October Review: Corpse Bride (2005)

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A long time ago in Russia, a young Jewish man was on his way to his wedding accompanied by his friends. As they passed by an old tree in the woods, the groom noticed to his amusement a stick poking from the ground that resembled a bony finger clawing its way out of the earth. In jest, the groom placed his wedding ring on the stick and recited his vows to his “wife”, performing the wedding ritual and making his companions roar with laughter. Little did he know that he made a grave error indeed.

The ground began to shake beneath them. A enormous hole opened up, out of it where the stick once lay rose a horrifying corpse! She was little more than a skeleton wrapped in bits of skin and a rotting wedding dress with a spider’s web for a veil. The bride had been murdered on her way to her own wedding years before by anti-Semitic Cossacks. Now that the groom had made his vows to her, she claimed him as her own.

In terror and desperation, the groom and his friends fled to the rabbi for help. Surely the wisest and most learned holy man in the village would know what to do. The groom presented his dilemma (as a hypothetical question, of course), but as the rabbi pondered it, the doors of the synagogue burst open, and there before them stood the corpse bride. Once again she laid claim to the young groom, this time with the whole village – and the groom’s living bride – there to witness it. With the situation blown wide open, the rabbi gathered other rabbis from the surrounding villages to consult with them. The village waited anxiously for their outcome, the groom’s living bride most of all. Finally, the rabbi presented his answer:

“It is true, you have put the ring on the finger of the corpse bride and recited your vows, which constitutes a proper wedding – however, the vows state that you must seek a life together hallowed by faith. Since the bride is already deceased, she has no claim upon the living.”

The groom and his living bride were relieved. The poor corpse bride, on the other hand, wailed and collapsed to the ground in tears. “My last chance at a happy life, gone! My dreams of love and family will never be fulfilled, every thing is lost forever now.” She was a pitiable sight, a heap of bones in a ragged wedding dress sobbing on the floor – yet who should show her compassion but the living bride herself? The young woman knelt and gathered up the corpse bride, holding and comforting her like a mother would a crying child.

“Don’t worry,” she murmured in her ear, “I will live your dreams for you. I will have children in your name, enough for the two of us, and you can rest knowing our children and children’s children will be taken care of and never forget you.” The living bride tenderly carried the corpse bride to the river and dug a grave for her, decorating it with stones and wildflowers, and laid her in there herself. At last, the corpse bride knew peace, and she closed her eyes. The living bride and her groom were married, and she kept her promise to the corpse bride: she had many children, and those children had children, and they always told the story of the corpse bride and the kindness she was shown so she’d never be forgotten.

This is a semi-abridged version of an old Jewish folktale that would have remained in obscurity if it hadn’t reached the late Joe Ranft, storyboard artist for Pixar and a little movie called The Nightmare Before Christmas. He passed it on to his good buddy Tim Burton and big surprise, this rather macabre love story clicked with him. Corpse Bride debuted in 2005, the same year as Burton’s Willy Wonka remake, and it’s safe to say that this my preferred film between the two. Obviously, comparisons between this and the previous Tim Burton stop-motion musical (which he did NOT actually direct, see the opening of my Coraline review) will be inevitable, but Corpse Bride is a fine companion piece to Nightmare in nearly every way.

…Then I watched The Princess and the Scrivener’s video on the film (do check out their channel by the way) where they raised a highly pertinent question. If you’ve seen the movie already, I’m sure you’ve noticed one major difference between this and the story it’s based on:

So because Tim Burton’s Corpse Bride changes the setting of this Russian-Jewish folktale to England and made the characters Christian (as well as taking Burton’s own dodgy history when it comes to diverse casting into account), does that make it guilty of Jewish erasure?

Look, events this past year have made me re-evaluate many of my views and privileges as a white person. I want to be as woke and supportive of as many marginalized voices as possible, and that includes reassessing media I previously assumed was harmless or at least fair for its day. I truly want to see more Jewish characters and stories in mainstream entertainment that aren’t overused stereotypes or victims (the only Jewish movies I can think of that don’t involve the atrocities of World War 2 are Fiddler On The Roof and Yentl). After seeing Scrivener’s video, I sometimes wonder how much more we could have gotten if they kept the film more grounded in its Semitic roots. In fact, wouldn’t there be far more tension and a greater commentary on marrying outside of race, class and religion if they kept Victoria Christian but made Victor Jewish? Wouldn’t it be nice to have a thoughtful, questioning rabbi to counter Pastor Gallswell’s narrow-minded austerity?

