2020 Blindspot Pick #6: Moulin Rouge! (2001)

Tags

Comedy, Drama, Musical, Romance

They say not to judge a book by its cover:
A frontispiece hater could turn to a lover,
If only you got to the end.

You may still despise it a few chapters in,
But stopping too early is almost a sin,
For still you do not know the end.

You may get halfway and still loathe it intensely,
And yet sticking with it could pay off immensely,
If only you got to the end.

Not much more to go, but you’re tempted to quit?
That’s something that nobody wants to admit,
For still you do not know the end.

You finished! I see, and your hatred’s the same?
I thought you would like it, so that is a shame,
At least, though, you now know the end.
________________________

MPA rating:  PG-13 (for much sexual innuendo)

Oh, Baz Luhrmann, I don’t know what to make of you. I take pride in enjoying musicals, and I fully expected to like Moulin Rouge! if only for its status as a jukebox musical. I knew it incorporated more modern songs into its 1900 Parisian setting, so I was prepared for the requisite anachronisms. But my gosh, I haven’t watched a film that was this bipolar in tone since, well, Strictly Ballroom, also by Luhrmann.

I remember Strictly Ballroom as a wholly unique experience. It started out as an obnoxious mockumentary that I was certain I disliked after the first few minutes, but then it just kept getting better, from the romance to the dancing, until it actually won me over by the end. Moulin Rouge! attempts to do the same thing but not nearly as well. The story follows the tragic love story of young poet Christian (Ewan McGregor), who is hastily initiated into a troupe of Bohemian artists and introduced to the lovely Satine (Nicole Kidman), starlet of the Moulin Rouge cabaret and desire of a jealous duke (Richard Roxburgh). That short plot description sounds normal enough, but the in-your-face style is utterly insufferable for the first thirty minutes, with rushed character introductions, sudden tone shifts, cartoonish sound effects, lowbrow humor, choppy editing, and hard-to-decipher dialogue during the musical numbers. My VC decided to stop watching entirely, and I considered it too, though my Blindspot obligation made me stick with it. I read that Luhrmann was trying to channel the tonal rollercoaster of a Bollywood film he had seen, but all his extravagance does is make it difficult to take anything seriously.

And then, slowly but surely, the romance element grows more intense and more serious, managing to achieve the intended epic tragedy of the star-crossed lovers. Despite partaking in a few of the puerile scenes that made me wonder how this movie snagged eight Oscar nominations, McGregor and Kidman are the film’s greatest strength, sporting palpable chemistry and decent musical chops. Their bravura medley of love-themed songs was the first clue that Moulin Rouge! might have more to offer than the beginning indicated.

Yet even if the core romance works well, so much else does not. The musical numbers and the choice of who sings them are a mixed bag and brought to mind the why-not(?) silliness of Mamma Mia! Just as I didn’t really need to hear Julie Walters sing “Take a Chance on Me,” I could have happily gone through life without hearing Jim Broadbent croon “Like a Virgin.” I admired the sheer number of recognizable songs used, but how they were deployed was often cringe-inducing. And even if the tone gets more serious over time, the film still indulges in occasional sound effects that undermine the pathos.

Moulin Rouge! is a case where its substance is upstaged by its distracting style. Strictly Ballroom managed to even out its tone and become a serious feel-good romance, and I suppose that’s easier than transitioning from surreal comedy to heartbreaking tragedy. I am aware that some people are able to look past Moulin Rouge’s faults and enjoy its over-the-top stylings, such as the Oscar-winning art direction and costumes, and I’m glad they can. I’ll acknowledge it’s original and took a risk, but this is one style I can affirm is not for me.

Best line: (several characters, quoting the song “Nature Boy”) “The greatest thing you’ll ever learn is just to love and be loved in return.”

Rank:  Semi-Dishonorable Mention (a rarely used ranking to reflect my mixed feelings)

© 2020 S.G. Liput
708 Followers and Counting

Frozen II (2019)

Tags

Animation, Comedy, Family, Fantasy, Musical

I wish life were more like the movies that end with a swift fade to black,
Where characters make their departures while still in their glory and prime,
Where stories have definite endings and rarely, if ever, come back.
(Unless they accumulate money; then it’s only a matter of time.)

I wonder sometimes where my own life would warrant a “Cut!” and a “Print!”
I’m working my way to a climax, that’s hopefully not when I die.
I wonder if I’m stuck in filler and wish God would give me a hint.
I trust that I’ll know when I see it and hope that it will satisfy.
_______________________

MPA rating: PG

I liked Frozen when it came out in 2013. It’s on my Top 365 movie list. I watched it in the theater and still think “Let It Go” is one of the best movie songs from the last decade. Yet I did put it on my Top Twelve List of Overrated Movies, not because it was bad but because it was overexposed. Disney milked the merchandise so much that it was hard to tell whether the Frozen products ever really went away before the Frozen 2 merch took their place. So it’s easy to believe that Frozen 2 was made solely with profit in mind, but even if that’s the case, it deserves a fair shake and appraisal on its own merits. And I must say I enjoyed this sequel about as much as the first. Like its predecessor, it’s not above criticism, but it’s an enjoyable return to the franchise.

