REVIEWS OF RENTED DVDs I GET IN THE MAIL

Archive for the ‘Musical’ Category

THE PRINCESS AND THE FROG (2009)

In Animation, Family, Motion Pictures, Musical, P, Romance on July 18, 2010 at 7:36 pm

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STUDIOWalt Disney Pictures

CAST – Anika Noni Rose, Bruno Campos, Keith David, Michael-Leon Wooley, Jennifer Cody, Jim Cummings, Peter Bartlett, Oprah Winfrey, Terrence Howard, John Goodman

DIRECTORS – Ron Clements, John Musker

MPAA Rating: G

Back in 1937, Walt Disney did something that no other movie studio had ever done before: produce an animated motion picture. It was called Snow White and the Seven Dwarfs, and it became both an instant sensation and the start of an enduring legacy. Over the next 67 years, there were over 40 traditionally-animated Disney motion pictures, ending with Home on the Range, in 2004. At the time, computer-animated motion pictures were coming to the forefront (2002’s Treasure Planet had employed CG backgrounds from start to finish), so the Walt Disney Company announced the closure of their hand-drawn animated studio. They released a few non-Pixar computer-animated movies, with mixed results. Then, in 2009, Disney marked the return of its traditional animation studio, and a return to the studio’s roots, with The Princess and the Frog.

In 1920s New Orleans, Tiana (voice of Anika Noni Rose) is a waitress, working two jobs in order to save up enough money to open her own restaurant. When her best friend Charlotte (voice of Jennifer Cody) announces that the visiting Prince Naveen (voice of Bruno Campos) will be at her masquerade ball that evening, she pays Tiana to cater at the event. Now that she has enough money, Tiana buys an abandoned sugar mill and sets her sights on her dream.

Prince Naveen (voice of Bruno Campos) tells Tiana (voice of Anika Noni Rose) she has to kiss him

Meanwhile, Prince Naveen, a happy-go-lucky kind of guy, encounters Dr. Facilier (voice of Keith David), a local witch doctor. Dr. Facilier unleashes a plot to take over the city by transforming the prince into a frog, and his valet Lawrence (voice of Peter Bartlett) into the prince. The plan: Bartlett attends the ball in the prince’s place, proposes to Charlotte, and gains access to her family’s fortune. Later, at the ball, Tiana learns from the realtors she had been outbid. Heartbroken, she wishes on the Evening Star, only to find a frog sitting beside her. She mockingly asks if he wants a kiss, and when he answers, she gets the surprise of her life.

Based on the Brothers Grimm fairy tale “The Frog Prince”, The Princess and the Frog takes you on a journey of discovery, temptation, greed, and love. This is the first entry of Disney’s animation studio (which now uses a clip from the classic cartoon “Steamboat Willie” as its billboard) since its announced return in 2006. Disney’s forté in animated cinema once was fairy tales, but they had lost their direction beginning in the 1990s, with some hits (The Lion King, Tarzan) and more than a few misses (Atlantis, Treasure Planet, Home on the Range). This movie not only marks the return of conventional animation for Disney, it brings back a tradition which has been a Disney staple for 73 years (and counting).

As for the movie itself, the characters are for the most part believable, the pacing is fairly quick, and the story doesn’t feel too contrived. Oh, there is a mild case or two of deus ex machina, but not enough to distract you from the enjoyment of the movie. And this movie is quite enjoyable. There are a few scenes involving Dr. Facilier’s voodoo magic which may be a bit intense for the younger set, but he wouldn’t be much of a villain without them. And, because Tiana is Disney’s first “princess” of African-American origin, and the setting is 1920s New Orleans, there are a couple of moments of veiled racism to provide a sense of credibility to the plot and some historical accuracy. Fans of Tennessee Williams will enjoy John Goodman’s turn as Charlotte’s father (whom she calls “Big Daddy”), and whose dog is named Stella (You can almost hear the “Cat on a Hot Tin Roof” and “A Streetcar Named Desire” references now, can you?). And Randy Newman, who had previously done musical work for Disney/Pixar projects, succeeds in his first foray into the traditional animated world.

The DVD includes the usual string of Disney promos and trailers, including a teaser trailer for the next animated movie, Tangled, based on the story of Rapunzel. There is also a set of deleted scenes, hosted by directors Ron Clements and John Musker, which are presented in sketch, storyboard, or rough animation form; these provide a rare glimpse into the creative process used in feature animation. For the kids, there is an interactive game of identifying Disney princesses; it isn’t random, but once you get through it, you are then presented with a series of thumbnail stories of Snow White and the Seven Dwarfs, Cinderella, Sleeping Beauty, The Little Mermaid, Beauty and the Beast, and Aladdin, including clips from each movie.

