Composer Richard Sherman attends Mary Poppins 50th Anniversary Commemoration Screening at AFI Fest at TCL Chinese Theatre on November 9, 2013 in Hollywood, California. (Photo by John Sciulli/WireImage)
In 2013, Disney’s celebrated the 50th anniversary of one of its best loved films – MARY POPPINS. Starring Dick Van Dyke and Julie Andrews, in her Academy-Award winning role, the movie featured iconic toe-tapping songs including “A Spoonful of Sugar” and “Supercalifragilisticexpialidocious,”
In the latest episode of The Academy’s on-going series, “The Story of Writing Songs for MARY POPPINS,” features Academy Award-winning composer Richard M. Sherman. In the episode, he recounts the experience of working with his brother Robert B. Sherman to create the beloved songs featured in the film MARY POPPINS.
He shares anecdotes of his interactions with Julie Andrews and Walt Disney, as well as the creative process behind writing the songs “A Spoonful of Sugar” and “Feed the Birds.”
MARY POPPINS, based upon the book by P.L. Travers, was the subject of the 2013 film SAVING MR BANKS starring Tom Hanks and Emma Thompson. Audiences witnessed the extraordinary untold story of how MARY POPPINS was bought to the big screen.
Actor Jason Schwartzman portrayed Sherman in the movie.
Watch The Academy conversation with cast and filmmakers of that film here.
Well, it looks like Hollywood’s marketers are pulling a bit of a fast one this holiday season (not quite a lump of coal in your stocking). Many news pieces and commercials are touting this as a new work from James Cameron (with many references to AVATAR) with direction by Andrew Adamson (of SHREK and NARNIA film fame). The two men are involved (lots of Cameron interviews are used in publicity TV-ready sound bites), but this film is almost a glorified “infomercial”. CIRQUE DU SOLEIL WORLDS AWAY 3D is a “best of” the company’s Las Vegas house shows strung together with a fairly flimsy story/plot. As the film opens a wide-eyed young girl walks past the railroad tracks of her small town and enters a low-rent circus that’s setting up in a vacant field. She catches the eye of a handsome young man helping to set up the big top. Later a sad-faced clown gives the girl a flyer touting their main attraction, the Aerialist. In the main tent the girl recognizes him as the worker with whom she exchanged glances earlier. An accident occurs and both are plunged into a strange otherworldly dimension. The rest of the film concerns their efforts to re-unite while navigating through the odd settings and inhabitants.
And while they try to find each other they take time to watch all manner of gymnastics culled from all the Cirque shows. Skilled athletes perform gravity defying stunts on trampolines, intricate mechanical contraptions, and inclines. And in water. The first third includes lots of precision diving in pools and elevated glass tubs. All in unusual costuming that accents their straining, contorted muscles ( some of theses outfits veer almost into the fetish arena). Most of the music would be at home with a big sci-fi blockbuster while other tunes are from a top 40 jukebox. There’s a piece from the recently closed Elvis-themed show (with bouncing superheroes) and many classic Beatles songs from the Vegas “Love” show. James Cameron’s crew are able to zoom in on the performers and slow down some of the action to better present the grace of the acrobats. Unfortunately much of the immediacy (and danger) of the live show is lost in a cinema adaptation. Everything’s very colorful and should delight the youngest viewers (the preK set), while some of the preteens may get a tad squirmy, unless they have a penchant for performance and gymnastics. The 3D works best in the film’s opening scenes, but it’s not close to the wonder of HUGO or LIFE OF PI. If you can’t afford to go to one of their permanent shows or the traveling troupe, then this film should satisfy your curiosity about Cirque. But as a film this is more of a tossed together buffet than a banquet. Speaking of meals, you may be better off saving your money in order to hit Sin City, have a great Dinner, and attend, say, “Mystere” as your dessert. Now there’s an evening that’s truly worlds away!
Fellow writer Melissa Thompson declared the Best Picture race over on November 13th when she went out on a ledge and moved the film right to the top of the Best Picture pile. “Academy voters will love this type of big production, grand scale slice of old Hollywood! Tom Hooper and the epic he’s apparently made! LES MISERABLES wins Best Picture.” Melissa might just be right. On the day after Thanksgiving, while many were out shopping on Black Friday, New York critics, writers, Guild and Academy members were seeing Oscar-winning director Tom Hooper’s dramatic musical for the first time at the Alice Tully Hall at Lincoln Center.
