Rediscover Classic Fairy Tales With This Classy Collection

“Happily ever after” and “once upon a time” are two of the most iconic phrases in storytelling history thanks in large part to the Brothers Grimm, who so diligently collected and adapted many of the folktales that endure as childhood favorites to this day. Along with many other fans, I am hoping that it will take a long time for Once Upon a Time, the ABC Sunday night drama helmed by LOST scribes Adam Horowitz and Eddie Kitsis, to reach its “happily ever after.” Although I want to see these characters find their happiness, which in most cases seems to include making a seemingly impossible romantic connection, I am in no rush to see this modern take on these ancient stories come to an end.

On my birthday, an episode of Once Upon a Time featuring the beloved story of Beauty and the Beast aired, and I received this collection of fairy tales illustrated by Kevin Tong and published in conjunction with the series. Part of the book’s appeal for fans of the show is its foreword by Horowitz and Kitsis, who share their thoughts on why fairy tales have so thoroughly permeated the public consciousness, what they are trying to accomplish with the show and how LOST helped prepare them for it. I’d read snatches of these ideas before in interviews, but it’s nice to have them all here in a cohesive three-page essay that only increases my already strong faith that these two – whose extensive contribution to LOST includes writing my favorite episode, Dr. Linus – know what they are doing.

Parents considering purchasing this for their kids should be aware that the stories within this collection are direct translations of the original Grimm tales, and they are… well… grim. That isn’t to say that the “good guys” don’t win out – usually – but many of them must endure violent trials in the meantime, to say nothing of the grotesque ends many of the villains meet. Young readers, especially the very sensitive, might be troubled by such story elements as eyes being gouged out by birds, youngsters getting gobbled up by wolves and fathers beheading their own children. Of course, generations of readers grew up with these stories before more sanitized versions became more prevalent.

Brief but memorable, with the longest 15 pages long but most much shorter, these stories mostly felt very familiar to me, though the ones Disney introduced to me had distinct differences from their animated adaptations. For instance, this Cinderella’s father is still alive but does nothing to spare his daughter from her stepfamily’s wickedness, and in the process of trying on the royal shoes, her stepsisters cut off parts of their own feet to make them fit – and the prince can’t even tell that neither is the one he danced with at the ball. In Snow White, the evil queen tricks Snow White several times, and ultimately she is revived not by the prince’s kiss but by being transported by coffin to his palace and coming to when it hits a bump in the road and a bit of poisoned apple dislodges from her throat.

The prince in The Sleeping Beauty does kiss the enchanted princess, but as he was born long after she fell asleep, he has no previous connection with her, nor does he need to fight the wicked enchantress or enlist the aid of the helpful fairies as none of them has a role in the story beyond her fateful birthday. Romance does not come into the stories much despite so many tales including a wedding; with few exceptions, if love occurs, it is at first sight, with no time for the couple to get to know each other, and more often marriage is awarded to a stranger as a prize for completing some heroic task. The strangest example of this is in the closing story, The Frog Prince, in which a frog becomes a prince after the cruel, spoiled child whose toy he rescued throws him against the wall – and then he marries her.

Thematic connections can be found among many of the 30 stories, several of which were unfamiliar to me. Ingenuity, perseverance, kindness to the disenfranchised and loyalty are four virtues that are praised in multiple tales. Humor comes into some of the tales as well, particularly in the stories of Hans in Luck, the world’s most ineffective barterer, and Clever Grethel, whose brilliant manipulation of others’ dialogue reminds me of young Kevin McAllister in Home Alone. Remarkable animals are also common, with my favorite being the wish-granting fish The Fisherman and His Wife, a funny cautionary tale against excessive greed and lack of assertiveness.

Despite the presence of violence in many of the stories, there’s really only one story whose ending I would really classify as unhappy, and it still is happy for one of the characters, just not the one readers might expect. In other cases, the tales proceed with little conflict; the trio of short elf tales toward the end is particularly tranquil.

Adding to my appreciation of this collection are the illustrations by Kevin Tong, which are black and white, with bold silhouettes at the ends of stories and more detailed drawings at the beginning, though only a few tales feature these larger pictures. Even these tend to deal mostly with archetypal figures; for instance, we see Little Red Cap wandering down a path in a woodland landscape inside the shape of a wolf’s head, and the dwarves’ cozy cottage stands inside an outline of Snow White’s silhouette.

You might want to restrict yourself to reading one or two of these stories at a time; it would be easy to stretch the 250-page book out for a month that way, since each is self-contained, and such an approach minimizes the risk of the tales running together in your mind. I only took a week to read it, but I’m sure this is a book whose tales I’ll be returning to, especially as the series progresses. More characters are coming on board all the time, and it’s interesting to compare how those who originated with these tales differ from their prime time counterparts. Of course, this book is limited to stories collected by the German Grimm Brothers, so characters from such tales as the French Beauty and the Beast and the Italian Pinocchio are missing, but many of the show’s denizens can be found within these pages.

All of these stories have a timeless quality about them, and I suspect they will still be enjoyed for many generations. While most of the characters are not terribly complex, they make excellent springboards for creative embroidery by writers like Horowitz and Kitsis. Reading them can easily encourage further creativity, whether it’s by way of crafting new fairy tales, writing about these characters’ other adventures or furnishing illustrations. This book would make a great addition to a classroom shelf, especially for slightly older students who might find the format more appealingly grown-up than the more common picture book-style editions. Kids and adults alike can appreciate these tales, just as television viewers across a spectrum of ages can enjoy the series as a family. I’m so glad that these stories remain such a powerful part of the cultural landscape.

Disney Princesses Celebrate the Season in Winter Wishes

Earlier this fall, I read a couple of books that place various Disney princesses in autumnal settings. Now, with Christmas almost upon us, I perused the level two Step Into Reading book Winter Wishes, which features six of the ten princesses in the midst of wintry activities.

In this book, Apple Jordan writes in rhyme, which gives the story a nice lilt, though the rhythm is not as strong as it could be. The rhyme pattern is consistently ABCB, but some of the lines are short and some are long. While most pairs are pretty close in length, not all are; one that seems particularly clunky is “Cinderella wishes to go on a snowy coach ride. So Prince Charming takes his lovely bride.”

Cinderella is the last princess to appear in the book, as she was in those other Disney Princess books. She seems to have a slightly elevated status among the Disney princesses. She also appears on the title page, as well as the cover, though Belle is more predominant there. Snow White, Ariel, Jasmine and Briar Rose all have a few pages to themselves in this book too.

Ariel’s is a little strange since she’s under the sea, where I don’t think there are seasons as such, but there also aren’t mermaids, so it’s sort of a moot point. At least it isn’t snowing underwater. Jasmine does have snow in Agrabah, but that’s because Genie can do practically anything, including manipulating the weather.

Unsurprisingly, none of the princesses interact with each other. This is not a cohesive story but a series of vignettes. Snow White starts things off with eight pages, and Cinderella finishes them up with five. The rest have four each. Sleeping Beauty, Snow White and Cinderella seem to alternate in these books between their pre-prince lives and their Happily Ever Afters, and it’s not always immediately obvious which we’re getting.

Here, though, Briar Rose is still living in the woods with the three kindly fairies, while Cinderella has clearly taken up residence in the castle. Snow White’s section does not mention the prince at all, but given the short time she was with the dwarfs, it seems likely that this Christmas celebration is taking place during a later visit rather than her initial stay.

While Aladdin does not play a part in this book, his presence is implied by Genie, so Jasmine’s portion takes place at least after the first movie, while the Beast is still in his cursed form, so Belle’s takes place before the end of Beauty and the Beast. Ariel, as pretty much always seems to be the case, remains a mermaid, so her segment appears to be a prequel.

All of the sections are pretty similar, with feasting, snow and Christmas trees common to most of the stories. Not everyone has specific winter wear, but those that do look quite elegant, especially Cinderella, the top of whose dress looks like something Mrs. Claus would wear. It’s very fun and festive. While there could have been a bit more variety in the traditions presented, Winter Wishes is a vibrant seasonal choice for young readers who love the Disney princesses.

Enchanted Friends Help With the Beast's Feast

One of Disney’s most iconic scenes is the romantic evening Belle and her hairy host share in Beauty and the Beast as he tries to work up the nerve to confess that he loves her. While what everybody remembers about that scene is the elegant ballroom dance that sends them spinning around the room, it is preceded by dinner, and that is the focus of The Beast’s Feast, a level two Disney’s First Reader written by Gail Tuchman and illustrated by Eric Binder and Darren Hont.

At the end of the story, we see the Beast in his snazzy blue outfit that looks like some sort of Naval dress uniform, and Belle is glowing in her golden gown. Mostly, though, Belle is out of sight, and the Beast wears his purple cape as he consults with his household staff over the particulars of the evening’s entertainment. Both characters are well rendered except when it comes to Belle’s eyes, which appear to be a grayish hazel instead of the rich chestnut brown they usually are. Considering the fact that I am pleasantly accustomed to sharing both hair and eyes with my favorite Disney princess, I find the color change galling.