That being said, however, I still don’t have much of a problem with the changes made in Corpse Bride. Folktales are meant to be retold with changes naturally evolving through the centuries. Sometimes the true strength in a story lies in how it well it can be told through different ethnic lenses. HBO’s animated series Happily Ever After is excellent in this regard, giving us creative cultural retellings of familiar stories ranging from an Inuit Snow Queen to a Rastafarian Rumpelstiltskin. The fact that so much of the grimness and heart of the original tale remains after its conversion to Christianity is a testament to how well they managed to pull this adaptation off.

May Review: The Great Race (1965)

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“Push the button, Max!”
– Professor Fate, usually before a catastrophe of his doing strikes

To say things have gotten tumultuous since the last review would be a gross understatement. But we’re not here to discuss today’s upheavals, important as they are. Let’s just take a moment to reflect and laugh. Lord knows we could use a good one right now.

Directed by esteemed comedy director and Hollywood bad boy Blake Edwards, The Great Race is a loving pastiche and send-up of silent comedies and melodramas from the early days of cinema (classic Laurel and Hardy in particular; the film even opens with a dedication to them). Thankfully the movie itself is not silent. What kind of genius madman would try to make a silent comedy in the late twentieth century?

Believe it or not, The Great Race was inspired by a real automobile race from New York to Paris that took place in 1908. Some of the more outlandish elements of the race like floating on icebergs across the sea were even based on genuine ideas that were proposed for the race but wisely ruled out. Despite its star power and a huge budget, The Great Race was a flop on release and quickly fell into obscurity. Critics assumed it was trying to ride off the popularity of Those Magnificent Men And Their Flying Machines, another big-budget all-star comedy with a similar premise. I’m more inclined to believe that its failure was due to the roadshow phenomenon that boomed in the late ’50s dying out at this point. It would be several more years until the epic format of a three-hour film with an overture and intermission faded from theaters completely, but audiences were already losing interest, and that rung The Great Race’s knell. Regardless, it’s garnered something of a cult fanbase from automobile aficionados (the original cars are still displayed at conventions), fans of classic cinematic comedies, and it even inspired the wildly popular Hanna-Barbera cartoon Wacky Races.

So if it wasn’t for this –

– we wouldn’t have this.

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.

MovieBabble: Laurel and Hardy’s Babes In Toyland is the Best Version

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March of the Wooden Soldiers turns 85 tomorrow, and once again I had to share why it’s the best Babes in Toyland. Think of it as a condensed version of my full review of you haven’t read it yet. Click HERE to read it!

MovieBabble: Klaus is a Christmas Miracle for 2D Animation

I’m not going to beat around the bush, I LOVE Klaus. Drop everything you’re doing and go see it now.

…what, you still need some convincing? Fine, here ya go.

August Review: Shrek (2001)

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Oh, Shrek. Where to begin with this guy?

That’s a rhetorical question, I know exactly where to start. It all comes back to one man, a man with a vision: to stick it to his former boss.

We meet again, Katzenberg.

There’s a lot of history and tangled truths behind the birth of Shrek, and Jeffrey Katzenberg is at the dead center of it. I was sorely tempted to make this another two-parter like the Black Cauldron review to go into more detail, but I was already running behind schedule with March of the Wooden Soldiers so here’s a slightly condensed version:

Between the disaster that was the making of The Black Cauldron and the glorious premiere of The Lion King, Katzenberg picked up a few tricks when it came to making acclaimed animated features. Then in 1994, Disney CEO Frank Wells was killed in a helicopter accident, and the Magic Kingdom was torn asunder as Michael Eisner took the reins and began his descent into madness. Katzenberg hoped that he would inherit Eisner’s former position of Vice President, but here’s where things get tricky. Katzenberg claims that Eisner fired him when he made his ambitions known; but the way Eisner tells it, Katzenberg was impatient, ungrateful, took way too much credit for the studio’s successes, and left of his own accord. Either way, it was a notoriously bitter separation with deep ramifications for the animation industry. Apparently Disney didn’t learn their lesson with Don Bluth because once again they wound up creating their biggest competitor – and this time, they were here to stay.

