The Plaza Hotel is the stately building at the heart of the Eloise
series of picture books and the movies and specials that have followed
from them. It’s an elegant structure whose abundance of rooms and
passages would make it a potentially very spooky location on Halloween.
The animated special Eloise’s Rawther Unusual Halloween turns the Plaza into a genuine haunted house for the occasion.
Eloise
(Mary Matilyn Mouser) is the energetic six-year-old who lives with her
nanny (Lynn Redgrave) at the hotel. She pretty much has free run of the
place, though she irritates certain guests and staff, particularly the
persnickety Mr. Salamone (Tim Curry), whose job it is to make sure
everything at the hotel operates smoothly. In this 45-minute-long tale
directed by Wesley Archer, he is especially stressed out because the man
who intends to buy the Plaza Hotel is staying for a couple of days.
Naturally, he meets Eloise almost immediately, and they don’t exactly
hit it off. Could this one little girl ruin his plans for the hotel?
Eloise,
meanwhile, has other things on her mind. Ever since her nanny told her a
creepy story about Diamond Jim Johnson (Brad Garrett), the prominent
citizen who died en route to the Plaza Hotel’s grand opening and who
allegedly returns each year “with a hunger that can never be satisfied,”
the little girl has been obsessed. At first the story startles her.
Then, after she is sure that she sees Diamond Jim for
herself, fear gives way to indignation. No one believes her, and when
strange things begin to happen in the hotel, they blame her. Will
tracking down this ghost and giving him a piece of her mind put an end
to all the shenanigans?
Mouser does a fine job of capturing
Eloise’s boundless energy, and Redgrave brings just the right mix of
warmth and easy-going authority to the one person who can keep a rein on
Eloise’s mania. Curry, who played a similar live-action role in Home Alone 2, is excellent as always, and Garrett, who never fails to crack me up on Everybody Loves Raymond,
sounds robust with a splash of melancholy as the ghost whose presence
stirs up all the trouble. The rest of the voice work is great as well,
but these four are the stand-outs.
The animation is modeled
after the illustrations by Hilary Knight. I love the stylized credits,
but the rest of the movie is great as well. There’s a certain simplicity
to the animation style that fits the movie’s picture book heritage. The
depiction of the ghost, with his bluish-black tint and translucent
quality, is especially interesting. Aside from him, there’s a lot of
pink in the color scheme, since that is Eloise’s favorite color. This
special also involves two of her best friends, both of whom are very
feminine, so I’m not sure this special would appeal to most boys very
much, though they might well enjoy it if they gave it a chance. There’s
certainly a lot of mild mayhem to keep the plot moving.
I’m always on the lookout for Halloween movies that are primarily cute rather than scary. Eloise’s Rawther Unusual Halloween, released just this year, definitely fits the bill as a short but sweet bit of ghostly fun.
Monday, October 31, 2011
Sunday, October 30, 2011
The Town Egghead's Priorities Shift in The Last Days of Eugene Meltsner
I’ve always been a sucker for super-nerdy types in television and
movies. In the Christian video series Adventures in Odyssey, Eugene
Meltsner (Will Ryan) fits that role perfectly. This brainiac whose eyes
are perpetually hidden behind his thick glasses is always tinkering with
something, and in The Last Days of Eugene Meltsner, the gangly
geek’s mind is preoccupied with a big project. The deadline looms before
him, and he does not have the patience to deal with kids messing around
with his equipment. However, after giving young Dylan and his sister a
taste of his newest contraption, he abruptly changes his focus. What’s
going on?
This is an episode that incorporates several fantastical inventions that allow the characters to travel to another place – or at least pretend that they are doing so. We see them traversing the desert hitched up to a team of ants and zooming through the bloodstream in a tiny submersible. Mr. Whittaker (Hal Smith), the kindly proprietor of beloved local hangout Whit’s End, and Dylan have a pulse-pounding virtual adventure, while Eugene has a real one as he gets caught in a bank heist and finds unexpected stores of heroism.
This is an interesting video because of what it reveals about Eugene, who is one of the central characters but is most often used for exposition or comic relief. Here, he’s right at the heart of the episode, and other characters, particularly a cousin named Bernard who works as a janitor, discuss his history, which includes being orphaned at an early age. This exploration is great, since Eugene is such a terrific character, and it’s nice to see him so involved in exciting exploits that include disarming a bomb and dangling from the side of a building.
On the other hand, I found this episode a little harder to connect to than others I’ve watched. It’s hard to say just why. The animation and voice work is perfectly up to snuff, with Ryan being the cast standout this time around as Eugene undergoes a rapidly changing series of emotions. He gets most of the laughs of the episode but also the pathos. Bernard is a fairly engaging side character, but none of the others really entertained me that much this time around. Whit, on the other hand, continues to be a steady source of wisdom and common sense.
Eugene quotes a psalm at one point in the episode, and its theme of treasuring each day because life could end tomorrow carries throughout the story. He seems to take it as an indication that nothing he does matters unless its results are immediate. His abandonment of his experiments is, in effect, a rejection of what makes him so special. Hence, the episode’s focus is using one’s gifts for good and not giving in to despair. It’s a good message, but I’m not sure it comes across as well as it could, particularly since the episode ends on a comical note that robs Eugene of a bit of his dignity.
The Last Days of Eugene Meltsner is a fun video for fans of Eugene, and it also invites contemplation about how one’s priorities might shift when faced with mortality. While I didn’t find it quite as entertaining as some of the others, it is still a solid episode.
This is an episode that incorporates several fantastical inventions that allow the characters to travel to another place – or at least pretend that they are doing so. We see them traversing the desert hitched up to a team of ants and zooming through the bloodstream in a tiny submersible. Mr. Whittaker (Hal Smith), the kindly proprietor of beloved local hangout Whit’s End, and Dylan have a pulse-pounding virtual adventure, while Eugene has a real one as he gets caught in a bank heist and finds unexpected stores of heroism.
This is an interesting video because of what it reveals about Eugene, who is one of the central characters but is most often used for exposition or comic relief. Here, he’s right at the heart of the episode, and other characters, particularly a cousin named Bernard who works as a janitor, discuss his history, which includes being orphaned at an early age. This exploration is great, since Eugene is such a terrific character, and it’s nice to see him so involved in exciting exploits that include disarming a bomb and dangling from the side of a building.
On the other hand, I found this episode a little harder to connect to than others I’ve watched. It’s hard to say just why. The animation and voice work is perfectly up to snuff, with Ryan being the cast standout this time around as Eugene undergoes a rapidly changing series of emotions. He gets most of the laughs of the episode but also the pathos. Bernard is a fairly engaging side character, but none of the others really entertained me that much this time around. Whit, on the other hand, continues to be a steady source of wisdom and common sense.
Eugene quotes a psalm at one point in the episode, and its theme of treasuring each day because life could end tomorrow carries throughout the story. He seems to take it as an indication that nothing he does matters unless its results are immediate. His abandonment of his experiments is, in effect, a rejection of what makes him so special. Hence, the episode’s focus is using one’s gifts for good and not giving in to despair. It’s a good message, but I’m not sure it comes across as well as it could, particularly since the episode ends on a comical note that robs Eugene of a bit of his dignity.
The Last Days of Eugene Meltsner is a fun video for fans of Eugene, and it also invites contemplation about how one’s priorities might shift when faced with mortality. While I didn’t find it quite as entertaining as some of the others, it is still a solid episode.
Take a Walk on the Wicked Side With Disney Villains: Simply Sinister Songs
Disney is full of characters audiences just love to hate. When these
antagonists are allowed to sing for themselves, the results are often
both unnerving and irresistibly catchy. The album Disney Villains: Simply Sinister Songs compiles, in chronological order, an unlucky 13 of these songs that revel in dastardly deeds.
Pink Elephants on Parade (Dumbo) - I raised an eyebrow when I saw that this song opened the album, since I never really thought of it as a “villain’s” song. Yeah, those pink elephants are pretty creepy, but they’re also figments of Dumbo and Timothy’s imaginations, and all they’re really doing is giving them a massive hangover to look forward to in the morning. The sequence in the movie is one of the trippiest in Disney history, though, so while it’s not these elephants’ fault that Dumbo and Timothy dreamed them up, it’s certainly spooky, and the demented laughter toward the beginning sounds absolutely demonic. “I could stand the sight of worms and look at microscopic germs, but Technicolor pachyderms are too really much for me!”
Siamese Cat Song (Lady and the Tramp) - Peggy Lee provides the voice of these duplicitous cats who begin to make Lady’s life miserable from the moment they enter her house. I have read criticisms of this song because of the Asian accent Lee employs and the general idea that these villainous characters are so identifiably Siamese. The song has a very Asian sound to it, but aside from the rather questionable syntax, the lyrics are basically just reflective of the way any sneaky cat would act in their situation. Unsettling for sure. “We are Siamese if you please. We are Siamese if you don’t please. Now we looking over our new domicile. If we like we stay for maybe quite a while.”
Cruella De Vil (101 Dalmatians) - This track is a bit of a disappointment because it is mostly instrumental. Sure, it’s fun to hear Roger ragtiming it up on the piano, but what most people really want to hear is the portion that is sung. Though there’s not a lot of music in 101 Dalmatians, this song is absolutely iconic, and it’s partly because of the list of Cruella’s undesirable traits, rather like the one in You’re a Mean One, Mr. Grinch. It’s a very catchy tune, but I think the excess of purely instrumental piano may wear on some. “Cruella De Vil, Cruella De Vil. If she doesn’t scare you, no evil thing will. To see her is to take a sudden chill. Cruella, Cruella... She’s like a spider waiting for the kill; look out for Cruella De Vil!”
I Wan’na Be Like You (The Monkey Song) (The Jungle Book) - I tend not to think of this as a villain song either, but I guess King Louie, who is so desperate for Mowgli to teach him how to make fire, does qualify. It’s just that the jovial orangutan seems considerably less threatening than Shere Khan or the tiger or ever Kaa the python. While the first three songs on the album sound sinister, this one is a jazzy dance party led by Louis Prima, with Phil Harris popping in partway through to provide his own scatting, which is really pretty accomplished until he gets a bit too carried away with things. “Oobee do, I wanna be like you. I wanna walk like you, talk like you, too. You see it’s true, an ape like me can learn to be human too!”