Other characters featured here include Lumiere, Cogsworth, Mrs. Potts, Chip and the canine footrest, and they are all in fine form. It is their presence that builds the structure of the book, since the Beast asks each in turn how he or she might contribute to his special evening. (Well, he doesn’t ask the dog specifically, but the pooch’s waggling enthusiasm is evident.) The repetitive structure reminds me of both The Little Red Hen and The House That Jack Built. Like the first, it is a series of pleas for aid, but in this case the friends are much more helpful. Like the second, it builds on itself so that by the end, we have a long string of things that will help make this elegant date as memorable as possible.

The structure mostly works well, though I feel like it’s trying to incorporate rhyme and rhythm, but only halfway, so the result is a little uneven. Sometimes it rhymes and sometimes it doesn’t, and the rhythm is not very strong. Still, the repetition is useful for early readers, and it can be fun to try to anticipate what will come next. Which character will the Beast consult? What services will he or she volunteer? The gentle enthusiasm on the Beast’s face throughout the story increases the anticipation for the grand finale.

This is just a quick tie-in book to a classic movie. Those who know the characters will find nothing surprising here, and those who don’t are lacking the prior character development that makes this scene so wonderful. Still, reluctant readers who love Beauty and the Beast may find the familiar characters enough incentive to give this book a whirl, and anything that helps kids immerse themselves in the wonders of reading is a beautiful thing indeed.

What Is a Princess? Many Different Things...

The Disney princesses have sometimes come under fire for giving little girls unrealistic and unhealthy ideas about beauty and romance, but each Disney princess has traits that make her unique and admirable. The level one Step Into Reading book What Is a Princess?, written by Jennifer Liberts Weinberg and illustrated by Atelier Philippe Harchy, focuses on those positive characteristics.

What Is a Princess? includes six of the Disney princesses: Snow White, Belle, Cinderella, Jasmine, Ariel and Aurora (here called Briar Rose). With the exception of Ariel, who has six pages to herself, and Cinderella, who has seven, each young woman is the focus of four pages. With simple language and colorful, detailed illustrations, each small segment exemplifies one or two things that “a princess is.”

The book does a good job of showing that there is more to being a princess than simply looking pretty. Because of the wording, the implication is that all princesses have all of these traits, and that’s my main complaint here; perhaps it would be better if it said “can be” or “should be” instead of “is.” For instance, other princesses in the book, particularly Belle, are as brave as Jasmine when she stands up to Jafar, but bravery is certainly not Snow White’s strong suit. Still, the purpose is to demonstrate the many worthy characteristics that young girls can emulate in their everyday lives.

Cinderella, who in general seems to be slightly more prominent than the rest of the Disney princesses, is really the only one with a specifically feminine focus. “A princess like to dress up,” Weinberg writes. Elsewhere, we see Snow White give Grumpy a kiss on his head, but this is to illustrate her kindness. Other laudable qualities include being smart (Belle), a dreamer (Ariel) and polite (Briar Rose). The last one makes me chuckle a little because it looks as though she is being presented with her birthday dress by the fairies who raised her, which in the movie is swiftly followed by a meltdown. Well, at least the polite part came first.

This book is designed for very early readers, so the language is extremely simple. It makes sense, then, that the format is “A princess is,” even though that undermines their individuality a bit. A sentence beginning with that phrase appears seven times, with four other sentences using a slightly different format. Usually the sentence mentioning the attribute is followed by another sentence demonstrating it. For instance, “A princess is caring. Belle helps the Beast when he is hurt.” Of course, in context, Belle is technically not a princess yet, but everyone knows she will be.

What Is a Princess? is a simple but attractively illustrated book that should appeal to the princess-loving kindergarten crowd. Not every little girl may exhibit all of these traits, but it’s good to recognize that things like an adventurous spirit and a love of books are just important as the physical trappings of a princess. What’s more, these are the qualities that are really worth imitating.

Disney Princesses Celebrate Inner Beauty

One of the most popular sub-groups within the world of Disney characters is the Disney princesses. This is a group that includes Snow White, Cinderella, Sleeping Beauty, Ariel, Belle, Jasmine, Pocahontas, Mulan (despite not technically being a princess), Tiana and the brand-new tenth member, Rapunzel, who joins the last three in being a late addition to the group. The Princesses have an extensive line of merchandise, including toys, clothes, calendars, books and videos. I recently watched one of these, Princess Stories Volume Three: Beauty Shines From Within.

Given the title, I was surprised to see that Belle, the protagonist of Beauty and the Beast, does not appear on this DVD. Instead, it focuses upon Ariel, Cinderella and Jasmine. Meanwhile, a game in the bonus features involves Ariel, Jasmine and Mulan. The DVD includes three shorts, each of which can be accessed separately, though I watched them straight through. Each includes an introduction by the starring princess in which she directly addresses the audience while speaking from inside of a magic mirror. These segments veer toward condescending and moralizing, and the quality of animation isn’t quite as good. However, I found two of the three main stories quite enjoyable.

Giggles - In this episode of the Little Mermaid television show, Ariel’s tendency to get the giggles annoys an ornery blowfish who speaks in rhyme and uses his magical powers to cast curses. Consequently, he puts a spell on her that causes avalanches to occur whenever she laughs. What’s more, if she tells anyone of her affliction, the effect will be heightened. This is a fun story, and I especially like the way stodgy Sebastian, who initially also is irritated with Ariel for giggling during class, tries to get the princess to lighten up after he notices her somber demeanor. He even sings a fun song about the joy of laughter. The story builds to a satisfying climax that leads to deeper understanding between Ariel and her antagonist.

Cinderella Story - Cinderella is perhaps the most famous of all fairy tales, so even children who have not seen the Disney movie will probably be familiar with the story in one form or another. Hence, this segment, which is simply a recap of the movie, is likely to bore many kids, especially since it has a stilted quality to it. Cinderella narrates a bit, then a page turns and we see a few seconds of a scene, then she narrates some more. The effect is jarring, and I can see a lot of kids wanting to skip past this one.

Eye of the Beholder - This is an episode of the Aladdin television series featuring recurring villain Mirage, an extraterrestrial sorceress with the power to change other people’s appearances. Somewhat reminiscent of the musical Once On This Island, this is the story that best fits the theme of the video as Mirage makes a wager with Phasir, a blind, benevolent magician, that Aladdin will stop loving Jasmine if she ceases to become beautiful. After Mirage tricks her into using some magical skin cream, Jasmine begins transforming into a snake-like creature. Aladdin joins her, Genie, Abu, Iago and Carpet on a quest to find the mystical antidote that grows on a faraway tree, demonstrating at every turn how wrong Mirage is about the frailties of love.

More tales can be found in the Princess Story Builder Game in the special features. Viewers have the opportunity to pick one of three stories, one set in Agrabah, one in Atlantica and one in Ancient China. At several points in the story, kids can use the remote to indicate which of three choices they would like to have the character make. This then directs the course of the tale, though I’m not sure just how much actually changes as I tried each story only once. The stories also incorporate games that require answering three questions correctly in order to progress to the conclusion. These are fun but also rather tedious because there is so much lag time, and it’s easy to lose patience with it.

While I think that an original story in the place of the Cinderella recap would have made for a more interesting video, the Ariel and Jasmine stories are engaging, and apart from the lag time involved at decision points and game segments, the story builder is a fun game. This DVD could be better, but I wouldn’t hesitate to recommend it to young Disney Princess enthusiasts.

A Young Woman Searches for Herself in Belle: A Retelling of Beauty and the Beast

As someone who has always loved fairy tales, I was excited to discover the Once Upon a Time series of young adult novels focusing on these beloved characters, many of which were introduced to contemporary children through Disney movies. While Disney did not provide my introduction to Beauty and the Beast, it was through that Best Picture-nominated movie that I truly fell in love with the story. Since then, I have encountered several retellings of the story, most recently the Once Upon a Time novel Belle, written by Cameron Dokey.

Earlier this year, I read Beauty, one of two Robin McKinley novels that retell this tale, and many of the elements present in that novel are here as well. In both cases, the title character is the narrator, and she does not consider herself to be beautiful, particularly since she has two older sisters who so clearly fit with traditional notions of beauty. In both books, those sisters are just as kind as they are lovely, particularly once their life circumstances change and they must work harder to sustain themselves. Once again, Belle is especially close to her father, who is a wealthy merchant. When several of his ships vanish at sea – one carrying the love of her sister’s life – he sells all he has to provide for the families of his sailors, then moves his family into a country cottage resting on the edge of an ominous forest steeped in dark legends.

