Christmas Shelf Reviews: Pluto’s Christmas Tree (1952)

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When I made my list of favorite Mickey Mouse shorts, I had a hell of a time combing through his filmography for what I considered “real” Mickey cartoons. This is because a good many films in the mouse’s oeuvre have the supporting characters like Donald Duck and Goofy quickly steal the spotlight from him. And that’s not the only thing they took: as more characters were ingrained into the Disney canon and Mickey was reduced to being a bit player in his own features, the scrappy traits that once endeared him to the public were siphoned away to his costars. And what was left for him once the childlike curiosity, playfulness, brash temper, big heart and fierce determination were gone? What kind of personality could Mickey cultivate for himself into when there was no personality left?

Thanks a lot, Lisa.

By the late 40s and early 50s, everything that made Mickey enjoyable was scrubbed away into a bland, neighborly squeaky-clean corporate-friendly icon. He was good for selling merch, but his cartoons suffered severely for it. Mickey was paired up with his faithful dog Pluto to keep things more interesting, though that resulted in him getting far more to do than his master. I always thought Pluto worked better as a supporting role rather than the main star, so I’ve never been crazy about the Pluto shorts or these in particular because…well, let’s look at a comedic dog and master duo done right:

Wallace, for all his mechanical ingenuity and good nature, is more than a bit of an idiot. Gromit is vastly smarter and is capable of expressing a variety of relatable emotions despite never uttering a word (though that has less to do with him being a dog and more due to the fact that he has no mouth). Whenever there’s trouble (usually of Wallace’s own making), Gromit steps up to the plate and the two always manage to work past their shortcomings together to save the day. They may not always be on the same level as each other, but their camaraderie and the situations they get into certainly make for an entertaining time.

As for Mickey, he may have been a lot of things in his prime, but he certainly wasn’t stupid. So seeing the resilient rodent who sailed steamships, conducted his way through storms, battled giants, saved kingdoms, slayed dragons and controlled the very cosmos have his IQ substantially lowered just so he could play second fiddle to his pet…well, it feels downright insulting. Pluto’s Christmas Tree was the second-to-last short made before Mickey’s thirty year-long retirement, and it’s a prime showcase for all the problems that come with his extreme flanderization, right down to the fact that his name isn’t even the one that’s in the title.

March Review: Sleeping Beauty (1959)

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Whenever I discuss Sleeping Beauty with someone who doesn’t share my enthusiasm for Disney, they have an irksome tendency to get it muddled with Snow White; their excuse being “it has the same plot”. I’ll admit, there are some surface similarities that even the most casual viewer can pick up on: a fairytale where a princess is forced into unconsciousness and wakes up with some necking, the comic relief and villain being the most beloved characters, a little frolic in the forest with animals, the antagonist plunging off a cliff, you get the idea. In fact, Sleeping Beauty even reuses some discarded story beats from Snow White, mainly our couple dancing on a cloud and the villain capturing the prince to prevent him from waking his princess. Yet despite that, Snow White and Sleeping Beauty are two wholly different movies shaped by the era and talents of the time.

I’ve discussed how Walt Disney was never one to stick to a repeated formula, no matter how successful it was. He must have noticed the parallels between his first movie and this one, but decided to make one crucial change for Sleeping Beauty that would forever differentiate the two: the look. We all know the traditional Disney house style: round, soft shapes, big eyes; charming as it was and still is, Walt was sick of it after several decades. Meanwhile, artists like Mary Blair and Eyvind Earle were producing gorgeous concept art that rarely made a perfect translation into the Disney house style.

Walt wanted to make a feature that took the pop artistry of their designs and made the animation work for it instead of the other way around – which brings us to another animation studio that was doing well at the time, United Pictures Animation, or UPA.