Every Little Piece (Pete’s Dragon) - This is the only song on the album from a live-action film, and it’s a grand one. Jim Dale and Red Buttons ponder the delicious potion-making possibilities presented by the presence of Pete’s dragon. Doc Terminus is the main schemer here, perusing lists of dragon-related concoctions and getting more excited by the minute, but his faithful assistant soon gets caught up in the anticipation as well. It’s a song that feels simultaneously sophisticated and grotesque. While there are several villain songs in the movie, this one is the most gleefully malevolent. “Dragon cartilage keeps you thin. Dragon fat is for burns. A dragon tear will clear up your skin. Watch the profits come rolling in. Watch the profits come rolling in!”
Poor Unfortunate Souls (The Little Mermaid) - Pat Carroll brings a definite Broadway flavor to this showy song in which sea witch Ursula tries to persuade Ariel that she has her best interests at heart. It’s quite a lyrically dense song, so it’s hard to catch all the words on the first listen. Even now, I find myself struggling with the words during the most rambly parts of the song. It’s a wonderful anthem, though, an over-the-top declaration of innocence from someone we know to be vile, and her delivery betrays that even as her words hide it. Jodi Benson’s Ariel seems impossibly naive next to her, or just so fixated on what she wants that she will do almost anything. Although the circumstances here are very different, the end of the song, with Ursula demanding that Ariel sing for her, reminds me a lot of The Phantom of the Opera. An impressive song. “Come on, you pour unfortunate soul. Go ahead! Make your choice! I’m a very busy woman and I haven’t got all day. It won’t cost much – just your voice!”
Gaston (Beauty and the Beast) - This is the ultimate Disney villain’s song. It isn’t until The Mob Song that we see the heights of Gaston’s wickedness in musical form, but this is his shining moment, the time when everybody in town gets to band together and reassure Gaston about how great he is. Egomaniac that he is, Gaston does not take much convincing. Richard White’s strong baritone rings out over all the other voices here as the list of his outstanding traits and accomplishments grows. Most of them reveal him to be burly and macho but not inherently a bad egg, though his perpetual self-aggrandizement is a tip-off. “No one hits like Gaston, matches wits like Gaston. In a spitting match nobody spits like Gaston!” “I’m especially good at expectorating – ptooey!” “Ten points for Gaston!”
Oogie Boogie’s Song (The Nightmare Before Christmas) - I’m a little less familiar with this song than most on the album, having only seen the movie a couple of times, though I did see a memorable rendition of it at a high school dance concert not long ago. Oogie Boogie is a demonic entity who has Santa Claus in his clutches and is lording it over him. There’s a soulful vibe to this one; it reminds me of something that might have come out of New Orleans. Plenty of brass and woodwinds join in with jazzy piano and the deep, borderline demented voice of Ken Page, who displays the same alarming enthusiasm in his song in Don Bluth’s All Dogs Go to Heaven. Definitely one of the spookiest songs on the album. “You're jokin'. You're jokin'! I can't believe my eyes. You're jokin' me, you gotta be. This can't be the right guy! He's ancient, he's ugly; I don't know which is worse. I might just split a seam now if I don't die laughing first!”
You’re Only Second Rate (The Return of Jafar) - Strangely, this song is listed as having been from Aladdin and the King of Thieves, the third movie, but it is actually from the second. It’s odd because it combines the menace of Jafar, so silkily voiced by Jonathan Richman, with the showmanship of Genie, since this is Genie Jafar, who is even more powerful than the lovable blue lug who completely stole the show in the original movie. It’s sort of an anti-Friend Like Me, and Genie’s manic energy just doesn’t quite sound right coming out of stately Jafar. It’s a little overly goofy for such a fearsome villain, and some of the lines seem to be there just for the sake of rhyme and don’t make a lot of sense. Entertaining, but a notch below most of these tracks. “So spare me your tremendous scare! You look horrendous in your underwear! And I can hardly wait to discombobulate. I'll send ya back and packing in a shipping crate. You'll make a better living with a spinning plate. You're only second rate!”
Be Prepared (The Lion King) - I love this song led by Jeremy Irons, who, like Richman, really has icy sophistication down, and backed by Whoopi Goldberg, Cheech Marin and Jim Cummings as the clueless hyenas. This is a truly harrowing track, and yet it’s also fun, largely because of the unusual African instrumentation and the hyenas’ eerie harmonies. The summer The Lion King came out, I spent a couple weeks visiting my cousins, and we listened to this song over and over, switching off on who sang which part. It was a blast. Scar sounds regal here, using lofty language and keeping a tone of snide superiority in his voice that is only occasionally diminished when he loses patience with the hyenas’ incompetence and snaps at them. Bone-chilling. “I know it sounds sordid, but you’ll be rewarded when at last I am given my dues and injustice deliciously squared. Be prepared!”
Snuff Out the Light (Yzma’s Song) (The Emperor’s New Groove) - As I listened to this, I was puzzled because I had no memory of it at all. Granted, it’s been years since I’ve seen the movie, but I still would have thought the song would ring a bell. What’s more, I really couldn’t see how it fit into the plot at all. After a little looking, I was relieved to discover that I had a good reason for thinking it out of place. The song never made it into the movie and is a relic of an earlier plotline. Eartha Kitt is darkly eager here in this bouncy song in which the evil Yzma rails against the sun for the damage it has done to her. Anyone who has dealt with heatstroke or skin cancer can appreciate her standpoint, but her desire to destroy the sun is a little much… “Bats and owls and coiled sea dragons, crocodile and carrion beasts swirling in the growing darkness, join us in the coming feast.”
Yodel-Adle-Eedle-Idle-Oo (Home on the Range) - Pink Elephants on Parade has a rival in this bizarre number that is Old West meets acid trip. It starts off normal enough, with Randy Quaid’s cattle rustler Alameda Slim sounding growly and intimidating as he prepares to boast of his prowess, but suddenly it takes an unexpected turn. When I saw this in the theater, I literally fell out of my seat laughing. I gasped for breath. Tears rolled down my cheeks. Rarely have I had such a powerful attack of the giggles as I did once Slim started yodeling his head off, instantly sapping the character of any true menace. Luckily for me, the theater was almost empty. You’re missing the visuals here, which include glassy-eyed cows marching in kaleidoscopic formation as colors flash wildly, but just the audio is enough to convey how ridiculous all this is. Most of the actual yodeling is done by Randy Erwin and Kerry Christensen, while Quaid, along with David Brunham, Jason Graae and Gregory Jbara, who play Slim’s lackeys, sing the verses. After the beginning, the declarations devolve into utter lunacy and include a lot of jokes about his excessive girth. Almost certainly the goofiest villain song I have ever heard. “They call me mean, boys, depraved and nasty, too, but they ain’t seen, boys, the cruelest thing I do. You see, I yodel-adle-eedle-idle-oo…”
Friends on the Other Side (The Princess and the Frog) - This song performed by Keith David ends the album on a shuddery note. Reminiscent of the Oogie Boogie song, particularly when given the focus on the dead, it is incredibly creepy, with Doctor Facilier bragging of his skills as a necromancer. This is very dark stuff indeed, with the “Shadow Man” trying to work his persuasive magic on the unwitting prince much as Ursula does with Ariel. Upbeat but nightmarish. “The cards, the cards, the cards will tell the past, the present, and the future as well. The cards, the cards, just take three. Take a little trip into your future with me!”
This is not an exhaustive album; The Great Mouse Detective’s Ratigan and Hunchback of Notre Dame’s Frollo are two characters whose songs would have fit in well here, and they’re not the only ones. Still, this is a solid album, and while a couple of the tracks are less familiar, most are instantly recognizable classics. While few of the songs have a specific Halloween connection, the villainy being celebrated seems especially appropriate for this time of year. As October winds down, why not dust off your evil laugh and give Disney Villains a spin?
Pink Elephants on Parade (Dumbo) - I raised an eyebrow when I saw that this song opened the album, since I never really thought of it as a “villain’s” song. Yeah, those pink elephants are pretty creepy, but they’re also figments of Dumbo and Timothy’s imaginations, and all they’re really doing is giving them a massive hangover to look forward to in the morning. The sequence in the movie is one of the trippiest in Disney history, though, so while it’s not these elephants’ fault that Dumbo and Timothy dreamed them up, it’s certainly spooky, and the demented laughter toward the beginning sounds absolutely demonic. “I could stand the sight of worms and look at microscopic germs, but Technicolor pachyderms are too really much for me!”
Siamese Cat Song (Lady and the Tramp) - Peggy Lee provides the voice of these duplicitous cats who begin to make Lady’s life miserable from the moment they enter her house. I have read criticisms of this song because of the Asian accent Lee employs and the general idea that these villainous characters are so identifiably Siamese. The song has a very Asian sound to it, but aside from the rather questionable syntax, the lyrics are basically just reflective of the way any sneaky cat would act in their situation. Unsettling for sure. “We are Siamese if you please. We are Siamese if you don’t please. Now we looking over our new domicile. If we like we stay for maybe quite a while.”
Cruella De Vil (101 Dalmatians) - This track is a bit of a disappointment because it is mostly instrumental. Sure, it’s fun to hear Roger ragtiming it up on the piano, but what most people really want to hear is the portion that is sung. Though there’s not a lot of music in 101 Dalmatians, this song is absolutely iconic, and it’s partly because of the list of Cruella’s undesirable traits, rather like the one in You’re a Mean One, Mr. Grinch. It’s a very catchy tune, but I think the excess of purely instrumental piano may wear on some. “Cruella De Vil, Cruella De Vil. If she doesn’t scare you, no evil thing will. To see her is to take a sudden chill. Cruella, Cruella... She’s like a spider waiting for the kill; look out for Cruella De Vil!”
