Staurday Evening Cartoons: Moana (2016)

 

     Released on November 23rd, 2016, Moana is the 56th animated feature film produced by Walt Disney Animation Studios. Directed by Ron Clements and John Musker from a screenplay by Jared Bush it tells the story of a young Polynesian princess (voiced by Auli'i Cravalho) who sets out to find the demigod Maui (Dwayne Johnson) in order to reverse a terrible curse that threatens the people of her island village.

     After production on The Princess and the Frog wrapped in 2009, directors Clements and Musker pitched three new story treatments to studio head John Lasseter. One of them was centered around the Polynesian demigod Māui, an idea Musker had come up with after learning about Polynesian culture and mythology.  Lasseter greenlight the idea and sent the two directors off on a research trip to Fiji, Samoa, and Tahiti so they could learn more about the people and culture of the South Pacific Ocean. On this trip they learned that three thousand years ago the Polynesia people had, all of a sudden, stopped making long-distance voyages to explore other lands. Deciding to shift the focus from Maui (who became a supporting character) to a young daughter of a chief, the two men began forming their fictional story around this event. 

     Moana hearkens back to the renaissance era Disney films, particularly The Little Mermaid. As both films share the same directors, Ron Clements and John Musker this should come as no surprise. Moana, like Ariel, has an overly protective father and leaves her home to find adventure despite his commands to the contrary. While this kind of plot point has become annoyingly commonplace (in Disney films especially), this films at least gives the father an understandable motivation. He too tried to leave the island as a young man but was shipwrecked and lost his best friend in the attempt.

      The main conflict in the film for Moana herself is one of legacy. She wants to honor her fathers wishes and her peoples traditions, but also feels compelled to leave the island in order to save them. This inner crisis is resolved early on, as Moana discovers that her ancestors were seafaring explorers and that she has been chosen by the ocean itself to restore the heart of Te Fiti, which was stolen by Maui as a gift for humankind. The rest of the film focuses on her adventures with Maui and the relationship between the two characters. Maui at first wants nothing to do with Moana but is forced to accompany her on her quest because it is the will of the ocean. Maui goes through a bit of an arc himself. Having been cast aside by is parents as an infant only to be found by the gods and given superhuman powers, Maui has spent most of his life trying to win the favor of human beings. The disastrous consequences of his stealing the heart of Te Fiti, which include loosing his magic fishhook, the source of his power, has shattered his confidence but, with Moana's help, he regains both. 

     Aside from the overly familiar character drama, my biggest issue with the film is, again, the self aware  humor that creeps in here and there. Maui's wisecrack about how wearing a dress and having an animal sidekick makes you a princess, a reference to the cliches in Disney princess movies that it makes no sense for Maui to reference within the universe of the film, is particularly egregious. Also frustrating is the films mythology. For one thing the ocean, which is portrayed as a kind of force of nature with a will of its own, continually interferes in the plot to the point where it becomes a bit of a contrivance. More troubling, from a theological perspective, is the film's climax which establishes that Te Fiti is also Te Kā, the demon who has made the ocean perilous and, slowly over time, poisoned the islands Moana's people live on, and was corrupted into this by Maui rash actions. This makes the gods seemingly subject to the actions of humans and unable to control their own actions. 

     The film has some beautiful animation, particularly of the ocean. The art design is really vibrant and filled with wonderful details. Particularly impressive are the tattoos that cover Maui's body. Done in traditional hand-drawn animation, the tattoos come to life to display the demigod's past exploits to Moana and also (seeming to have a will of their own) reprimand Maui when he makes bad choices. The music, by Opetaia Foa'i, Mark Mancina, and Lin-Manuel Miranda, is quite strong as well. A rising  Broadway star, Miranda injects a lyrical wit into his songs that has not been seen since the days of Howard Ashman during the Disney renaissance. Maui's big number "You're Welcome", in particular, is both clever and wonderfully catchy with lyrics like:

"Kid, honestly I could go on and on
I could explain every natural phenomenon
The tide, the grass, the ground
Oh, that was Maui just messing around"

belted out in rapid succession. Samoan artist Opetaia Foa'i contributes a really authentic Polynesian spirit to songs like "We Know the Way" while veteran composer Mark Mancina provides both a fitting instrumental accompaniment to these songs and contributes a solid orchestral score.

     The film features strong voice work all around. Hawaiian actress Auliʻi Cravalho brings a real sense of spunk and energy to Moana while also making the character feel down-to-earth and emotionally vulnerable. Dwayne Johnson, who's Maui bears at least some resemblance, plot wise, to the genie from Aladdin, brings his usual infectious charisma and confident masculinity to the role. Though he's no Robin William's, Johnson may be the most entertaining comedic sidekick in a Disney film since the departed comedian, which is impressive considering that Johnson is not really a comic himself. Temuera Morrison (Jango Fett from Star Wars) and Nicole Scherzinger do a good job in their thankless role as Moana's parents. Rachel House, by contrast, gets to shine as Moana's eccentric grandmother, Tala. Finally, Jemaine Clement makes the most of his limited screen-time to imbue the villainous crab Tamatoa with an exotic and self obsessed personality.

