wyler finds both happiness and sadness in the tale of Fanny Brice, while allowing the production and acting take the biggest chunk of the pie. Superb production design and simply gorgeous costumes are featured, with all the gloss of an Old Hollywood production. One can see that Funny Girl was definitely a prestige project, owing to its luscious photography, dazzling choreography and of course the music. Though the story can feel like standard rise to the top stuff that’s been done dozens of times, the fact that some of it has basis in reality adds and it carries an emotional undercurrent throughout. Now Funny Girl is by no means flawless, as the midsection drags and starts to strain in comparison with the rest of the story. A tad of editing and trimming may have benefited this half of the movie. Luckily, there are many elements that compensate for those niggles and keep you watching the largely engrossing movie. Chief among these are the delightful musical numbers, performed with gusto and depth largely by Barbra Streisand. She gets into the songs so much, fully living them to the highest degree. From an amusing roller skate sequence to the moving ‘People’ and defiantly show stopping ‘Don’t Rain On My Parade’, the musical sections are gorgeous and filled with vitality.

What really makes Funny Girl that something special is the outstanding Barbra Streisand. It’s hard to believe that this was her movie debut because of the confidence and ease with which she plays Fanny Brice. Sure she had played the part on stage and was a legit music star, but cinema is a totally different ball game that Streisand rose to, with Oscar-winning results. Embodying a cheeky, gauche charm that later morphs into sadness and disillusionment as her marriage falls apart and it becomes more difficult to put on a smiley face, Streisand’s commitment and exuberant talent announces itself loud and clear. Expertly funny, unwaveringly purposeful, heartbreaking and with a gorgeously soulful voice, Barbra Streisand earned her Oscar with this stunning performance. Omar Sharif has the required smoothness and ultimate desperation for Nick Arnstein, whose serious gambling problem causes his anger at the way things have turned out. Streisand and Sharif share a very good chemistry, going from charmed and loving to torn apart with conviction. Kay Medford is observant and wise as Fanny’s movie, while the role of Ziegfeld is acted with proper aristocratic ability by Walter Pidgeon. The supporting players do well in their parts, but the film belongs to Barbra Streisand.

A splendidly told musical full of glamour, heart and pangs of sadness, Funny Girl is a bravura film that announces the talents of a legend. It can get long-winded, but the overall dedication of those involved makes Funny Girl a sublime film to enjoy.

On a Clear Day You Can See Forever

Tags

1970's, Barbra Streisand, Fantasy, Jack Nicholson, Larry Blyden, Musical, On a Clear Day You Can See Forever, Romance, Vincente Minnelli, Yves Montand

Film Title

On a Clear Day You Can See Forever

Director

Vincente Minnelli

Starring

• Barbra Streisand as Daisy Gamble/ Lady Melinda Tentrees
• Yves Montand as Dr. Marc Chabot
• Larry Blyden as Warren
• Jack Nicholson as Tad

An unusual and visually opulent musical/ romantic fantasy, On a Clear Day You Can See Forever is an oddity, but a visually entrancing one that has a dream like effect and Barbra Streisand to boot.

Daisy Gamble is a scatterbrained, kooky New Yorker who seems to possess strange gifts. For example, she can tell when a phone is about to ring and can cause flowers to grow wildly. Though because she is more than a bit absent-minded, she puts these powers down to nothing and doesn’t give them much thought. While Daisy is slightly zany, she has a priggish fiancée named Warren who always wants to make an impression and chides Daisy for some of her behaviour, particularly her chain-smoking. He suggests she find someone to help curb her habit before an important party they must attend. One day she wanders into a lecture on hypnosis by Dr. Marc Chabot and is herself briefly put under it. Chabot grows curious about Daisy and is interested when she comes to him to help with her habit. He organizes to see Daisy but what he finds while she in under hypnosis is more than he bargained for. Daisy regresses back to what appears to be a past life of hers; Lady Melinda Tentrees, a coquette in 18th Century England who used her charms to climb the ladder and was later put on trial for her supposed misdeeds. At first, Marc thinks that these talks of a past life are fabricated, but soon begins to come around to the idea. Marc doesn’t tell her about what she has said and due to his skill with hypnosis makes sure she doesn’t know about her talks of this past life. Could Daisy genuinely be a reincarnation of Melinda? And what about the complicated feelings that both Marc and Daisy develop? These emotions are given added strangeness by the fact that has been bewitched by Melinda and Daisy becoming attracted to.