Previously Hooper and his 2010 film, THE KING’S SPEECH, won Best Director, Best Picture as well as Oscars for Best Actor (Colin Firth) and Best Original Screenplay (David Seidler) at the 83rd Academy Awards. LES MISERABLES is scheduled to be released on December 25, 2012 in the United States and on January 11, 2013 in the United Kingdom.
Associate Culture Editor for The Newsweek Daily Beast Company, Marlow Stern, tweeted out this picture from the screening.
At the movie’s conclusion, followed by a Q&A session with the director, Anne Hathaway (Fantine), Samantha Barks (Éponine) and Eddie Redmayne (Marius Pontmercy), LES MISERABLES was met with cheering and ovations and the same writers took to Twitter and Facebook almost immediately praising the cast and filmmakers –
Hooper could become only the 19th person to win two best director Oscars. Considering the fact that most film people hadn’t even heard of him three years ago, that’s pretty amazing. He seems to inspire a great deal of loyalty and affection from his actors — who rehearsed for this film with him for nine weeks before the cameras started rolling — which matters, since actors account for the largest branch of the Academy.
Hathaway wins. GOD. I wept. Film’s a triumph. They’re on their feet here. NYC crowd ate…it…up. #lesmiserables. FYI, this afternoon’s “Les Miz” screening was NOT the first audience to see the film. Screened for SAG Nom Comm this morning.
First #LesMiserables screening went over extremely well. I’d call it a sure thing Picture nominee for Oscar and the probable Globe winner. Hugh Jackman has a great shot to bump out Denzel or Joaquin in the Best Actor race. His singing is quite impressive. #LesMiserables.
Russell Crowe will be polarizing. I liked him but some people won’t like his voice. Supp actor is weak so he has a shot tho. #LesMiserables
On Movie City News’ GURUS OF GOLDchart, film reporter Susan Wloszczyna of USA Today is the only one to have LES MISERABLES in the #1 spot. Overall it’s holding at number 4 – for now. Among the TV spots running presently, the last the public saw of the film was the international trailer that debuted earlier this month and the recently released trailer. They vary slightly, but I venture to guess the “musical phenomenon” will still pack the same punch once it begins screening for Academy members and Oscar voters this coming Saturday in Los Angeles. For those of you who keep track on the awards season and how LES MISERABLES figures into the mix, here’s a rundown:
85th Academy Awards Nominations: January 10, 2013
70th Annual Golden Globes Awards: Sunday, January 13, 2013
Screen Actors Guild Awards Ceremony: Sunday, January 27, 2013
85th Academy Awards Ceremony: Sunday, February 24, 2013
The Working Title/Cameron Mackintosh production stars Hugh Jackman, Oscarwinner Russell Crowe, Anne Hathaway, Amanda Seyfried, Eddie Redmayne, Aaron Tveit, Samantha Barks, with Helena Bonham Carter and Sacha Baron Cohen.
Set against the backdrop of 19th-century France, Les Misérables tells an enthralling story of broken dreams and unrequited love, passion, sacrifice and redemption – a timeless testament to the survival of the human spirit. Jackman plays ex-prisoner Jean Valjean, hunted for decades by the ruthless policeman Javert (Crowe) after he breaks parole. When Valjean agrees to care for factory worker Fantine’s (Hathaway) young daughter, Cosette, their lives change forever.
In December 2012, the world’s longest-running musical brings its power to the big screen in Tom Hooper’s sweeping and spectacular interpretation of Victor Hugo’s epic tale. With international superstars and beloved songs – including “I Dreamed a Dream,” “Bring Him Home,” “One Day More” and “On My Own” – Les Misérables, the show of shows, is now reborn as the cinematic musical experience of a lifetime.