This 200-page-long novel has little in common with the Disney film aside from an arrogant young suitor along the lines of Gaston, but his role in the book is surprisingly small. The beginning sets us up to expect his return later, but that never happens. Instead, his presence merely seems to be a means of improving Belle’s relationship with one of her sisters and causing her to contemplate the possibility the she might possess beauty of an unconventional nature. Interestingly, in this book, Belle’s mother is alive and well, though she does not enjoy the strong rapport with Belle that her father does. However, Belle does have a firm supporter in Alphonse, a lifelong friend of her father’s. The gentle mentor role he slips into makes him possibly my favorite side character in the novel. I also like Corbeau, the spirited horse who bonds with Belle after showing her the way to the Beast’s castle.

Dokey has written several books in the Once Upon a Time series, including Wild Orchid, which is about Mulan. In both stories, a particular tree plays a very significant role in the plot. Here, it’s the heartwood tree, a majestic tree with a beautiful legend surrounding it. When Belle hears of it, she is intrigued, since she has a special gift for woodworking and longs to uncover the secret that lies within its depths. It is this tree, instead of the rose found in most versions of the tale, that causes the Beast to turn on Belle’s father and leads to her decision to go to the castle in his place.

It seems in Belle’s nature to be introspective, but here she is perhaps excessively so. Dokey spends a lot of time in her head as she philosophizes about the true nature of Beauty. She has other concerns as well, but she keeps coming back to this one. What does it really mean to have Beauty, and can she ever hope to possess this quality herself? It’s partly because of all this time in Belle’s head that we are nearly three quarters of the way through the book before she ever meets the Beast. While I like the way the story unfolds, it feels strange to have this central relationship relegated to such a small portion of the novel. Additionally, we don’t get very many details about Belle’s stay in the castle, and aside from Corbeau, the place seems very lonely, with Belle and the Beast interacting only at twilight and no other entities, human or not, making an appearance.

While I would have preferred to see more of the novel directly involving Belle’s stay with the Beast, Belle is well-written overall and a nice take on the classic tale. The heartwood tree is an especially intriguing addition. It’s not my favorite version of the story, but Dokey still shows us how much there is to love about this courageous young woman who doesn’t quite conform to societal expectations.

Disney Presents Some of Its Greatest Love Songs in The Essential Disney Love Song Collection

Some of the greatest love songs of the past 70 years have come from Disney movies, so it makes sense that they would be the theme of several albums. One of those is The Essential Disney Love Song Collection, an 18-track album featuring six songs lifted straight from the movies, 11 “romantic renditions” of movie songs and one song original to the CD. While I’m a little disappointed at some of the songs excluded – particularly Candle on the Water from Pete’s Dragon and Jolly Holiday from Mary Poppins – and I’m a bit puzzled about the reasons for having this mix instead of all established recordings or all new ones, I found it a pretty nice collection overall.

When You Wish Upon a Star - I like that the beginning of this track includes a musical nod to Little Wooden Head, the sweetly quirky song Geppetto, my favorite character in the movie, sings to Pinocchio before he comes to life. Craig Toungate performs the song against lush instrumentation, and something in his tonal quality reminds me of Jiminy Cricket. While I don’t really consider this a love song, I seem to keep encountering it in that context, and it’s not too much of a stretch to make it fit.

Can You Feel the Love Tonight - The general sound of this one is very similar to the movie, though the voices, especially the singing voices, are obviously different. Assuming the names are listed in order, Dennis Razze and Toungate are Timon and Pumbaa here, and they approximate their voices pretty well for their banter, but Alicia Kay, Virgil Seals and Patty Rowell have a significantly distinct sound. While I prefer the original version, this one is almost as good.

True Love’s Kiss - The first song on the album that is the original rather than a new recording. Amy Adams has such a perfect Disney princess voice, and she bubbles over with innocent enthusiasm here as she imagines the ecstasy of the kiss that will change her life. James Marsden, when he finally shows up here, makes a wonderful complement to her, and the uncredited woodland creatures are adorable. The song mostly feels like a slightly tongue-in-cheek nod to Snow White and the Seven Dwarfs’ I’m Wishing / One Song; it is very sweet and slightly silly.

Bella Notte - I love the mandolin and accordion that usually accompany this song, as well as the thick Italian accent on the singer. Those elements are present in this new version performed by Joe York and Scotty Roberts, so I’m happy with this track, which clocks in at under a minute and a half.

Kiss the Girl - Samuel E. Wright is so wonderfully expressive as Sebastian, the Jamaican-accented crab who serves as King Triton’s advisor in The Little Mermaid. This is another original, so you’ve got his wonderful performance, along with all those great reggae-ish instruments that help set a mood that is both exotic and persuasive.

So This Is Love - Meredith McCall sings this new version of the Cinderella classic, another short one at just over a minute and a half. Accompaniment is minimal, with strings and occasional harp plucking; the main thing distinguishing this is York’s presence as the very stately-sounding prince. I’m torn, but I think I might like it even better as a duet.

Once Upon a Dream - This Sleeping Beauty tune has very similar accompaniment and a comparable feel to it. York is the prince again, and he sounds about the same as in the last track, which works because really, while Phillip is more developed than his predecessors, it’s easy to get those three early Disney princes mixed up. Another nice duet.

A Whole New World - Given the immense popularity of the movie version, performed by Brad Kane and Lea Salonga, I’m not surprised this was one of the tracks that stuck to the original. It’s an exhilarating ballad with the music evoking the joy of a world-traversing magic carpet ride and the eager voices reflecting the thrill of awakening love. I’ve read many comparisons of Tangled’s I See the Light with this song, and they are apt, though I still consider the latter an exquisite song in its own right. In fact, I prefer it, but that doesn’t stop me from loving this exuberant duet as much as I ever did.

Something There - Interestingly, this album includes two songs from Beauty and the Beast, and both are the original versions. While this is not as iconic as the title song, which comes later, I like it better, since it feels much more down-to-earth and personal. The other one is grandiose and archetypal; I prefer listening to these specific characters express their confusion and wonder as their feelings for one another change, not to mention the astonishment and excitement of their enchanted observers. It’s such a perfect movie moment.

One Dance - This one is interesting because Jodi Benson, who plays Ariel in The Little Mermaid, performs the song, but it’s a new rendition because this is from the Broadway show and was originally recorded by Sierra Boggess. I have yet to see the stage musical or listen to the cast recording, so this song was new to me, but it’s easy to see how it would fit in. Ariel’s ardent devotion to Eric despite their limited interaction is apparent. I confess I’ve always struggled with Ariel, finding myself troubled by her eagerness to cast off the world of her youth and so permanently separate herself from the family and friends who love her. However, her assertions here feel very true to her character.

Baby Mine - This is obviously a song of love, but when I hear “love song,” the implication is generally that we’re talking romance, especially when the liner notes use the words “romantic renditions.” This new version by Paige Morehead definitely feels like a lullaby, with guitar and keyboard adding a gentle musical backdrop. It’s not romantic, but it’s very tender.

I Won’t Say (I’m in Love) - This sassy “methinks she doth protest too much” song from Hercules has the same basic sound to it as the original, with Rebecca Schoolar taking on the role of emotionally wary Megara and Laura Benedict, Alicia Jones and Chris Martin filling in as the Muses who aren’t buying her objections. It’s a fun song, in part because it’s such a change from the instant, unprotesting ardor of so many Disney heroines. Her practical objections feel more realistic, while still leaving room for her true attraction to peep through. Probably the peppiest song on the album.

If I Never Knew You - Jon Secada and Shanice perform this radio-ready end-credits duet from Pocahontas. It’s the original version, which is interesting because it has much more of a pop sound to it than the other straight-from-the-movie tracks, which feel more like Broadway. One unusual aspect of Pocahontas is that the main romantic couple does not end up together. Of course, in real life, they weren’t a romantic couple at all; as fast and loose as Disney played with history here, separating Pocahontas and John Smith at the end definitely was the right call. This song is similar in many ways to Wicked’s For Good, a duet celebrating a powerful relationship that cannot last but that has changed both parties profoundly. While I find the sound of the song a little over-the-top, it’s a touching testament to the strength of a bond that will remain although circumstances force a parting of the ways.

You’ll Be In My Heart - This new version of the Tarzan song, performed by Rolan, is very short but still a great track, with the strong male vocals complementing the jungle-inspired instruments. A touching lullaby along the same lines as Baby Mine.

I Wonder - This Sleeping Beauty track, a new rendition by Leslie French, captures the wistful sweetness of the original in a mere 83 seconds. The harp is an especially nice touch.

My Gift Is You - Craig Hella-Johnson and Leslie Whitely perform this new song, a mellow Christmas love song that, based on the liner booklet illustration, I take to be a duet between Mickey and Minnie, though their voices sound nothing like the high-pitched mice. This acoustic number is pretty standard domestic holiday fare, full of cozy images like hot cider and falling snow and an overarching assertion of mutual affection.

