Christmas Shelf Reviews: Olive the Other Reindeer

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While I remember the hype for the FOX Christmas special Olive The Other Reindeer back in 1999 –

…

…

…Excuse me, I was suddenly struck by the realization that I’m old.

Anyway, while I remember the promotions for it before it premiered, I’m ashamed to say I never got around to watching it until several years ago. Shame, really, because it’s been among my personal favorites since. Olive The Other Reindeer is loosely based on a children’s book by Vivian Walsh and award-winning artist J. Otto Seibold, the main conceit being “Hey, doesn’t that one line from the Rudolph song sound like they’re saying Olive The Other Reindeer instead of ‘all of the other reindeer’? Wouldn’t it be funny if someone named Olive got confused over it and tried to become a reindeer?” The book is fairly straightforward with little-to-no stakes, though it has some wonderfully stylized and colorful artwork. Naturally the leap from page to screen meant the story had to be significantly fleshed out, but who could possibly step up to the task?

Eh, how about the guy behind the biggest animated adult show of all time?

To this day I have no idea why Matt Groening took the job but I sure as hell am grateful for it. He, along with Futurama co-creator David X. Cohen, took what could have been another simple Christmas special and injected it with the sly modern wit and cheeky sense of humor they’re known for (the fact that Olive premiered on the same night Futurama did couldn’t have been a coincidence either). They spice up the proceedings with wonderful touches exclusive to this adaptation: the other characters with mondegreen names; the snappy dialogue; the background sight gags that you have to watch multiple times to catch; the running joke with the cordless drill; the self-depreciating jabs at Fox, and more. The smart writing in addition to the unique animation gives this outing a strong sense of identity without losing the heart and charm that’s inherent to the story. It also marks Olive as the only “family-friendly” thing Groening’s made to date; an interesting designation to have, but not a bad one at all.

Faerie Tale Theatre Reviews: Rumpelstiltskin

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“I give you three days […] three days to find out what my name is.” “What is your name?” “It’s…that’s what YOU have to find out!”- An impossible deal struck by a desperate mother and one of the most mischievous imps in all fairy tales

Names have a power of their own in fairy tales. If you know the true name of a magical being, you can have complete control over them – and the same goes vice-versa. It’s a trope that comes up often in stories about the fair folk. Now, fairies in the old stories aren’t the sweet wish-granting Tinkerbell clones that you see these days. They’re immortal, powerful beings with control over nature and magic, and they view their human mortal neighbors as funny playthings to trick, punish or reward as they please. They could pay you for your services with a bag of gold that will turn to acorns come dawn. They can invite you to their place for a christening one weekend and when you return home you’ll find seven years have passed. They switch human children with changelings just for laughs, and cut deals that seem beneficial to you at the start – and this is where Rumpelstiltskin comes in.

Yes, Rumpelstiltskin is by all accounts a fairy. Knack for striking magical bargains? Check. Wants to steal a child for no other reason than just because? Check. Sees others’ struggle between life and death as nothing but a game? Check. Heavily reliant on the Rule of Three? Triple check. Though dear old Rumple managed to stand apart from his fairy kin on account of having a proper name, his story never seemed to quite reach the same level of ubiquity as fairy tale characters like Snow White or Cinderella. Ironically, it probably would have stayed that way were it not for the Snow White-heavy series, Once Upon A Time.

Greetings, dearies.