It’s always an added pleasure when a film throws you a curve ball and catches you be surprise. I went into WHERE DO WE GO NOW? only knowing that it was a foreign film. When it began, the film makers dissolved in on a desolate, barren, rocky landscape. A group of black-clad women walked in unison toward the camera. Each were carrying a framed photo. Okay, here’s another movie about the troubles in the Middle East. I’d lost track off all the films I had seen last year concerning the conflicts and tragedies. And then the women began to bow and lean back, almost as one. Are they… dancing? A bit later two characters exchanged longing glances… and began singing! Well, how about that? This is a musical. A musical about religious conflict in Lebanon. As John Cleese used to say, “And now for something completely different…”
In many sequences, WHERE DO WE GO NOW? is indeed a musical comedy. It’s set in a very remote village, almost inaccessible because of a dangerous bridge over a steep gorge. Television reception is only available on the town’s highest point with endless yards of extension cords. The other link to the outside world is two teenage entrepreneurs who venture to nearby cities on a scooter with a small trailer hitch in order to get supplies via purchase and trade. Anytime the boys bring back a newspaper, the women read them quickly then burn them. Seems the village is almost a 50/50 split between Muslims and Christians. The ladies, headed by the young, widowed mother who owns the cafe (played by co-writer and director Nadine Labaki), want to keep the news about religious conflicts and battles hidden from the menfolk (they’re barely getting along as it is). With the help of the two church leaders, the women try to keep the peace, even arranging to have a busload of Russian exotic dancers break down and have to stay in the town while their transport is fixed. Later when outside forces claim one of the villagers, the women take drastic steps to prevent a possible bloodbath.
Sounds like a pretty serious backdrop for music numbers. For the most part it is, although most of the problems boil down to one thing: the women can keep their cool and work together to prevent the violent, childish men from destroying everything. The guys are little balls of anger or human nitro and ancient dynamite sticks ready to explode at the slightest vibrations. Like those unstable items, they have too be kept in the dark. It’s reminiscent of classic cartoon shorts: the cat’s gotta’ keep quiet so the fearsome bulldog doesn’t wake up and bash him. In this way the film veers into sitcom territory. And the final solution the ladies cook up to avoid all-out work seems flippant and rings completely false. Plus none of the tunes are real showstoppers (perhaps they work better in the native language). After an interesting set-up, WHERE DO WE GO NOW? reduces complex issues into a cliched battle of the sexes (woman smart and calm, men dumb and violent). Don’t hold your breath for the Broadway stage adaptation.
ROCK OF AGES is the latest stage musical to be adapted for the big screen in the wake of the enormous success of CHICAGO over ten years ago ( wow! ). It bucks the popular current trend on Broadway in that it’s not based on a film, so we’re not getting the full-circle vibe from THE PRODUCERS and HAIRSPRAY ( although this is from that remake’s director Adam Shankman ). AGES harkens back to the shows built around known songs like ” Smokey Joe’s Cafe ” and ” Ain’t Misbehavin'” on stage and HOLLYWOOD REVUE OF 1929 and SINGIN’ IN THE RAIN on screen. This work takes the rock anthems from several 80’s bands and attempts to connect them in a story set in that era. It was a big hit on the Great White Way, but will movie audiences be boppin’ their heads to the beat down at the multiplex?
In the far off year of 1987, hopeful singer Sherrie Christian ( Julianne Hough ) is looking wistfully out the window of the bus that’s taking her to that entertainment mecca, Los Angeles ( Hmm, sounds a lot like one of Hough’s previous films, 2010’s BURLESQUE ). On Sunset Boulevard she meets cutie Drew Boley ( Diego Boneta ) who works at the town’s rockinest’ club, the Bourbon Room. He helps her get a waitress job from the owner, Dennis ( Alec Baldwin ) and his right hand man Lonny ( Russell Brand ). The club’s got some tax problems, but Dennis is sure that the final concert of Arsenal will put things right. Unfortunately the club is threatened with closure from the rock hating wife of Mayor Whitmore ( Bryan Cranston ), Patricia ( Catherine Zeta-Jones ). Dennis must also deal with sleazy manager of Arsenal, Paul Gill ( Paul Giamatti ) and the band’s spaced-out frontman, rock god Stacee Jaxx ( Tom Cruise ). The film follows the ups and downs of Sherrie and Drew’s romance and music dreams while leading up to the big concert night and its aftermath. So will those two crazy kids be harmonizing before the final fade-out?