UPA didn’t have the kind of budget Disney normally had for their animated projects, but what they lacked in fluidity they made up for in style. Watch The Tell-Tale Heart, Gerald McBoing-Boing and Rooty-Toot-Toot to see what I mean. UPA were pioneers of limited animation, taking their scant resources and creating some striking visuals with bold geometric designs. Through this, they defined the look of 50’s animation. Though perhaps unintentional, Sleeping Beauty comes across as Disney’s response to UPA, or what would happen if UPA had the funds they deserved. The characters’ contours are angular but effortlessly graceful, defining their inherent dignity and royalty. And the colors, ohhh the colors…

Because of the immense amount of work required to animate in this difficult new style (and in the Cinemascope ratio, no less) as well as story troubles and Walt barely supervising the animation studio now that he had his hands full with live-action films, television, and a theme park, Sleeping Beauty had a turbulent production that lasted the entirety of the 1950s. For a time, Chuck Jones of Looney Tunes fame was set to direct. Director Wilfred Jackson suffered a heart attack partway through production and Eric Larson, one of the Nine Old Men, took the mantle from there before Walt Disney replaced him Clyde Geronimi. And even after that, Wolfgang Reitherman teamed up with Geronimi as co-director to get the film finished after no less than three delays. Also, Don Bluth got his foot in the door as an assistant animator for this feature, beginning his short-lived but impactful tenure at Disney. Did all this hamper the movie, or did they succeed in what they set out to accomplish?

Well, one of the reasons why this review took so long was because I had a hard time not repeating “MOVIE PRETTY” and “MALEFICENT AWESOME” over and over. Make what you will of that.

My Top 21 Favorite Donald Duck Shorts

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Last November we celebrated a milestone for one of Disney’s most iconic characters. Today we gather for another – Happy 85th Birthday Donald Duck!

There’s a certain irony to Donald’s popularity: in the theme parks or shows like The Mickey Mouse Club or House of Mouse, Donald is portrayed flagging behind Mickey in fame and adulation if not outright forgotten. But in the real world so many people prefer Donald over Mickey, and I can see why. Mickey’s status as the company’s mascot rarely allows him to be a mischievous rascal like in the old days. Donald on the other hand has always been the feisty fowl generations could relate to due to how much he’s put through the wringer and his resulting temper flares.

Because he’s not on as high a pedestal as The One That Started It All, he’s given more freedom of personality, and, as a result, much more to do. Donald’s worn a variety of hats throughout his five-and-fourscore-long career. This also expands beyond traditional media. You’d be hard pressed to find a Donald Duck video game that isn’t at least a little fun to play. Getting to bash things with his trademark temper tantrums is a treat, and Disney always takes full advantage of it. In fact, before Sora was created to be the protagonist for Kingdom Hearts, Tetsuya Nomura imagined Mickey as the main character, but Disney wanted it to be Donald! They’re well aware that no matter how bad the scenario, Donald can take a licking and keep on ticking, and that’s done him well these past 85 years.

So to mark the special occasion, I’m counting down my Top 21 Favorite Donald Duck Shorts. Why that many? Because I like to go eleven steps beyond.

The rules from before apply: I’m not counting segments from or complete feature films like Saludos Amigos or The Three Caballeros. Donald has to be the main focus of the entire short feature, and not just “Mickey’s name is in the title though Donald takes up 90% of the action but it’s totally a Mickey short, you guys, for reals”.

But par the course for this blog, a few Honorable Mentions first:

• Pomp and Circumstance – This highlight from Fantasia 2000 has Donald assisting Noah before the flood then reenacting An American Tail with Daisy on the ark.
• Trick or Treat – A Halloween classic where Donald falls victim to a witch’s tricks after he deprives his nephews of their treats.
• Donald and the Wheel – Two spirits of innovation try to inspire caveman Donald to invent the wheel, but it doesn’t quite stick. Meant to be educational, but the music is unbelievably catchy.
• Drip Drippy Donald/Early to Bed – These shorts featuring Donald being robbed of a good night’s rest would be hilarious if they weren’t so relatable.
• Donald’s Dilemma – The title’s a bit of a misnomer; Daisy’s the focus and there’s barely a dilemma. But it reveals a darker side to her romance and shows just how far she’d go to hold on to him.
• Orphan’s Benefit – While an ensemble piece for Mickey and Friends, it’s Donald who steals the show as usual.
• Commando Duck – Horribly blatant anti-Japanese sentiment aside, this World War Two-era short of Donald behind enemy lines has a fun chase at the climax.
• Cured Duck – Donald tries to cure his temper once and for all with an insult machine.
• Slide Donald Slide – Another one of Donald’s quarrels with Spike the Bee wins points for mirroring the World Series game playing on the radio, but winds up here because Spike is technically in the wrong this time around.
• The Wise Little Hen – The one that started it all.
• Donald’s Double Trouble – Donald hires an inexplicable doppelganger with better manners and English to win back Daisy only for it to backfire terribly.
• Donald’s Golf Game – Donald goes golfing with his nephews and their usual amount of mischief.
• Donald’s Valentine Dollar – Donald must retrieve his last dollar from all sorts of shenanigans in order to purchase a valentine for Daisy. It’s completely silent, but that repetitive piano music can get grating.
• Donald’s Camera – Donald’s attempt to shoot wildlife with a camera instead of a gun goes as well as you’d expect. Interestingly, I never knew about the original ending for years since they abruptly cut it off whenever they aired it on tv.
• Sleepytime Donald – A sleepwalking Donald takes Daisy out on a late night date, and it’s up to her to make sure he doesn’t wake up in a precarious situation.
• Mickey’s Philharmagic – Yes it’s a 3D show in the Disney parks and Mickey’s name is in the title, but don’t be fooled. Donald is the star of the show, and seeing him interact with some of the most iconic musical moments of the Disney Renaissance in stunning CGI animation for the time is astounding.