Beauty and the Beast - Angela Lansbury’s mature British voice brims with wisdom and good will in the final movie version on the album. The advanced age of her character makes her especially suited to interpret what has been happening between the title characters, and the timeless quality of the song assures that it will continue to strike a chord for many years to come.

Stay Awake - It makes sense that this reverse-psychology lullaby would be a final song on an album, but I confess I find it a strange choice for this album, since this is most definitely not a romantic song, at least not in context. I suppose that this rendition, sung by Karen Taylor-Good and accompanied by delicate harp, could be interpreted in a romantic light, but that seems a stretch. It is a beautiful performance, though, and whatever the type of love at play, the desire for the addressee to have a good night’s sleep is a caring sentiment.

This album fills a similar niche to Disney’s Fairy Tale Weddings as it features mostly new recordings of classic Disney love songs. Eight of the songs found in this collection are on that one as well, though of course they sound different. Those looking for something unique may be frustrated by the original tracks and those eager to listen to songs they know and love may be thrown off by the new versions, but for me, it works. The attractive liner booklet, which has a red, white and pink color scheme and includes pictures of pertinent characters, along with lyrics to the songs, is the icing on the cake. I don’t know if I’d call this album “essential,” but it certainly makes for easy listening.

Disney Princesses Celebrate Autumn in A Fairy-Tale Fall

Autumn is an exciting time of year, especially if you happen to live in a place with very distinct seasons. In Pennsylvania, it means thousands of leaves painting the countryside with crimson and gold before falling to the ground to crackle underfoot. It means bundling up in sweatshirts and jackets to enjoy the fall sunshine. It means fresh produce, horse-drawn hayrides and lots and lots of pumpkins for baking and carving. These aspects of the season all come into play in A Fairy-Tale Fall, a level two Step Into Reading book focusing on the Disney Princesses.

At the time this book was published in 2010, there were nine heroines with the official Disney Princess designation. Of these, Snow White, Belle, Aurora, Jasmine, Ariel, Tiana and Cinderella make an appearance, each being the focus of four pages – except Cinderella, whose section is slightly elongated to five. The only ones missing are Mulan and Pocahontas. While this book delves into many aspects of this time of year, it covers some of the same territory as Sweet and Spooky Halloween, another recently published Disney Princesses book. Several of the sections involve dressing up, carving jack-o-lanterns and distributing tasty treats.

The book, written by Apple Jordan and illustrated by Francesco Lagramandi, was designed for children ranging from about four to seven years old who need a little help reading. Like other books at this Step Into Reading level, it features simple stories and vocabulary and short sentences. Actually, “stories” is a bit of a stretch; it’s more a series of descriptions. Still, there is a story-ish quality to it, especially since we are seeing these familiar fairy tale characters in their very distinct settings. Not only do we get each of the seven princesses above, we also see many of the supporting characters from the movies in which they first appeared.

The Snow White pages depict a costume party at the dwarfs’ cottage attended by Snow White, her prince and all seven dwarfs. The costumes on the dwarfs are very cute and fitting for their personalities. For instance, ornery Grumpy is a growling bear, while shy Bashful is a ghost, entirely covered by a white sheet with holes for eyes. My favorite costume is Sleepy’s, as he dresses as a donkey who looks very much like gloomy gray Eeyore. While no other section features such elaborate costumes, the merfolk and their friends hold a grand masquerade, and so does Cinderella after making adorable costumes for Jaq, Gus and the other mice.

Aurora – here referred to as Sleeping Beauty – basks in the beauty of the autumnal woodland and shares a feast with her forest friends. Jasmine and Aladdin give goodies away to the children of Agrabah, and Belle bakes pumpkin pie for the Beast and his enchanted staff. Meanwhile, Tiana and Naveen ride a festive float through a parade. Some of the celebrations are more lavish than others, but all look like a lot of fun.

The book’s illustrations are excellent and full of color and detail, with all but a couple of them being two-page spreads. I love the ones that feature several different characters at once, whether animals or humans; there’s so much to look at on these pages that it’s well worth lingering a moment or two beyond what it will take to read. Most pages have one or two sentences, though there is the occasional three-sentence page. These are all quite short, however, and Jordan uses plenty of repetition to make things easier for unsteady readers.

Although this book was created by a different writer-artist team than Sweet and Spooky Halloween, the similarities between the two are sometimes striking. The most obvious shared image is Cinderella and the prince riding off in a pumpkin-shaped carriage, with the scenes of the Atlantica masquerade also suggesting that they might have been going for some consistency between the two books. Another similarity is that Ariel and Belle are not yet married, while it would appear that the other princesses are, though it’s not entirely clear with Jasmine and Aurora, whose appellation of Sleeping Beauty adds to the ambiguity.

These two books would make good companions for each other, but if you’re only going to get one, I’d go with this, as there are more princesses and more fall activities in the mix. The distribution of princesses is also almost perfectly balanced, unlike in Sweet and Spooky Halloween, and giving each princess her own space makes it feel more organized. A great little book for young Disney Princess enthusiasts, A Fairy-Tale Fall offers a chance to see terrific characters interact in a charming fall setting.

Cameron Dokey Brings the Spirited Mulan to Life in Wild Orchid

When I think of brave Disney princesses, Belle usually comes to mind first. However, Mulan – technically not a princess at any point in her Disney existence but still lumped in with the rest – is even braver, posing as a man so she can go off to war in her ailing father’s place. The devotion this young heroine of Ancient China showed to her father touched me, and her courage and independent spirit reminded me of Eowyn, my favorite female character in Lord of the Rings. I’d never heard of Mulan before the Disney movie came out in 1998, but The Ballad of Mulan, the tale from which she emerged, is as beloved in some corners of the world as Beauty and the Beast and Cinderella. Hence, her story is a part of Simon Pulse’s Once Upon a Time Series, which includes novelizations of a dozen or so famous folk and fairy tales.

Cameron Dokey, who also wrote six other books in the series, is the author behind Wild Orchid, the tale of Mulan that was published in 2009. It bears little resemblance to the Disney version except in its basic storyline: Ancient Chinese tomboy goes to war in her father’s place, falls in love with her commander and saves China. The rest of the details are completely different, so if this book was influenced in any way by the Disney version, Dokey seems to have made a concentrated effort to make them completely distinct from each other.

This version is entirely devoid of any fantastical elements: no talking dragon, no conferring ancestors. Mulan, who narrates the book, is significantly younger, just 14 years old when she joins the army. Raised by Min Xian, an elderly housekeeper who doesn’t keep a very tight rein on her, Mulan is the daughter of a respected general who she doesn’t meet until the age of 13 and his beloved wife who died giving birth to her. Their marriage for love was unusual, a gift granted by the Emperor for her father’s exceptional service. Hence, while everything about this story feels pretty natural and plausible, there is a slight mystical sense that because Mulan was born of such a marriage, even though she grew up in the absence of her parents, she has a heart that is destined to follow its own path.

What surprised me most about this book, which contains 19 chapters and about 200 pages, is the fact that Mulan does not leave home until more than halfway through. We spent a lot of time getting to know her through her unconventional childhood, which is filled with clandestine lessons from her best friend, a neighbor boy named Li Po. While Min Xian insists that she develop feminine skills like embroidery and weaving, she spends her free time gaining a much more interesting education from Li Po. By the time her father returns, she is adept at reading and writing, horseback riding, swordplay and especially archery. But what will her father think of such a rough-and-tumble daughter?

In many ways, this is a father-daughter story. Mulan longs for her father’s love and approval, but she resents his lack of contact throughout her childhood and his refusal to allow her to know her mother’s name. Slowed down by an old war injury and tortured by the thought that history could repeat itself with his second pregnant wife, he is in genuine danger when the summons to fight comes, particularly since he has fallen out of favor with the Emperor and is now only being asked to fight as a regular soldier, but Mulan’s decision to go in his place is almost as much about gaining his respect as it is an attempt to spare him further pain. It’s also an attempt to discover who she really is. She notes repeatedly that she is not like other girls, and she hopes to find a proper place for herself in the army.

Another difference here is that when she goes to war, she meets with two friends in whom she confides her true identity. One is Li Po, who is apprenticed to the other, General Yuwen, a warm, understanding friend of her father’s to whom she became close during his stay in the household after his return home. Having two such highly respected people in on her secret and looking after her makes it a much less lonely and frightening experience. It helps, too, that she quickly forms a curious kinship with Prince Jian, the youngest and most beloved of the Emperor’s sons, after demonstrating her ability with a bow and arrow and her knack for speaking with wisdom and diplomacy. She and the prince seem to understand each other, but does she dare reveal her true identity, and will she have the strength to face the ferocious Huns when they venture forth into battle?