Robert Carlyle’s dual performance as the hammy, conniving Rumpelstiltskin and his civil but duplicitous real world alter-ego Mr. Gold is a highlight of the show – at least for the first few seasons. The character(s) are reinterpreted as a sort of Faustian devil figure, offering characters both good and evil their hearts’ desires at a steep cost. He was a master manipulator and plotter, always one step ahead of everyone and twisting his words so his bargains seemed like the only logical choice, punctuated with that perfect line “All magic comes with a price”. For a series where the Evil Queen was the main antagonist, he well and truly earned being called The Dark One. But Once Upon A Time was heavily inspired by Lost, and much like that show, it went from a fun re-imagining of a not entirely unoriginal scenario to a total mess the writers had no clue what to do with. Things got too complicated, convoluted and inconsistent the longer it went on; Rumple/Gold’s character and motivation began flip-flopping every other week until he became nothing like his devious deal-making literary counterpart. “I’m going to manipulate Regina into cursing the kingdom because I am the Dark One! No, I’m only doing it to rescue my son who I banished to New York! No, I am going to get rid of my Dark One persona for the good of everyone I love! No, I am going to try to stop being the Dark One but hold on to my powers because I like having power! No, I LIKE being the Dark One after all! No, I only became the Dark One because my dad’s Peter Pan, my wife slept with Captain Hook, and my mom, the anti-Blue Fairy, is killing children as part of an elaborate prophecy involving me sacrificing myself to destroy her, hehehehehee!!”

By, the way, didn’t make a word of that last sentence up. This show went in some weeeeeird directions.

But to get back on topic, I have a bit of a soft spot for the fairy tale of Rumpelstiltskin as I grew up with a “sound” storybook that that told this particular yarn. If you were a 90s kid, you probably had at least one, those books with the buttons that you were prompted to press as you read through and made the different noises; the sound of our titular imp muttering “Fiddlesticks!” is still ingrained in my brain to this day. For all the havoc he wreaks on the young heroine – not to mention the precarious situations the other men in her life put her in – she ultimately pulls through using her wits and whatever means at her disposal, showing an inner strength and courage that few traditional female fairy tale protagonists have. But how well does this translate to Faerie Tale Theatre?

Rankin-Bass Month: Rudolph the Red-Nosed Reindeer (Review)

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1960's, abominable snowman, animagic, anti-bullying, Billie Mae Richards, bullying, bumble, burl ives, charlie in the box, Christmas, christmas elves, Christmas Eve, christmas special, christmas town, Clarice, coach, comet, dentist, dentistry, Donner, elf, elves, fame and fortune, flying lion, gay, groupthink, Hays Code, Hermey, hermey the misfit elf, holiday special, holly jolly christmas, island of misfit toys, isle of misfit toys, king moonracer, kris kringle, misfit, misfits, mrs. claus, music, musical, nightmare before christmas, north pole, nostalgia, outdated, racist, Rankin Bass, real time fandub, reindeer, reindeer games, Romeo Muller, rudolph, Rudolph the Red Nosed Reindeer, rudolph's dad, rudolph's dad is the worst, sam the snowman, santa claus, sexist, silver and gold, snowman, song, songs, spotted elephant, stop motion animation, stop-motion, talking snowman, the bumble, the worst, there's always tomorrow, toys, tv review, tv special, unpopular opinion, we are santa's elves, we're a couple of misfits, winged lion, Yukon Cornelius

Hi! If this is your first time here, I highly recommend checking out my other movie/tv/holiday special reviews before this one, just to get a more positive idea of what to expect from my writing. Usually, I’m not this…well, you clicked on this review, didn’t you?

I suppose I should begin this month with a little bit of Rankin-Bass’ history. It was founded in 1960 by Arthur Rankin Jr. and Jules Bass under the name Videocraft International. They began by producing animated television series for children, alternating between stop-motion and traditional cel animation before combining both with a process they called “Animagic” (which sounds more like a fireworks show at Disney World than an actual animation technique if you ask me). All the animation for these shows and the holiday specials and films that they would later branch out into were outsourced to Japan. Throughout the studio’s existence, work rotated between five different Japanese animation houses: MOM Production, Toei Animation, TCJ (Television Corporation of Japan), Mushi Production, and Topcraft. Chances are if you’re into anime, then these names ring a few bells. These studios have produced hit after hit on the big and small screen, with some of them continuing to do so today, and many of Topcraft’s animators went on to bigger and better things at Studio Ghibli.