     In the end, despite some flaws, Moana is still a pretty fun ride and contains enough lovely animation, well written songs and entertaining comedic material to make it worth your while.

Score: 7/10

 

Musical Mondays: Frozen (2013)

 

     The 53rd Disney animated feature film, Frozen was released on November 22nd, 2013. Written and directed by Chris Buck and Jennifer Lee it is inspired by Hans Christian Andersen's "The Snow Queen." It tells the story of Queen Elsa of Arendelle (Idina Menzel), who looses control of her ice creating powers resulting in a massive blizzard engulfing her kingdom. When a tormented Elsa flees into hiding it is up to her sister Anna (Kristen Bell) to help her see reason and save Arendelle from an eternal winter.

     The Walt Disney studio had begun plans to adapt the works of Hans Christian Andersen as far back as 1937. By 1940 they had begun working on a co-production with Samuel Goldwyn about the life of the author. Disney would animate Andersen's fairy tales, including "The Snow Queen" while Goldwyn would shoot scenes from Andersen's life in live-action. This plans were put on hold during the Second World War, as the studio was focused on making propaganda films to support the war effort. After the war the Anderson biopic went ahead without Disney's involvement, and was released as a wholly live-action film in 1952.

     "The Snow Queen" lay dormant at Disney until the late 1990s, when the studio, spurred on by the tremendous success of their Renaissance era films, began developing a new adaptation. This project too came to a halt in 2002, when Glen Keane left the project to work on Rapunzal (which eventually became Tangled). When John Lasseter was named the new head of the studio in 2006 he convinced his old friend Chris Buck to return to Walt Disney Animation Studios from Sony Pictures Animation. Buck pitched several ideas for new films to Lasseter, including a new concept for "The Snow Queen."

     Production on the film began in 2011 after the success of Tangled. Buck's aim was to "to do something different on the definition of true love," something outside of the studios usual prince/princess romances. The writers struggled to update Anderson's story to fit this aim and to make it seem relatable to modern audiences. By March of 2012, when Jennifer Lee was brought on as a screenwriter, the process of crafting the films story had effectively collapsed. It was not until November of that year that a shooting script was finally completed, leaving the animators with less then a year to complete the film. In the meantime, the script continued to go through revisions, and it was not until June of 2013 that it was finally finished. 

     My first viewing of Frozen was a decidedly lukewarm experience. I didn't dislike it but I was confounded by the level of praise it was receiving. Seeing again after all the hype has died down has not improved my opinion of it, quite the reverse in fact. The script, as might be expected considering the chaotic writing process that went into it, is a a bit of a mess. The source of the conflict is Elsa's fear of her own powers, a fear which leads her to suppress said powers until her ability to control them is compromised. The films opening scene establishes the reason for her fear, but its all rather clunky.

     When playing with her sister as a child, Elsa accidentally injures her sister with her magic. Their parents take Anna to a colony of trolls, whose leader, Grand Pabbie, is able to heal their daughter but, for some reason, must also alter her memory so that she has no relocation of her sisters magical abilities. Despite the Grand Pabbie's advising them that Elsa must learn to control her powers and his warning that fear will be her greatest enemy, her parents completely isolate her and do everything they can to suppress her powers. This is portrayed as a well meaning misinterpretation Grand Pabbie's advice on their part, but it is really a blatant disregarding of it. This flimsy and contrived backstory cripples the whole film and makes Elsa's isolation and fear more frustrating then tragic.  

     A subplot involves Anna finding true love (or does she) with a visiting prince named Hans (Santino Fontana), predictably falling in love at first sight, a fact that we are continuously reminded of throughout the film, to the point that it becomes obnoxious. Of course it turns out that Hans is manipulating Anna for his own ends, and hopes to take the throne of Arendelle for himself. Much has been made of this twist and the way it subverts to typical Disney romance. Little girls should not be taught that "love at first sight" is a reasonable foundation for a relationship, it is argued. 

     However the older Disney classics were firmly in the tradition of the old fairy tale and never meant to offer commentary on real world relationships, rather they presented an idyllic and largely symbolic stories meant to reveal deeper truths about the human experience. Men and women should not, generally, rush into marriage. Because of our flawed and fallen state, it takes time and effort to establish meaningful and loving relationships. However, this does not mean that we should reject the idea that there is someone special that we are meant to be with, for God in his infinite wisdom has decreed every truly good human relationship from eternity. It is this truth that the fairy tale reveals. In any case Anna's relationship with Sven, the films "sensible" alternative to Hans, is not particularly nuanced either.