Peace has returned to Arendelle with Elsa (Idina Menzel) as queen, but a strange voice reaches out to her, drawing her to the enchanted forest to the north. And, of course, sister Anna (Kristen Bell), her boyfriend Kristoff (Jonathan Groff), Sven the reindeer, and Olaf the snowman (Josh Gad) are right at her side. The plot of Frozen 2 seems to be the aspect most criticized, and indeed it is rather convoluted with flashbacks, mysteries, and vague explanations that can boil down to a single line of dialogue and thus aren’t answered as clearly as they could have been. Even so, cheap cash-ins don’t usually have this kind of laudable ambition, so I still appreciated how the world and lore of Frozen were expanded, even if its parallels to real-world issues are a bit half-baked. Oh, and did anyone else think the ending is suspiciously similar to Ralph Breaks the Internet? Just sayin’.

But come now, who watched Frozen for the plot? “Let It Go” was clearly the biggest draw, so how does the soundtrack compare? The songs of Frozen 2 may not seem as good at first, but I’ve found they get better with repetition. (Yes, I’ve listened to the soundtrack at work.) “Into the Unknown” is the most “Let It Go”-ish belter for Menzel and the only one nominated for the Best Song Academy Award, and I think it was robbed at the Oscars. But “Show Yourself” has even greater power, especially in the context of the film, while “Some Things Never Change” and “The Next Right Thing” are underappreciated gems, especially the latter for its surprisingly deep and relatable lyrics. The animation at least is one aspect that is clearly on par or better than the original; from the horse spirit made of water to the gorgeous fall foliage, the animation is as lovely as any Disney movie yet. I mean, look at this art!

Frozen 2 may not have been able to replicate the original’s awards, not even being nominated for Best Animated Feature (but neither was Weathering with You, so it’s in good company), but it did become the highest-grossing animated film ever, assuming you don’t count that Lion King remake. I still consider Elsa a bit too lacking in personality, but both films are a welcome return to the classic princess genre that so defined the Disney Renaissance of the ‘90s, with their strong female leads and lovable sidekicks. (Olaf once again gets the funniest scenes.) Plus, as a big fan of Norwegian singer Aurora, I was thrilled that she got such high-profile exposure being featured as “The Voice” in the film and “Into the Unknown,” even if her role is just four notes. Time will tell if Frozen 2 has the same kind of staying power that its predecessor had, but it’s a good way to end Disney Animation’s resurgence in the 2010s. Let’s hope it will continue into the next decade.

Best line: (Olaf; the irony is strong with this one) “Tell me, you’re older, and thus all-knowing; do you ever worry about the notion that nothing is permanent?”   (Anna) “Uh, no.”   (Olaf) “Really? Wow, I can’t wait until I’ve aged just like you, so I don’t have to worry about important things.”

 

Rank: List-Worthy (joining the first Frozen)

 

© 2020 S.G. Liput
697 Followers and Counting

2020 Blindspot Pick #1: What a Way to Go! (1964)

Tags

Classics, Comedy, Musical, Romance

(Today’s NaPoWriMo prompt was to write about a homemade gift, so I merged one I’ve given myself with the set-up of a classic ‘60s film.)

I asked a rich woman what she valued most
Of all the excess she possessed.
She told me of gems from the Ivory Coast,
But they were not what she loved best.

Her multiple husbands had filled her accounts
And heaped her with riches obscene.
But Fabergé eggs and saffron by the ounce
No longer enticed such a queen.

The canvas and carvings of classical pros,
Which every museum would covet,
Served only to gild both the lily and rose,
For only one thing made her love it.

A small piece of paper with “I Heart You” on it
From when her first love was dirt poor.
It quite overshadowed a jewel or a sonnet,
For less with nostalgia is more.
__________________________

MPA rating: Approved (due to some steamy romantic scenes, I’d say it straddles the line between PG and PG-13)

It’s a shameful embarrassment that it’s taken four months for me to finally review the first of my Blindspot picks. Life and work and a certain virus have just delayed my access to actually watching any of the twelve movies I selected at the beginning of the year, but here at last I have begun my catch-up. Before I chose my picks, my mom told me that 1964’s What a Way to Go was one of my late dad’s favorite movies, which surprised me because I never saw it with him or heard him talk about it. But he introduced it to her, and now she’s done the same for me.