MovieBabble: Some Like It Hot:My First Classic Comedy, 60 Years Later

Though its anniversary isn’t until tomorrow, THIS is my look back at what many consider the greatest comedy of all time, Billy Wilder’s Some Like It Hot,

Updates and Sleeping Beauty’s 60th Anniversary Article

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I hate being in this position. I pride myself on getting all my work done right on time. I hate to keep you all waiting, especially when this month’s particular review is a long-anticipated reward for an act of generosity. This lateness is something I can’t apologize enough for. I can promise this, however – it’ll be out shortly after February’s review is posted, and those aren’t the only things I have planned for then.

I try not to make excuses when it comes to my writing, but in this instance I do have my reasons. One, I wasn’t kidding at the beginning of the month when I said all that work piled up on me. Not only was I trying to finish my book dummy before a certain deadline, but I got a great job video editing for Krimson Rogue and his awesome review series The Book Was Better, which you should definitely go check out when you’re done reading this. And what masterpiece of literature-based cinema was I tasked with to prove my worth?

“The sparkling…it’s burned into my mind forever…”

All right, to be honest I only covered the last episode of a three-part review of New Moon; but it still meant watching the movie, skimming through it for clips and fighting the urge to roll my eyes back into my skull any time Kristen Stewart’s slackjawed stare cropped up, which was far too often for my sanity. I had plenty of fun ripping into it with Krimson, but now I’m more than ready to wash my hands of that time and soul consuming monstrosity*.

Two, it felt awkward having a review of Disney’s second animated movie come before, without giving too much away, February’s review. It’s a familiar, comforting story I know and feel relief that Miss Stewart has never had anything to do with –

Oh COME ON!!

On a lighter note, this week marks the 60th anniversary of Disney’s Sleeping Beauty, and I’ve written up another article for MovieBabble that covers its artistic merits. Click HERE to check it out! Happy birthday, you beautiful dreamer.

I look forward to sharing the next review in a few days’ time. Until then, I hope the first month of the new year has been promising so far.

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* – And speaking of soul consuming monstrosities, my next job for Krimson will be the video game adaptation of Dante’s Inferno, which will be coming sometime in a few weeks on his channel. I never thought I’d relish the sight of killer demons and painfully bloody ironic tortures, but after sparkly vampires and poorly rendered werewolves with six-packs, it’s like sweet eyewash.

My Top 20 Favorite Mickey Mouse Shorts

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As a lifelong Disney fan I can’t understate how much of an impact Mickey Mouse has had on me. In childhood, he was an icon and friend – instantly recognizable, a source of joy and entertainment, a hero and a role model. I know this is making me sound like one of those cheesy sponsors reading off a cue card, but when you’re talking about a mouse, expect plenty of cheese to be involved.

In the spirit of Mickey celebrating his 90th birthday, I’d like to share with you my 20 favorite shorts he starred in. Why 20? Because I couldn’t narrow it down to ten and I like to go nine steps beyond as opposed to one.