I Wan’na Be Like You (The Monkey Song) (The Jungle Book) - I tend not to think of this as a villain song either, but I guess King Louie, who is so desperate for Mowgli to teach him how to make fire, does qualify. It’s just that the jovial orangutan seems considerably less threatening than Shere Khan or the tiger or ever Kaa the python. While the first three songs on the album sound sinister, this one is a jazzy dance party led by Louis Prima, with Phil Harris popping in partway through to provide his own scatting, which is really pretty accomplished until he gets a bit too carried away with things. “Oobee do, I wanna be like you. I wanna walk like you, talk like you, too. You see it’s true, an ape like me can learn to be human too!”
Every Little Piece (Pete’s Dragon) - This is the only song on the album from a live-action film, and it’s a grand one. Jim Dale and Red Buttons ponder the delicious potion-making possibilities presented by the presence of Pete’s dragon. Doc Terminus is the main schemer here, perusing lists of dragon-related concoctions and getting more excited by the minute, but his faithful assistant soon gets caught up in the anticipation as well. It’s a song that feels simultaneously sophisticated and grotesque. While there are several villain songs in the movie, this one is the most gleefully malevolent. “Dragon cartilage keeps you thin. Dragon fat is for burns. A dragon tear will clear up your skin. Watch the profits come rolling in. Watch the profits come rolling in!”
Poor Unfortunate Souls (The Little Mermaid) - Pat Carroll brings a definite Broadway flavor to this showy song in which sea witch Ursula tries to persuade Ariel that she has her best interests at heart. It’s quite a lyrically dense song, so it’s hard to catch all the words on the first listen. Even now, I find myself struggling with the words during the most rambly parts of the song. It’s a wonderful anthem, though, an over-the-top declaration of innocence from someone we know to be vile, and her delivery betrays that even as her words hide it. Jodi Benson’s Ariel seems impossibly naive next to her, or just so fixated on what she wants that she will do almost anything. Although the circumstances here are very different, the end of the song, with Ursula demanding that Ariel sing for her, reminds me a lot of The Phantom of the Opera. An impressive song. “Come on, you pour unfortunate soul. Go ahead! Make your choice! I’m a very busy woman and I haven’t got all day. It won’t cost much – just your voice!”
Gaston (Beauty and the Beast) - This is the ultimate Disney villain’s song. It isn’t until The Mob Song that we see the heights of Gaston’s wickedness in musical form, but this is his shining moment, the time when everybody in town gets to band together and reassure Gaston about how great he is. Egomaniac that he is, Gaston does not take much convincing. Richard White’s strong baritone rings out over all the other voices here as the list of his outstanding traits and accomplishments grows. Most of them reveal him to be burly and macho but not inherently a bad egg, though his perpetual self-aggrandizement is a tip-off. “No one hits like Gaston, matches wits like Gaston. In a spitting match nobody spits like Gaston!” “I’m especially good at expectorating – ptooey!” “Ten points for Gaston!”
Oogie Boogie’s Song (The Nightmare Before Christmas) - I’m a little less familiar with this song than most on the album, having only seen the movie a couple of times, though I did see a memorable rendition of it at a high school dance concert not long ago. Oogie Boogie is a demonic entity who has Santa Claus in his clutches and is lording it over him. There’s a soulful vibe to this one; it reminds me of something that might have come out of New Orleans. Plenty of brass and woodwinds join in with jazzy piano and the deep, borderline demented voice of Ken Page, who displays the same alarming enthusiasm in his song in Don Bluth’s All Dogs Go to Heaven. Definitely one of the spookiest songs on the album. “You're jokin'. You're jokin'! I can't believe my eyes. You're jokin' me, you gotta be. This can't be the right guy! He's ancient, he's ugly; I don't know which is worse. I might just split a seam now if I don't die laughing first!”
You’re Only Second Rate (The Return of Jafar) - Strangely, this song is listed as having been from Aladdin and the King of Thieves, the third movie, but it is actually from the second. It’s odd because it combines the menace of Jafar, so silkily voiced by Jonathan Richman, with the showmanship of Genie, since this is Genie Jafar, who is even more powerful than the lovable blue lug who completely stole the show in the original movie. It’s sort of an anti-Friend Like Me, and Genie’s manic energy just doesn’t quite sound right coming out of stately Jafar. It’s a little overly goofy for such a fearsome villain, and some of the lines seem to be there just for the sake of rhyme and don’t make a lot of sense. Entertaining, but a notch below most of these tracks. “So spare me your tremendous scare! You look horrendous in your underwear! And I can hardly wait to discombobulate. I'll send ya back and packing in a shipping crate. You'll make a better living with a spinning plate. You're only second rate!”
Be Prepared (The Lion King) - I love this song led by Jeremy Irons, who, like Richman, really has icy sophistication down, and backed by Whoopi Goldberg, Cheech Marin and Jim Cummings as the clueless hyenas. This is a truly harrowing track, and yet it’s also fun, largely because of the unusual African instrumentation and the hyenas’ eerie harmonies. The summer The Lion King came out, I spent a couple weeks visiting my cousins, and we listened to this song over and over, switching off on who sang which part. It was a blast. Scar sounds regal here, using lofty language and keeping a tone of snide superiority in his voice that is only occasionally diminished when he loses patience with the hyenas’ incompetence and snaps at them. Bone-chilling. “I know it sounds sordid, but you’ll be rewarded when at last I am given my dues and injustice deliciously squared. Be prepared!”
Snuff Out the Light (Yzma’s Song) (The Emperor’s New Groove) - As I listened to this, I was puzzled because I had no memory of it at all. Granted, it’s been years since I’ve seen the movie, but I still would have thought the song would ring a bell. What’s more, I really couldn’t see how it fit into the plot at all. After a little looking, I was relieved to discover that I had a good reason for thinking it out of place. The song never made it into the movie and is a relic of an earlier plotline. Eartha Kitt is darkly eager here in this bouncy song in which the evil Yzma rails against the sun for the damage it has done to her. Anyone who has dealt with heatstroke or skin cancer can appreciate her standpoint, but her desire to destroy the sun is a little much… “Bats and owls and coiled sea dragons, crocodile and carrion beasts swirling in the growing darkness, join us in the coming feast.”
Yodel-Adle-Eedle-Idle-Oo (Home on the Range) - Pink Elephants on Parade has a rival in this bizarre number that is Old West meets acid trip. It starts off normal enough, with Randy Quaid’s cattle rustler Alameda Slim sounding growly and intimidating as he prepares to boast of his prowess, but suddenly it takes an unexpected turn. When I saw this in the theater, I literally fell out of my seat laughing. I gasped for breath. Tears rolled down my cheeks. Rarely have I had such a powerful attack of the giggles as I did once Slim started yodeling his head off, instantly sapping the character of any true menace. Luckily for me, the theater was almost empty. You’re missing the visuals here, which include glassy-eyed cows marching in kaleidoscopic formation as colors flash wildly, but just the audio is enough to convey how ridiculous all this is. Most of the actual yodeling is done by Randy Erwin and Kerry Christensen, while Quaid, along with David Brunham, Jason Graae and Gregory Jbara, who play Slim’s lackeys, sing the verses. After the beginning, the declarations devolve into utter lunacy and include a lot of jokes about his excessive girth. Almost certainly the goofiest villain song I have ever heard. “They call me mean, boys, depraved and nasty, too, but they ain’t seen, boys, the cruelest thing I do. You see, I yodel-adle-eedle-idle-oo…”
Friends on the Other Side (The Princess and the Frog) - This song performed by Keith David ends the album on a shuddery note. Reminiscent of the Oogie Boogie song, particularly when given the focus on the dead, it is incredibly creepy, with Doctor Facilier bragging of his skills as a necromancer. This is very dark stuff indeed, with the “Shadow Man” trying to work his persuasive magic on the unwitting prince much as Ursula does with Ariel. Upbeat but nightmarish. “The cards, the cards, the cards will tell the past, the present, and the future as well. The cards, the cards, just take three. Take a little trip into your future with me!”
This is not an exhaustive album; The Great Mouse Detective’s Ratigan and Hunchback of Notre Dame’s Frollo are two characters whose songs would have fit in well here, and they’re not the only ones. Still, this is a solid album, and while a couple of the tracks are less familiar, most are instantly recognizable classics. While few of the songs have a specific Halloween connection, the villainy being celebrated seems especially appropriate for this time of year. As October winds down, why not dust off your evil laugh and give Disney Villains a spin?
Mowgli Extends a Helping Hand in The Jungle Book: A Friend for Life
One of the most menacing Disney villains is Shere Khan, the slick, sophisticated tiger who has it in for Mowgli in The Jungle Book.
Given his terrifying experience with that dangerous jungle cat, one
might presume that Mowgli would be scared off tigers for life. However,
in A Friend for Life, the sixth book in Disney’s Storytime
Treasures Library, Mowgli’s kindness overcomes his fear when he
encounters an injured tigress and her three cubs.
This story, written by Lisa Ann Marsoli and illustrated by Peter Emslie and David Scott Smith, takes place a mere month after Mowgli’s return to the Man-village at the edge of the jungle. He enjoys his life there and loves regaling the other children with tales of his unconventional upbringing, but he misses his former home. Hence, after clearing it with the village chief, Mowgli sets out to pay his old friends a visit. What he doesn’t expect is that he will make a new friend in the process.
Mowgli must first win over Sheba, the distrustful tigress who was injured in a fall while hunting. Her experience with people causes her to take a dim view of them, but the boy’s gentleness and concern gradually wear her down. However, if he is going to help her, he’s going to need the help of jovial bear Baloo and cautious panther Bagheera. Will they be able to put aside their traumatic experiences with Shere Khan, or is Sheba just too inherently dangerous?
This is a nice story somewhat in the vein of David Kirk’s Miss Spider’s Tea Party. Mowgli and Sheba have compelling reasons not to trust each other, but this is a story that encourages us to look at everyone individually instead of judging them based upon the group to which they belong. It’s a tale about breaking down prejudices and building up friendships. The narration and dialogue are nothing fancy but are well done, particularly the brief banter of Baloo and Bagheera. I also like the eight-line verse after the story that sums up its moral, concluding with this compelling thought: “Like many so-called enemies, they shared more than they knew.”