The hard-working cast really put out a lot of energy, but I’ve got a feeling that this material may have worked better in a live venue ( I’ve never seen the stage version ). We’ve got a film here that seems to be a good 20 minutes or so too long. It would’ve benefitted the film’s flow if much of the youngsters’ love story was trimmed. Hough and Bonetta are very photogenic, but there’s little chemistry, and their big break-up fight ( or misunderstanding ) is contrived and cliche’. This does set up an amusing subplot in which Bonetta sells out to Giamatti’s mustache-twirling evil manager. We know the guy is bad news, but does he have to be bathed in a red light in all his backstage close-ups? Giamatti is still a most welcome addition to any supporting cast even as an obvious villain. Speaking of villains, Zeta-Jones is reduced to playing a shrill, bug-eyed gargoyle in most of her scenes as a cartoon wicked witch out to stop all the fun. She has very few chances to light up the screen with her impressive musical talents as she did in CHICAGO. Another great musical talent, Mary J Blige, doesn’t appear till well past the one hour mark as the owner of a gentleman’s club. She’s given a couple of rock standards to sing as her ladies really, really work those poles. AGES promotes Cruise as the main star, but his over-indulged, tattooed space cadet, sex machine grows tiresome early on. Yup, he’s believable screaming into the mike, but the film makers rely too much on close-ups of his primate double, Hey Man for easy chuckles. The supporting comic actors do deliver some big laughs. Brand may be a bit much as a film’s lead so his club manager is better suited to his screen persona. Baldwin’s a delight as the grizzled party animal turned business owner. Too bad he’s not given more to do. Malin Akerman thankfully shows off some of her comedic chops she honed on TV’s ” Children’s’ Hospital ” as an ambitious Rolling Stone reporter. There’s other laughs provided by cameos of a couple of gifted comic actors and , of course, there’s those funny 80’s stuff ( Look at that huge wireless phone! Lookit’ that big hair! ), not to mention a very surprising love duet. The sets and costumes are impressive, but the sanitized version of the Sunset Strip takes the film too far away from reality ( hey, I know people break into song! ). That,along with a clunky, cumbersome script and heavy-handed direction prevent this stage triumph from really coming alive on screen. Those great rock anthems will live on long after this misfire has faded from memory.
The following is taken from the film’s review when it was featured as part of the 2011 Stella Artois St. Louis International Film Festival this past November.
CHICO AND RITA is a dazzling, musical feature-length animated film that uses many modern techniques while harkening back to a time, not too long ago, when American studios flirted with the idea of animation geared to more adult stories. Now this is not to say that the great Pixar films don’t have adult themes but their finished stories are “kid-friendly”. Forty years ago Ralph Bakshi was heading the charge for movie cartoons to compete for mature audiences. As Fritz the Cat said in the ads, ” I’m X-rated and animated! “. Soon Bakshi’s toned down th more extreme elements in his features ( ending his run with WIZARDS, AMERICAN POP, and his take on Tolkein ) while other studios explored the territory with WATERSHIP DOWN and HEAVY METAL. American audiences never embraced these as they did in Asia and Europe. With C&R the artists are tackling an old fashioned show biz rags to riches love story ( having just seen the new BluRay release I was reminded of NEW YORK,NEW YORK ) and giving it some animated energy to go with that bouncy Latin beat.
The film begins in modern day Havana as Chico, an old shoe shine man, returns to his simple apartment. He tunes in his battered radio to a classic music station and listens to one of his old melodies. His mind flashes back to 1948. Then he was a promising young jazz pianist who, along with his bandmate Ramon, are giving two American “chicas ‘ a whirlwind tour of Cuban hot spots. When they enter a small nightclub, Chico is stunned by the talent and beauty of a young singer named Rita. Over the next few years the two form a professional and personal partnership. They make great music, fight, break-up, reunite, and pursue their dreams. Eventually they separate and Chico travels to New York, Las Vegas, and Hollywood to be with his dream girl as her star quickly rises.