Vincente Minnelli exudes his customary and exceptional meticulousness in the director’s chair, particularly when it comes to the dreamlike fantasy aspects of this movie. He’s a director whose work comes alive with colourful plushness from every angle. Minnelli excels best in the regression sequences, accentuating colour with expressive camerawork and eye-catching movements. It’s impossible not to watch open-mouthed at the decorative splendour, embodied through luscious lighting and  beautiful costume design. One special costume deserves considerable mention; a lovely bejeweled gown with a matching headdress that is captured in splendid beauty by the cameras and direction. And the film is given a boost by the fact that Minnelli having had experience in musicals before, is a natural when it comes to the music numbers, which are done with pleasing panache. The standouts are the title song played over psychedelic visuals, the alluring ‘Love With all the Trimmings’ sung by Streisand in her marvellous voice and ‘Come Back to Me’ which Marc sings when he finds his worlds merging with Daisy’s and her past lives. On a Clear Day You Can See Forever has its fair share of flaws though. Some of the techniques used seriously date the film and become jarring as it progresses. The film could have been could a bit more coherent and sharper as the second half gets very bogged down with explanations, too much finery and needless scenes that fail to give a grasp to the blooming romances. Also, the sub plot of Marc’s talks with Daisy getting public notice and provoking controversy is a pretty needless avenue to go down. Despite these flaws, On a Clear Day has enough unusualness and style to appreciate it and forgive the sometimes wayward editing and choppy pacing that show the film’s age .

Barbra Streisand showcases her talents for both singing and acting here, and boy does she know how to put a show on. In this film, she really displays her gifts for entertaining with a set of performances that are funny, charming and kooky. And the fact that Streisand plays two distinctly different characters( a free-spirited and strangely dressed young woman and an elegant, beguiling flirt who rose through English society) so well, is a big sign of her undeniable talents as a performer and actress. Streisand is one of On a Clear Day’s biggest attributes and she is hard to forget. Yves Montand has the necessary bewilderment and curiosity for his role as he finds his views on reincarnation altered drastically. Yet Larry Blyden is introduced to late as Daisy’s pushy fiancée to really make a mark on the story. Movie buffs should look out for a young Jack Nicholson as Daisy’s laid-back step brother. It’s a small role, but any Jack Nicholson is better than none.

Flaws aside regarding the pacing and slow second half, On a Clear Day You Can See Forever has plenty of flourishes from director Vincente Minnelli and delightful energy from the indomitable Barbra Streisand to make it a strange but intoxicating musical fantasy.

Moulin Rouge

Tags

2000's, Baz Luhrmann, Ewan McGregor, Jim Broadbent, John Leguizamo, Moulin Rouge, Musical, Nicole Kidman, Richard Roxburgh, Romance

Film Title

Moulin Rouge

Director

Baz Luhrmann

Starring

• Ewan McGregor as Christian
• Nicole Kidman as Satine
• Jim Broadbent as Harold Zidler
• Richard Roxburgh as The Duke
• John Leguizamo as  Henri de Toulouse-Lautrec

An utterly fantastical, spectacular musical romance, Moulin Rouge is a marvel to behold. With artistic flair and daring panache, Baz Luhrmann crafts an ambitious and boldly mounted extravaganza combining humour, passion and music.