     Of course, the main purpose of the twist was to shift the focus from the romance to the sisterly relationship between Elsa and Anna. This is an idea I could easily get behind. Unfortunately it is a little lacking in execution. The main problem is that there is not enough screen-time between Elsa and Anna to really flesh out there relationship. After the accident that injured her sister, Elsa is kept away from Anna by their parents, and later of her own volition, in order to protect her. Anna, having had the memory of the accident and of her sisters powers erased, does not understand this but, nonetheless, continues to love her sister. 

     Later, when Anna finally finds her sisters frozen retreat and informs her of the fate of Arendelle, a confused and upset Elsa inadvertently injures her sister once again. Going to the trolls once again Anna is told that only an act of true love can save her. The resolution comes when Anna, to protect her sister from the treacherous Hans, sacrifices herself. This is the "act of true love" to which Grand Pabbie referred and allows Anna to be thawed out. This also makes Elsa realize that love is the key to controlling her powers. Again this is not a bad idea for a climax in principle, but it has not been set-up adequately to be satisfying. After all, Elsa does not learn to control her powers because of a loving relationship with her sister (the thing she has been deprived of since childhood) but by a heroic sacrifice, something that Elsa herself has done, albiet in a misguided fashion, in order to protect her sister. 

     The film does have some good music, both the songs by Robert and Kristen Anderson-Lopez and the score by Christopher Beck. As much as "Let it Go" was overplayed to the point of lunacy I have to admit that it is very well done song (it certainly helps to have a professional mezzo-soprano like Idina Menzel) and works well in the dramatic context of Anna's repressed powers finally finding release, as clumsily developed as that was. Indeed, all of the songs are well written and feature clever lyrics, from the bittersweet and tragic "Do You Want to Build a Snowman?" to, my personal favorite, the Sondheim-esque "In Summer", an ironic little ditty sung by the films comic relief, Josh Gad's aloof snowman Olaf. 

     Frozen is, maybe, the most broadway-esque musical in the Disney canon in its approach. The songs are presented as a natural extensions of conversation between the characters and reveal their emotional states. Take the scene where Anna finally confronts her sister, their increasingly heated conversation giving way to a reprise of "For the First Time in Forever" with Anna singing in a major key and Elsa in a minor key. This kind of thematic connection occurs again and again between the various musical numbers and even the instrumental score. Unfortunately the pop/rock instrumentals that accompany the songs do not blend well at all with Beck's orchestral score and the film is left feeling rather uneven as a result. 

     The film can be a little dull visually at times. The backgrounds largely consist of endless expenses of barren, empty landscape covered in a blanket of snow. To be fair this approach does lend itself well to the story, which is largely one of isolation and emotional repression, at least from Elsa's point-of-view. For the most part, however, the animation is consistently amazing. The interiors of the castle and the town of Arendelle are wonderfully vibrant filled with eye-popping detail. The facial work too, is remarkably expressive, and easily the best the studio had done with 3D animation up to that point. Also of note is the elaborate costume design. Frozen displays a level of detail in the costumes never before seen in an CG animated, a medium which, up to this point, had regulated itself to the generally more streamlined designs exemplified by The Incredibles. 

     The most impressive thing in the film is the way it animates snow. The studio wanted to create a tool that would provide snow effects without the need for switching between different methods and the effects team created a random snowflake generator that allowed them to generate over 2,000 unique snowflakes for the film. The animators also had to figure out how to believably portray the characters interactions with their snow filled landscape. To achieve this, software engineers used advanced mathematics and physics to create a snow simulator software application that could depict realistic snow in a virtual environment. Much research was done in order to make this all as convincing as possible and the results are seamless. 

     In the end, despite some amazing animation and some really memorable songs, Frozen, mostly thanks to its overstuffed script, never gels into a satisfying whole. 

Score: 6/10

Western Wednesdays: Texas Cyclone (1932)

 

     Texas Cyclone was released on February 24th, 1932. Directed by D. Ross Lederman and written by Randall Faye from a story by William Colt MacDonald it stars Tim McCoy as "Texas" Grant, a cowboy who is mistaken by the townsfolk of Stampede for a rancher named Jim Rawlings, who was murdered two years prior. 

     Texas Cyclone features much of the same cast and crew from Two-Fisted Law, another of McCoy's pictures for Columbia released the same year and which I reviewed several weeks ago. Both were directed by D. Ross Lederman and had stories by William Colt MacDonald and both featured John Wayne, Walter Brennan and Wheeler Oakman in the cast. This was very common for series westerns, which were generally produced by a single person (Irving Briskin in this case) and often used the same contract players time and time again (Wayne also appears in Range Feud, one of Buck Jones films for Columbia). 

     This film features a much better plot then Two-Fisted Law, even if it is a well worn one for the genre involving mistaken identity and, later, amnesia. The denouement is a bit rushed, but other then that the film is paced very well. Like that film, and like most early Columbia sound pictures, it relies heavily on speeding up the frame rate for the action scenes. The climax, however, is really suspenseful and more then makes up for the film's otherwise less-then-stellar action. Lederman's steady, unobtrusive direction, holds everything together really well. 