Most of Rankin-Bass’ Christmas specials, particularly the ones I’ll be looking at, follow a simple formula – take a well-known holiday song and build a story around it. It’s not a bad concept if a bit overutilized. Their first outing, and most beloved in the eyes of many, is Rudolph The Red-Nosed Reindeer, based on the tune of the same name written by Johnny Marks (who would also write the other songs in the special) and popularized by Gene Autry in 1949. The song itself was taken from a children’s book created a decade prior to promote the Montgomery Ward department store, and the special was sponsored by General Electric, who, by a stunning coincidence, were selling Christmas lights that holiday season which happened to resemble Rudolph’s nose.

In short, this special originated as a commercial, and always was one through and through.

In spite of its original intent, Rudolph has become a holiday staple and icon as big as Santa Claus himself. And if you are one of the millions of people on this planet who loves this special, there is absolutely nothing stopping you from doing so, and you are not wrong for enjoying it. After all, this is just one person expressing their opinion. If this person’s opinion differs from yours, that doesn’t invalidate how you feel nor should you feel as if you absolutely must agree with them –

“Hey…you’re making it sound like you’re about to say something bad about Rudolph!”

“Well, I-“

“Nobody dislikes Rudolph! Everyone in the entire world loves it! It’s a classic! The perfect Christmas special! You like Rudolph too, right? RIGHT?!”

“Well…”

June Review: The Hobbit – The Desolation of Smaug (2013)

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“If this is to end in fire, then we will all burn together.”

Can you believe it’s been nearly four years since I reviewed the first Hobbit movie? *Sigh*, how time flies. My tastes may have matured and expanded, and I like to think my writing has improved too, but my thoughts on The Hobbit trilogy haven’t changed. The Lord of the Rings trilogy is superior, obviously, but I’m quite fond of this slightly smaller yet no less exciting adventure. I went into great detail why in the previous review, but if I had to sum it up I like how it expands upon Middle Earth lore hinted at in Lord of the Rings while decently tying it back to the events of those movies, and it fixes some major character and plot issues I had that kept me from fully enjoying the book it was based on.

While The Hobbit films do suffer from some the same issues as another prequel trilogy that people love to harp on – mainly an over-reliance on CGI and some contrived plotting – I’m relieved to say that poor performances and production value are not among them. The fact that they were able to bring together some great newcomers to the franchise as well as get as many cast members and locations from Lord of the Rings to return and make it all not feel like fanservice is a testament to the writing, craftmanship and direction that went into making these films, even more so since they were under double the studio pressure than they were the first time around. And if I may be shallow for a moment, it also looks really nice. Sometimes I like nothing more than to get lost in an inviting woodland fantasy atmosphere and this scratches my itch every time.

Now we have the much-anticipated Part 2, The Desolation of Smaug. This incarnation of The Hobbit was originally supposed to end here. But at the last minute it was decided that the Battle of the Five Armies, which happens during the last fifty pages of the book, was too important to relegate to the last act of a film that could potentially overreach The Return of the King’s runtime so they made it its own separate movie. I should mention that the copy of Desolation of Smaug I’m reviewing is the theatrical version since I received it as a gift. I saw the extended edition when it came out on blu-ray and the comparison between the two is an…interesting one. The extended cut fixes some of the inconsistent pacing and adds a few welcome character moments both original and from the book, but the rest I could do without. Some scenes stop the movie, sidetrack the main plot for something else to happen and take you out of the moment as a result, or simply add way more than necessary. One of these days I might get around to editing my own cut combining the best of the two, but for now I’d say you’re better off sticking with the theatrical cut in this case. Just to give you an idea of what I’m talking about, I’ll give special mention to those parts when they’re supposed to come up. So let’s find out if it was it a wise decision to split these movies up or if those naysayers who edited the entire trilogy into one forty-five minute feature were right.