The time is 1900 and young dreamy poet Christian moves to Montmartre, Paris to be among the burgeoning Bohemian writing movement. It isn’t long until Christian comes into contact with the eccentric Henri de Toulouse-Lautrec and his artistic circle. After seeing Christian’s deep talent for words, Toulouse and his friends persuade him to help them finish writing their new show that they want to sell. They take Christian to the decadent dance hall Moulin Rouge, were the dancing is frantic, the atmosphere charged and the sexuality is through the roof as it also doubles as a bordello. It is a place where the rich folk of Paris mingles with the underworld in gaudy business, boozy antics and seedy dealings. The plan is to sell the play to the garrulous owner and impresario Harold Zidler. The star of the Moulin Rouge is a beautiful courtesan named Satine who is a talented singer and wants to be an actress. Upon meeting her after a series of mishaps when she believes he is someone else, Christian is instantly in love and his way with poetry and genuine emotion soon makes these feelings reciprocated by the stunning Satine. The hitch to their flourishing romance is when Harold gets an investor for the play in the form of the unscrupulous Duke, who wants to be bound to Satine and slowly comes to see that Satine has feelings for someone else which causes his anger to considerably rise. As Christian and Satine conduct a concealed affair, there is also the secret matter that Satine is tragically dying of consumption. As the day of the show nears, love, jealousy and tragedy collide in spectacular fashion as the show must go on.

As soon as the movie starts with something akin to a fanfare, you just know that Moulin Rouge is going to be something special. Baz Luhrmann launches us into an intoxicating world of artistic flourishes and grand passions that benefits from and soars because of stunning set design, costumes and visuals. The way he shoots the scenes within the title dance hall are fantastic with quick cuts and a kinetic pace mixing as colourful skirts are lifted in the can can, decadent joy comes alive and a promise of love emerges for Christian in an exotic atmosphere. Moulin Rouge is nothing short of a feast for the senses and ears and Luhrmann knows how to engross us in a spellbinding fable with a tragic heart at the centre of it all. I especially love how the musical numbers are songs that are modern and transported into the old-fashioned setting with cheeky panache and chutzpah. I can’t explain why but I really get a kick out of hearing these contemporary numbers being performed in an archaic environment. Now there are those that will argue that Moulin Rouge is nothing more than grandiose style over substance. I can see where people may be coming from with that accusation, but I for one was too swept up in the movie and found that while the style was overwhelming in parts, there was still interesting characters and a love story in it that left me moved. The romance between Christian and Satine has a feeling of magic to it, they are really meant to be together but ultimately fate my have other plans for these designs and won’t let it be an easy ride for either.

Ewan McGregor is ideally cast as the naive poet Christian, who believes with all his being that love is essential to life. McGregor has a really genuine and earnest way about him here that we sympathise with Christian as his love for Satine is threatened by other forces. One should also note his excellent vocal skills that are mightily impressive to hear. The same can be said of Nicole Kidman, whose singing voice can be described as heavenly. She exudes such a vibrancy, joy and ultimately desperate sadness as the showgirl Satine slowly dying but finding her one true love. Kidman gives her all to the part and shows a flair for seductive comic scenes as well as deep emotional ones that show her incredible range. The ever-reliable Jim Broadbent steals every scene he’s in with his gusto, sense of humour and outrageous look as the showman Harold, who watches over his stars of the show but in particular Satine. Richard Roxburgh has a snake-like quality that he cloaks his character of The Duke in that makes him a very nasty piece of work indeed. John Leguizamo is an utter delight as the impish Toulouse who brings Christian into his circle of artists and writers.

Bold, breathtaking and impressively splendid, Moulin Rouge is simply put a wonderful musical brimming with life.

Chicago

Tags

2000's, Catherine Zeta-Jones, Chicago, Christine Baranski, Drama, John C. Reilly, Musical, Queen Latifah, Renée Zellweger, Richard Gere, Rob Marshall, Taye Diggs

Film Title

Chicago

Director

Rob Marshall

Starring

• Renée Zellweger as Roxie Hart
• Catherine Zeta-Jones as Velma Kelly
• Richard Gere as Billy Flynn
• Queen Latifah as Matron Mama Morton
• John C. Reilly as Amos Hart
• Christine Baranski as Mary Sunshine
• Taye Diggs as The Bandleader

A flashy, well-mounted musical based on the stage show, Chicago smolders with dark sensuality, exuberant, sensational music numbers and tons of smoky atmosphere. This jazzy film is a feast for the eyes and ears and full of scandal, sex and corruption to entertain all.