     The supporting cast is better utilized this time around. Wayne is more involved in the plot, and even gets a short action scene of his own. Walter Brennan's role here is a more familiar one for him, playing the crotchety old sheriff, Lew Collins. Shirley Grey, who plays Rawlings' wife, is a more interesting love interest then Alice Day was and plays off McCoy really well. Vernon Dent is featured in a small but memorable role as Hefty, a bartender who was friendly with Rawlings. Wheeler Oakman makes for a solid villain once again as does Wallace MacDonald as his henchmen. McCoy himself is in fine form, particularly during the climax when his character is clearly under duress. 

     Featuring a strong cast, a well plotted story and a first-rate climax, Texas Cyclone is a solid Tim McCoy western.

Score: 8/10

Western Wednesdays: Hit the Saddle (1937)

      Hit the Saddle is the fifth film in Republic's Three Mesquiteers series. It is directed by Mack V. Wright from a script by Oliver Drake and Maurice Geraghty. In it the Mesquiteers must protect a local wild horse sanctuary from greedy rancher Rance McGowan (played by J.P. McGowan) while Stony falls for the local saloon girl, Rita (played by a young Rita Hayworth, when she was still going by Rita Cansino).

     Hit the Saddle is a good delineation of the camaraderie and chemistry between the three Mesquieteers. The impulsive, happy-go-lucky Stony falls for the Rita, who is only interested in his money which she hopes to use to move to New York. The steady, level headed Tuscon sees right through Rita and tries to warn Stony about her but he won't listen, leading to a falling out between the two. It's Lullaby who has to patch things up, by offering Rita the money she needs if she agrees to break up with Stony. Lullaby is often the glue who holds the trio together. This romantic subplot ties into the main plot only in that the tension between Stony and Tuscon extends to both. When Sheriff Miller (Ed Cassidy) is killed by one of McGowan's horses, which he has disguised as a wild pinto in order to push the townsfolk to call for the protection of the wild horses to be revoked, Tuscon, as the new sheriff is forced to capture the pinto and have it executed. Stony, not believing that the pinto is responsible, opposes him and, after Rita leaves him, he sets the condemned horse free and runs off.

     The cast all do a good job. Bob Livingston is convincing as an unusually hot-headed Stony. Ray Corrigan is cool as ice as the stalwart Tuscon. Max Terhune gets a couple good moments, including an amusing but rather pointless comedic sequence where he uses ventriloquist dummy Elmer to lecture some patrons at the bar about the evils of drink. All three have good chemistry with each other and with co-star Rita Hayworth, who does a good job as the scheming, though still likable, saloon girl. Terhune's scene with her is particularly well done. He and Corrigan also have some rather endearing scenes with Sammy McKim, who plays the sheriffs overeager son, Tim Miller. 

     It's not a perfect film. The two competing plot threads mean that neither one is fully developed, and the pacing is rushed at times as a result. The action is dominated by stock footage of stampeding horses (as was typical for westerns focusing on this kind of thing). On the other hand, the two plot lines are, at least, linked by the drama between the characters and the new action material (a fistfight early on and the shootout which serves as the films climax) is up to the usual Republic standards.

Score: 7/10

Western Wednesdays: Two-Fisted Law (1932)

     Two-Fisted Law was released by Columbia Pictures on June 8th, 1932. Produced by Irving Briskin and directed by D. Ross Lederman it is based on a story by William Colt MacDonald (best known for writing the Three Mesquiteers series of novels). It is one of many westerns that Tim McCoy starred in for Universal between 1931 and 1935.

      In this film McCoy plays Tim Clark, a rancher who is cheated out of his rancher by Wheeler Oakman's Bob Russell. Returning home after two years he finds that Russell is now trying to take take the ranch belonging to his girl (Alice Day's Betty Owen) as well. When Tim gets in the way of Russell's plans he is framed for robbing the express office and murdering the clerk. Tim must work fast to clear his name and buy back his ranch from Russell. 

     Two-Fisted Law has a rather flimsy plot. Once he comes back from his prospecting, Clark is in supreme command of the situation, having obtained ample money with which to buy back his ranch and being skilled enough with his gun that Russell's henchmen are afraid of him. Because of this, the filmmakers have to keep coming up with obstacles to get in his way and then contriving an easy solution. In one scene Tim goes to the express office to look for clues that might exonerate him and conveniently finds a piece of paper with a bloody boot print that no one else noticed. He is suspected, in part, because of the large sum of money he gives to Russell to pay off Betty's debt. He obtained this money from the silver mine he discovered during his absence but doesn't bother to inform the sheriff of this until the end of the film. 

      This all makes for some erratic pacing. The general structure of the film is to have the villains come up with some ploy to either kill Tim or have him arrested, only for him to easily overcome them time and time again. It should be noted the the version I watched was edited for TV and about 7 minutes were cut from the film (this seems to be the only version currently available). It is possible that these pacing issues were less egregious the full length version. Alas, I may never know.