I found this book very well-written and moving. There’s a formal quality to the writing that seems appropriate for the culture in which Mulan is raised. She is extraordinarily well-spoken for a 14-year-old, but then in her world, that is practically considered an adult; it is not at all uncommon for girls to be married off at 15. The unusual freedom she enjoyed in her formative years gives her a deeper level of maturity, even as it contributes to her wild nature. One interesting aspect of this book is the emphasis on names and how they help define and reveal a person’s character. Mulan means “wood orchid,” a fitting description for a spirit so lovely and untamed. Dokey does an excellent job of making her and those she loves real to readers, and I look forward to seeing if she fares just as well with other beloved folk figures.

Classic Disney Love Songs Get the Instrumental Treatment in Disney's Fairy Tale Weddings

Weddings have been a part of many classic Disney animated features, and the phrase “fairy tale wedding” often conjures up images of these gauzy, gilded events. I’ve received wedding invitations embossed with iconic Disney characters, and I know of several people who have gone to Disney theme parks on their honeymoons. Hence, I wasn’t too surprised when a library search for Disney music turned up Disney’s Fairy Tale Weddings: Classic Instrumental Love Songs for Your Happily-Ever After, a 2005 album produced and performed by Jack Jezzro and conducted and arranged by Chris McDonald with executive producer Harold J. Kleiner.

Unfortunately, the liner notes don’t provide much in the way of context. All we get is a track list with writer credits, a list of participating musicians, a short acknowledgment from Jezzro and a couple of advertisements for Disney wedding planning services. Hence, it’s not clear in precisely what capacity these songs are intended to be used, but I suppose that’s up to the discretion of the listener. My cousin walked down the aisle to an instrumental version of Storybook Love from The Princess Bride, so I wouldn’t find it inconceivable to imagine one of the tracks being used in place of Here Comes the Bride. However, most of them would probably work better as ambient music prior to the ceremony or slow dance music during the reception.

These are mellow, easily recognizable instrumental renditions of Disney classics with a romantic bent. The only track I tend not to think of as having romantic associations is When You Wish Upon a Star, but it certainly could, and given that I recently listened to another album of “love songs” incorporating it, I wouldn’t say it feels out of place, especially since Cinderella’s A Dream Is a Wish Your Heart Makes is also included. After all, the two songs say practically the same thing; the only difference is that Cinderella is a love story, while Pinocchio is not.

Artfully played acoustic guitar is very prominent on these tracks, and swelling violins are common as well. The general sound is lavish and lush, occasionally veering into over-the-top. To tell the truth, if I heard this independent of the title, my first thought would probably be “muzak.” I could easily see this being played in a family-friendly store like Hobby Lobby or Hallmark. Played at a low volume, the instrumental presentation of its familiar tunes could have a very mellowing effect on customers.

The album incorporates songs from across the spectrum of years, spanning about six decades. The earliest song is Snow White and the Seven Dwarfs’ Some Day My Prince Will Come, which includes a lovely violin solo, while the latest is the African-tinged Endless Night, the only song unfamiliar to me, as I have yet to see the stage version of The Lion King. Cinderella and Beauty and the Beast have two songs each, as does The Lion King if you count the Broadway song. The remaining eight are from an assortment of Disney movies, with Lavender Blue (Dilly Dilly) from So Dear to My Heart being perhaps the most obscure.

Among the tracks, I particularly like Lady and the Tramp’s Bella Notte, which incorporates mandolin and accordion, and Aladdin’s A Whole New World, which captures the sense of exhilaration and wonder inherent in a magic carpet ride. I’m not so crazy about the overblown production on the Pocahontas end-credits song If I Never Knew You, especially once the saxophone solo kicks in, but then that song always did feel a bit over-the-top. Still, generally speaking, the schlockiest tracks are the ones that include a sax.

Given the choice, I would prefer to listen to the original versions of these songs rather than these instrumental renditions, but the production is generally tasteful, and it makes a nice album to fall asleep to, with the added benefit that the Disney magic of Fairy Tale Weddings may just seep into your slumber and enchant your dreams.

Cinderella Skeleton is a Tenderly Ghoulish Treat for the Goth Crowd

I’ve seen many different versions of the classic Cinderella story over the years. One of the most unusual is Cinderella Skeleton, a ghoulish take on the fairy tale that is written by Robert D. San Souci and illustrated by David Catrow, an exceptional artist whose work has wowed me in the Christmas books How Murray Saved Christmas, Merry Un-Christmas and Silly Dilly Christmas Songs: Where Did They Hide My Presents?.

As you might guess from the title, in this version, Cinderella is a skeleton, and so is almost every other character in the book. The look is quite comparable to The Nightmare Before Christmas and Corpse Bride; it’s macabre, yet there’s also a definite sweetness to it. Cinderella herself is just as kind and gentle as she is in any version I’ve encountered, and her stepfamily is just as cruel. The prince, meanwhile, is dashing as can be in a sharp blue uniform with gold epaulets that reminds me a lot of the Beast’s duds in the ballroom scene of Disney’s Beauty and the Beast.

The basic contours of the story really are pretty much the same. Cinderella is a poor overworked girl who lives with her frivolous, mean-spirited stepsisters and stepmother. There is no mention of her father, and really, considering the circumstances, that seems a bit odd; if they’re all dead, then shouldn’t her father be with them? But maybe in this version of the story her father died far from home. Or maybe he’s the only one still alive. In any case, though, Cinderella Skeleton is a dreamer, and she longs above all else to attend the Halloween Ball. She is more proactive than most in that instead of having a fairy godmother come to her in her hour of despair, Cinderella seeks out the aid of a wood witch. What’s more, she goes and collects the objects the old – but seemingly not deceased – woman recommends.

It is perhaps fitting that a Cinderella who takes such initiative should be given a longer visit with her prince. She is allowed to remain at the ball until morning – by the sky, not the clock. Thus, there is more time for the two bony lovebirds to make a real connection. In a rather unnecessarily grotesque move, the prince ends up with not just his ladylove’s shoe but her foot as well, but at least there’s no blood involved as he searches his unconventional kingdom, severed foot in tow.

Yeah, that part sounds a bit gross, and it is, but it’s very much in keeping with the overall style of the book, which has a definite beauty about it despite the icky images. Catrow’s artistry in watercolor and pencil is unmistakable, and Cinderella still manages to look beautiful in her delicate blue lace draped over her like gauzy spider webs. Her empty sockets somehow look as sparkly as they would with eyes in them. The magnificent castle, complete with ominous vulture gargoyles, nearly shimmers in the pinkish glow of a fading sunset as a moon of monstrous size rises.

Meanwhile, the narration is finely crafted and complex. Each of the 26 stanzas contains seven lines, the first of which is “Cinderella Skeleton,” sometimes followed by punctuation. The other six lines follow the pattern ABBCCA, and the rhythm is consistent with wiggle room of a syllable or two. It’s a rather unusual pattern, and because of the distance between the first main line and the last, one almost has the tendency to forget what word is being rhymed. This is a book best read slowly. It certainly was written that way, with San Souci clearly relishing the clever wordplay as he carefully crafted each image. The descriptions make me chuckle and wince all at once. Take, for instance, this declaration of love from the prince: “Your gleaming skull and burnished bones, your teeth like polished kidney stones, your dampish silks and dankish hair, there’s nothing like you anywhere!” Aww. How touching.

This book really is exquisite in its own way. However, I do question the age recommendation of 3 to 7. I think that some aspects of this book might well freak out a child that young. What’s more, the complicated and formal way in which is it written seems likely to me to bore many kids in the read-aloud set. Frankly, the group I see embracing this book most readily is the Hot Topic crowd. All those teens who happily scoop up Jack Skellington merchandise would probably find this picture book a delightful Halloween diversion. I wouldn’t put a lot of stock in the age printed on the back, but if you know a child entranced by gothic imagery and willing to sit through some fairly lengthy poetic narration, Cinderella Skeleton is a surprisingly sweet Halloween treat.

The Disney Princesses Have a Festive October in Sweet and Spooky Halloween

Every year when I see kids trick-or-treating through the neighborhood or the mall, I can count on spotting a few Disney princesses. Cinderella and Beauty and the Beast’s Belle are probably the most popular, but Snow White and Sleeping Beauty’s Aurora always make a good showing as well. These four princesses, along with The Little Mermaid’s Ariel, who requires a more complicated costume and thus is a bit less common, are the stars of Sweet and Spooky Halloween, a Disney picture book written by Melissa Lagonegro and illustrated by Elisa Marrucchi.

This is a book that doesn’t really tell a story. Instead, it hops around among the above five princesses, showing how each of them celebrates the holiday. Because of the fairy tale setting of these tales, I tend not to think of these characters celebrating Halloween, though many aspects of the holiday date back several centuries. Of course, the princesses here do things that modern children can relate to, but it is presented in such a way that it feels like it works with the setting.