The illustrations are full of bright colors, with the blazing orange of the tigers’ fur particularly standing out. The characters are all recognizably the ones from the movie, and while the backgrounds are a bit flatter than in the film, they are still done well. Those who have seen the movie should have little trouble immersing themselves in this world once again, and that’s a good thing because in this book, the jungle is a very friendly place to be.
This story, written by Lisa Ann Marsoli and illustrated by Peter Emslie and David Scott Smith, takes place a mere month after Mowgli’s return to the Man-village at the edge of the jungle. He enjoys his life there and loves regaling the other children with tales of his unconventional upbringing, but he misses his former home. Hence, after clearing it with the village chief, Mowgli sets out to pay his old friends a visit. What he doesn’t expect is that he will make a new friend in the process.
Mowgli must first win over Sheba, the distrustful tigress who was injured in a fall while hunting. Her experience with people causes her to take a dim view of them, but the boy’s gentleness and concern gradually wear her down. However, if he is going to help her, he’s going to need the help of jovial bear Baloo and cautious panther Bagheera. Will they be able to put aside their traumatic experiences with Shere Khan, or is Sheba just too inherently dangerous?
This is a nice story somewhat in the vein of David Kirk’s Miss Spider’s Tea Party. Mowgli and Sheba have compelling reasons not to trust each other, but this is a story that encourages us to look at everyone individually instead of judging them based upon the group to which they belong. It’s a tale about breaking down prejudices and building up friendships. The narration and dialogue are nothing fancy but are well done, particularly the brief banter of Baloo and Bagheera. I also like the eight-line verse after the story that sums up its moral, concluding with this compelling thought: “Like many so-called enemies, they shared more than they knew.”
The illustrations are full of bright colors, with the blazing orange of the tigers’ fur particularly standing out. The characters are all recognizably the ones from the movie, and while the backgrounds are a bit flatter than in the film, they are still done well. Those who have seen the movie should have little trouble immersing themselves in this world once again, and that’s a good thing because in this book, the jungle is a very friendly place to be.
Saturday, October 29, 2011
Thumper Finds a Friend
Making friends is easier for some than for others. Thumper, the gregarious rabbit from the Disney classic Bambi, is always eager to make new friends, but sometimes his forceful personality can be a bit overwhelming. In Thumper Finds a Friend,
a picture book in the Disney Bunnies series of books for young readers,
he is stymied when his friendly advances are seemingly rejected by a
bashful hedgehog whose name we never learn. What could the trouble be?
My assumption is that this series, or at least this particular book, is meant to take place before Thumper takes up with the deer and skunk who will become his best friends. Both Bambi and Flower are a bit shy during their first encounters with new playmates, so I would think Thumper would be used to that quality by then. What’s more, his sisters are the only other young animals keeping Thumper company throughout the book, and I get the impression that this is typical. Being a big brother is exhausting work; no wonder he’d like a friend outside his own family.
The illustration style in this book is the same as in the Disney Bunnies board books; there’s just more room to work with here. We have the same detailed backgrounds, the same slightly pastel look, the same CGI appearance that makes the rabbits almost seem to leap off the page, with thousands of their tiny hairs standing out clearly. The team of Lori Tyminski, Maria Elena Naggi, Giorgio Vallorani and Doug Ball do an excellent job of making the rabbits and hedgehog, along with curious squirrels, chipmunks and birds lurking nearby, absolutely adorable.
The main difference between the board books and the picture books is that these are much longer. Thus, we have a lot more pictures, and there’s time to develop an actual story. Most pages still don’t have a lot of text, but the sentences are bigger. There’s also a fun bit of internal rhyme in the description of the bunnies at play: “One bunny wriggled and one bunny slid, one bunny giggled and one bunny hid…” Mostly, however, Laura Driscoll writes in sunny prose easily digestible by young readers.
The purpose of this book is to demonstrate the fact that not everyone has the same type of personality. The hedgehog in this story is a perfectly nice creature; she just is a bit slow to open up to strangers. The tale advocates not giving up on a potential friendship just because your overtures don’t seem to work at first. At the same time, it urges giving the stranger some space to come the rest of the way. Don’t take offense, and don’t overwhelm. Those are suggestions that even adults might do well to heed.
Cultivating friendships is one of the most important tasks in which people can immerse themselves. Thumper Finds a Friend will help kids to make a good start on this important venture.
My assumption is that this series, or at least this particular book, is meant to take place before Thumper takes up with the deer and skunk who will become his best friends. Both Bambi and Flower are a bit shy during their first encounters with new playmates, so I would think Thumper would be used to that quality by then. What’s more, his sisters are the only other young animals keeping Thumper company throughout the book, and I get the impression that this is typical. Being a big brother is exhausting work; no wonder he’d like a friend outside his own family.
The illustration style in this book is the same as in the Disney Bunnies board books; there’s just more room to work with here. We have the same detailed backgrounds, the same slightly pastel look, the same CGI appearance that makes the rabbits almost seem to leap off the page, with thousands of their tiny hairs standing out clearly. The team of Lori Tyminski, Maria Elena Naggi, Giorgio Vallorani and Doug Ball do an excellent job of making the rabbits and hedgehog, along with curious squirrels, chipmunks and birds lurking nearby, absolutely adorable.
The main difference between the board books and the picture books is that these are much longer. Thus, we have a lot more pictures, and there’s time to develop an actual story. Most pages still don’t have a lot of text, but the sentences are bigger. There’s also a fun bit of internal rhyme in the description of the bunnies at play: “One bunny wriggled and one bunny slid, one bunny giggled and one bunny hid…” Mostly, however, Laura Driscoll writes in sunny prose easily digestible by young readers.
The purpose of this book is to demonstrate the fact that not everyone has the same type of personality. The hedgehog in this story is a perfectly nice creature; she just is a bit slow to open up to strangers. The tale advocates not giving up on a potential friendship just because your overtures don’t seem to work at first. At the same time, it urges giving the stranger some space to come the rest of the way. Don’t take offense, and don’t overwhelm. Those are suggestions that even adults might do well to heed.
Cultivating friendships is one of the most important tasks in which people can immerse themselves. Thumper Finds a Friend will help kids to make a good start on this important venture.
Pooh, Piglet and Tigger Become Cheermeisters in Eeyore, Be Happy!
Every resident of the Hundred-Acre Wood has a defining characteristic or
two. For Eeyore, the most prominent trait is gloominess. He can’t seem
to help it; he’s just naturally down in the dumps, occupying a similar
role to Grumpy Bear in the Care Bears and Oscar the Grouch on Sesame
Street. In the Little Golden Book Eeyore, Be Happy!, written by
Don Ferguson, Eeyore’s morose ways have begun to grate on some of the
others in the Wood. Not only do they want him to be happy out of sheer
friendly good will, they want him to stop making dire prognostications
that put a damper on everyone else’s day.
The general theme of cheering Eeyore up is one that has permeated many Winnie the Pooh stories, from the classic Milne story about Eeyore’s birthday to A Donkey for a Day, possibly my favorite episode of The New Adventures of Winnie the Pooh. This book is similar in many ways to the latter, with Pooh, Piglet and Tigger each taking a turn at trying to show Eeyore a good time. Christopher Robin is also on board for the afternoon, though he is mostly there to observe; he doesn’t make any direct recommendations to Eeyore about how to cheer himself up.
The tone of the story is fairly comical, as each of the things that the friends suggest is quite physically taxing. Pooh, Tigger and Piglet are feeling pretty energetic from the beginning; their visit to Eeyore is prompted by their annoyance that they refrained from participating in any strenuous activities because Eeyore’s earthquake prediction led them to spend half the day hiding under a bridge. It seems they want to make up for lost time with Eeyore. While Tigger is always energetic and no pastime thrills him more than bouncing, Pooh and Piglet tend to favor quieter hobbies. In this book, however, not only does Tigger send Eeyore on a bouncing spree, Piglet encourages him to take up house painting and Pooh sends him scrambling up an enormous bee-filled tree to collect honey. No wonder Eeyore doesn’t feel very cheered up!
The illustration style in this book is fairly flat, with some shading in the forest backgrounds but not on the characters themselves, who are marked by thick outlines and uniform stretches of color. Probably my favorite picture shows a smiling Christopher Robin crouching next to Eeyore and Tigger, who have blundered into a mud puddle and are sopping wet and covered in brown ooze. The illustrations are vibrant and true to character, and the narrative style is pleasantly direct. The interactive narrator is a feature of many Pooh books, and while this one never speaks to the characters, he does directly address the reader, infusing each page with a gentle storytellerish quality. I especially love this description of Pooh’s favorite game: “Poohsticks is easy. It was invented by Pooh, who isn’t a very complicated bear.”
Eeyore is a creature who likes to be appreciated. Sometimes, however, he also likes to be left alone. Figuring out what type of day he is having can be tricky. In the gently humorous Eeyore, Be Happy!, the donkey’s friends learn that what makes one person happy might not work for another person. Sometimes, a grump just wants to brood. Eeyore appreciates the gesture, but it turns out he kinda likes that invisible raincloud over his head. Hence, this book celebrates individuality, while also lauding the kindness that Pooh and his friends show to the despondent donkey, even if it turns out to be misplaced. Perhaps a more suitable title would be Eeyore, Be Happy – But Only If You Want to Be!
The general theme of cheering Eeyore up is one that has permeated many Winnie the Pooh stories, from the classic Milne story about Eeyore’s birthday to A Donkey for a Day, possibly my favorite episode of The New Adventures of Winnie the Pooh. This book is similar in many ways to the latter, with Pooh, Piglet and Tigger each taking a turn at trying to show Eeyore a good time. Christopher Robin is also on board for the afternoon, though he is mostly there to observe; he doesn’t make any direct recommendations to Eeyore about how to cheer himself up.