Black comedies are a difficult balance of two contrasting genres, so what would such a balance look like in the comparative innocence of a 1964 film? What a Way to Go! is the answer. Shirley MacLaine plays a young widow trying to get rid of her vast amounts of wealth, her inheritance from multiple dead husbands, and after a psychiatrist (Bob Cummings) thinks she’s crazy, she recounts the varied tales of how she accidentally led her lovers to both wild success and early graves.

The best thing about What a Way to Go! is its cast: Dean Martin as a snooty playboy, Dick Van Dyke as an everyman-turned-busybody, Robert Mitchum as a suave millionaire, Gene Kelly as a talented performer, and Paul Newman (as I’ve never seen him before) playing a gruff expatriate. Some of the roles are tailor-made for the actor, such as Gene Kelly’s presence allowing for a song-and-dance number, while others seem designed to make them play against type. It seemed odd seeing Shirley MacLaine so young and attractive when I’ve mainly seen her as a grumpy older lady in Terms of Endearment or Steel Magnolias, but she does a great job as the unluckily lucky widow, even holding her own alongside Gene Kelly when dancing.Most of the goings-on are fairly silly, with the husbands’ unusual (non-graphic) deaths earning more laughs than grief, including a gag that’s crept up elsewhere about trying to milk a male cow. I especially liked how each marriage is compared with a different film genre, launching into a series of vignettes recalling silent comedies, foreign art films, musicals, or posh dramas with ridiculously extravagant costumes from the great Edith Head. All in all, What a Way to Go! was a delightful bit of lightweight absurdity, finding hilarity in repeated tragedy and managing to land a happy ending. It certainly looked like everyone involved had fun making it, as I did watching it.

Best lines: (announcer) “Tonight, in ‘Flaming Lips,’ Pinky Benson proved that a comedy can run five and a half hours. Earlier today, Pinky told us his next film will run seven and a half hours.”

and

(Larry Flint/Paul Newman) “Money corrupts. Art erupts.”

 

Rank: List Runner-Up

 

© 2020 S.G. Liput
680 Followers and Counting

 

Sing (2016)

Tags

Animation, Comedy, Family, Musical

(Today’s NaPoWriMo prompt was for a poem inspired by a favorite musical genre. So I wrote my own lyrics to the beautiful Leonard Cohen classic “Hallelujah,” which was used in this film, and it’s best sung to that tune.)

I heard there was a big contest
Where people sang to prove they’re the best,
But who would try when all the world sees through ya?
Yet trying is a practice sport,
It’s hard to start, easier to thwart,
But still I saw a chance for hallelujah!

I answered to the casting call;
I saw so many give their all,
But not too much or else they’d have to sue ya.
Then my turn came, and I stepped sincere;
I flung my lungs to the judges’ ear
And hoped to God I’d find my hallelujah.

The echoes waned, and I waited there,
And one leaned backward in his chair,
And said, “If I produced, I would pursue ya.
But this audition’s meant for dance,”
So clearly I did not advance,
But still I got a chance at hallelujah.
It is true-ya,
But who knew-ya?
My debut-ya,
My limelight, but not quite,
Hallelujah.
____________________

MPA rating: PG

At first glance, Sing looks very generic, especially with Illumination largely meh record (The Secret Life of Pets, Despicable Me). Anthropomorphic animals? Seen it, that same year actually with Zootopia. A singing competition? That’s only been done, oh, about 100 times. So what does Sing offer? Well, nothing new really, but it does present its familiar elements in a highly crowd-pleasing way with an all-star voice cast and bright animation to rival its competitors.

A koala named Buster Moon (Matthew McConaughey) owns an old failing theater with great passion and nostalgia, and when the bank threatens to foreclose on it, he decides to hold a singing competition to revive the venue’s reputation, accidentally offering a cash prize he doesn’t have. A motley crew of animal characters then audition for the show with their eyes on the prize, and things go both very wrong and very right.

The most notable aspect of Sing is the sheer number of pop standards it includes, over 60, sometimes only for a few seconds, an expense that reportedly used up 15% of the film’s budget. From Taylor Swift and Frank Sinatra to Queen and Stevie Wonder, it’s a veritable auditory feast of well-produced popular music, which also offered me the surprise of realizing how well actors like Scarlett Johansson can sing, even as a porcupine. Plus, I have little doubt that Taron Egerton’s rendition of “I’m Still Standing” helped clinch his casting as Elton John in Rocketman.