There were only two rules I set while making this list:

1. Mickey is the main focus, or at the very least he must be given as much to do as the other characters he shares the cartoon with. There’s a lot of great shorts out there that has Mickey’s name in the title – Mickey’s Parrot, Mickey’s Circus, Mickey’s Birthday, Mickey and the Seal, Mickey’s Christmas Carol, etc. – or has his face in the intro that advertises it as his adventure, but upon watching you find they’re really about Donald, Goofy or Pluto or literally anyone else but him.
2. Shorts only, no segments from full-length films or direct-to-video works. This means no Mickey and the Beanstalk from Fun and Fancy Free or various bits from Mickey’s Once/Twice Upon A Christmas, but sadly no Sorcerer’s Apprentice from Fantasia. I thought of excluding any short that ran over the usual length of five to seven minutes to about twenty, but that made my job even harder.

Now before we get to the countdown, here are a few Honorable Mentions:

• Mickey, Donald and Goofy in The Three Musketeers – If I were including full-length films on the list, this would be in the top five, bar none.
• The Sorcerer’s Apprentice from Fantasia – It would easily take the number one spot if it didn’t overlap with the #2 rule.
• Plane Crazy – The mouse’s first appearance on the silver screen, though he wouldn’t make as quite a splash until his sound debut in Steamboat Willie a few years later
• Orphan’s Benefit – One of my favorites as a kid. It made me laugh something fierce and still does, though a large part of it has to do with Donald and Goofy’s segments, hence why it’s only an honorable mention. Also, did you know that the color one we’re mostly familiar with is actually a remake of an earlier black and white version?
• Mickey’s Delayed Date – Pluto and Mickey tussle for attention in this outing.
• Haunted House – Spooky and atmospheric. Classic Disney nightmare fuel.
• The Gorilla Mystery – Mickey plays Minnie’s white knight yet again as he goes to-to-toe with a dangerous gorilla.
• Two-Gun Mickey – An American Tail: Mickey Goes West.
• Mickey’s Surprise Party – After Minnie’s dog spoils the cookies she was making for Mickey, he saves the day with some shockingly transparent corporate sponsorship. At least I take comfort in the fact that Mickey’s favorite cookies are the same as mine.
• Hansel and Gretel – Mickey and Minnie stumble upon a treacherous witch to the ominous strains of Danse Macabre.
• Mickey’s Cabin – Mickey outwits Pete and his dimwitted cousin with a little reverse psychology when they hold him hostage in his winter cabin. Hilarity ensues.
• Croissant – Mickey’s first short in the modern style proved you can’t keep a mouse on a mission down.
• Yodelberg – Continuing with the previous short, it’s modern Mickey at its most fast-paced and stylish fun.
• Shanghaied – It’s up to Mickey to save the day and Minnie again, this time from Pete and his dastardly crew of pirates.
• Mickey’s Christmas Carol – Mickey’s first cartoon in 30 years has him slightly out of the spotlight, but still got him back in the public eye for good.

May Review: Singin’ in the Rain

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(DISCLAIMER: This blog is not for profit. All images and footage used below are property of their respective companies unless stated otherwise. I do not claim ownership of this material.)

So…Singin’ in the Rain.

Considered by critics, historians and movie buffs alike to be the greatest musical ever made.

Go see it.

NOW.

Seriously, what are you still doing here reading my ramblings? You’re better off spending the next hour and forty-two minutes watching the film yourself.

…well, you came this far, didn’t you?

I’d hate to hype up this movie too much since it already has such a lofty reputation, but I can swear a solemn oath that its reputation is one that it has well and truly earned. I count my first viewing as one of those times where I looked at a classic film and said “Yeah, bring it on,” but minutes later was completely hooked.

It all began when Arthur Freed, famed musical producer for MGM, tasked songwriters Betty Comden and Adolph Green to create a film using only well-established tunes from previous MGM musicals to show off their catalogue of hit songs.

In other words, the Greatest Movie Musical of All Time is in fact a jukebox musical.

So why is it that this movie gets all the praise (which it deserves, might I add) while films like Mamma Mia…don’t? Well for one thing, they put time and effort into crafting the story and how the songs play into it. They don’t use the elaborate musical numbers as a distraction from a wafer-thin plot or characters like some other movies I could mention.

Second, all the songs featured have become standards for a reason. Each one is an ear worm from start to finish. Though they’ve been featured in other movies, how they’re utilized here all but eclipsed their previous incarnations.

Third, it is funny. And I mean laugh-out-loud, every-line-hits-its-mark, future-screenwriters-please-watch-this-to-learn-how-to-write-good-crack-up-dialogue funny.

Fourth, let’s talk about Gene Kelly.