The Princess and the Frog is not without its flaws, but it is the beginning of a renewed tradition sure to last for years to come. It is vibrant, entertaining, and romantic, with valuable life lessons such as “It takes hard work to capture a dream” and “It’s okay to go after what you want, as long as you remember what you need”. Overall, this is a solid movie, suitable for almost any age.

3-1/2 (out of 5)

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THE ROCKY HORROR PICTURE SHOW (1975)

In Comedy, Horror, Motion Pictures, Musical, R, Sci-Fi/Fantasy on June 25, 2010 at 12:45 am

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STUDIO – 20th Century Fox

CASTSusan Sarandon, Barry Bostwick, Tim Curry, Richard O’Brien, Patricia Quinn, “Little Nell” Campbell, Meat Loaf, Charles Gray, Peter Hinwood

DIRECTOR – Jim Sharman

MPAA Rating: R
(UK Version Not Rated)

A funny thing happened on September 26, 1975. A movie based on the musical “The Rocky Horror Show” opened in theatres nationwide. It tanked. But an even funnier thing happened a few months later. Those same movie theatres, who were obligated to keep prints of this musical disaster for a certain amount of time, relegated it to screenings at Midnight on the weekends. Over the next 15 years or so, The Rocky Horror Picture Show evolved into a cult phenomenon unlike anything else in cinematic history. In its heyday, millions of people the world over dressed in costumes, performed the movie in front of the screen in real time, talked back to characters, and threw items at the screen on cue. In essence, this was interactive cinema in its truest form, and (to my knowledge) the first known wide-spread case of it. I went to exactly one screening with a roommate in 1985; it was the singularly most bizarre experience of my life, and one of the most fun as well. On this occasion, with the movie’s 35th Anniversary upon us, I have decided to try to watch The Rocky Horror Picture Show.

Normally, this is where I set up the plot for the movies that I see, but the plot to Rocky Horror is so incomprehensible, I can only try, so here goes: Love birds Brad Majors and Janet Weiss (Barry Bostwick, Susan Sarandon) have just left a friend’s wedding. On their way out of town, they get caught in a storm and find they have taken the wrong road. But when they try to turn around, the car gets a flat tire and (wouldn’t you know it?) the spare is no good. So, our intrepid vagabonds walk back up the road  to a castle they’d seen earlier, so they could borrow their phone. When they get there, they are greeted by a strange-looking handyman named Riff-Raff (Richard O’Brien) and his master, one Dr. Frank-N-Furter (Tim Curry). From there, it gets… weird. The plot (such as it is) moves forward, courtesy of a Criminologist, aka “No-Neck” (Charles Gray), who tells the audience of Brad and Janet’s ordeal at Frank-N-Furter Castle as the movie plays out.

Brad and Janet (Barry Bostwick, Susan Sarandon) meet Dr. Frank-N-Furter (Tim Curry)

This is one of those movies that, by itself, is confusing and convoluted. Riddled with so much camp and cheesiness, it is amazing to note that this movie was the launchpad for the careers Susan Sarandon, Brian Bostwick, Tim Curry, and Meat Loaf. Full of overt pansexual imagery, Rocky Horror is not for the uninitiated. It may not be Mary Poppins, but what makes this movie special is the audience participation. The DVD has two versions of the movie, US and UK (The UK version has one extra song). I strongly recommend that if you decide to screen this movie, you do so during a party, because the overall experience will play out better if the crowd is into it.

The special features of the DVD have the customary audio commentary, but there is also an audio track (which plays in the rear surround speakers) of an audience shouting out at the movie. It’s a bit chaotic, but entertaining nonetheless. Another feature that got my attention is the Multi-view feature; when activated, a set of lips will appear on screen, prompting you to see theatre audience members perform that scene live. Finally, there is the “Audience Participation” feature, which cues the audience to do something during the movie. For this, I recommend you lay down a sheet of plastic, or at least have a non-carpeted surface, for easy clean-up. Here are the items you’ll need to take part (Just be careful not to damage the video equipment):

  • Rice
  • Water pistols
  • Newspapers
  • Candles/Cigarette lighters
  • Party hats
  • Noise makers
  • Household cleaning gloves
  • Confetti
  • Toilet paper
  • Toast
  • Frankfurters

The Rocky Horror Picture Show essentially posits the question “What if Dr. Frankenstein was an alien drag queen who was trying to create a boy-toy of his own?” Oh, there are a few hints of “Frankenstein” here, including the requisite castle and thunderstorm, the fact that Rocky Horror, aka The Creation (Peter Hinwood), is afraid of fire, Riff-Raff has Igor’s hunched back, and Magenta (Patricia Quinn) appears in a Bride-of-Frankenstein wig in one scene. But where it is different from the Mary Shelley classic is… well, everywhere else! So, the next time you invite 20 of your closest friends to your home (At least that many, or it just won’t work), break this ol’ chestnut out and make it a real party!