The tone of the story is fairly comical, as each of the things that the friends suggest is quite physically taxing. Pooh, Tigger and Piglet are feeling pretty energetic from the beginning; their visit to Eeyore is prompted by their annoyance that they refrained from participating in any strenuous activities because Eeyore’s earthquake prediction led them to spend half the day hiding under a bridge. It seems they want to make up for lost time with Eeyore. While Tigger is always energetic and no pastime thrills him more than bouncing, Pooh and Piglet tend to favor quieter hobbies. In this book, however, not only does Tigger send Eeyore on a bouncing spree, Piglet encourages him to take up house painting and Pooh sends him scrambling up an enormous bee-filled tree to collect honey. No wonder Eeyore doesn’t feel very cheered up!
The illustration style in this book is fairly flat, with some shading in the forest backgrounds but not on the characters themselves, who are marked by thick outlines and uniform stretches of color. Probably my favorite picture shows a smiling Christopher Robin crouching next to Eeyore and Tigger, who have blundered into a mud puddle and are sopping wet and covered in brown ooze. The illustrations are vibrant and true to character, and the narrative style is pleasantly direct. The interactive narrator is a feature of many Pooh books, and while this one never speaks to the characters, he does directly address the reader, infusing each page with a gentle storytellerish quality. I especially love this description of Pooh’s favorite game: “Poohsticks is easy. It was invented by Pooh, who isn’t a very complicated bear.”
Eeyore is a creature who likes to be appreciated. Sometimes, however, he also likes to be left alone. Figuring out what type of day he is having can be tricky. In the gently humorous Eeyore, Be Happy!, the donkey’s friends learn that what makes one person happy might not work for another person. Sometimes, a grump just wants to brood. Eeyore appreciates the gesture, but it turns out he kinda likes that invisible raincloud over his head. Hence, this book celebrates individuality, while also lauding the kindness that Pooh and his friends show to the despondent donkey, even if it turns out to be misplaced. Perhaps a more suitable title would be Eeyore, Be Happy – But Only If You Want to Be!
Dylan Tries to Prove Whit's Innocence in Adventues in Odyssey: Shadow of a Doubt
Back in the 1990s, my grandparents introduced me to the Christian video series Adventures in Odyssey,
which focuses on the residents of a small, close-knit community where
extraordinary things always seem to be happening. That video was a spoof
of science fiction, specifically Star Trek, and other videos have similarly spoofed particular genres. In Shadow of a Doubt, we get a nice blend of mystery and courtroom drama.
John Avery Whitaker (Hal Smith), the kindly Captain Kangaroo type who runs the malt shop Whit’s End, has been arrested under suspicion of being the Cat Burglar, a shadowy diamond thief. The evidence is stacked against him; his face is on surveillance footage, his fingerprints are on a glass at the scene of the crime and his faithful assistant, geeky Eugene Meltsner (Will Ryan),discovered some diamonds buried behind the shop. It doesn’t look good for Whit, but local kid Dylan Taylor (Victor DiMattia), who considers Whit a true friend and mentor, can’t believe he could ever commit such a crime. With a camcorder in tow and his trusty hound dog by his side, can Dylan clear his name in time?
This half-hour-long 1993 video written and directed by Mike Joens and Ken C. Johnson is fairly typical for the series in that it involves several established, realistic characters interacting with minor, overblown ones. Most of the really funny moments have to do with these quirky minor characters; in this case, that means the overzealous drill sergeant of a detective who comes to arrest Whit and the hot-headed prosecuting attorney who makes a case against him in court. The video also pokes fun at sensational journalism and people’s reactions to it in a series of newspaper clipping montages that remind me of the film adaptation of Harry Potter and the Order of the Phoenix.
The animation is pretty standard for a direct-to-video series. It’s not blow-you-away great, but it’s perfectly serviceable, and some of the characters have a very appealing look to them, especially Whit and Eugene. The suspenseful music by John Campbell adds to the fun. The voice work is good as well, and I especially enjoyed the interplay between brawny, booming Investigator Stark and his diminutive partner, Reed, who rolls his eyes frequently and speaks in a flat, higher tone. Whit, arguably the central character in the series, speaks in his usual folksy, comforting manner, though there’s an edge of panic that creeps in now and then as he realizes how few people believe him.
The one thing that surprised me about this installment is that the video never quotes from the Bible or even mentions God. In Star Quest, for instance, the passage about the importance of each part of the body is crucial to the climax of the episode. Whit, Eugene and Dylan act in a manner consistent with the other videos, but it is a recollection of a pertinent childhood memory from his dad that helps bolster his faith in his old friend. Still, although this episode is not as overtly Christian as others in the series, it’s a funny, exciting episode that celebrates the value of supporting your friends in their darkest hours.
John Avery Whitaker (Hal Smith), the kindly Captain Kangaroo type who runs the malt shop Whit’s End, has been arrested under suspicion of being the Cat Burglar, a shadowy diamond thief. The evidence is stacked against him; his face is on surveillance footage, his fingerprints are on a glass at the scene of the crime and his faithful assistant, geeky Eugene Meltsner (Will Ryan),discovered some diamonds buried behind the shop. It doesn’t look good for Whit, but local kid Dylan Taylor (Victor DiMattia), who considers Whit a true friend and mentor, can’t believe he could ever commit such a crime. With a camcorder in tow and his trusty hound dog by his side, can Dylan clear his name in time?
This half-hour-long 1993 video written and directed by Mike Joens and Ken C. Johnson is fairly typical for the series in that it involves several established, realistic characters interacting with minor, overblown ones. Most of the really funny moments have to do with these quirky minor characters; in this case, that means the overzealous drill sergeant of a detective who comes to arrest Whit and the hot-headed prosecuting attorney who makes a case against him in court. The video also pokes fun at sensational journalism and people’s reactions to it in a series of newspaper clipping montages that remind me of the film adaptation of Harry Potter and the Order of the Phoenix.
The animation is pretty standard for a direct-to-video series. It’s not blow-you-away great, but it’s perfectly serviceable, and some of the characters have a very appealing look to them, especially Whit and Eugene. The suspenseful music by John Campbell adds to the fun. The voice work is good as well, and I especially enjoyed the interplay between brawny, booming Investigator Stark and his diminutive partner, Reed, who rolls his eyes frequently and speaks in a flat, higher tone. Whit, arguably the central character in the series, speaks in his usual folksy, comforting manner, though there’s an edge of panic that creeps in now and then as he realizes how few people believe him.
The one thing that surprised me about this installment is that the video never quotes from the Bible or even mentions God. In Star Quest, for instance, the passage about the importance of each part of the body is crucial to the climax of the episode. Whit, Eugene and Dylan act in a manner consistent with the other videos, but it is a recollection of a pertinent childhood memory from his dad that helps bolster his faith in his old friend. Still, although this episode is not as overtly Christian as others in the series, it’s a funny, exciting episode that celebrates the value of supporting your friends in their darkest hours.
Friday, October 28, 2011
Zazu's View Misses a Lot of Major Details
My first impression of The Lion King left me wondering whether it
would bear any resemblance to a typical Disney movie. That first
wordless scene felt so epic, I initially questioned whether there would
even be much in the way of dialogue. But once the presentation of Simba
was over, the characters began to talk, and one of the chattiest was
Zazu, Mufasa’s deputy. In Zazu’s View, a picture book written by Justine Korman and illustrated by Josie Yee, the hornbill has the spotlight to himself.
Zazu’s View is really just a retelling of The Lion King from Zazu’s perspective. What that means is that his narrative tone is a tad self-important and also that he incorporates as much bird-related imagery as possible. He calls himself Mufasa’s “right-wing bird,” which really doesn’t make a lot of sense because the point is that he’s at Mufasa’s right hand. “Right-paw” would be more fitting. Still, he mentions his wings whenever he can and is obviously very proud of them. He also uses bird metaphors like Mufasa sending the hyenas “flying like a bunch of frightened hens.”
The illustrations capture key moments in the movie. The pictures are detailed and full of rich color, and in addition to the full-page illustrations, there are four two-page spreads. For the most part, the pictures are pretty dire. Only three illustrations are truly tranquil, with no hint of agitation on any of the characters, and two of those are cub presentation scenes. The book basically moves swiftly from one harrowing event to the next, leaving little time to take it easy. There is no “hakuna matata” here.
That, I think, is the book’s biggest drawback. Because Zazu was not a part of it, the story completely excises Simba’s sojourn with Timon and Pumbaa. The warthog and meerkat show up on the last page, but that is their first appearance, and they are never mentioned by name – nor, for that matter, is Rafiki, the baboon who serves as the mystic of the Pridelands. We don’t get the names of the hyenas either, but that makes sense and doesn’t detract from their role in the story. Still, the fact of the matter is that there are big chunks of the story in which Zazu is not involved, so it feels incomplete. One page Simba’s gone, the next he’s back, and oh, yeah, he and Nala get married even though the last time they saw each other, when they were cubs, that thought totally grossed them out. There’s no transition.
It would have been interesting if this book had given a little something extra that Zazu saw while the attention in the movie was elsewhere, but it really doesn’t. The limited perspective takes scenes away but doesn’t add anything. Hence, while it’s a nice idea to give him his own book, Zazu’s View is just too narrow to make for a truly satisfying adaptation of the movie.
Zazu’s View is really just a retelling of The Lion King from Zazu’s perspective. What that means is that his narrative tone is a tad self-important and also that he incorporates as much bird-related imagery as possible. He calls himself Mufasa’s “right-wing bird,” which really doesn’t make a lot of sense because the point is that he’s at Mufasa’s right hand. “Right-paw” would be more fitting. Still, he mentions his wings whenever he can and is obviously very proud of them. He also uses bird metaphors like Mufasa sending the hyenas “flying like a bunch of frightened hens.”
The illustrations capture key moments in the movie. The pictures are detailed and full of rich color, and in addition to the full-page illustrations, there are four two-page spreads. For the most part, the pictures are pretty dire. Only three illustrations are truly tranquil, with no hint of agitation on any of the characters, and two of those are cub presentation scenes. The book basically moves swiftly from one harrowing event to the next, leaving little time to take it easy. There is no “hakuna matata” here.