Katzenberg teamed up with David Geffen and the one and only Steven Spielberg to create Dreamworks SKG, the first major studio to truly rival Disney when it came to making animated motion pictures. The most important thing to them was to not be like every other feature on the market. For the first few years they flipped between making some great traditionally animated films that have been swept under the rug (Spirit, Sinbad and The Road to El Dorado are enjoying a comfortable cult status online and The Prince of Egypt only just got upgraded to blu-ray last year. Still waiting on that Broadway version, though), and openly trying to one-up their direct competition (when not teaming up Aardman to produce the same but with effort and a soul). Pixar announces their next movie is about ants? Dreamworks comes out the following week and says they’re doing a CGI movie about ants. Pixar says they’re making a film about fish? Dreamworks makes one about fish the following year. They make movies for children of all ages but with A-list actors, no Alan Menken musical numbers, and attituuuuude, dude. And nowhere is that jealousy and vitriol towards Disney more obvious than in what we’re reviewing today.

Shortly after Dreamworks was founded, co-head of the motion pictures division Laurie MacDonald gave Katzenberg a book by esteemed children’s author/illustrator William Steig simply called “Shrek!”; a fractured fairytale where a fire-breathing ogre was the hero, a donkey was his noble steed, and his happily ever after is defeating a valiant knight and marrying a princess even uglier than he is. He took one look at it, saw how it turned the traditional Disney-style fantasy he helped re-popularize in the 90’s on its head, the potential for even more slams at Disney fairytales and celebrity voice casting that worked gangbusters with Aladdin and had this to say:

Shrek evolved far beyond its humble literary origins into a green middle finger pointed at Katzenberg’s former workplace, and audiences and critics ate it up because nobody had dared to do such a thing before. And I’m not gonna lie, I loved this movie when I was a kid. But over time, mostly thanks to Katzenberg’s penchant for quantity over quality, Shrek became the very thing it was parodying: a shallow, over-hyped, over-marketed fairytale cash grab, and it’s affected my view of the original installment somewhat.

Well, it’s time for this non-star to get my game on and hopefully get paid. Let’s look at Dreamworks’ watershed studio-defining blockbuster…Shrek.

Fourth Anniversary Review: March of the Wooden Soldiers/Babes in Toyland (1934)

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We all have our good years and our bad years that we can recall. For me, 2013 was not a very good year. To make a long story short, everything from February onward culminated in a deep depression that lasted through most of the fall. What helped me out of it? Well, Team Starkid released what is to date their best show, Twisted, for starters. But that same Thanksgiving weekend Twisted premiered online, I rediscovered a piece of my childhood almost untouched by time. A movie that, despite its age and subject, wore down the walls of cynicism, made me forget the troubles of the outside world for 75 minutes, and had me smiling genuinely for the first time in months.

That movie is what I’ll be reviewing today.

Babes in Toyland began life as an operetta/pantomime by Victor Herbert in 1903, and you’ll never find a straight adaptation or production of the original libretto put on today. Why?

There’s gruesome murders, convoluted schemes, love octagons, too many characters to keep track of, needlessly dark subplots, and I’m not even touching the random fantasy elements thrown in. If you want some idea of what the story is supposed to be, then by all means read Jay Davis’ Babes in Toyland retrospective (coincidentally written in 2013). Despite this, the show was tremendously popular and led to many theatrical reimaginings of magical family-friendly stories like The Wizard of Oz and Peter Pan. In the former’s case, it was those stage adaptations that paved the way for the classic 1939 movie. But because Babes in Toyland was first and foremost a musical, a film adaptation had to wait until silent pictures became talkies. And when it did come to the big screen, it took a turn that few expected.