Cinderella, who evidently still keeps her foot in the door at the cottage where she grew up, picks pumpkins from the garden and carves them into jack-o-lanterns. Later, in more elegant garb, she hands out goodies to the children of the kingdom. Snow White watches as the dwarfs bob for apples, and the fairies create dazzling Halloween costumes for Aurora with some help from their magic wands. Ariel and her best friend Flounder masquerade in homemade masks, and Belle reads the Beast spooky stories.

With five different scenarios to juggle, the book never lingers in one place for more than four pages. Sometimes we only get a page-long glimpse of one Halloween activity before moving on to another. It struck me as a bit odd that we get two pages of Snow White, then one of Ariel, which is immediately followed by Snow White again. The distribution of princesses is also uneven, particularly in the case of Cinderella, who is the focus on nine pages, and Aurora, who is limited to just one two-page spread.

It’s also a little strange to see Belle with the Beast here, since that means she is technically not a princess yet. Ariel is still a mermaid, but since she was an undersea princess before marrying a human prince, that doesn’t matter. The other three princesses clearly are returning to their earlier haunts after marriage, though Cinderella’s prince is the only one of the three to actually appear.

Because of the way the book’s text is written, transitioning naturally from one type of activity to the next, it makes sense to shuffle the princesses around. It also provides the illusion that there’s more to each princess tale than there actually is. If the book just had all of the pages for each princess together, making five “chapters,” I don’t think it would hang together very well. It would feel lacking. Additionally, with the “stories” spread out, it feels more natural for kids to fill in the blanks between events.

Sweet and Spooky Halloween is really just an excuse to put Halloweenish imagery into a Disney princess context. It’s short on actual story, but the vibrant illustrations, from the actual pumpkin carriage Cinderella and the prince ride in to bat-shaped cookies Belle makes for the Beast, are plausible and fun to peruse. Given all those little girls in princess dresses that I see every year, I would say that this book has a ready audience.

Robin McKinley Weaves a Timeless Tale in Beauty

When I was ten, I found out that Disney’s next animated feature would be Beauty and the Beast. My initial reaction was surprise that this was a fairy tale they’d never tackled. I knew the story, or at least one version of it, quite well, and I was a little disappointed that the movie would be such familiar territory for me. As it turned out, however, it wasn’t. In the Disney version, Belle is an only child, so there are no petty, unkind sisters to contend with. Moreover, when her father seeks shelter in the Beast’s castle, it is his mere presence that sparks his host’s ire, not an act of thievery. Meanwhile, Gaston, the arrogant huntsman so intent on marrying Belle despite her lack of interest, was an entirely new character to me. Despite a few key similarities, the movie ultimately bore fairly minimal resemblance to the fairy tale I knew. Robin McKinley’s novel Beauty, published in the late 1970s, comes closer to the version I remember from my earliest years, though it too differs in some fundamental ways.

In this retelling, Beauty is the nickname of Honour, a young woman who has grown up reasonably happy despite the loss of her mother at an early age. She loves her father, a kind businessman, and her two sisters, Hope and Grace, both of whom are more obviously beautiful than she is. Beauty, who narrates the novel, considers herself plain, but she has an intellect that sets her apart from the others in her family. Growing up in luxury, she has easy access to books, and reading is her favorite leisurely pursuit. But when her father’s fortunes change, she and the rest of her family must adjust to a new way of life, one that involves hard labor and meager possessions in a town several weeks’ travel away. Industrious Beauty fares well in her new life, working as tirelessly as any man and tending to her beloved horse Greatheart, one of the few remnants of her old existence. Nonetheless, she feels a yearning for adventure, and when her father returns from a journey with a harrowing tale of an encounter with a fearsome Beast, she sees an opportunity to live up to her birth name and bring some excitement into her life.

The book is divided into three parts, with the third taking up more than half the book. Still, that leaves nearly half the book before Beauty even meets the Beast, who in this version is both hospitable and elusive. He provides Beauty with everything she could possibly want – except her family. Indeed, that is arguably the central conflict of the book. While his monstrous appearance makes her nervous, especially initially, what truly grieves her is the separation from her close-knit family and the thought that, though they reside only half a day’s journey away, she may never see them again. Because we spend so much time with her family beforehand, we understand the depth of her bond to them, which only deepened when the family’s fortunes took a tumble.

While I love her doting father and find her gentle sisters a refreshing change from the norm, the most dynamic member of her family is Hope’s cheerful husband Ger, a talented blacksmith who helps the family rebuild after bankruptcy seemed to spell their ruination. Beauty develops a special connection to her brother-in-law, who seems to understand her independent spirit better than her own flesh and blood. At the same time, the depth of the relationship between him and Hope is never in doubt, and Grace, too, demonstrates her capacity to love deeply in circumstances as trying in their own way as Beauty’s. I almost think the sisters’ names would have been better switched, as hope is such a fundamental part of Grace’s character and fuels the novel’s climax. Truly there are no villains in this book, just unfortunate events that often come about due to uncontrollable forces. Because of this, elements of the climax require Beauty to act illogically just for the sake of heightening tension, which makes the denouement slightly less satisfying than it could be.

The Beast does hold Beauty captive, though she has agreed to live in the castle of her own free will and is at liberty to spend her days as she pleases, riding the devoted Greatheart over the beautiful grounds and spending hours in her room or the library poring over books. While she is hardly treated like a prisoner and she comes to look forward to her conversations with the Beast, it’s easy to understand why she is reluctant to accept his declarations of love at first. As in the movie, I think it has less to do with his appearance than with his behavior, particularly the threats, idle though they may have been, that he lodged against her father. Additionally, Beauty is haunted by her own insecurities; her sojourn with the Beast is as much about learning to see the beauty in herself as it is about seeing it in him. McKinley shows Beauty’s perception gradually expanding in intriguing ways as she finds herself reading and even comprehending books that won’t be written for centuries and hearing snatches of conversations between the no-nonsense invisible servants who attend to her every need.

Disney’s Beauty and the Beast remains my favorite version of this story to date, in part because Belle and the Beast fall in love simultaneously. Here, the Beast asks her to marry him as soon as they meet. I get the sense that he’d been watching her for a while from afar and orchestrated the incident with her father to get her there, which reminds me uneasily of the vile Gaston’s manipulative tactics in the movie. And if he didn’t, then his love at first sight smacks of desperation because he knows the love of a woman can break the spell that holds him in his current form. Nonetheless, he grows as a character too, and as his regard deepens from a possessive fervor to genuine love, the landscape begins to change accordingly. As friendship gradually blooms, birds and blossoms reflect the alterations occurring within the castle’s primary occupants.

Beauty is a lovely novel with a fairy tale flavor that nonetheless feels steeped in realism, particularly in the scenes away from the castle. My friend Beth, who recommended this to me, mentioned that McKinley has written another retelling of this “tale as old as time,” and I would be interested to see how she approaches it from a different angle. In this case, I would say that the novel she crafted certainly lives up to its name.

The Three Gifts of Christmas Encourages Gratitude and Generoity

“It is more blessed to give than to receive.” This Bible verse – Acts 20:35 - is often repeated in some form around Christmastime, and it serves as the basis for The Three Gifts of Christmas, a picture book in the Princess and the Kiss series written by Jennie Bishop and illustrated by Preston McDaniels. The books are didactic in nature, intended to encourage children to embrace pure-heartedness; while other books in the series symbolically focus on issues of temptation, particularly in the realm of abstinence, this one is all about gratitude and generosity.

The main character is an unnamed princess whose devoted parents are dismayed to see that after years of having gifts lavished upon her by them and others in the kingdom, she has become ungrateful. She feels entitled rather than appreciative. As a result, they decide that drastic measures must be taken in order to help her adjust her attitude. They gently inform her that while the usual festivities will go on as before, this year, no one in the royal family will receive gifts from the kingdom’s subjects, and the princess will be given only three gifts by the king and queen, a reminder of the Magi who brought gifts to Jesus. At first, the princess is distressed, but she comes to realize the care with which each gift was chosen, and this in turn makes her more open to sharing those gifts with others even though she received far fewer than in years past.

The book is written with an austere air, giving it the feel of a fairy tale from long ago. The description of the gifts is especially rich and loaded with symbolism. Bishop does veer toward the over-the-top at times, and the princess’s transformation from a petulant whiner to a grateful giver occurs so instantaneously that her acts of kindness seem a bit anti-climactic. It might have been more effective to see her struggle a bit more. In this regard, we see the princess as an ideal, and her actions toward the end are something to aspire to, while her behavior at the beginning is to be avoided. Most children will fall naturally between the two extremes.