That, I think, is the book’s biggest drawback. Because Zazu was not a part of it, the story completely excises Simba’s sojourn with Timon and Pumbaa. The warthog and meerkat show up on the last page, but that is their first appearance, and they are never mentioned by name – nor, for that matter, is Rafiki, the baboon who serves as the mystic of the Pridelands. We don’t get the names of the hyenas either, but that makes sense and doesn’t detract from their role in the story. Still, the fact of the matter is that there are big chunks of the story in which Zazu is not involved, so it feels incomplete. One page Simba’s gone, the next he’s back, and oh, yeah, he and Nala get married even though the last time they saw each other, when they were cubs, that thought totally grossed them out. There’s no transition.
It would have been interesting if this book had given a little something extra that Zazu saw while the attention in the movie was elsewhere, but it really doesn’t. The limited perspective takes scenes away but doesn’t add anything. Hence, while it’s a nice idea to give him his own book, Zazu’s View is just too narrow to make for a truly satisfying adaptation of the movie.
Norman Tokar Strikes Gold With the Kidnapping Caper No Deposit No Return
Back in 2008, I watched several Disney movies directed by Norman Tokar, and while I loved The Apple Dumpling Gang, my response to the others was a bit more tepid. I didn’t set the bar too high, then, when I queued up No Deposit No Return,
one of the last movies Tokar directed. I’d never heard of it before,
but the cast – Darren McGavin, David Niven and especially Don Knotts –
seemed promising, so I was happy to see it arrive even though I wasn’t
sure whether it would be a hit or miss.
No Deposit No Return, like Mary Poppins, is the story of two upper-class children who have grown frightfully mischievous after years of neglect. Their father is out of the picture, and their mother is a magazine editor who delegates the job of raising them to maids and boarding school staff. Now it’s Easter break, and all Tracy (Kim Richards) and Jay (Brad Savage) want is to spend the week with their mother. To their dismay, they learn that she’ll be in Hong Kong all week, while the housekeeper who normally looks after them while they’re at home is headed to Bermuda. They’re being shipped off to Los Angeles to stay with their grumpy grandfather, multi-millionaire J. W. Osborne (Niven), a prospect none of the three relishes.
Tracy begins to formulate a plan for connecting with their overbooked mother, and when she and Jay find themselves sharing a taxi with Duke (McGavin) and Bert (Knotts), a petty safe-cracker and his driver, a light bulb goes off. After manipulating the men into letting her and Jay spend the night in their hideout, she writes a letter to her grandpa to announce that she has been kidnapped and tells Duke and Bert of her plan, explaining that all she wants is enough money for two plane tickets to Hong Kong. If they will only play along, they could be very rich men – and they are desperately in need of a windfall, since nefarious loan shark Big Joe (Vic Tayback) is on their tails. After all, how hard could it be to keep an eye on a couple of kids for a few hours?
Right from the credits, this movie is enormously entertaining. The stylized animation is reminiscent of a Pink Panther opening and bears little literal resemblance to the movie, though some of the kids’ adventures are hinted at in their animated exploits. Jay’s pet skunk Duster has pride of place in this sequence, and a shark, perhaps representative of Big Joe, surfaces to stir things up. I was smiling when the animation ended, so it boded well for the rest of the movie, and happily the live action lived up to the engaging cartoon credits.
Richards and Savage were both Disney veterans when they filmed this movie, and they seem right at home in this zany family comedy. I was especially impressed with Richards, who makes Tracy simultaneously sweet and devious. She is arguably the cleverest character in the movie, though her elaborate schemes don’t always have the desired result. There’s something hypnotically adorable about this plucky youngster. Savage is fun to watch as well, though Jay is such a walking disaster that I couldn’t help cringing a bit as I contemplated what sort of massive mess he was going to make next. Duster often steals the show; all he has to do is turn up someplace unexpected to raise a panic, and it’s quite comical to see so many people lose all composure at the mere sight of this docile creature rendered offensive by the noxious odor he could release.
Given Knotts’ comedic genius, I am always disappointed when comedies fail to take advantage of his full skill set. Happily, this one does, from his aw-shucks dialogue to his bug-eyed responses and his spectacular pratfalls. One sequence in particular that leads him on a wild skunk chase through a dangerous series of high-rise obstacles allows him to show just how hilarious he can be. McGavin makes a good foil for him, a steady, more serious type who’s got a better head on his shoulders but still is pretty hapless in most situations.
Niven’s dry British wit is the highlight of any scene involving Mr. Osborne, who, having tailed Tracy and Jay to Duke and Bert’s headquarters, knows where they are and rather hopes they will stay there. His lack of concern for his grandchildren is mildly appalling, yet his calm contemplation of how long this charade might continue is quietly riotous, especially as we come to appreciate just what a handful these two can really be. We mostly see him conferring with his faithful butler Jameson (John Williams), but he also comes into occasional contact with the duo of incompetent detectives trying to catch both the kidnappers and the safe-cracker. Thick-mustached Sergeant Turner (Herschel Bernardi) is the more experienced cop, and the breathless enthusiasm of his glasses-wearing, textbook-spouting partner Longnecker (Charles Martin Smith) wearies him. These two are almost as funny as Duke and Bert.
The movie, written by Arthur Alsberg and Don Nelson and based on a story by Joe McEveety, is nearly two hours long, and it’s packed with action, often of the humorously disastrous variety. A little of that can go a long way, but I didn’t mind it here, especially since the chaos is rarely widespread. It also never becomes crude, which isn’t surprising for a 1970s Disney film but is refreshing nonetheless. What’s more, along with all the goofy comedy, the story has real heart. I wonder if the season two Pushing Daisies episode Window Dressed to Kill took any inspiration from this; in both, a lonely, smarter-than-average girl convinces a pair of bungling burglars to kidnap her and a deep emotional attachment forms. It’s not hard to see the basic trajectory that the story will take, but a few twists and turns took me pleasantly by surprise. I do love a good redemption story, even when the baddies really aren’t all that bad to begin with.
I’ve got a few more Tokar movies lined up to watch soon, and now I am looking forward to them more than I was initially. While exemplifying his tendency toward excessive runtimes, No Deposit No Return never feels overlong and aptly demonstrates how well Tokar could fare with the right material.
No Deposit No Return, like Mary Poppins, is the story of two upper-class children who have grown frightfully mischievous after years of neglect. Their father is out of the picture, and their mother is a magazine editor who delegates the job of raising them to maids and boarding school staff. Now it’s Easter break, and all Tracy (Kim Richards) and Jay (Brad Savage) want is to spend the week with their mother. To their dismay, they learn that she’ll be in Hong Kong all week, while the housekeeper who normally looks after them while they’re at home is headed to Bermuda. They’re being shipped off to Los Angeles to stay with their grumpy grandfather, multi-millionaire J. W. Osborne (Niven), a prospect none of the three relishes.
Tracy begins to formulate a plan for connecting with their overbooked mother, and when she and Jay find themselves sharing a taxi with Duke (McGavin) and Bert (Knotts), a petty safe-cracker and his driver, a light bulb goes off. After manipulating the men into letting her and Jay spend the night in their hideout, she writes a letter to her grandpa to announce that she has been kidnapped and tells Duke and Bert of her plan, explaining that all she wants is enough money for two plane tickets to Hong Kong. If they will only play along, they could be very rich men – and they are desperately in need of a windfall, since nefarious loan shark Big Joe (Vic Tayback) is on their tails. After all, how hard could it be to keep an eye on a couple of kids for a few hours?
Right from the credits, this movie is enormously entertaining. The stylized animation is reminiscent of a Pink Panther opening and bears little literal resemblance to the movie, though some of the kids’ adventures are hinted at in their animated exploits. Jay’s pet skunk Duster has pride of place in this sequence, and a shark, perhaps representative of Big Joe, surfaces to stir things up. I was smiling when the animation ended, so it boded well for the rest of the movie, and happily the live action lived up to the engaging cartoon credits.
Richards and Savage were both Disney veterans when they filmed this movie, and they seem right at home in this zany family comedy. I was especially impressed with Richards, who makes Tracy simultaneously sweet and devious. She is arguably the cleverest character in the movie, though her elaborate schemes don’t always have the desired result. There’s something hypnotically adorable about this plucky youngster. Savage is fun to watch as well, though Jay is such a walking disaster that I couldn’t help cringing a bit as I contemplated what sort of massive mess he was going to make next. Duster often steals the show; all he has to do is turn up someplace unexpected to raise a panic, and it’s quite comical to see so many people lose all composure at the mere sight of this docile creature rendered offensive by the noxious odor he could release.
Given Knotts’ comedic genius, I am always disappointed when comedies fail to take advantage of his full skill set. Happily, this one does, from his aw-shucks dialogue to his bug-eyed responses and his spectacular pratfalls. One sequence in particular that leads him on a wild skunk chase through a dangerous series of high-rise obstacles allows him to show just how hilarious he can be. McGavin makes a good foil for him, a steady, more serious type who’s got a better head on his shoulders but still is pretty hapless in most situations.
Niven’s dry British wit is the highlight of any scene involving Mr. Osborne, who, having tailed Tracy and Jay to Duke and Bert’s headquarters, knows where they are and rather hopes they will stay there. His lack of concern for his grandchildren is mildly appalling, yet his calm contemplation of how long this charade might continue is quietly riotous, especially as we come to appreciate just what a handful these two can really be. We mostly see him conferring with his faithful butler Jameson (John Williams), but he also comes into occasional contact with the duo of incompetent detectives trying to catch both the kidnappers and the safe-cracker. Thick-mustached Sergeant Turner (Herschel Bernardi) is the more experienced cop, and the breathless enthusiasm of his glasses-wearing, textbook-spouting partner Longnecker (Charles Martin Smith) wearies him. These two are almost as funny as Duke and Bert.