The story is told primarily through the medium of hand-drawn 2-D animation ( as opposed to the CGI molded stars like Shrek ). The human characters are simply designed with a minimum of details and linework. Like a live-action film the camera does zoom in slowly on them for dramatic effect. Now, this is not to say that computers were not used here, The intricate background drawings are separated into levels and given a rounded quality as are the gorgeous vintage autos. This is very effective as the principals race through those sixty year old neon streets. Caricature is also used to establish the settings. We get to hear and see several musical greats from Woody Herman to Charlie Parker to Nat King Cole ( is that Desi Arnaz singing at a funeral? ). During a fantasy dream sequence Rita’s dancing with Astaire and romanced by Bogart. As I stated earlier this is really an adult story. There’s some rough language, drug use, smoking, full nudity, and a mob-style shoot out. We even get a bit of history with the Cuban revolution and segregation ( the two leads are dark-skinned Cubans ). This film is a treat for the eyes and ears that doesn’t forget the heart. It’s no wonder that this was one of the five nominees for Best Animated Feature Film at the 20212 Oscars.
Rating: 4.5 Out of 5 Stars
CHICO AND RITA plays exclusively in the St. Louis area at Landmark’s Tivoli Theatre
You can bet that the major studios have been looking at the movie career of multimedia mogul Tyler Perry very closely. Particularly those big box office numbers. For the last few years Perry has become a major Hollywood power player with his low budget, big grossing films. Most of these have been adaptations of his stage productions that tour the country playing for a couple of performances to very enthusiastic, mostly black audiences. Many are little morality dramas spiced up with comedy (often with Perry himself in drag as that force of nature Madea-very broad comedy) and religious lessons (with an occasional hymn or song). Now the big studios hope to tap into that market with a mix of Perry, and a dash of TV’s “American Idol” and “Glee” with a pinch or two of FOOTLOOSE. The end result is a cinematic stew called JOYFUL NOISE, which might tickle the taste buds of many moviegoers. Or not.
When the cameras dolly (wait for it!) down the streets of sleepy Pacashau, Georgia we see the results of the economic down turn with many of the main street stores boarded up and plastered with ” Going Out of Business ” signs. But things are hoppin’ at the Pacashau Divinity Church with the singin’ and testifyin’ rainbow-hued choir (no racial tensions in this peach-flavored Brigadoon) led by Bernard Sparrow (Kris Kristofferson). But before the hymn is finished (hey, before the last of the opening credits) Sparrow has taken wing. The solemn, sometimes stuffy pastor (Courtney B. Vance) passes over widow G.G. Sparrow ( Dolly Parton ) for the position of choir director and appoints Vi Rose (Queen Latifah), the first of several conflicts between the two earth mothers (kind of like Stallone and Snipes facing off in DEMOLITION MAN). Vi Rose is a hardworkin’ mom and nurse (Dad has re-upped at a military base far,far away) trying to raise two kids: her rebellious sixteen year old daughter Olivia (Keke Palmer), who’s the choir’s big voiced MVP, and her kid brother Walter (Dexter Darden), whose Asperger’s syndrome compels him to rattle off music history one-hit-wonder trivia. As if things weren’t complicated enough, G.G.’s teenage grandson Randy (Jeremy Jordan) arrives in town after his mom kicked him out of his NYC home. He’s gonna’ shake things up and make em’ kick off their Sunday shoes (Oops. Well, it does seem that he stumbled on to this set right from the FOOTLOOSE remake auditions). Randy takes an immediate interest in the choir especially Olivia (Conflict #2!) . And before you can say “Conflict #3,” Randy (and G.G.) are pushing Vi Rose to move away from the “traditional” spirituals and get down with gospel versions of pop tunes. I mean that’s the only way they’re gonna’ make it past those pesky regionals (aren’t those “Glee” kids always worked up about them?) and head on to the national finals (cue another TV bit from “American Idol” – “Welcome to Hollywood!”). I mean the poor, out-of-work folks back in Pacashau are a countin’ on them!