3-1/2 (out of 5)

(Group Screening)

(Alone)

NINE (2009)

In Drama, Motion Pictures, Musical, N, Sci-Fi/Fantasy on June 12, 2010 at 1:19 am

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STUDIO – The Weinstein Company

CASTDaniel Day-Lewis, Marion Cotillard, Penélope Cruz, Sophia Loren, Nicole Kidman, Dame Judi Dench, Kate Hudson, Stacy “Fergie” Ferguson

DIRECTOR – Rob Marshall

MPAA Rating: PG-13

In 1982, Raul Julia took the Broadway stage to star in a musical based on the Federico Fellini classic . It won four Tony Awards, and ran for over 800 performances. Then, in 2003, Antonio Banderas starred in the Broadway revival of the production, which garnered two more Tonys. And in 2009, Chicago director Rob Marshall has brought Nine to the big screen, this time with two-time Oscar winner Daniel Day-Lewis as tormented film director Guido Contini.

It is 1965, and the celebrated auteur has been hounded by his staff, the producers, and his regular star and muse, Claudia Jenssen (Nicole Kidman), to produce a script (or at least reveal some plot points) for his latest project, to be entitled “Italia”. But there is one small issue: There is no script. During a press conference, Guido slips out and drives to a remote spa hotel to try to unwind from the all of the pressure. He’s so stressed, he invites both his wife Luisa (Marion Cotillard) and his mistress Carla (Penélope Cruz) to join him. Before he knows it, the whole production staff shows up, and they have set up shop at the hotel to work out the details of the new movie.

Guido (Daniel Day-Lewis) greets Luisa (Marion Cotillard) at the hotel

I found Nine to be quite entertaining. Daniel Day-Lewis seemed to competently channel Marcello Mastroianni with ease. The casting bore a few surprises, and admittedly a few raised eyebrows. Nearly all the musical numbers were showstoppers. In particular, I give “thumbs-up” (sorry, Mr. Ebert) to four daring numbers. First is Cruz’s smoldering “Call From the Vatican”, a playful, flirtatious, and not-innocent-at-all phone sex romp that was one clever camera angle shy of giving this movie an “R” rating. Kate Hudson was a pleasant surprise playing Stephanie, a star-struck fashion reporter convinced that Guido is Italy, and her number “Cinema Italiano” (written specifically for the movie), is the highlight of the movie. The next performance piece of note goes to Fergie (yes, as in Black-Eyed Peas) as Saraghina, and her number “Be Italian”, in which she (and her ladies) instruct young Guido and his classmates on the ways of love. Finally, Marion Cotillard had two songs in Nine, but it is her second number, “Take It All”, an angry striptease directed at Guido, that got my attention.

And the other women? You couldn’t get much better than Dame Judi Dench as costume designer Lilli, and the incomparable Sophia Loren as Guido’s mother. By the way, I think casting Sophia Loren in this movie gives it validation, as she has been associated with Italian cinema for her entire illustrious career, including a couple of movies directed by Fellini himself.

Nine was filmed both on location in Italy, and in a partially-constructed set for “Italia”, which serves as the stage for the musical numbers, each showing the set in various stages of construction. It also functions as Guido’s imagination, dark, fragmented, and full of sexual energy. This actually helped to make the story easier to follow than your average musical. Director Rob Marshall (himself a Broadway veteran) employed this tactic with Chicago, but here I think worked with greater effect.

There are a few weak spots in this movie. For example, I felt that one of the more pivotal scenes, in which Luisa spots Carla in the restaurant, seemed somewhat contrived. There are also plot differences between Nine and , some of which worked and some which did not. I will not spoil those plot points here, so I will only recommend you screen both movies (like I did) and spot them yourself. Besides, the basic story is still the same, as well as most of the characters’ motivations.

The DVD’s special features include rehearsal and audition footage for the movie, as well as behind-the-scenes looks at the choreography of selected songs, and even a few music videos. I know I’ve already stated this, but I was particularly impressed with Kate Hudson’s number. In one featurette, she explains that even she didn’t know she had it in her, but then again her mother was a go-go dancer on “Rowan & Martin’s Laugh-In” back in the 1960s (Yes, that really is Goldie Hawn in body paint and a bikini).

Nine is a competent retelling of one of Fellini’s greatest movies, but where is succeeds in production value, it does lack a bit in the pacing of the non-musical portions of the movie. Still, it is an irreverently sexy spectacle, sure to please both the eyes and the ears. Oh, by the way, I think Fergie needs to tackle Broadway and more film projects; she is far too talented to have a pop music career.