     The film does boast a pretty impressive cast. How many other westerns can claim to unite an established star like McCoy with young, not yet famous actors like John Wayne and Walter Brennan, both of whom are in fine form here. The film also features the always reliable Wheeler Oakman as the heavy and Tully Marshall, a veteran of the silent era, as the beleaguered sheriff who is forced to go against Clark in spite of his better judgement. Both do a fine job. Alice Day is a bit of a weak link as the love interest, delivering her lines rather woodenly at times. McCoy, of course, is great in the lead, even if he can't shoot straight to save his life. He has such a natural virility and quiet, confident presence and he commands your attention whenever he's onscreen.  

 

 

     D. Ross Lederman's direction is pretty strong. He and cinematographer Benjamin H. Kline (who helmed many of the Rin Tin Tin serials for Mascot pictures) utilize an unusual amount of camera movement for a film from this period. There are plenty of chase scenes and shootouts spread throughout the picture and there fairly well done, though the former do suffer from the use of sped up frame rates, an all too common tactic for action pictures in this period. 

     All in all Two-Fisted Law is a bit of a mediocre western, though it has its merits. I'd recommend for fans of McCoy or those who want to see a young John Wayne and Walter Brennan on screen together.

Score: 6/10

Saturday Evening Cartoons: Tangled (2010)

     Tangled is the 50th animated feature film to be released by Walt Disney Animation Studios. Directed by Nathan Greno and Byron Howard from a screenplay by Dan Fogelman, it is a retelling of the German fairy tale Rapunzel. In it Mother Gothel (Donna Murphy), on finding a magical healing flower, hoards it for herself in order to retain her youth. When the people of the kingdom take the flower in order to heal the ailing queen, Gothel wisks away their newborn daughter Rapunzel (Mandy Moore), whose golden hair has taken on the flowers restorative properties. 

     Like The Princess and the Frog, the plot of Tangled gives equal focus both the the Princess character and her male love interest (Zachary Levi's Flynn Rider). Indeed, Rider is the film's POV character, narrating the events of the film for the audience. He is introduced as a rogue, a thief and a ladies man with a cocky, swashbuckling personality but, later in the film, this is revealed to be an act, imitating a folk hero that the outlaw, who's real name is Eugene Fitzherbert, read about as a young orphan. Rapunzel's innocence and wide eyed naivete disarm the cynical Rider and bring out a vulnerable emotional side that has been buried inside Eugene for many years. Eugene, like Prince Naveen from The Princess and the Frog, decides to make a heroic sacrfice for his new found love in the film's climax, but it is unfortunately undercut by a rather dubious deus-ex-machina.

     Rapunzel's flaws are not as clearly defined as Tiana's. She is mostly just naive and easily manipulated, which is perfectly understandable considering that she was raised by a surrogate mother who pretends to love her in order to keep her locked up and gain exclusive access to her hair's magical properties. Mother Gothel may be the most thoroughly despicable villain in the Disney canon, driven purely by vanity and selfishness. Her abusive relationship with Rapunzel is one of the films more interesting ideas, and provides some unusually dark and at times unsettling subtext for a Disney film. Rapunzel too offers a heroic sacrifice, allowing Mother Gothel to keep her imprisoned if she allows her to save Eugene's life.

     The songs, composed by Alan Menken with lyrics written by multiple Tony Award nominee Glenn Slater are very evocative of contemporary Broadway and as such, hearken back to the Disney Renaissance. It is clear that the studio wanted the film to be reminiscent of the older classics, so Menken was a natural choice having composed the music for Beauty and the Beast (1991), Aladdin (1992), Pocahontas (1995), The Hunchback of Notre Dame (1996), and Hercules (1997). While not reaching the heights of Beauty and the Beast or Aladdin (Glenn Slater is no Howard Ashman) Tangled still features some strong material. "Mother Knows Best" is certainly the best of the bunch (no pun intended) capitalizing on Donna Murphy's vocal range and experience on Broadway it also succinctly captures, in a winking, comedic way, Mother Gothel's cold calculating manipulation of the unsuspecting Rapunzel. 

     The biggest drawback for me is the ironical, winking tone that dominates most of the songs, a tonal problem that also extends to Zachary Levi's narrative voice-over. This kind of self-awareness, so pervasive in modern cinema, takes away from the genuine emotional core of the story. This is especially irksome in a Disney fairy-tale, once a bastion of sincere, morally unambiguous family fare. On the other hand the film is incredibly funny at times. The romantic banter between Rapunzel and Rider is endearing but the real showstopper is the outrageous slapstick between Rider and Maximus, the police horse who acts more like a loyal bloodhound. There's one sequence in the film's second act that is so flamboyant in its levels of bravado and daring stunts that it wouldn't feel out of place in a Pirates of the Caribbean film.