The many diverse elements in this film seem to bump, and often crash, into each other making for a sloppy, disjointed wreck of a film. At times it did seem like the first season of a new musical “dramedy” TV show called “The Church Choir” all mashed up into two long hours. Like episodic TV, besides the main leads we get the wacky choir second-stringers (one repeats everything, another believes her lovin’ is fatal- a literal killer “booty”, there’s a break-dancin’ good ole’ boy, and an Asian who talks like Jethro Bodine- it’s pure comedy gold!) The stars do their best, but are hampered by the cliche’ ridden script. It seems as though Latifah’s Vi Rose is delivering sermons to other characters rather than conversing with them. She’s constantly ‘ speech-ifying’. Dolly’s still playing the sweet, feisty, down-home, trashy-dressin’ gal, but is saddled with lots of tired corn-pone idioms and adages. I couldn’t help, but be distracted and saddened by her appearance, which is referenced a few times in the dialogue (Dolly’s G.G. says, “God didn’t make plastic surgeons to starve!”). It’s a shame that actors (male and female) don’t allow themselves to age gracefully (and have a mobile face instead of a plastic kabuki-like mask). This film is the second to explore Asperger’s in the past few weeks (after EXTREMELY LOUD AND INCREDIBLY CLOSE), but here it seems to be more of a plot device to bring the two young love birds together. Most of the time Walter wears shades (resembling Jamie Foxx in RAY) and is able to interact socially when the script needs him to do so. His confrontation with Vi Rose questioning God is, at the least, awkward (He cries, “I don’t wanna’ be like this!” Really?). The scenes at the national finals are laughingly absurd. Sure the stage crew could completely improvise and fellow the performers! No sweat! The popularity of gospel music is deserving of a great fiction feature film since there’s been a number of great documentaries (like 1982’s SAY AMEN, SOMEBODY). Let’s hope Hollywood will produce one soon. In the meantime file this under films you can give to Grammy for her new DVD player.
FOOTLOOSE, the movie that made a cinema icon of future trivia game star Kevin Bacon. Since that film’s release there’s been a full-fledged Broadway stage musical ( now a staple of community theatre groups ) with original songs combined with the movie’s radio-friendly pop tunes. This is not a film version of that. The characters do not burst into song, but there’s plenty of spontaneous dance numbers set to re-mixes of those 84 movie tunes and a few new songs. Will this new film from director Craig Brewer ( HUSTLE AND FLOW ) become the dance-along entertainment of future sleepovers and pajama parties?
The film opens in mid-party three years ago. The high school seniors of Bomont, Tennessee are drinkin’ and dancin’ the night away. But that night of fun ends in tragedy as five of them are killed when a truck plows into their car head on. One of the victims is Bobby, son of Reverend Shaw Moore ( Dennis Quaid ). He speaks eloquently before he votes with the town council to ban public dancing within city limits , to the surprise of his wife ( Andie McDowell ) and daughter Areal ( Julianna Hough ). Jump ahead to the present day as young Ren McCarthy ( Kenny Wormald ) arrives in town. His mother died back in Boston ( Dad bailed on them ) and he’s come to live with his Aunt ( Kim Dickens ), her husband ( Ray McKinnon) and their two grade school age daughters. He’s stunned by the town’s ordinances ! And he’s given a ticket for playing his music too loud in the old VW bug he’s just fixed up! At church Ren is introduced to the Reverend and his family ( could there be sparks between him and Ariel? ). Seems that since the big accident Ariel’s been acting out. She’s fooling around with the older, thuggish, son of the owner of the local stock car track. Flirting with danger? Ren gets a job at a cotton gin, starts high school, joins the football squad, and befriends a team mate, Willard (Miles Teller ). He takes Ren to the local drive-in movie which doubles as a secret dance club. There Ren finally shares some sweet moves with Ariel ( to the consternation of her brutish beau ). From there Ren makes new friends and clashes with some of the adults ( particularly the Reverend ) as he decides to try and fight the dance band while getting closer to the lovely Ariel. With plenty of big musical numbers along the way.