McDaniels, who has previously worked with the prolific Cynthia Rylant, a Newbery-winning author of several beloved series, brings a winsome charm to the illustrations, which fit the text perfectly. His depictions of the princess herself are especially winning and more effectively convey the complexity of her emotions than the text. I especially like the illustration of her as she receives her three gifts and her face registers her anticipation as well as her hesitation in getting started since it will be over so quickly this year.

In addition to encouraging gratitude and generosity, the book incorporates the Christmas story as presented in the Gospel of Luke, and it is written from an overtly Christian perspective with didactic intent. While I think Bishop could have been a bit less heavy-handed, I still found the story enjoyable, particularly in tandem with the illustrations. Bishop reads expressively on the included audio CD, and the music that plays behind her reading, which incorporates several Christmas carols, complements the story nicely.

While I prefer more organic stories of Christian generosity like Kate DiCamillo’s Great Joy, The Three Gifts of Christmas gets the message across well and is a good reminder of the joy to be found in true thankfulness and in the willingness to give to others.

Jan Brett Tackles a Traditional Classic in Goldilocks and the Three Bears

I have always loved stories about bears. One of the first of these tales to enchant me, and many other youngsters, was Goldilocks and the Three Bears. I’ve seen many different versions of this story, some straightforward, some with an unusual spin. Jan Brett, one of my favorite author-illustrators, came out with The Three Snow Bears a couple years back, and I found it a wonderful take on the classic story with an Inuit twist. But I hadn’t realized that she also tackled the tale in a more traditional form. If I were going to introduce a young child to the story now, I think Brett’s Goldilocks and the Three Bears might just be the version I would pick.

Brett retells the tale, but it’s such a simple story with such familiar contours that as I read it for the first time, it felt like the story I’d my parents read to me when I was a toddler. A note on the copyright page indicates that the book was adapted from The Green Fairy Book, edited by Andrew Lang. I wonder if I ever ran across that version… At any rate, it seems Brett didn’t have to change much. She worded things in her own way, and there’s a certain elegance to the sentences, but it’s also basic and repetitive enough that young children will be able to recite along with the bears’ exclamations before long.

The book features only four characters, at least in terms of having anything to do with the story at hand. Goldilocks is a little girl with long golden braids who stumbles upon the cottage of the three bears while they are away from home, out enjoying a morning walk. Brett does not actually give the bears names, merely descriptions. So instead of Papa, Mama and Baby Bear, we have “a little, small, wee bear,” “a middle-sized bear” and “a great, huge bear.” Every time she mentions the bears, she uses this precise terminology.

Goldilocks and the bears alike wear clothing that shows a Scandinavian influence. The book never indicates what country we are supposed to be in; my guess would be Norway, but I’m not certain. I love the vibrant colors and the intricate patterns, and I especially love the bears’ cozy home, which is entwined with trees and rather resembles the abode of an Ewok, the teddy bear-like indigenous Endor residents from Return of the Jedi. It’s completely charming.

One thing I appreciate about this version is that it allows me to sympathize with Goldilocks more than usual. I mean, she really is a pretty presumptuous girl, but Brett presents her in such a way that she merely seems endearingly curious, not to mention exhausted and hungry after her disorienting trek through the woods. Nobody ever seems to give Snow White a hard time for making herself at home in the house of the seven dwarfs, but I tend to see Goldilocks as more of a mischief-maker than a girl in distress. Here, it’s easier to see her in a positive light, making me wonder whether she would actually flee the bears at the end of this story or if they would take pity on her and befriend her.

One of the most distinctive attributes of Brett’s books is her use of borders. In this book, it’s not as pronounced as in some, but on several pages, the narrow strips on either side of a two-page spread offer a window into what is happening elsewhere in the tale. If the main painting shows the bears at home preparing porridge, we see Goldilocks on her way in the border. If she is the primary focus of the two-page spread, we see the bears on the sides, wandering through the woods. Additionally, these borders give us a glimpse of a family of mice, or at least a representation of them. It looks as though they are carved in wood, and the design is quite lovely.

I can always count on Jan Brett to come up with appealing takes on folktales, some of which are familiar to me, some of which aren’t. Few tales have been with me as long as Goldilocks and the Three Bears has, and it’s wonderful to see it in such great hands.

Unimpressed By Tangled's Music? Give the Soundtrack a Few Spins and See the Light...

When Tangled, Disney’s 50th animated feature, came out last year, I heard a lot of negative comments about the music. While not all of the songs had the instant stickiness of some of those from the glory days of the Disney Renaissance, I thoroughly enjoyed each one, and I See the Light replayed in my mind – and on my computer – countless times in the weeks that followed. I read that master composer Alan Menken hoped to achieve a blend of medieval music and 1960s folk rock, which happens to be my favorite genre, so I guess I was predisposed to like it. At first, I did find the poppishness of some of the numbers, particularly Rapunzel’s first big song, a little discombobulating, but in the end, I think it really works, and in addition to the excellent character songs with lyrics by Glenn Slater, we’ve got an absolutely enchanting score from Menken that I could listen to again and again.

Something That I Want - I’m starting at the end here because I want to get the end-credits number out of the way. As has generally been the case with Disney movies since they began to include these radio-ready closers, I find it less engaging than the rest of the songs but still enjoy it well enough. Written and performed by Grace Potter, it’s a very upbeat song with peppy percussion largely provided by clapping. The song has a tween pop feel to it and covers the same basic territory as the movie’s big love song as she describes two people searching for themselves and finding each other, though it’s less romantic in nature and more generic. Still, it sums up the basic gist of the movie well. “I want something that I want, something that I tell myself I need, something that I want and I need everything I see.”

When Will My Life Begin? - This song starts off the album, and it’s a lively number whose guitar-heavy pop sound makes it sound almost as fit for radio as the end-credits track. The guitar riff reminds me a lot of Peter Gabriel’s Solsbury Hill. I don’t know if the homage was intentional, but the songs seem to have a thematic connection as Gabriel wrote that song while embarking upon a solo career and Rapunzel, played by the honey-voiced Mandy Moore, longs to break out of her monotonous life in the tower and forge a new path. Plus, we have the comparable imagery of city lights and the glowing birthday lights that Rapunzel longs to see. The manic feel of this song is an indication of all the pent-up energy Rapunzel has built up in 18 years of never being allowed to go outside, though I must say that for a gal who doesn’t get out, she certainly accomplishes a lot during the day. “And so I’ll read a book or maybe two or three. I’ll add a few new paintings to my gallery. I’ll play guitar and knit and cook and basic’ly just wonder, when will my life begin?”

When Will My Life Begin? (Reprise 1) - This track, half as long as the first but much more sedate, isn’t in the movie but nicely captures Rapunzel’s inner turmoil. She doesn’t want to be ungrateful, but she really would like to get out of the house. Slight guitar and violin accompaniment is all that’s needed here to accentuate her yearning. “I’ve got so many things I should be thankful for. Yes, I have everything except, I guess, a door…”

Mother Knows Best - As soon as I heard this song from stage veteran Donna Murphy, I thought of Master of the House from Les Miserables. Along with a similar tempo and melody in places, it’s a comical villains’ song that revels in taking advantage of others. Mother Gothel, the ancient woman who raised Rapunzel and requires her enchanted hair to survive, doesn’t openly gloat that she is taking advantage of her, but her smug tone is evidence enough. Murphy pours all her dramatic flair into this one as Gothel puts on a show for Rapunzel, swinging wildly between condescension, dire concern and crippling guilt inducement. If Marie from Everybody Loves Raymond could express herself in song, the results might sound very much like this. Here we quickly establish the twisted psychological hold Gothel has on Rapunzel as she swiftly switches between insulting and coddling her. The most Broadway-sounding of the tracks, with an extra section excluded from the movie. “Go ahead, get trampled by a rhino. Go ahead, get mugged and left for dead. Me, I’m just your mother, what do I know? I only bathed and changed and nursed you…”

When Will My Life Begin? (Reprise 2) - Now we’re back to Rapunzel for the final repetition of her longing-for-adventure theme. About halfway between the first two in length and tempo. Much of the track is simply instrumental and a good chunk of the lyrics is just a list of all the stuff she can do now that she’s outside. The first half is quite hesitant, but exuberance takes over once she reaches the ground. “Just smell the grass! The dirt! Just like I dreamed they’d be! Just feel that summer breeze – the way it’s calling me. For like the first time ever, I’m completely free!”

I’ve Got a Dream - Disney has a curious tradition of raucous bar songs. This lively number is firmly in the tradition of such rowdy sequences as The Happiest Millionaire’s Let’s Have a Drink on It, Pete’s Dragon’s I Saw a Dragon and Beauty and the Beast’s Gaston. Instead of one person being the focal point, this song really gets everyone in on the act as all of the Snuggly Duckling’s intimidating-looking pub thugs reveal the deepest desires of their hearts. Funny, sweet and oddly inspiring, the accordion- and piano-heavy ditty has a bit of a ragtime feel to it. In addition to Moore and Zachary Levi, we’re treated to the spectacle of Brad Garrett and Jeffrey Tambor waxing melodic. This track is pure fun. “Can’tcha see me on the stage performin’ Mozart? Tickling the ivories ‘til they gleam? Yes, I’d rather be called deadly for my killer show-tune medley ‘cause way down deep inside, I’ve got a dream.”