     What Tangled really has going for it is its innovative, at times draw-dropping animation. Glen Keane, who came up with the concept for the film in 1996 and originally proposed doing it with traditional 2D animation, wanted the film to have a more fluid appearance, hearkening back to the Golden era of Disney animation. Computer animation technology was not able to achieve this in the early 2000's when the film was first proposed but, by the time Keane was replaced with Byron Howard and Nathan Greno in 2008, significant strides had been made. Rather then focusing on realism, as previous Disney CG efforts had, the animators were able to replicate the intuitive sense of depth inherent in hand-drawn animation. To do this they used a new technique called multi-rigging where each pair of virtual camera is used on a separate element, like the background, foreground, and characters, without adjusting for the relation with the other cameras, resulting in something that would be visually impossible in the real world. 

     Visually, the film hearkens back to the rococo style of Cinderella and takes inspiration from the oil paintings of Jean-Honoré Fragonard. It's one of Disney's most beautiful looking films. The backgrounds have a lush, painterly quality and the characters are expressive and move in with wonderful fluidity. The film's use of lighting is particularly striking: the way the sunlight streaks through the windows of Rapunzel's tower or the way the lanterns, floating through the sky, cast a reflection on the water below, suspending Rapunzel and Eugene in a pool of sparkling luminescence.

     Though suffering from an overabundance of ironic humor and featuring a contrived denouement Tangled still manages to come out on top thanks to its strong characters, a solid soundtrack from Alan Menken, and some of the best looking animation of the past decade. 

Score: 8/10

My Favorite Films: The Magnificent Seven (1960)

 

     The Magnificent Seven is not a film I grew up with. For whatever reason, perhaps because my father was not really familiar with it himself, it was not among the westerns I frequently watched as a kid which included Sons of the Pioneers, The Searchers, Stagecoach, She Wore a Yellow Ribbon, and a select number episodes of Bonanza and The Lone Ranger that we owned on VHS. I discovered it in my teen years when I first became interested in film. The western genre was always of particular interest to me and I wanted to catch up on many of the classics I hadn't seen. Films like High Noon, Shane and The Good, the Bad and the Ugly quickly became new favorites, as did The Magnificent Seven.

     The Magnificent Seven is, in some ways, a perfectly succinct delineation of the genres central themes, exploring the cost of living a violent lifestyle and the invisible barrier that exists between violent men and the society that they fight to protect or oppress. The seven are called in to help the people of the Mexican village because they possess the skills necessary to do this. The villagers can offer them very little in return but, at this late stage in their careers with work drying up and the west disappearing, they are willing to do almost anything to continue to lead the life they've chosen, and find it impossible to settle down to a "normal life". In addition, many of them hope to do something truly noble with this job as opposed to cynically selling their guns to the highest bidder. 

     In some ways these themes are rather explicit. The old man (Vladimir Sokoloff) tells Chris "You are like the wind, blowing over the land and passing on." On the other hand there are questions the film poses which remain unanswered because the audience, assuming they have even a passing familiarity with the genre, already know the answers. When Calvera is expresses his confusion as to the motivation for the American gunfighters aiding the villagers the only answer he gets is Vin's cryptic, "it seemed to be a good idea at the time." But we, as an audience, know why they took the job, and why they return to finish it. Like Will Kane, Shane, the Ringo Kid and so many other western heroes before them, the seven cannot turn down this call for help, this challenge with which they are confronted. Of course, much of this thematic heft is thanks to Akira Kurasawa, along with screenwriters Shinobu Hashimoto and Hideo Oguni, whose Seven Samurai provided a beautiful template for John Sturges and William Roberts to follow. While not as artistically as ambitious as Samurai, Sturges was able to condense Kurasawa's four hour opus with admirable economy. 

     The director had a real penchant for handling large ensemble casts of characters. The way he introduces the seven, one by one, in a series of memorable vignettes, is nothing short of brilliant. We very quickly learn what kind of people these men are and what motivates them. Chris and Vin (played by Yul Brynner and Steve McQueen respectively) are introduced together, taking a job riding shotgun for a hearse, a scene which establishes the violent prowess of both men and, in particular, the natural leadership and cool-headedness of the former and the audacious, wild tenacity of the latter. Soon after we meet Horst Buchholz's Chico, a hot-headed, wannabe gunslinger who fails to pass muster with Chris. Brad Dexter's Harry Luck is then introduced as an old friend of Chris, who is sure that he has some fortune seeking scheme in the works. 

     Charles Bronson's Bernardo O'Reilly is introduced next, "chopping wood for his breakfast." We immediately recognize that he's down on his luck and soon discover, thanks to some well written exposition, that he was once a highly prized mercenary. James Coburn's Britt is given the most memorable introduction (and the one owing the most to Kurosawa's film), cooly beating a man a in a draw using a throwing knife against his opponent's six-gun. It is obvious that Britt is a hired gun of the highest caliber, and one more interested in the challenge then the money, a fact that Chris emphasizes. Finally, Robert Vaughn's Lee is introduced as a shadowy, untrustworthy figure, on the run from the law, but we later find that that Lee is really running from himself.