So is this a big improvement in the original? Not by much. The dances are a bit more energetic, but they’re difficult to fully appreciate with the rapid, whiplash editing ( this is, after all, an MTV Production ). I’m reminded of how the great Fred Astaire reacted to new movie musicals. He thought the full body should always be shown during dance numbers. Can’t argue with “Mr. Top Hat”! With the new version Brewer works in some break-dancing and krunk along with country line dancing which often breaks the flow of action. As far as the acting the 84 model has it way over this. Screen newcomer Kenny Wormald has some athletic dance moves, but doesn’t have the same dangerous bad boy vibe of young Kevin Bacon. When he arrives in Bomont he looks like a prep-schooler on his way to audition for ” Grease “. It doesn’t help that by the film’s mid-point he’s hitting the Boston accent ” wicked haahhrd”. Hough of TV’s ” Dancing with the Stars” also has moves to spare, but flounders in some of the third act big dramatic scenes. Surprisingly, the usually energetic Quaid seems to be muzzled as a pretty soft-spoken pastor. The same goes for McDowell as his wife who doesn’t have much to do till close to the finale. There are a few bright spots in the cast. McKinnon shines as Ren’s sympathetic Uncle ( wish I could’ve seen more of the terrific Kim Dickens as his Aunt ). The movie’s MVP may be Miles Teller who shines in a loose, upbeat portrayal of Ren’s new best pal, the rhythmically-challenged, but sweet doofus Willard. For the pre-teen set, this will make for a great fun group night out at the multi-plex. For the rest of us, this new version may leave us appreciating that relic from long ago. Still any version of the Kenny Loggins tune is a toe-tapper.
Successful film biographies often inspire ‘back-story’ sequels. Since many of these movies end at the conclusion of the subject’s life, producers will go back back and explore an earlier chapter of this remarkable individuals history. Hence, we’ve seen films like YOUNG MR. LINCOLN and YOUNG TOM EDISON. Now many years after AMADEUS, cinema explores the life of ten year old Mozart, but from a different viewpoint. As the title suggests MOZART’S SISTER is indeed this story told through the eyes of Wolfgang’s older sister (by five years). The movie is a fresh look at the formative years of this musical genius, but it also tells the story of an older sibling possessed of incredible talent who had no chance to shine in her brother’s long shadow.
Like many musician stories we first encounter the artists between ‘gigs’ and on the road. The Mozart family (father, mother, sister, and the star son) huddle for warmth in a coach bumping along down a desolate forest trail. Life is hard as they trek from one royal court to the next. Some of them keep the family waiting for days and weeks before the royal performance. Often, the family is not paid for their concerts. Pappa Mozart is a strict taskmaster who insists on many hours of practice everyday. He also makes sure that each child knows their place-sister must not play the violin as it is unladylike. The coach breaks down and the family seeks shelter in a nearby abbey. There they meet the four young daughters of French royal family (the king prefers them to stay hidden there and not reside at the palace). Maria befriends them and grows close to the youngest princess, Louise. She asks Maria to deliver a love letter to the son of a music master when the Mozart family reaches Paris. When they arrive at the palace, they learn that the kingdom is in mourning. The wife of the Dauphin (the Prince) has died in childbirth. In order to deliver the note, Maria must dress as a boy. The young music master is tutoring the Dauphin, who does not wish to associate with any females. Maria, in male drag, begins a friendship with the Dauphin. Will she reveal her true identity to him? How will this effect the family and impact the career of young Mozart?
MOZART’S SISTER is quite a treat for the ears and eyes. The music produced by the two young artists is very impressive. Kudos to the actors for handling the instruments convincingly. The costuming of that period is beautifully reproduced. All the settings from the palace interiors to the quiet abbey, classrooms, and apartments help send us to that 1700’s time period. Marc Barbe as the elder Mozart, Leopold, conveys the ambition and drive that compelled them to travel Europe. Delphine Chuillot gives Mama Mozart, Anna-Maria, a quiet dignity as she tries to accommodate her husband’s dreams while trying to provide a stable family atmosphere. Clovis Fouin as the Dauphin alternates between sadness and romantic interest while also being very mysterious. The young actors really shine in this film. David Moreau as little Wolfgang has the playful spirit of a young boy who doesn’t realize how the family’s future rests on his small shoulders. Lisa Feret is quite remarkable as a young princess who seems so wise for her age. Of course the movie sinks or swims on the performance of Marie Feret as (Nannerl) Maria Mozart. You can see her frustration in her eyes as she must take a back seat to the boy genius. Her father dismisses her work and ignores her creations. Her trepidation at dressing as a boy as in YENTYL is soon replaced by her attraction to the troubled prince.She makes us hope that she will triumph over a world that wants to put her in her place and toss her aside. MOZART”S SISTER has all the trappings of a big movie costume epic, but it succeeds in telling a quiet personal story of a young woman who just wanted a chance to share her musical gifts.