I have…mixed feelings when it comes to Gene Kelly and his works. Have you ever seen a movie that blew you away so much that any in the same anthology or of a similar caliber simply, for whatever reason, failed to match the same experience you had before? I’ve had that happen to me twice – once when I tried to watch the other Mad Max movies after seeing Fury Road, and again with most of Kelly’s films after Singin’ in the Rain. Kelly was an incredible dancer and choreographer; some might even say he was to dance on film the way Walt Disney was to animation. Talent and praise can go to your head if left unchecked however, and Kelly LOVED to show off his moves, even at the expense of the story. If you ever decide to play a drinking game when watching one of his movies, don’t drink whenever he stops the film just so he can dance. You won’t make to the end credits. Don’t get me wrong, I adore musicals and a good dance break is always welcome if it’s entertaining enough, but Gene indulges himself one too many times even for me. Also, if you know anything about him behind the scenes, the horror stories are sadly true. The man wasn’t a perfectionist, he was a full-blown diva. Both cast and crew lived in fear of his tantrums should one step fall out of place. Singin’ in the Rain is no exception to either of these truths, but one, you couldn’t tell by the great chemistry on screen, and two, with the exception of one or two moments, the dancing is so well integrated in the narrative that to cut any of it would be a detriment to the film. There are moments that left me slackjawed at how fluid and lively the choreography is. I can’t recall any other musical that has left me the same way regarding to that aspect.

Well, enough of my buildup, let’s look at that silver screen classic, Singin’ in the Rain.

April Review: Peter Pan (1953)

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(DISCLAIMER: This blog is not for profit. All images and footage used below are property of their respective companies unless stated otherwise. I do not claim ownership of this material.)

“All this has happened before. And it will all happen again.”
– Opening lines

No truer words have ever been spoken.

JM Barrie’s Peter Pan is as timeless a fantasy story as you can get. It’s nothing short of pure magic. Who among us hasn’t wished to never grow up and live in a world not run by fun-sucking adults? Who can openly admit that they never dreamed of flying and going on exciting new adventures every day? The tale of Peter Pan appeals to the kid in all of us. It doesn’t surprise me that every couple of years we seem to get some kind of new retelling of it because the lore of the Boy Who Never Grew Up offers so many possibilities. It’s difficult to pin down which version could be considered the most definitive adaptation (though the 2003 film comes the closest to being the most faithful in story and tone) but this is a case where every single one out there has something to offer for each generation. There were stage plays and silent films for those who were children when the book first came out, the 1960’s musical starring Mary Martin (and later Cathy Rigby) was an annual television tradition for decades, Fox’s Peter Pan and the Pirates is considered one of the most creative animated shows of the late 80’s-early 90’s, Steven Spielburg’s unofficial sequel Hook has gone on to become a cult classic (as well as a kickass video game), and of course we have the film I’ll be looking at today, the Disney animated one from the 50’s.

Walt Disney once played the role of Peter Pan in a school production; as such, the story was very close to him. Peter Pan was planned to be one of the first animated films his studio would release – story ideas were tossed around as early as the mid-30’s – but it fell into development hell thanks to the frenzy of World War 2. Look carefully when watching the 1941 film The Reluctant Dragon and you’ll see early maquette versions of some of the characters in a few places. After the much-needed success of Cinderella in 1950, work resumed on Peter Pan. The results, however, were mixed, with some critics and even Walt himself being disappointed with the final product. Most audiences, on the other hand, gravitated towards it, and today it’s considered a classic of Disney animation as well as one of the most outstanding adaptations of Barrie’s work. Why is that? Let’s find out.

March Review: Darby O’Gill and the Little People (1959)

(DISCLAIMER: This blog is not for profit. All images and footage used below are property of their respective companies unless stated otherwise. I do not claim ownership of this material.)

 “You can forget the tears an’ troubles of the world outside. There’s nothin’ but fun and diversion here!”

– King Brian Connors of Knocknasheega

Ah, back to Disney already.

 

You know, it’s around this weekend every March that’s a treasured time for me and my family; a time where we can gather around and indulge in some of our cultural heritage, maybe enjoy a nice dinner of corned beef and cabbage, all while worshiping a beloved patriarchal saint…

 

That’s right.

 

HAPPY SAINT JOSEPH’S DAY!!

 

What? I’m Italian from my father’s side. While others go out in green, I stay at home and enjoy some nice homemade pastries with my family. It’s not like there’s any other holiday revolving around a saint that involves getting plastered in the name of nationality.