The diverse characters and personalities – mice, porcupines, pigs, gorillas, elephants – all get basic but relatable character development, and I liked how every one of the contestants had a different reason for wanting to sing and win the money, whether for selfish needs, a chance to start over, or for more personal hopes and dreams. There was charm to spare in the voice cast, which also included Reese Witherspoon, Seth MacFarlane, Tori Kelly, John C. Reilly, and Peter Serafinowicz, and the animation was smooth and colorful, particularly an impressively rendered scene involving a flood.

So ultimately, Sing is an enjoyable film built on a lackluster base. It’s easily criticized for its lack of originality, yet all the ingredients come together to make it surprisingly… likable, I guess is the word. It’s easily Illumination’s best film, in my book. Plus, I do love the original song “Faith,” sung by Stevie Wonder and Ariana Grande, which deserves a place in my End Credits Song Hall of Fame. Sing doesn’t step far out of any box, but it’s a thoroughly amusing and pleasant watch sure to get your toe tapping.

Best line: (Buster, showing Ash a garish costume) “Isn’t this a great color for you?”
(Ash) “I can’t tell. It’s melting my eyes.”

 

Rank: List Runner-Up

 

© 2020 S.G. Liput
679 Followers and Counting

Blinded by the Light (2019)

Tags

Drama, Musical

(Today’s NaPoWriMo prompt was for a poem about poems or poets that inspired us to write. I went a bit broad to apply to anyone who has been stirred by another’s words. Incidentally, my own inspirations include Longfellow, Tennyson, Dr. Seuss, and Robert Service.)

I’d read and heard so many words
Before I chanced on yours,
And yet I found my being stirred,
My vision blurred, no dream deferred,
Like a patient with his pick of cures.

I’m not the first; so many more
Before me felt the thrill
Of finding phrases to explore
Of peaceful war and whispered roar,
Of things I know or never will.

I’m now a fan, have been for years,
But wish I could return
To when you widened my frontiers
And sparked the gears between my ears
And made my poet’s spirit burn.
_______________________

MPA rating: PG-13 (for language and themes)

Considering this was one of my Top Twelve movies watched last year, I suppose it’s about time I got around to reviewing it. Blinded by the Light is a feel-good delight of a film, especially for any fan of Bruce Springsteen, and although I never considered myself a fan of “The Boss,” I think this movie made me one.

Based off the experiences of real-life journalist Sarfraz Manzoor, Javed Khan (Viveik Kalra) is a Pakistani Brit growing up in the 1980s, caught between the blatant racism of some of his peers and the strict traditionalism of his immigrant dad (Kulvinder Ghir). Feeling even more misunderstood than most teenagers, he begins to despair, only to be jolted to inspiration when a Sikh classmate offers him some Springsteen tapes. Feeling a strong connection to Bruce’s music and themes, Javed renews his aspirations as a writer and begins a romance with a student activist named Eliza (Nell Williams), eventually coming into conflict with his father as he pushes his way further into the world and away from his family.

There are certain protagonists, mainly young writers or dreamers, with whom I just feel a natural kinship: Shizuku in Whisper of the Heart, Mia in La La Land, John-Boy on The Waltons, and now Javed Khan as well. Even if I never had to contend with the racism he does, I found myself able to relate and sympathize so much with his poetry efforts, doubts, and the inspiration he finds in music. Hayley Atwell is a warmly encouraging presence as his English teacher, reminding me of Laura Dern in October Sky. And while disapproving parents are common to this kind of coming-of-age story, Ghir as Javed’s father remains believable in his bullheadedness, perhaps because Javed himself isn’t entirely blameless, and the compromise they both come to is brilliantly heartwarming. Plus, he can be a source of humor, as when he keeps thinking that Springsteen is Jewish.

I was never really aware of it, but my mom told me recently that Bruce Springsteen was one of my late father’s favorite musicians. Since I know he loved the Beatles, I find it interesting that two of his favorite artists were both immortalized by 2019 British films with South Asian protagonists (this one and Yesterday). Not unlike Sing Street, the musical segments add enormous entertainment value to offset the heavier scenes, shots of joy and dancing backed by greatest hits like “Thunder Road,” “Badlands,” “Born to Run,” and (of course) “Blinded by the Light.” If only they’d thrown in “Rosalita” or “Dancing in the Dark” too….

I liked how the lyrics are often shown on-screen to highlight the songs’ poetic aspect that so appeals to Javed, and I was surprised at how some characters considered Springsteen “old” music by 1987. Funny, catchy, and poignant, Blinded by the Light proves the timelessness of not only “The Boss,” but musical and poetic inspiration in general and how it can change impressionable lives for the better.

Best line: (Miss Clay) “Tell me about your poems.”
(Javed) “They’re crap, miss.”
(Miss Clay) “Yeah, but they’re your crap. And if you keep at it, one day you might think they’re not crap.”