1977. The mention of that year warms the heart of many a film geek. For that was the year ( May 25 to be exact ) when the first “Star Wars” movie ( now referred to as STAR WARS EPISODE IV: A NEW HOPE ) was released to theatres. Ah, but another major movie maker besides George Lucas put out a film that Summer. Just in time for July 4th weekend United Artists brought out Martin Scorsese’s NEW YORK, NEW YORK. It did not give Lucas’s movie a run for it’s money. Most Scorsese aficionados rate his other films much higher on their favorite lists. Now that it’s been issued on Blu-Ray, is it time for a re-evaluation? After all THE KING OF COMEDY was a 1982 flop, but is now remembered fondly by many film buffs ( and stand-up comics ).
The action begins at the end of ( military ) action. World War II that is. 1945. VJ Day. New vet and aspiring saxophone player Jimmy Doyle ( Robert DeNiro ) meets strugggling big band singer Francine Evans ( Liza Minnelli ) at a Big Apple victory dance/concert. Soon they’ve formed a nightclub act, but she ditches the team to be part of Freddie Hart’s traveling band.Jimmy follows, joins the band, marries her, takes over the band, and shortly Francine is expecting. As her due date approaches she leaves the band and Jimmy sells it. As he joins a small jazz combo, her star rises as a studio singer. They split afters he gives birth to a son. Francine becomes a big Hollywood movie musical star and Jimmy opens a swanky NYC jazz hot spot. They re-unite at her big Manhattan return concert. We should feel invested in this couple, but Jimmy’s a very abrasive character: moody, hot-tempered, stubborn, arrogant, egotistical. It’s just not one of DeNiro’s compelling roles. It’s hard to understand Francine’s devotion to Jimmy. Liza does her best, but they just don’t click as a screen couple.
Minnelli really comes alive when she’s singing. Years before her camp diva icon status, she was a powerful film presence. She seems so natural in the 40’s fashions and almost leaps off the screen during the big “Happy Endings” movie musical number. There’s some great supporting and cameo actors here. DeNiro and Minnelli share a great scene with the legendary Dick Miller. Lionel Stander has a great role as Minelli’s tough talking agent. Mary Kay Place warbles a great tune as Francine’s replacement. The much missed Clarence Clemons has a few choice scenes as a jazz trumpeter (? ) ! Unfortunately you can sense the actors working very hard in likely improvised scenes. Scorsese wnated to combine his naturalistic style wtih big splashy studio musicals ( one’s that MGM and Fox did so well ). the two bump into each other and never relly mesh. A very unsatisfying ending certainly didn’t help the movie connect with audiences.
The movie’s look is stunning. Scorsese made use of a vibrant color palette ( as Warren Beatty would do many years later in DICK TRACY ). And these hues really pop on Blu-Ray. The sound mixing on the musical numbers is exceptional. The big band standards and the original Kander/Ebb songs ( you’ve got to wait a long while before hearing the now classic title tune ) sound like you’re right in the studio with them. There’s lots of extras here ( not in hi-def though). You get a commentary track with Scorsese and critic Carrie Rickey along with a selected scene commentary with cinematographer Lazlo Kovacs. Also there’s an introduction by Scorsese and a new interview with Minneli, alternate and deleted scenes,and the teaser and theatrical trailer. And of course there’s a making of documentary in two parts that includes interviews with Kovacs, Scorsese, the producers and editor. Unfortunately DeNiro did not participate in any of these. If you’re a fan of Scorsese, the actors, or classic musicals you may want to give NEW YORK, NEW YORK a look ( and a listen ).