The movie, written by Arthur Alsberg and Don Nelson and based on a story by Joe McEveety, is nearly two hours long, and it’s packed with action, often of the humorously disastrous variety. A little of that can go a long way, but I didn’t mind it here, especially since the chaos is rarely widespread. It also never becomes crude, which isn’t surprising for a 1970s Disney film but is refreshing nonetheless. What’s more, along with all the goofy comedy, the story has real heart. I wonder if the season two Pushing Daisies episode Window Dressed to Kill took any inspiration from this; in both, a lonely, smarter-than-average girl convinces a pair of bungling burglars to kidnap her and a deep emotional attachment forms. It’s not hard to see the basic trajectory that the story will take, but a few twists and turns took me pleasantly by surprise. I do love a good redemption story, even when the baddies really aren’t all that bad to begin with.
I’ve got a few more Tokar movies lined up to watch soon, and now I am looking forward to them more than I was initially. While exemplifying his tendency toward excessive runtimes, No Deposit No Return never feels overlong and aptly demonstrates how well Tokar could fare with the right material.
Celtic Thunder Sings Up a Storm in a Long-Awaited Album
It’s a strange time for Celtic Thunder. Original members Paul Byrom and
Damian McGinty have moved on with their careers, their places taken by
newcomers Emmet Cahill and Daniel Furlong. In the midst of this
shake-up, Phil Coulter, who has composed many of the group’s songs,
announced that he would be writing no more music for Celtic Thunder.
Shortly thereafter, the group released Storm, which has been on
the back burner for a couple of years. A concept album made up almost
entirely of songs that Coulter wrote himself, it takes listeners back to
an earlier time and serves as a most excellent farewell to an
incredibly fruitful partnership with this talented composer.
New Day Dawning - Percussion, pipes and whistles add to the distinctly Celtic flavor of his rousing opening track. An exuberant ensemble cut with the gusto of Ireland’s Call and the reverence of Heartland, it allows each member of the group time in the spotlight and also highlights their harmonizing skills. A song of mingled thanksgiving and trepidation as settlers embark on an exciting but dangerous new life. “Thank you, Lord, for a new day dawning over our mountains and valleys of green. Thank you, Lord, for a new day dawning and shining Your light from above all over this land that we love.”
Outside Looking In - The guitar and quickly scampering drums complement Ryan’s darkly triumphant vocals. You can hear the smirk in his husky voice as he brags about his status as an outsider eager to prove the settlers’ worst suspicions about him true. Never have I heard Celtic Thunder’s designated bad boy sound more sinister. Charley Bird joins in toward the end, and her presence as the gypsy king’s sister emphasizes that this is not just an isolated hooligan but one of many bandits. A classic villain song. “They must be aware, if they think I’m there, it’s a very scary feelin’. Lyin’ in their beds, runnin’ through their heads is one thought: What is he stealin’?”
When You Are 18 - This reflective song about a young man eager to dive right into life is extremely fitting for Damian, who was 17 when he recorded it. Gently backed by guitar, with other instruments gradually joining in as it builds in intensity, he sings of his dreams and frustrations, of wanting to go out there and experience all that the world has to offer although others caution him to hang back. Damian has gained more experience of the world in his teens than many people will gain in a lifetime, yet his 18th year was still jam-packed with new experiences, and even now that he is 19 and taking his career in a totally different direction as a cast member on GLEE, he retains that sense of wonder and enthusiasm. “I’m ready to travel, to follow my star to the places I’ve been dreamin’ of. I’m ready for livin’ I’m ready for life, and I know that I’m ready for love.”
Life in the Old Dog Yet - The omnipresent mandolin brings a melancholy undercurrent to this otherwise vigorous song that has George lamenting the diminishing respect that sometimes accompanies advanced age. There’s some brooding but mostly resolve as this chieftain vows to continue living abundantly, guided by hard-earned wisdom. Of all the voices in the group, I’ve always found George’s the most warmly expressive; he really has a way of digging into the heart of a song. He also has a curious vocal habit of doing a sort of guttural run. That’s a poor way to describe it, but it’s very distinct from Keith’s habit of leaping around the scale like Mariah Carey. It’s almost like musical laughter. I don’t know if there’s a proper term for it, but it’s one of my favorite aspects of his voice. “You can’t put an old head on young shoulders. My advice is the best I can give. Let them make their mistakes. Let them fight for their breaks. Let them learn how to love and to live.”
Not the One - It’s a little surreal to hear Paul here now that he has left the group. This is very much in line with the other old-fashioned romantic odes Paul has recorded in the past. Piano and harp augment this very slow-paced song. This is a man who insists on a soul mate, so while the woman before him has many attractive qualities, he can feel in his gut that someone else out there is meant for him. His ardent declarations remind me of Prince Eric in The Little Mermaid. This guy is waiting for a lightning bolt moment. A little snoozy for my taste, but it’s typical Paul and showcases his sensitivity well. “Can she fill each waking moment? Who knows; perhaps she can. And yes, I realize she’d be a prize for any man. But she’s not the one that’s meant for me, the one that Heaven sent for me…”
Stand and Deliver - Like Ryan’s first song, Keith’s is marked by dangerous-sounding guitar and galloping percussion. Keith is an outlaw too, though his thievery has a nobler purpose than Ryan’s. Still, for most of the song, he comes across as just as gleefully malevolent and equally capable of plotting darker deeds than mere robbery. In some of the verses he sounds heroic, but more often this is a secondary villain song, which is an interesting choice since Keith’s specialty is earnest romantic ballads. This definitely does not fall into that category. A fun tidbit: Keith, along with Neil, performs a rollicking rendition of the traditional Whiskey in the Jar on Heritage, and early in the track he sings the words “stand and deliver.” “Look out, the gentry and the rich, for I have taken an oath. Look out! No matter which is which, I will steal from you both! Whoa, who will stand up for the weak? Whoa, yes, mine is the voice that will speak.”
The Highwayman - Deirdre Shannon’s lovely voice is a perfect accompaniment to the delicate harp as other female singers provide spooky background vocals. A soft, slow song pondering the mysterious nature of the man in the previous track. Her tone is mildly confused but mostly admiring as she sings of his virtues, which to her mind far outweigh his faults. Some of the lines are annoyingly redundant: “I’ve never known anyone like him; he’s like no one that I’ve ever met. How easy he’ll be to remember; how hard he will be to forget.” Mostly, though, this slow-paced song is a nice breather after the pulse-pounding one that preceded it.
Lagan Love - One of the few songs Coulter did not write himself, this old folk song has an eerie chant-like quality to it and is mostly a cappella and is at its loveliest when George, Paul and Damian join in with Neil, whose voice is generally the most prominent here. This was filmed before he was considered a full-fledged member of the group, and it signals his gradual move from back-up vocals to lead. A haunting meditation on a deep, abiding love. “There on the cricket’s singing stone, she stirs the bogwood fire and hums in soft sweet undertones the song of heart’s desire.”
Midnight Well - This electric guitar-heavy song was included on Take Me Home as well, so it feels a little strange to encounter it here, especially since it’s a man telling a story rather than talking about himself. In the show, though, he is both narrator and subject, so maybe the circumstances add a mirthful twist as he is singing about a legend that has sprung up around his own exploits. In any case, it’s a smoky tango with a mysterious flavor to it, and the spooky conclusion puts me in mind of The Legend of Sleepy Hollow. While I get the sense the song was kind of shoehorned in, I’d say it fits. “They say when the summer nights come to an end and a harvest moon glows in the sky, a black horse will appear and a sound you will hear as the ghost of a gypsy rides by.”
Shadows Dancing - This fast-paced but seductive number is whispered as much as it is actually sung. Charley returns as the gypsy king’s sister in this saucy track with speedy percussion and a keyboard that reminds me of a circus calliope. There’s not a lot of story to this one; it’s just her putting the moves on someone, and on the album, it’s impossible to tell who that is. All that whispering grates on me a bit, and the abrupt full stops give me a little whiplash, but it’s a lively song. “Shadows dancin’ in the moonlight, shadows dancin’ in the dark. Mem’ries dancin’ for me…”
Harry’s Game - Deirdre sings this Irish-language lament written by Pol Brennan. Multiple voices join in to provide eerie harmonies that resonate as though the singers were in an echo chamber. The understated accompaniment is largely drowned out by the voices in this soft song that seems to reflect a desire for peace. A somber, reflective track stylistically akin to Lagan Love.
Tender Is the Night - While this is mostly Paul’s song, Deirdre joins in on the chorus toward the end, and she also sings a verse solo. This is the melancholy young man finally finding that woman of his dreams and being transfigured by joy. It’s actually a rather low-key song, but it hums with intensity, and I prefer this one to Paul’s earlier track. I especially like the flute that turns up toward the end. “Everything feels right when you hold me tight. Tender is the night.”
This Was My Life - This gently wistful reflection from George is arguably my favorite song on the album. A song of thanksgiving meditating on life’s joys and pains, it reminds me of John Denver’s Falling Leaves and also seems like a perfect bookend to Denver’s Poems, Prayers and Promises. George was only around 40 when he recorded this, so obviously his character is much older than he is, but he’s looking back gratefully on a life well lived. He sounds wearier here than in his first track, and the fiddle adds an aching quality to the song, but the tenderness in his voice is unmistakable. “And lookin’ back on all the years, the loves, the sweetness and the sorrow have made me what I am today, and I’d do it all again tomorrow. It’s been a good life, far from the high life, and I thank God that this was my life.”
Look at Me - The album’s comic high point, this brings Damian and Keith together for a rousing duet as Keith tries to offer some big brotherly advice to the overly boastful Damian. Here, the fiddle sounds playful, weaving a teasing jig around the definitive statements each young man provides. Damian is all proud bluster and doesn’t seem to be listening to a single steadying word Keith is saying. While this is even more fun on the DVD because we can see them truly confronting each other, the two personalities are clearly defined just through the music, and it’s especially entertaining to hear them sing their opposite viewpoints over top of each other. “Take a good look at yourself, and you will see a natural loser, take it from me.” “Look at me, I ain’t no beginner. A natural winner, that’s me to a tee.”