1920’s Chicago: meek housewife Roxie Hart desperately wants to be a vaudeville star. Although married, she is having an affair with a sleazeball who has been promising her a path to stardom, but has been stringing her along. When she finds this out, she flies into a passionate rage and shoots him dead. At first, a panicked Roxie tries to get her lovingly devoted husband Amos to confess to the crime, but the police see through the story as Amos becomes aware that his wife was having an affair behind his back. Subsequently arrested for her crime of passion, she is sent to the Cook County Jail to await trial. While there, she meets her idol Velma Kelly, an established star who has been imprisoned for shooting dead her husband and her sister/stage partner after discovering their affair. Velma is the queen bee of the spotlight and has no intention of giving it up. Meanwhile, Roxie is prompted by the corrupt but caring Matron Mama Morton to enlist smooth talking lawyer Billy Flynn to represent her in trial. Roxie accepts and soon becomes something of a sensation under the ruthless and manipulative tutelage of Flynn, and proves herself as equally cold-hearted and deceptive in her rise to the top. The media pounces on the story and it seems that murder and ensuing trials are just as much a form of entertainment as vaudeville. This sudden turning of the tables doesn’t sit well with Velma, who wants her stardom back. And with there only being room for one person at the top in the cut throat show business industry, it’s a fight for the spotlight indeed as music, celebrity and murder meet in glamorous fashion.

Rob Marshall invests Chicago with a dark heart and glamorous allure of stardom, complete with a stunning rendering of the scandalous 20’s and the decadent calling of the time. A whole lot of panache is thrown into Chicago that adds to the enjoyment, especially in the musical numbers. Crafted from Roxie’s point of view and filtered through a dreamlike gaze, these are stunning achievements that hark back to the classic musicals from Hollywood’s Golden Era. The opening number ‘All that Jazz’ is sexy and vibrant as sung by the brash diva Velma.  ‘Cell Block Tango’, in which female inmates narrate their crimes while dancing up a darkly seductive storm is a feverish delight. ‘Mister Cellophane’ sung by Roxie’s good-hearted but used husband Amos, dressed as a melancholy clown and reflecting on how he is looked over by everyone because he is unimportant. And my personal favourite ‘When You’re Good to Mama’ where Mama Morton explains the process by which she works known as reciprocity, all while performing a burlesque number with an ostrich feather. Everything comes together in the musical numbers and they really help expand the story and move it on. I couldn’t possibly talk about every musical number without going into extreme detail, so I’ll just say that they are knockouts. I was especially impressed with the portrayal of stardom in this film. A corrupt, dark but very entertaining business that can make you a star and then forget about you the next. There’s something amusingly cynical about this portrayal but also truth to it. And while some musicals rely too much on the numbers to carry them, Chicago has a witty script of catty one-liners and waspish remarks to boast.

In the lead role of fame-seeking Roxie, Renée Zellweger is very convincing, showing off excellent vocal skills and dance moves. She encapsulates Roxie’s naive attitude in the beginning and her rise to stardom which makes her a manipulative woman who cradles every ounce of that spotlight. Considering Zellweger had no prior training in either dance or singing, you really couldn’t tell from watching her fine work here. Yet while Zellweger is excellent in the lead, it’s Catherine Zeta-Jones who steals the show in an Oscar-winning performance. Sexy, bitchy and diva like, she is a marvel to watch whenever she is on the screen. And her sensational dancing skills and beautiful singing voice complete this impressive turn that deservedly won her many awards. Richard Gere is a natural fit for the role of the greasy, silver-tongued lawyer who turns his clients into stars. Queen Latifah is funny, sneaky and fabulous as the matron who will help you out if you provide money. John C. Reilly makes the most of his role of Amos, the neglected husband who is walked over by everyone. Reilly just has this knack for really wringing out deep emotion in this part as we witness how he is used by everyone around him simply because he is a decent person in a time of lies and schemes. Christine Baranski is impressive as the sensational journalist jumping on the scandal, while a mysterious cameo from Taye Diggs as a bandleader who introduces the musical numbers completes the impressive acting on show.