 

Rank: List-Worthy

 

© 2020 S.G. Liput
679 Followers and Counting

Yesterday (2019)

Tags

Comedy, Drama, Fantasy, Musical, Romance

Yesterday, I knew my worth,
Which wasn’t much, I must admit,
But now today, of all on Earth,
I see a hole in which I fit.

It seems that I alone can see,
Can know, can do what others can’t,
And filling such a role, for me,
Is quite a gift for God to grant.

I cannot help but feel at times
That I’m perhaps a hypocrite,
But won’t it be the worst of crimes
To take a gift and stifle it?
_____________________

MPAA rating: PG-13

I’m rarely the type of moviegoer who has to see a movie as soon as it comes out, unless it’s some hype-heavy series like Marvel or Star Wars, but I do wish I could have seen Yesterday in the theater, not because it’s that great and wonderful but because I could have seen it with my dad while he was still alive. Ever since the first trailer for Yesterday came out a year ago, I had high hopes for its brilliant premise of a musician waking up in a world where no one knows of the Beatles, especially since my dad was a huge Beatles fan. Yet as with most movies, we subconsciously decided to wait and see it on DVD, giving my dad’s cancer a chance to take him before he got the opportunity. “Yesterday came suddenly,” indeed.

It’s hard for me not to associate this movie with the missed opportunity with my dad, but what of the film itself and its own merits? Well, it’s quite a decent charmer, made better by its celebrated soundtrack. There’s a popular Japanese genre called isekai, in which someone from our world is somehow transported to another, usually some fantasy realm with magic. In the case of struggling singer/songwriter Jack Malik (Himesh Patel), he awakens from a bike accident in an alternate world where significant bits of pop culture are missing, most notably the music of the Beatles. Seeing a morally gray opportunity, he passes off their songs as his own, becoming an overnight sensation and sparking mixed feelings in his long-time manager/crush Ellie (the always lovely Lily James).

Yesterday is pretty much exactly the British isekai that was promised in the trailers, but it didn’t exceed my expectations much or dive as deeply into its premise as it could have. Patel and James have good chemistry, and there are plenty of occasions for unexpected humor, such as the feedback from Jack’s producers about the more eccentric names from the Beatles’ discography. Ed Sheeran also puts in a good-natured cameo as himself, and there’s an unexpected moment toward the end that was surprisingly touching. There’s just something missing, and not just that they never play “Get Back” or “Drive My Car,” despite a good excuse to use the latter. It’s one of those puzzling films that feels like it should be better based on its brilliant premise, yet I can’t say I know how to improve it myself.

One weakness is that the songs suffer somewhat from Patel’s solo covers. He’s a proper singer, but without the four-person harmonies and multiple instruments, it’s harder to see the strength of the songs alone rocketing Jack to the status of an overnight sensation. Nevertheless, I feel like my dad would have really enjoyed Yesterday. The strength of its core idea, likable actors and classic music are enough to make it an enjoyable, feel-good watch. There’s just a lingering sense that it could have been more.

Best line: “You want a good life? It’s not complicated. Tell the girl you love that you love her. And tell the truth to everyone whenever you can.”

 

Rank: List Runner-Up

 

© 2020 S.G. Liput
659 Followers and Counting

 

Anna and the Apocalypse (2018)

Tags

Christmas, Comedy, Drama, Horror, Musical

When the world is collapsing, the nation on edge,
The whole of society out on a ledge,
The sky close to falling, disease at a high,
And dead people don’t even know when to die,
It only makes sense that, when fear’s on the rise,
The level heads left of us prioritize.

Sure, some go for water, and some hunt for food,
And some say we just need the right attitude,
But while these survivalists weigh their concerns
And plan for the worst to diminish returns,
A few must step up to remind all the rest
Of one thing emergencies need when distressed.

MUSIC! That’s right. It’s so often neglected,
But soundtracks do wonders for those not infected.
When life’s at a low, just compose your own cure
And let a good melody help you endure.
Just sing your heart out, out of range of the ghouls,
For songs are survival’s most critical tools.
______________________

MPAA rating: R

What a weird, catchy, sad, gruesome, delightful movie! I’m sure it was an interesting pitch when someone first described the plot of Anna and the Apocalypse, a Christmas musical zombie film that manages to nail all three aspects of its split personality. I normally shy away from zombie movies, but the prospect of an original musical convinced me to give this unique mish-mash a try.

Due to my aversion to gore, I’m always very wary of the zombie genre, yet I know it can be done exceptionally well (Train to Busan and Gakkou Gurashi are two prime examples), so I wanted to give Anna and the Apocalypse a chance. Unsurprisingly, it had the inventive undead bloodshed so common to the genre and so off-putting to me, yet I must admit I loved just about everything else about this British experiment.