 

     The film continues to explore these characters over the next few hours and, by the time we reach the climax, and the seven are faced with a choice to abandon the village or return and likely be killed, we completely understand why each man makes the choice he does. Lee must prove to himself that he's still a man. Britt must return as a matter of pride, "Nobody throws me my own guns and says run." O'Reilly, having endeared himself to the young boys of village, cannot turn his back on them. The same is not true for Harry, who leaves initially only to have loyalty to his old friend get the better of him at the last hour. For Chico, the son of Mexican peasants himself, there is really no question, especially since he has fallen for one of farmer's daughter. Vin, who was committed himself so far, simply sees no reason to back down now "It took me a long, long time to learn my elbow from a hot rock. Right now, I belong back in that border town, sleeping on white sheets." Chris, finally, will not leave until he has finished what he started.

     What sets The Magnificent Seven apart from Samurai is the clash of so many larger-than-life personalities. Yul Brynner was an established superstar while McQueen was his quickly rising rival and James Coburn and Charles Bronson would both go on to successful starring careers later on. Alongside these icons are experienced character actors like Eli Wallach and Robert Vaughn. Brynner's steely presence and swaggering confident demeanor make him a perfect choice to play the stoic leader of the seven. This is contrasted by McQueen, who brings all his energy and charisma to bear as the reckless, impulsive Vin. It is well known that the two actors had a fairly intense behind-the-scenes rivalry, and that McQueen did everything he could to upstage the his more established co-star, often improvising little things to do on set like shielding his eyes with his hat or rattling his shotgun shells. Rather then distracting from Brynner, who's very presence seems top command your attention, these things all add to his character, emphasizing his restless, energetic nature.

     Horst Buchholz, meant to be a magnetic romantic lead akin to Toshiro Mifune in Samurai, understandably falls a little short of that, but he does a good job in the role nonetheless and brings a volatile sense of unpredictability to the seven. Charles Bronson brings his unique blend of exotic charm and tough-as-nails resolve to the role of Bernardo O'Reilly, the half Irish/half Mexican mercenary who hides his kind, sensitive nature under a hard, irritable demeanor. James Coburn, best known for playing laid-back, sardonic characters, puts in a surprisingly nuanced performance as the withdrawn, hyper-focused Britt. Thanks to Coburn the character has a subtle, winking sense of irony and, at times, tragedy. The ever suave and sophisticated Robert Vaughn is allowed to flex his acting muscles here, hiding beneath this thin demeanor an almost manic sense of fear. Eli Wallach is, of course, great as Calvera and brings a layer of humor and humanity to the witty, philosophical bandit leader. 

     I would be remiss to overlook the biggest star of the film, Elmer Bernstein's magnificent score. Bernstein makes good use of leitmotif and there are three central themes that he uses, again and again, throughout the picture. The main theme, undoubtedly one of the most iconic ever composed for a western, draws from the work Aaron Copland and it perfectly captures the uniquely American spirit of the genre. Calvera's theme, characterized by driving percussion and harsh strings, simply oozes menace. Finally, the Mexican flavored theme for the villagers, written in a slow dance rhythm, lends a further air of authenticity to the film's south-of-the-border setting. 

     The contrast between these different themes, and the way Bernstein weaves them together, helps to emphasize the gulf that exists between the villagers and the gunfighters, who must unite in their fight against Calvera. When the seven's theme is introduced, it is bold and brash and continues to be played that way until the action shifts to the village. After this it is more muted and subtle, as if the seven are being viewed from the point of view of the villagers. Sturges, in his direction, aided no doubt by the incomparable cinematographer Charles Lang, also emphasizes these contrasts. As the seven ride to the village, accompanied Bernstein's rousing theme, there is one shot where they ride up a slope, the camera capturing them from a low angle as they seem to rise above the tops of the distant mountains. This framing is typical of the seven early in the film but, once they enter the village, they are usually dwarfed by the surrounding landscape, hemmed in along with the people of the village. Sturges also has a steady handle on the action, it's as well choreographed as a ballet and as easy to follow as a well designed instruction manual. Much of the excitement is supplied by Bernstein's score. His music lends an almost brash sense of energy to the film's action set pieces, driving them forward with a breathless sense of momentum. 

     Finally its the film's sheer sense of fun, the escapism offered by it's timeless story, aided by a stellar cast ably directed by John Sturges, and by the an all-time great score from Elmer Bernstein, that make me return to The Magnificent Seven again and again. The Magnificent Seven is not a film I grew up with, but I wish I had.

Saturday Evening Cartoons: The Princess and the Frog (2009)

     The Princess and the Frog was released on December 11th, 2009. The 49th Disney animated feature film it was the first film the studio produced featuring traditional, hand-drawn animation since Home on the Range in 2004. It is a loose retelling of The Frog Princess by E. D. Baker (itself an adaptation of the Brothers Grimm fairy-tale). 