Hail the Hero (Mo Ghile Mear) - The deep-voiced chanting here has a visceral appeal to it in guttural Gaelic. Like Ireland’s Call, it feels like a rallying cry, though it’s more of a statement of victory. The pipes and powerful drums add to the triumphant tone of this song that ends the album. Phil Coulter didn’t quite this song either, but it goes well with the first track. Like Look at Me, though, you’re missing out on half the fun if you’re only listening and not watching too. “Hail the hero, strong and true, who fought the fight and saw it through, who swore he’d never be a slave and gave his life our land to save.”
Like Heritage, the overall feel of this album is folksy and old-fashioned, resting firmly in an earlier century and steeped in tradition. It’s a wonderful showcase for each of the original lads, and while it must leave Emmet and Daniel feeling a little left out, it is a lovely treat for long-time fans who have been missing Paul and Damian. Listening to the Thunder roll its way through Storm, I hope that while the weather is changing, the rumble will continue for many years to come.
New Day Dawning - Percussion, pipes and whistles add to the distinctly Celtic flavor of his rousing opening track. An exuberant ensemble cut with the gusto of Ireland’s Call and the reverence of Heartland, it allows each member of the group time in the spotlight and also highlights their harmonizing skills. A song of mingled thanksgiving and trepidation as settlers embark on an exciting but dangerous new life. “Thank you, Lord, for a new day dawning over our mountains and valleys of green. Thank you, Lord, for a new day dawning and shining Your light from above all over this land that we love.”
Outside Looking In - The guitar and quickly scampering drums complement Ryan’s darkly triumphant vocals. You can hear the smirk in his husky voice as he brags about his status as an outsider eager to prove the settlers’ worst suspicions about him true. Never have I heard Celtic Thunder’s designated bad boy sound more sinister. Charley Bird joins in toward the end, and her presence as the gypsy king’s sister emphasizes that this is not just an isolated hooligan but one of many bandits. A classic villain song. “They must be aware, if they think I’m there, it’s a very scary feelin’. Lyin’ in their beds, runnin’ through their heads is one thought: What is he stealin’?”
When You Are 18 - This reflective song about a young man eager to dive right into life is extremely fitting for Damian, who was 17 when he recorded it. Gently backed by guitar, with other instruments gradually joining in as it builds in intensity, he sings of his dreams and frustrations, of wanting to go out there and experience all that the world has to offer although others caution him to hang back. Damian has gained more experience of the world in his teens than many people will gain in a lifetime, yet his 18th year was still jam-packed with new experiences, and even now that he is 19 and taking his career in a totally different direction as a cast member on GLEE, he retains that sense of wonder and enthusiasm. “I’m ready to travel, to follow my star to the places I’ve been dreamin’ of. I’m ready for livin’ I’m ready for life, and I know that I’m ready for love.”
Life in the Old Dog Yet - The omnipresent mandolin brings a melancholy undercurrent to this otherwise vigorous song that has George lamenting the diminishing respect that sometimes accompanies advanced age. There’s some brooding but mostly resolve as this chieftain vows to continue living abundantly, guided by hard-earned wisdom. Of all the voices in the group, I’ve always found George’s the most warmly expressive; he really has a way of digging into the heart of a song. He also has a curious vocal habit of doing a sort of guttural run. That’s a poor way to describe it, but it’s very distinct from Keith’s habit of leaping around the scale like Mariah Carey. It’s almost like musical laughter. I don’t know if there’s a proper term for it, but it’s one of my favorite aspects of his voice. “You can’t put an old head on young shoulders. My advice is the best I can give. Let them make their mistakes. Let them fight for their breaks. Let them learn how to love and to live.”
Not the One - It’s a little surreal to hear Paul here now that he has left the group. This is very much in line with the other old-fashioned romantic odes Paul has recorded in the past. Piano and harp augment this very slow-paced song. This is a man who insists on a soul mate, so while the woman before him has many attractive qualities, he can feel in his gut that someone else out there is meant for him. His ardent declarations remind me of Prince Eric in The Little Mermaid. This guy is waiting for a lightning bolt moment. A little snoozy for my taste, but it’s typical Paul and showcases his sensitivity well. “Can she fill each waking moment? Who knows; perhaps she can. And yes, I realize she’d be a prize for any man. But she’s not the one that’s meant for me, the one that Heaven sent for me…”
Stand and Deliver - Like Ryan’s first song, Keith’s is marked by dangerous-sounding guitar and galloping percussion. Keith is an outlaw too, though his thievery has a nobler purpose than Ryan’s. Still, for most of the song, he comes across as just as gleefully malevolent and equally capable of plotting darker deeds than mere robbery. In some of the verses he sounds heroic, but more often this is a secondary villain song, which is an interesting choice since Keith’s specialty is earnest romantic ballads. This definitely does not fall into that category. A fun tidbit: Keith, along with Neil, performs a rollicking rendition of the traditional Whiskey in the Jar on Heritage, and early in the track he sings the words “stand and deliver.” “Look out, the gentry and the rich, for I have taken an oath. Look out! No matter which is which, I will steal from you both! Whoa, who will stand up for the weak? Whoa, yes, mine is the voice that will speak.”
The Highwayman - Deirdre Shannon’s lovely voice is a perfect accompaniment to the delicate harp as other female singers provide spooky background vocals. A soft, slow song pondering the mysterious nature of the man in the previous track. Her tone is mildly confused but mostly admiring as she sings of his virtues, which to her mind far outweigh his faults. Some of the lines are annoyingly redundant: “I’ve never known anyone like him; he’s like no one that I’ve ever met. How easy he’ll be to remember; how hard he will be to forget.” Mostly, though, this slow-paced song is a nice breather after the pulse-pounding one that preceded it.
Lagan Love - One of the few songs Coulter did not write himself, this old folk song has an eerie chant-like quality to it and is mostly a cappella and is at its loveliest when George, Paul and Damian join in with Neil, whose voice is generally the most prominent here. This was filmed before he was considered a full-fledged member of the group, and it signals his gradual move from back-up vocals to lead. A haunting meditation on a deep, abiding love. “There on the cricket’s singing stone, she stirs the bogwood fire and hums in soft sweet undertones the song of heart’s desire.”
Midnight Well - This electric guitar-heavy song was included on Take Me Home as well, so it feels a little strange to encounter it here, especially since it’s a man telling a story rather than talking about himself. In the show, though, he is both narrator and subject, so maybe the circumstances add a mirthful twist as he is singing about a legend that has sprung up around his own exploits. In any case, it’s a smoky tango with a mysterious flavor to it, and the spooky conclusion puts me in mind of The Legend of Sleepy Hollow. While I get the sense the song was kind of shoehorned in, I’d say it fits. “They say when the summer nights come to an end and a harvest moon glows in the sky, a black horse will appear and a sound you will hear as the ghost of a gypsy rides by.”
Shadows Dancing - This fast-paced but seductive number is whispered as much as it is actually sung. Charley returns as the gypsy king’s sister in this saucy track with speedy percussion and a keyboard that reminds me of a circus calliope. There’s not a lot of story to this one; it’s just her putting the moves on someone, and on the album, it’s impossible to tell who that is. All that whispering grates on me a bit, and the abrupt full stops give me a little whiplash, but it’s a lively song. “Shadows dancin’ in the moonlight, shadows dancin’ in the dark. Mem’ries dancin’ for me…”
Harry’s Game - Deirdre sings this Irish-language lament written by Pol Brennan. Multiple voices join in to provide eerie harmonies that resonate as though the singers were in an echo chamber. The understated accompaniment is largely drowned out by the voices in this soft song that seems to reflect a desire for peace. A somber, reflective track stylistically akin to Lagan Love.
Tender Is the Night - While this is mostly Paul’s song, Deirdre joins in on the chorus toward the end, and she also sings a verse solo. This is the melancholy young man finally finding that woman of his dreams and being transfigured by joy. It’s actually a rather low-key song, but it hums with intensity, and I prefer this one to Paul’s earlier track. I especially like the flute that turns up toward the end. “Everything feels right when you hold me tight. Tender is the night.”
This Was My Life - This gently wistful reflection from George is arguably my favorite song on the album. A song of thanksgiving meditating on life’s joys and pains, it reminds me of John Denver’s Falling Leaves and also seems like a perfect bookend to Denver’s Poems, Prayers and Promises. George was only around 40 when he recorded this, so obviously his character is much older than he is, but he’s looking back gratefully on a life well lived. He sounds wearier here than in his first track, and the fiddle adds an aching quality to the song, but the tenderness in his voice is unmistakable. “And lookin’ back on all the years, the loves, the sweetness and the sorrow have made me what I am today, and I’d do it all again tomorrow. It’s been a good life, far from the high life, and I thank God that this was my life.”
Look at Me - The album’s comic high point, this brings Damian and Keith together for a rousing duet as Keith tries to offer some big brotherly advice to the overly boastful Damian. Here, the fiddle sounds playful, weaving a teasing jig around the definitive statements each young man provides. Damian is all proud bluster and doesn’t seem to be listening to a single steadying word Keith is saying. While this is even more fun on the DVD because we can see them truly confronting each other, the two personalities are clearly defined just through the music, and it’s especially entertaining to hear them sing their opposite viewpoints over top of each other. “Take a good look at yourself, and you will see a natural loser, take it from me.” “Look at me, I ain’t no beginner. A natural winner, that’s me to a tee.”
Hail the Hero (Mo Ghile Mear) - The deep-voiced chanting here has a visceral appeal to it in guttural Gaelic. Like Ireland’s Call, it feels like a rallying cry, though it’s more of a statement of victory. The pipes and powerful drums add to the triumphant tone of this song that ends the album. Phil Coulter didn’t quite this song either, but it goes well with the first track. Like Look at Me, though, you’re missing out on half the fun if you’re only listening and not watching too. “Hail the hero, strong and true, who fought the fight and saw it through, who swore he’d never be a slave and gave his life our land to save.”
Like Heritage, the overall feel of this album is folksy and old-fashioned, resting firmly in an earlier century and steeped in tradition. It’s a wonderful showcase for each of the original lads, and while it must leave Emmet and Daniel feeling a little left out, it is a lovely treat for long-time fans who have been missing Paul and Damian. Listening to the Thunder roll its way through Storm, I hope that while the weather is changing, the rumble will continue for many years to come.
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