It starts out so innocent with its high school setting and teenage misfits and then veers into zombie action and some surprisingly touching moments by the end. And through it all is the magic of song and dance, at first fitting in a High School Musical sort of way and later used as an ironic contrast to the zombie apocalypse. And the music, courtesy of Scottish artists Roddy Hart and Tommy Reilly, is actually darn good! I wouldn’t have been surprised if it came from a Broadway musical or showed up on the radio, yet the fact that it’s all original gives me pure delight.

Putting aside the feeling that I’ve seen versions of all of these characters in other movies many times before, the entire cast of mostly unknowns give their all, instilling a fresh and likable energy to their roles. Ella Hunt is especially good as the wistful Anna, whose zombie-killing weapon of choice is a giant candy cane, and Paul Kaye is a downright ham as the school’s power-mad vice principal. Despite the initial poking fun at how juvenile high-schoolers might actually react to zombies, the whole cast later prove their acting chops as things get more dire. And while dire is to be expected from a movie with Apocalypse in the title, it also sadly saps some of the earlier fun away. Not everyone I wanted to live does, and the half-hopeful ending can’t disguise the inescapable bleakness that almost always accompanies a zombie outbreak. One of the songs even says, “There’s no such thing as a Hollywood ending.”

So Anna and the Apocalypse left me with a strange mix of admiration and indecision. The musical numbers are a blast, and, while I wish I could say I loved every minute of it, I enjoyed far more minutes of it than I ever thought I would in a zombie film. Every actor is on point, and the audacity of its holiday spirit deserves appreciation, especially when it’s this darn likable. Yet it also earns its R rating with the blood-splattering violence and didn’t leave me with the smile I wore through much of it. Thus, I’m pulling out a ranking I’ve only used once: the Semi-Dishonorable List Runner-Up, which sums up my mixed feelings. I hesitate to recommend it, but if the gore and mixed tone don’t bother you, absolutely seek out this ebullient gem. Minus the violence, it would easily be List-Worthy for me. It will no doubt end up as a cult classic addition to the Christmas horror catalog, among which it certainly has the best soundtrack.Best line: (Mr. Savage, after Lisa asks about her boyfriend’s sick grandmother) “Look around you, Miss Snow. What do you see?”
(Lisa, Anna’s friend) “Um…tables?”
(Mr. Savage) “I see civilization on the edge. And what does civilization do when it finds itself on the edge?”
(Lisa) “We help each other?”
(Mr. Savage) “We prioritize.”

 

Rank: Semi-Dishonorable List Runner-Up

 

© 2019 S.G. Liput
656 Followers and Counting

 

Teen Spirit (2018)

Tags

Drama, Musical

We all have a dream at some age
And wait for our turn on the stage.
Dreams shy and untrained
Will remain unattained,
But risk and result turn the page.
____________________________

MPAA rating: PG-13

The Fanning sisters are quite the talented pair. Earlier this year, I was an advocate for Dakota Fanning’s Star Trek-themed Please Stand By, and I’ve been awaiting Elle Fanning’s musical drama Teen Spirit since I posted My Top Twelve 2018 Movies I Hope Are Good nearly two years ago. Teen Spirit is essentially Rocky but with a teenage girl and a singing competition. That’s the easiest way to describe it, yet it fills its familiar mold with catchy pop favorites and earnest performances and ends up being better than the sum of its parts.

Violet Valenski (Fanning) is a British girl of Polish descent whose bucolic life on the Isle of Wight offers her little future, but when the televised competition Teen Spirit comes to town looking for contestants, she finds her chance for success, with the help of washed-up former opera star Vlad (Zlatko Buric). Fanning’s performance is subdued, as if she expects nothing from the world, and joy and frustration are keenly felt when success or its opposite come her way. Her relationship with Vlad is an added source of heart as well, Vlad growing into a father figure and seeing her as a chance to contribute to someone else’s dreams, despite his flaws sabotaging his own. (She didn’t have much to do, but it was nice also to see Clara Rugaard, who was so good in this year’s I Am Mother.)

The best part and main draw for me, though, is the music, much of it performed by the talented Fanning herself, making me think it’s only a matter of time before she tries her hand at a solo album. The soundtrack is mostly pop staples, joined by some less widely known songs, including “Dancing on My Own” by Robyn, “Genesis” by Grimes, “Lights” by Ellie Goulding, and a stellar version of Sigrid’s “Don’t Kill My Vibe.” I can’t help but feel that Teen Spirit will serve as something of a time capsule film for the decade’s pop music, the way ‘80s films like Purple Rain and Footloose were.