     In this film, an aspiring young chef named Tiana (Anika Noni Rose) hopes to one day own her own restaurant and sees her chance when her rich friend Charlotte La Bouff (Jennifer Cody) puts on a masquerade ball for Prince Naveen of Maldonia (Bruno Campos), a foreign noble who has come to New Orleans hoping to marry into money after being cut off financially by his parents. Charlotte asks Tiana to bake for the ball, which will give her enough money to purchase the building for her restaurant. Chaos ensues when Naveen and his valet, Lawrence, go to a witch doctor (the unscrupulous Dr. Facilier, voiced by Keith David) and the prince is turned into a frog. He hopes that a kiss from a princess will change him back to normal and asks Tiana (who is dressed like a princess at the urging of Charlotte) to oblige. Since she is not a real princess this backfires, and Tiana too is turned into an amphibian. 

     The Princess and the Frog is somewhat unique in the pantheon of Disney fairy tales for giving both the Princess and the Prince a story arc. Tiana's main weakness, at the beginning of the film is her concern for her career above all else. Her mother (Oprah Winfrey) continually pushes her to "find a man" and, though Tiana dismisses this as being old fashion, her mother is, in the end, right. There's more to life then making money (even if its by doing something you love) and Tiana must learn this over the course of the film. Naveen, on the other hand, is a lazy spend thrift who thinks that marrying a rich southern belle will solve all of his problems. He must learn the value of hard work and take responsibility for himself. As they grow closer together, and begin falling in love, Tiana and Naveen learn from one another and their character arcs are perfectly intertwined with the development of their romance. 

     Worthy of remark, especially from a traditional Catholic perspective, is the film portrayal of voodoo. In most Disney fairy tales the magic is vaguely defined and not terribly similar to real world occult practices. Here, Dr. Facilier uses tarot cards and communes with evil spirits, a practice which ultimately leads to his own downfall. This seems to me like a pretty clear cut condemnation of witchcraft and meddling with the occult. It is, unfortunately, undermined somewhat by Mama Odie (Jenifer Lewis), a benign voodoo priestess who helps our heroes defeat the wicked witch doctor. But her occultism is much more in the tradition of the loosely defined Disney fairy godmother and she makes it clear to Tiana and Naveen that magic won't solve their problems. The traditional church wedding at the end of the film is also a plus. In the end, the film's portrayal of witchcraft leans more toward the morally correct kind then not. 

     The cast all do a great job, especially Anika Noni Rose and Bruno Campos, who have great chemistry together. Michael-Leon Wooley provides some boisterous comic relief as Louis, an alligator who dreams of joining a jazz band. Jim Cummings is also great as the other animal sidekick character, Ray, a Cajun firefly, whose unrequited love for the Evening Star, Venus, which he believes to be a female firefly named Evangeline, helps teach Tiana and Naveen about the true nature of love. Oprah Winfrey and Terrence Howard are both solid as Tiana's parents, who are both much more grounded and sympathetic then your average Disney parent figures. Keith David is perfectly cast as the nefarious Dr. Facilier while Jenifer Lewis does a good job as the eccentric Mama Odie. Finally, Jennifer Cody and John Goodman are fun as the friendly but buffoonish La Bouffs.

     The music, by Randy Newman, is a mix of jazz, zydeco, blues, and gospel. It fits the films setting perfectly and Newman comes up with some memorable tunes, even if his lyrics (a weak point of the composer's work in general) are a little twee. The highlights are "Friends on the Other Side", Keith David's spooky villain-song and "Gonna Take You There" a Cajun melody sung by Jim Cummings. Unlike the renaissance Disney films, no professional vocalists were used for The Princess and the Frog but, given the more Jazzy nature of the score as compared to the more dramatic, Broadway style of Alan Menken and Howard Ashman, the voice actors do well enough.

     To direct The Princess and the Frog the studio went to Ron Clements and John Musker, who had helmed The Little Mermaid and Aladdin during the renaissance era. The two had left the studio after the relative failure of Treasure Planet and were coaxed by John Lasseter, the new head of the animation department, to return for this film. Lasseter, who had left the studio in the 80's to pursue his computer animation ideas, hoped the film would kick-start a new era for Walt Disney Animation, where CGI and hand drawn animation would exist side-by-side. Sadly, the film was only moderately successful at the box office and this, coupled with the relative failure of Winnie the Pooh in 2011, effectively spelled the death knell for traditional animation at the studio.

     The style of animation that Clements and Musker decided on for The Princess and the Frog hearkens back to the studio's early days. Both Bambi and Lady and the Tramp were particularly influential, the former serving as a model for the naturalistic bayou scenes and the latter for the film's turn-of-the-century New Orleans setting. The character designs abandoned the more realistic, CGI influenced look of Treasure Planet in favor of a more dynamic, sculptural look that had been favored in the studio's output in the 50's. The result is a true return to form for the studio, a film that hearkens back to the visual style of the classic Disney features while updating it using more modern techniques.

 Score: 9/10