Enter Hal Roach, famed producer of comedy vehicles for stars of the 20s and 30s such as Will Rogers, Thelma Todd, the Little Rascals, and of course, Stan Laurel and Oliver Hardy. Once movie rights for Babes in Toyland were made available, Roach saw the comic potential for Laurel and Hardy and snagged ’em. His initial treatment didn’t impress Stan Laurel much, though. Few know that Laurel took his craft very seriously and was prone to rewriting scripts to milk as many laughs from it as possible. While this might sound like the workings of a control freak prima donna, he actually knew what he was doing. This Babes in Toyland, later re-titled March of the Wooden Soldiers to differentiate it from the others, is full of entertaining comic setpieces, lines, and characters, and has a tight plot that ties them all together. It is very much Stan Laurel’s movie more than it is Hal Roach’s.

And in hindsight, we have him to thank for the grand tradition of rewriting Babes in Toyland so it’s almost nothing like the operetta and no two versions are the same. That’s something I’m also grateful for.

But perhaps the greatest contribution Laurel might have made to March of the Wooden Soldiers is how naturally he and Hardy step into the role of main character. See, the leads in all the other takes on Babes in Toyland are love interests usually named Tom and Mary, and they are so mind-numbingly boring. If Angelina Jolie and Halle Berry hooked up with Kevin Costner and Robert Pattinson, their non-existent chemistry wouldn’t be half as dull as the parade of Toms and Marys doing nothing but pining for each other. They take time away from the characters who have real personalities and make those other Babes in Toyland far less interesting or fun to watch.

March of the Wooden Soldiers, on the other hand, does something radical when it comes to naming its leads – it takes the funny side cast we want to see more of and makes them the focus while putting the traditional romantic protagonists in the background. Normally handing over the spotlight to the comic relief characters is a bad idea (COUGHMINIONSCOUGH). But when those side characters-turned-leads are played by the most iconic comedic duo of all time, well, let’s just say we’re in good hands.

By the Cover: Beauty and the Beast

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Ah, Beauty and the Beast, could I ever stop singing your praises? Of course not! It’s one of the greatest musicals of all time. Finding good covers of these songs was harder than it seemed, however. The original cast was so perfect to begin with that discovering reimaginings that measure up was a daunting cast. In fact, finding covers of certain songs at all was the real challenge. But since Beauty and the Beast is one of the most popular Disney movies ever created, there’s no shortage of fans who have made their love for it known, and we’re going to highlight some of them today.

And for the record, I’m not counting reprises, or the versions of the original’s songs from the Broadway musical or 2017 remake.

March Review: Fantasia (1940)

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And now we come to the final piece of Walt Disney’s original animation trifecta, Fantasia, and it’s one I’m both anticipating and dreading. Fantasia isn’t just one of the crowning jewels in Disney’s canon, a landmark in motion picture animation, and second only to Snow White in terms of influential music and storytelling in the whole medium, it’s one of my top three favorite movies of all time. Discussing it without sounding like an old history professor, a pretentious internet snob, or a hyper Disney fangirl is one hell of a daunting task.

“Did someone say hyper Disney fangirl?! I LOVE Disney!!”

“I thought you only liked Frozen.”

“Well, DUH, Frozen is my favorite, which makes it, like, the best Disney movie ever! But Disney’s awesome! There’s a bunch of other movies I like that are almost as good!”

“And Fantasia’s one of them?”

“Yeah!!…Which one is that again?”

“The one with Sorcerer Mickey?”

“Ohhhh, you’re talking about the fireworks show where he fights the dragon!”

“No, that’s Fantasmic. I’m referring to Fantasia. Came out the same year as Pinocchio? All done in hand-drawn animation…has the big devil guy at the end?”

“THAT’S where he’s from?! Geez, that’s some old movie. Why haven’t I heard about ’til now?”

“Probably because you spend twelve hours a day searching for more Frozen GIFs to reblog on your Tumblr.”

“Ooh, that reminds me! I need to go post my next batch of theories about the upcoming sequel! Toodles!!”

“Thanks. Another second with her and I would’ve bust a gasket.”

“Don’t mention it.”

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,