Flamboyant and exuberant, Chicago is a triumph of the musical genre that entertains throughout.

 

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.

 

The Girl Can’t Help It

Tags

1950's, Comedy, Edmond O'Brien, Frank Tashlin, Henry Jones, Jayne Mansfield, Musical, The Girl Can't Help It, Tom Ewell

Film Title

The Girl Can’t Help It

Director

Frank Tashlin

Starring

• Tom Ewell as Tom Miller
• Jayne Mansfield as Jerri Jordan
• Edmond O’Brien as Marty ‘Fats’ Murdock
• Henry Jones as Mousie

A wild and funny satire on the emerging rock n roll music industry of the 1950’s, Frank Tashlin’s The Girl Can’t Help It is a colourful, eventful and rocking comedy musical. It may be dated in some ways, but the comedic performances and music keep it a watchable experience.

Tom Miller is a down on his luck talent agent who hasn’t discovered a singing sensation in years and drinks heavily as a result of these crises. He is approached by mobster Marty Murdock, also referred to as Fats. Having been released from jail, he wants Tom to do a job for him. He wants Tom to turn his attractive, curvaceous and seemingly gullible moll Jerri Jordan into a star in under six weeks. The one hitch is that Jerri can’t sing and freely admits this fact to Tom. Jerri says she just wants to be a wife and live a life of domesticity, but with Fats as a partner this seems impossible. Daunted by what Fats could do to him if he doesn’t oblige, Tom agrees to the task, little realising he will get more than he originally bargained for. Matters become very complicated as Tom begins to fall for Jerri and Fats begins to suspect something about the two. Witty lines, satiric barbs and a host of cameos from many of the music stars of the 50’s heyday all come together in The Girl Can’t Help It.

Frank Tashlin brings his experiences from working in cartoons to the film and shoots it sumptuously in CinemaScope. His skill at larger than life spectacles is perfectly suited to the piece and brings an exuberance and vibrancy to the work. His eye-popping use of colour and blending with rocking music is shown to full effect when Jerri wiggles down the street in a figure-hugging dress and sends men into a frenzy, causing a man’s glasses to break and ice from the cooler to thaw in her curvaceous presence. The musical interludes of the film are outstanding and showcase the talents of many a 50’s singing sensation in inventive ways. Most of the humour in The Girl Can’t Help It comes from the satiric vibe aimed at the underhand world of the music industry and the script nicely gives this a fresh spin. Some of the story may be dated and more than a little silly at times, but these are minor flaws in a cracking musical comedy with visual flair.

Tom Ewell manages to be funny and sympathetic as the down and out Tom, whose life becomes more complicated because of his involvement with Fats and Jerri. The gorgeous Jayne Mansfield brings sexy energy to the part of the seemingly dumb blonde bombshell, who isn’t as dim as people think she is. Mansfield owns the film with her seductive shimmy,witty lines, girlish squeals and quiet intelligence that is masked by her beauty. Edmond O’Brien brings humour and a little menace to his part of Fats, his many outbursts at those around him a particularly funny occurrence. Henry Jones is quietly amusing as the enforcer of Fats, who isn’t as tough as he sometimes looks and has a decent heart.

A rollicking satire on rock n roll, The Girl Can’t Help It can’t quite escape its age but is still a whole lot of fun because of the performances and soundtrack.

 

 

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.