As I said, there’s little in the plot that hasn’t been seen many times over, from the smile-worthy underdog story to the dangers of celebrity when Violet reaches her potential fifteen minutes of fame. Yet, despite an occasionally slow pace, it’s an example of a tried and true formula proving its feel-good value, and, while this particular film isn’t an awards magnet, it’s a sign that, between this and Please Stand By, it’s only a matter of time before one of the Fanning sisters ends up with an Oscar.

 

Rank: List Runner-Up

 

© 2019 S.G. Liput
656 Followers and Counting

 

Aladdin (2019)

Tags

Action, Disney, Family, Fantasy, Musical, Romance

There once was a popular tale
That viewers would watch without fail.
So Disney said, “Wait,
Let’s remake and update
A classic that never was stale.”
Despite the naysayers
And unanswered prayers,
That’s just what they did for resale.
And we, the civilians,
Still offered them billions
And all the support they entail.
__________________________

MPAA rating: PG

Like so many others, I rolled my eyes when I heard Disney was continuing their trend of recycling their animated hits into live-action by setting their sights on 1992’s Aladdin. Even so, I thought Aladdin at least had plenty of additional story material in the 1001 Arabian Nights to draw from, so it could potentially be not terrible. Even the Internet freakout over Will Smith’s blue CGI genie didn’t seem like that big of a deal to me. (I swear, people judge movie effects far too quickly, whether it’s Alita’s eyes or photorealistic Pokemon, and usually it turns out fine once you get used to it.) So despite Disney’s so-so track record with these films, I guess I was optimistic but not exactly excited about another Aladdin, and now that I’ve seen it, my opinion hasn’t changed much.

The biggest weakness of these live-action remakes is that they repeatedly tread the same ground, replicating entire scenes and musical numbers that were already perfect in the original and cannot help but pale in comparison. It’s why I despised 2017’s Beauty and the Beast, yet Aladdin somehow seems more forgivable and entertaining, even if it does suffer from the same fault. I think the actors help immensely in this regard: Mena Massoud is a spot-on charming Aladdin, sporting great chemistry with Naomi Scott’s equally well cast Jasmine, who now champions some non-subtle feminism. And while Will Smith as Genie is no Robin Williams, he isn’t really trying to be, instead replacing some of the frenetic jokes with more of a hip-hop swagger. Plus, he even gets his own love interest in Jasmine’s handmaid, a welcome addition played by SNL’s Nasim Pedrad.

Director Guy Ritchie doesn’t really bring much of his unique action style to the proceedings, but it’s all still competent, fast-paced, colorful, and just different enough from the original to make you say, “Hey, why didn’t Jafar fool Aladdin by dressing up as a little old crazy man?!” Honestly, Jafar is the main weak point. Marwan Kenzari does fine with the role, playing him with more of an inferiority complex, but he’s missing so many aspects that made Jafar an iconic villain – Jonathan Freeman’s deep voice, the imposing stature, the goatee – and Iago and the snake staff don’t make up the difference to make him particularly memorable. The musical numbers are similarly not quite as vibrant as their animated counterparts (although the effects team did better with “Friend Like Me” than I was expecting), and Jasmine’s added girl power anthem is lovely but awkwardly placed as far as pacing.

It’s hard to judge these movies on their own merits since it’s hard not to compare them to the original, but if the original Aladdin didn’t exist, I think this one would be an amazing and innovative family film. As it is, it’s a pretty entertaining if uninspired family film with a laudable message, which still isn’t a bad thing these days. It’s at least not the kind of remake that does a disservice to the original, and since Disney insists on making more and more of these, that might be the best case scenario.

Best line: (Jafar) “Steal an apple, and you’re a thief. Steal a kingdom, and you’re a statesman.”

 

Rank: List Runner-Up

 

© 2019 S.G. Liput
653 Followers and Counting

And a very Happy Thanksgiving to all!

 

Version Variations: Goodbye, Mr. Chips (1939, 1969)

Tags

Classics, Drama, Meet 'em and Move on, Musical, Romance, Version Variations

A young boy’s mind is a fallow field
With unknown promise yet to yield,
And every word their minds import
Of criticism or support,
Of firm reproof or merely sport,
Contributes to the man revealed
At last when boyhood is cut short.

To nobly tend this field with care,
Since parents can’t be always there,
Requires a person resolute,
Profuse with passion, temper mute,
With love of learning absolute.
Such people tasting praise is rare,
But they produce the finest fruit.
_____________________

MPAA rating of 1939 version:  Not Rated (should be G)
MPAA rating of 1969 version:  G

Those who’ve seen my Top 365 movie list might know that I love Mr. Holland’s Opus.  I’ve just always been drawn to the story of an unassuming teacher finding worth in the service of his students.  I’ve always vaguely known that 1939’s Goodbye, Mr. Chips, based on a 1934 novella, was the original version of such a story, but I’d never gotten around to seeing it. When I then learned it had been remade as a musical in 1969, I figured it would be a prime chance to compare the two in one of my overdue Version Variation posts.