Oh, wait…

 

Going back to what I said in my previous review, we’re inundated by so much Disney in the media, particularly from their animated films, that we often forget their value. Just as often, there are great films by Disney that tend to fall by the wayside and be eclipsed by more recent and popular movies.

Darby O’Gill and the Little People is one of them.

Made during Walt Disney’s time, Darby O’Gill, based on the stories by Herminie Templeton Kavanagh, is an amalgamation of Irish folklore and classic Disney moviemaking magic. It’s got that Uncle Walt touch that mixes in a lot of bright, happy moments with plenty of dark, scary ones, as well as some old-fashioned charm emanating from its actors and its production design. There’s a lot of effort put into making you believe you’re in a village among the green hills of Ireland that you forget that it’s filmed in a backlot in sunny California. Plenty of research was done in presenting these classic myths and it shows (there are moments when the actors even speak real ancient Gaelic). And I’ll go into more detail about the special effects once I get to them because for a movie well over fifty years old, they still hold up surprisingly well –

Um, mostly well.

Also, this one of the few live-action Disney movies to have a Rotten Tomatoes score of 100%. I don’t normally go to Rotten Tomatoes to judge the quality of a film, but it always warms my heart to see a movie that doesn’t get enough love have such a high score.

And what else can this movie offer to sweeten the deal?

“Connery. SEAN Connery.”

Let’s roll.

 

The film opens with a special thanks from Walt Disney to King Brian of the Leprechauns for making his cooperation in making the film. It might seem odd, but remember, this is Walt Disney. He wanted to make his films, as fantastical as they were, seem as real as possible. When filming the Wonderful World of Disney episode meant to promote the film, “I Captured the King of the Leprechauns”, he played up his encounters with King Brian and Darby as an actual event. It might come off as cheesy to some, but that was Walt’s secret; he could make anything seem possible.

Darby O’Gill (Albert Sharpe) is the caretaker of the wealthy Lord Fitzpatrick’s estate, but he’s getting on in years. More often than not, he can found at the pub telling tales of his encounters with the titular little people – better known as leprechauns to us non-Irish folk – rather than hard at work. Darby has a daughter, Katie (Janet Munro), who’s something of the town catch, if not for her sweet girl-next-door looks then for the privilege she has of living on a fine estate. Katie, however, isn’t interested in finding a man just yet, preferring to taking care of the house and her father.

Katie is visited by the Widow Sugrue, a nosy busybody who’s hoping to make a match between Katie and her son Pony. Lord Fitzpatrick pays a surprise visit accompanied by one Michael McBride (Sean Connery) and Katie runs out to find her father. Sure enough, he’s at the local watering hole telling anyone who would listen about meeting the king of the leprechauns himself, Brian Connors.

THERE’S the image I should have used before.

The movie makes excellent use of perspective shots and angles when it comes to the leprechauns and humans sharing the screen. I wouldn’t be surprised if Peter Jackson was influenced by this just a bit when making Lord of the Rings.

In his story, Darby has King Brian cornered in the old Gaelic ruins of Knocknasheega outside of town. Darby, who’s been chasing the fair folk around for a good portion of his life hoping to get some of their fabulous wealth for himself, is one step ahead of Brian when it comes to any tricks he might pull to escape, and insists Brian grant him three wishes before he releases him (because leprechauns and genies are the same thing?)

Seems legit.

Brian grants Darby’s wishes for a pot of gold, a long healthy life and a good crop of potatoes that year (because this movie won’t rest until we see almost every Irish stereotype in existence. No, seriously, take a shot every time one pops up throughout the review). And then Brian asks what Darby’s fourth wish will be because apparently he can grant extra wishes if he feels like it. Darby, who’s in a generous mood, asks for some of his neighbors to be given a pot of gold as well. Darby’s gold vanishes before his very eyes, because as Brian says “Three wishes I’ll grant you, big wishes and small, but wish a fourth wish, and you’ll lose them all!” and he disappears.

The people in the pub are enraptured by the story, except for Pony. Pony’s a bullying brute who loves getting drunk at the bar, starting fights to make himself feel more macho, and dismisses this old man’s story as fairy-tale nonsense and WAIT JUST A DARN MINUTE –

Am…am I reviewing the same movie twice in a row?