3-1/2 (out of 5)

IN THE GOOD OLD SUMMERTIME (1949)

In Classic, Comedy, I, Motion Pictures, Musical, Romance on May 16, 2010 at 9:15 am

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STUDIO – MGM

CAST – Judy Garland, Van Johnson, S.Z. Sakall, Spring Byington, Buster Keaton, Marcia Van Dyke, Clinton Sundberg, Lillian Bronson

DIRECTOR – Robert Z. Leonard

NOT RATED (MPAA Equivalent: G)

When I recently opened my rented copy of The Shop Around the Corner, I popped it into my DVD player and discovered that You’ve Got Mail was the second remake of that movie. The first was redone as a musical set at turn of the 20th Century, and that it starred Judy Garland. So, I made a quick trip into my Netflix Queue and ordered In the Good Old Summertime and put it straight to the top of my list. Now, before I proceed any further, let me state that, with the notable exception of The Wizard of Oz and the occasional Andy Hardy serial, I had not seen any motion pictures starring Judy Garland until this point. Nothing against her; she just isn’t my cup of tea. Still, I pressed forward, bowl of popcorn in hand, and watched…

And I dare say I enjoyed this movie. In the Good Old Summertime is the same basic premise of The Shop Around the Corner, only instead of a contemporary department store in Budapest, it’s set in a music store in Chicago. Also, the names have been changed to protect the innocent. The head clerk of the store is Andrew Larkin (Van Johnson), the boss is Otto Oberkugen (S.Z. Sakall), and the romantic interest/fly in the ointment is named Veronica Fisher (Garland). Replace the musical cigarette boxes with 100 table harps, throw in some slapstick, courtesy of Buster Keaton, and some old-tyme songs, and you have yet another Technicolor musical churned out by the factory known as Metro-Goldwyn-Mayer.

Veronica (Judy Garland) offers to "help" Albert (Van Johnson) deomonstrate a song for a customer

The basic story is the same, in some cases nearly word-for-word, but the pacing is actually better than the original. Van Johnson tries not to impersonate Jimmy Stewart, but in some scenes it’s easy to spot that “aw-shucks” quality for which Stewart was famous. Judy Garland proves that even marriage and a child haven’t rusted her pipes. In one scene, a frustrated Veronica is asked to demonstrate a Christmas song; she does so, but only going through the motions in the process. Even in that moment, it’s hard to dismiss her vocal talent.

Speaking of talent, I made discovery with this movie: Marcia Van Dyke. She is an accomplished singer and musician in her own right, and here she shows off one of those talents. Her character, Louise Parkson, lives in the same boarding house as Andrew, and she is a violinist, a damn good one. Several scenes showcase her talent, culminating in an audition for a scholarship in Leipzig, Germany (home of one of the most prestigious orchestras in the world). Van Dyke isn’t much of an actress, but where she lacks in that department, she more than makes up for it with a violin in her hand. And she was very easy on the eyes, too.

One of the things that I noticed in this movie is that many of the musical numbers, especially in the first half, were in 3/4 time (waltz tempo). Now, I’m a sucker for the waltz, but I think even Johann Strauss himself might have cried out “Okay! Okay! Enough with the waltzes! Let’s move on, shall we?” But overall, the music fit in well with the plot, with one minor exception. Okay, maybe not so minor. The bulk of the movie is set in the fall and winter, but MGM needed an excuse to use the song “In the Good Old Summer Time”, which was still a fairly popular tune nearly 50 years after its initial release. So, they bookended it with two brief scenes set in a park during the summer. I’m not sure how, but they managed to pull it off.  Oh, there is one more thing: At the very end of the movie, Veronica and Albert are strolling through the park with a little girl; that brief scene marks the (unofficial) motion picture debut of Judy Garland’s daughter, Liza Minelli.

The DVD comes with a pair of travelogue shorts about Chicago, one for day, one for night. Both are remarkable time capsules to a time that is now all but forgotten. The daytime tour features many fixtures of the skyline, including the Tribune Tower, the Wrigley Building, and the Drake Hotel, along with a parting shot of Buckingham Fountain. The nighttime featurette highlights some of the entertainment and night life aspects of the city, including a music hall frequented by the mayor, Martin H. Kennelly, as well as a dancing horse(!).

In the Good Old Summertime is a surprisingly fun movie to watch. MGM can be considered one of the few manufacturing corporations whose work was considered art, and this musical fits nicely into that fold. Remarkably, I found it at least as charming as The Shop Around the Corner. Up next, the conclusion of my three-part review. Stay tuned…

3-1/2 (out of 5)