The first Goodbye, Mr. Chips is known as one of the members of the great movie year of 1939, managing to win Robert Donat the Best Actor Oscar over some stiff competition, including Clark Gable in Gone with the Wind. Having seen the winning performance, I can now see why Donat edged out the rest, letting his range of sometimes inscrutable emotions play out with great subtlety as he ages from a fresh-faced new Latin teacher in 1870 to a celebrated educator in 1933, weighed down with all the joys and sorrows of a lifetime. (My VC enjoyed the film a lot, but as a huge Rhett Butler fan, her loyalties still lie with Gable.) Like Mr. Holland, the respect Mr. Chipping ends up with is hard-won, but much of it stems from his marriage to the lovely Kathy Ellis (Greer Garson), whom he meets on a European holiday. I would have loved for Garson’s role to have been longer, but, even with limited screen time, her warm presence successfully brings the prosaic Chipping out of his shell, improving his reputation at the school.

In many ways, Goodbye, Mr. Chips is exactly the kind of movie I like, a film spanning decades wherein one character meets various people and experiences alongside the ebb and flow of time, fostering a sense of fond nostalgia. I particularly liked his run-ins with successive generations of the Colley family, showing how static his life at school is while his students go on to have lives of their own. Mr. Holland’s Opus had some similarities, but whereas that film allowed time for characters to be eventually remembered, the turnaround in Goodbye, Mr. Chips is sometimes too fast, introducing a character only for us to learn what happened to them years later in a few minutes’ time. Ultimately, Goodbye, Mr. Chips is well-deserving of its classic status, and while there’s no danger of it supplanting my preference for Mr. Holland’s Opus, it was wonderful seeing a forerunner of a story I’ve come to love.

And then there’s the 1969 remake with Peter O’Toole and Petula Clark, which fits into the not-so-modern sentiment that remakes hardly ever match the original. There’s nothing wrong with making it a musical, allowing the songs to mainly serve as interior monologues, but the songs are largely forgettable, except for a couple clever lyrics, and O’Toole just isn’t much of a singer, trying out the Rex Harrison method of talk-singing but less successfully.

The plot has the same basic elements: Chipping is a somewhat unpopular Latin teacher at a boys’ school who meets and marries a girl named Katherine (Clark) and eventually becomes a mainstay of the institution. There are still the lines of boys sounding off their attendance and a very similar ending, but the filmmakers made significant plot changes elsewhere. For one, the time period is moved up, no longer starting in the 1800s but in the 1920s with Chipping already an established teacher; thus, the war he experiences is World War II rather than World War I.

The worst change, though, is that Katherine is no longer a cycling suffragette Chips meets on a mountain but a music hall singer with an unsavory past, and their formerly brief courtship takes up the entire first half of the film, which also features an intermission to pad out its greater length. There’s pushback against their marriage where there was none before, along with Roaring ’20s parties and O’Toole’s wife-at-the-time Siân Phillips as an annoying socialite. I know I said that I wished Chipping’s wife was in the original more, but I was referring to Greer Garson’s version; the writers of the remake essentially rewrote her whole character, and while Petula Clark was great in the role, it was such a weirdly unnecessary change from the original.

Even so, the latter half (or really third) of the film is much more similar to the first film and is better for it. O’Toole and Clark do well with their roles (O’Toole even got an Oscar nomination and won a Golden Globe), although O’Toole’s Chipping is slightly more stiff and crotchety, even in scenes supposed to be romantic. The film overall was solid enough, but, as with so many remakes, it just doesn’t compare with the original.

I guess films about long-suffering teachers who touch the lives of their students just naturally appeal to me, and Goodbye, Mr. Chips, whatever the incarnation, fits that mold. The original is clearly the better of the two, though, and certainly the one I’d recommend first. While the scene wasn’t in the 1939 movie, I couldn’t help but recall Mr. Holland’s Opus when the second film’s Kathy organizes a school musical with the students, which made me wonder how much either version of Goodbye, Mr. Chips really inspired the 1995 film. They’re so different in setting and character, and yet so similar in theme, particularly in their final heartwarming sentiments (see below). I suppose that’s what speaks to me most of all.

Best line (from 1939 film but something similar in both): (Mr. “Chips”) “I thought I heard you saying it was a pity… pity I never had any children. But you’re wrong. I have… thousands of them, thousands of them… and all boys.”

 

Rank of 1939 version:  List Runner-Up

Rank of 1969 version:  Honorable Mention

 

© 2019 S.G. Liput
646 Followers and Counting