Cadillac Records

Tags

2000's, Adrien Brody, Beyoncé Knowles, Biopic, Cadillac Records, Cedric the Entertainer, Columbus Short, Darnell Martin, Eamonn Walker, Emmanuelle Chriqui, Gabrielle Union, Jeffrey Wright, Mos Def, Musical

Film Title

Cadillac Records

Director

Darnell Martin

Starring

• Adrien Brody as Leonard Chess
• Jeffrey Wright as Muddy Waters
• Columbus Short as Little Walter
• Beyoncé Knowles as Etta James
• Mos Def as Chuck Berry
• Eamonn Walker as Howlin Wolf
• Gabrielle Union as Geneva Wade
• Emmanuelle Chriqui as Revetta Chess
• Cedric the Entertainer as Willie Dixon

Charting the history of Chicago based Chess Records in the 1950’s, Cadillac Records is a sometimes uneven but always interesting biopic of the man behind it, Leonard Chess and the roster of stars that signed to the label and created rock n roll and blues sounds that live on today. What it lacks in originality it more than makes up for with soulful music and some great performances.

Narrated by Willie Dixon, we see as Leonard Chess, a Polish immigrant manages to work his way up the ladder of success because of his ear for talent and non-judgemental view of people. He sees the world of blues and rock n roll as a way to make money and treats the singers like a family. He works hard to craft the record label, which got the eponymous nickname because Chess would give his artists a Cadillac when sales increased. Yet his job isn’t easy as he brings talent into the arena as booze, jealousy and drugs emerge just as much as the rock n roll and blues play. Muddy Waters, Little Walter, Etta James and Chuck Berry are just some of the artists whose tales are told in this story of rock n roll and the troubling nature of fame and the influence of Leonard Chess.

Director Darnell Martin has a keen eye for detail which takes us into the fast-moving world of booze, blues and fast cars of the 1950’s. The editing used is effortless in combining old news reels to the events onscreen. Where the film falters is how issues such as racism and the dubious accounts of the label are skated over without much thought. If these issues had been presented rather than being relegated, the film may have flowed better. The passage of time is also out of tune with years passing by without a single notice. On a positive note, the narration by Willie Dixon(portrayed with wise charm and humour by Cedric the Entertainer) makes for intriguing viewing as he dissects the rise and fall of Chess Records from an inside perspective.

Where Cadillac Records really hits its stride is in the music and the performances of the cast. The scenes of artists performing make for immensely great viewing as we watch the construction of so many influential kinds of music that still have power today. The cast performs these classic numbers with clarity, emotion and above all soul. Adrien Brody is compelling as the driven Leonard, whose label soon becomes too much for him to control as music changes and the 60’s ushers in a new sound. Jeffrey Wright emerges as one of the standout players with a robust performance as Muddy Waters. He delves into the mindset of a talented individual, ladies man and immense performer. Columbus Short provides pathos as the talented but ultimately tragic Little Water, who spiralled out of control as a result of drink addiction. Music star Beyoncé Knowles sizzles as the sexy, feisty but vulnerable Etta James. She shows us the wounded women with a stellar voice who is afraid of rejection and whose life is as eventful as a blues number as she falls into drugs and booze. Knowles should be praised for her emotive rendition of ‘At Last’, which she sings with such beautiful emotional strength. Mos Def imbues the role of Chuck Berry with humour and flair that can’t be bettered. In his small role as Howlin Wolf, Eamonn Walker provides danger and an almost combustible talent. Unfortunately, Gabrielle Union and Emmanuelle Chriqui are saddled with underwritten roles as the wives of Chess and Waters.

It might be uneven and sometimes a little distracting, but Cadillac Records soars with its musical numbers, visual style and soulful performances that keep the viewer engaged throughout.

 

Nine

Tags

2000's, Daniel Day-Lewis, Fergie, Judi Dench, Kate Hudson, Marion Cotillard, Musical, Nicole Kidman, Nine, Penélope Cruz, Rob Marshall, Sophia Loren

Film Title

Nine

Director

Rob Marshall

Starring

• Daniel Day-Lewis as Guido Contini
• Marion Cotillard as Luisa Contini
• Penélope Cruz as Carla Albanese
• Judi Dench as Lilli La Fleur
• Fergie as Saraghina
• Nicole Kidman as Claudia Jenssen
• Kate Hudson as Stephanie
• Sophia Loren as Mamma

Adapted from the musical play of the same name and inspired by Fellini’s 8 1/2, Nine is a visually lovely musical with some great sequences but the lack of emotional connection doesn’t involve. It is a flawed movie, but there are certain points to praise, even if it adds up to less than the sum of its parts.

In 1960’s Italy, Guido Contini is a well renowned  film director. As he approaches middle age, he is starting to develop writer’s block and his relationships with the women in his life further complicate the matter. With a script not written and producers hounding him to make a hit movie, he begins to struggle whilst juggling the many female influences on him and his own personal torment. The women include his neglected wife Luisa; his fiery yet unstable mistress Carla Albanese; his confidant and costume designer Lilli La Fleur; a prostitute who Guido met as a child named Saraghina; his muse and leading lady Claudia Jenssen; a Vogue reporter Stephanie and the memory of his Mamma. Through musical numbers that play out as fantasies in Guido’s head, we see the turmoil of both him and the many women who surround him, some of these numbers come off better than others.

The whole concept of the musical numbers being part of the tormented Guido’s imagination works in some cases, yet director Rob Marshall achieved this effect better in his last musical Chicago. The film should be praised visually for the way it conjures up the stylish 60’s in Italy in all its glory.  Special mention must go to the costumes which are ravishing to look and crafted with precision. Yet the script doesn’t have much of an emotional core and the results emerge as hollow.

The cast of the film is star-studded beyond belief but only three actors are given a chance to expand on their characters because of the flawed script. Daniel Day-Lewis is reliable as ever as the tormented director Guido, managing to imbue him with a melancholy the script sometimes overlooks. Penélope Cruz plays his feisty mistress Carla, who feels pushed away by Guido. Cruz has a very sexy song to perform “A Call from the Vatican” which she pulls off amazingly, it is a raunchy burlesque style number which will no doubt send pulses racing. Yet Cruz also manages to show the vulnerable side to Carla that is sometimes hidden by her passionate demeanor.  But the best performance of the bunch is Marion Cotillard. She beautifully and movingly plays Luisa, the neglected wife of Guido who is growing tired of his philandering and feeling the pain of his rejection. Cotillard has two numbers that are both stunning because of her. The first “My Husband makes Movies” an emotional ballad about her undying love for her husband is beautifully executed and her face expresses her emotions in a subtle yet stunning way. The second “Take it All” is her anguished and angry message to Guido that she won’t stand his treatment any longer. It is in this number that Cotillard really shines by combining sexy determination with a bruised anger whilst baring her body and soul.

Unfortunately for the rest of the cast, their roles are sketchily written. The delightful Judi Dench is not given enough time to be memorable as Guido’s costume designer and the one who gives him advice. Fergie, most famous as the girl from the Black Eyed Peas, does manage to have an excellent musical number in “Be Italian” despite her character of Saraghina, the beach dwelling prostitute who Guido meets as a child, not really calling for much in the way of acting. Nicole Kidman as Guido’s muse Claudia is a stunning actress to watch but the emotional connection with Guido is lacking and her character as a result is not very memorable. Like with Fergie, Kate Hudson has a strong musical number in “Cinema Italiano” which is stunningly cut between black and white with colour, but her character doesn’t really serve much of a purpose. Finally, the eternally beautiful and talented Sophia Loren portrays the lingering spirit of Guido’s mother but although she is moving in her delivery, the narrative doesn’t flesh out her character enough.

All in all, Nine is a very flawed picture that has a weak script and wastes the talents of some actors. But it is a visually arresting piece and it does have some brilliantly choreographed musical numbers.