Mother Knows Best (Reprise) - Gothel returns with this reprise about half the length of the original. There’s a darker, more dangerous tone to the song this time around, and grandiose music surrounds Murphy’s scathingly sarcastic vocals, at one point echoing a key musical phrase in the score of Beauty and the Beast, which Menken also composed and nods to several times in the film. Gothel is beginning to feel truly threatened, so she ramps up the theatrics here as she plots a way to recover the source of her longevity. “Rapunzel knows best! So if he’s such a dreamboat, go and put him to the test! If he’s lying, don’t come crying. Mother knows best!”

I See the Light - Ah, my favorite track – and one of my favorite Disney songs ever. Even though you’re only getting half the effect here without the visual spectacle of the floating lights, this is an absolutely gorgeous song. The gentle acoustic guitar, occasional harp and magical woodwinds carry this duet of self-discovery and love to greater heights. I’ve heard comparisons between this and Aladdin’s A Whole New World, and they’re fitting, since both involve a young couple on an adventure, learning more about themselves and the world and falling for each other in the process. They also both rhyme “here” with “crystal clear.”

For me, though, the song that sprang to mind first was The Greatest Adventure, the Glenn Yarborough-sung theme to Rankin and Bass’s The Hobbit. “Who sits by the window will one day see rain,” that song cautions, spurring Bilbo Baggins out of the comfort of his home into the journey for which he is destined. When Rapunzel started in with “All those days watching from a window,” my mind snapped to attention. Moore breathes an air of innocence into Rapunzel’s words, while Levi infuses his with dazed regret. Both have experienced a revelation. It’s a powerful moment and a powerful song. I’m sad it didn’t win the Oscar. “And at last I see the light, and it’s like the fog has lifted. And at last I see the light, and it’s like the sky is new. And it’s warm and real and bright, and the world has somehow shifted. All at once, everything looks different now that I see you.”

Healing Incantation - This shortest track on the album is very pretty with minimal accompaniment providing a slightly mystical touch. Rapunzel is used to singing this song repeatedly for the benefit of her “mother,” but here she initiates the action, and there’s an earnest solemnity in her voice as she works her magic upon her traveling companion. “Flower, gleam and glow. Let your power shine. Make the clock reverse; bring back what once was mine.”

Flynn Wanted - Now we’re into the purely instrumental tracks. This one is filled with a sense of frantic pursuit, with the brass particularly standing out and making me think of proud palace horse Maximus tracking his thieving prey like a bloodhound.

Prologue - Eerie and fairy tale-like as we hear Gothel recite the flower rhyme, with her voice growing progressively younger, followed by an adorable tiny tyke version of Rapunzel’s recitation. Short but sweet.

Horse With No Rider - Another song of hot pursuit, this one incorporates a sense of wonder and mystery and leads naturally into Escape Route, which includes a fun instrumental tribute to Mission: Impossible about halfway through and a jazzy lounge sound toward the end.

Campfire - This contemplative track includes hints of a couple of the main songs as Rapunzel and Flynn enjoy a quiet moment together. The Celtic-flavored flute makes an especially lovely addition here, reminding me a bit of James Galway’s work on the Return of the King soundtrack. Later on, meanwhile, this one puts me in mind of the prologue to Fellowship of the Ring.

Kingdom Dance - This very Irish-sounding number is pure joy, with sprightly flutes, fiddle and tambourine making it hard to resist getting up and dancing yourself. It’s just so lively, especially once the hand-clapping begins and the pace quickens. Kinda makes you want to break this one out at a large gathering of people.

Waiting for the Lights - Another quiet moment between Flynn and Rapunzel as she waits for the fulfillment of her long-held dream. Gentle guitar, harp and piano come together for this mellow, reflective track that erupts into a burst of glory when the lights finally begin to appear.

Return to Mother - This mournful track reminds me of some of the music in the season six LOST episode Across the Sea, which seems fitting since Gothel reminds me so much of the central character in that episode. Threads of antiquity and despair mingle in this disquieting piece.

Realization and Escape - Starting out quiet, this one explodes into grandeur as Rapunzel remembers the past so long hidden from her. The track turns dire as she confronts Gothel about her new knowledge, with ominous percussion having a particularly harrowing effect. Comical moments, particularly a few seconds of what sounds like a Russian dance, mark the final part of the track as Flynn makes his unconventional escape from prison with some help from a motley crew of lovable thugs.

The Tear Heals - The longest track by more than a minute and a half, this one reminds me very much of Transformation from Menken’s Beauty and the Beast soundtrack, which makes sense since the contents of the two scenes have so much in common. At about the four-minute mark, it also reminds me powerfully of one of LOST’s most tender friendship themes. Immediately after this, Rapunzel returns for a final shaky recitation of the incantation, followed by a thrilling orchestral return to I See the Light and concluding with a slow acoustic guitar rendition of the flower theme. This is the track that feels like the finale.

Kingdom Celebration - About half a minute shorter than Kingdom Dance, this one feels more whimsical, with the instruments comically alluding to the various pub thugs now living out their dreams. The melodious burst of sound at the end concludes the instrumental portion on a high note.

The Tangled soundtrack is one that, for me, anyway, seems to get better with each successive spin in the CD player. The rich fantasy tradition from which the movie itself draws is just as evident in the music, and I truly think this is right up there with the best that Menken has done. And that is saying a lot.

Paul Byrom Is a Prince of a Guy in If I Could Cry

On February 9, Celtic Thunder’s It’s Entertainment! will land in stores. I’m gearing up for it by listening to the songs I already have from these talented musicians, both as a group and as individuals. On the solo front, I’ve been paying quite a few visits to Ryan Kelly’s MySpace page, particularly to listen to his cover of Julie Miller’s Broken Things and his original The Village That They Call the Moy, both of which have had a secure spot in my list of favorite songs since I first heard them last summer. But Ryan, like groupmates George Donaldson, Damian McGinty and Keith Harkin, has no official recordings for sale. The only member of Celtic Thunder who does is Paul Byrom, who’s got quite an impressive headstart in the form of two albums - Velvet and I’ll Be Home for Christmas - and an MP3 track released late in 2009.

If I Could Cry is one of several songs recorded by various singers to help spread awareness of the new musical Sleeping Beauty, written by Trisha Ward. A fresh take on the beloved story, it involves Rosie, a cowed young librarian who escapes into the pages of the classic fairy tale and finds real life and fantasy entwining in unforeseeable ways. Because information on the play thus far is limited (available at www.sleepingbeautythemusical.com), we have to guess a bit at context, but it seems safe to say that Paul Byrom is portraying Rosie’s love interest, the prince whose kiss will charm her into wakefulness. And my, is he a sensitive soul!

While this recording and its accompanying music video are not directly related to Celtic Thunder, the poetic persona Paul adopts in the group remains. Here, he comes across as a man hopelessly smitten, longing to earn the regard of the woman he has come to love. The song starts off fairly quiet, with Paul softly singing of his desire to take on his ladylove’s pain. There’s a definite sense of vulnerability in the beginning, which is probably my favorite part, though it’s always a bit of a thrill to hear him finally reach those glory notes at the song’s most triumphant point.

Backed by heavy orchestration, Paul’s operatic background is evident, and there are several opportunities for him to really show of the power his voice is capable of. At the same time, he’s very emotive, and as a particular fan of musicals and songs that reveal character, I commend him for putting so much personality into his performance, allowing us to fall in love with this princely fellow all at once even though this song presumably comes toward the end of the play.

In addition to listening to the song, I recommend watching the video, which is readily available on YouTube. Directed by John Stephenson, it’s the first honest-to-goodness music video I’ve seen from anyone in Celtic Thunder; the group videos, thus far, are beautifully filmed but simply concert performances. The closest thing to a real music video is Christmas 1915, which is separate from the concert DVDs and features thematically appropriate props and costumes, along with a gentle snowfall.

All the same, this feels much more like a music video in the MTV sense of the word, with frequently intercutting scenes and a definite storyline that we’re being shown. I haven’t been able to find out the name of the actress who portrays Sleeping Beauty in the video, but she’s as much as part of it as Paul is. We alternate between scenes of her upstairs in her bed, sometimes with him nearby, and one or both of them out in the stylized gardens in the courtyard. Paul sometimes wears a contemporary-looking black suit, while at other times he dresses in a manner befitting a fairy tale pauper and, still others, a prince. She, too, has different costumes. The video also alternates between the relative darkness of her room with the shadows representative of her apparently troubled state of mind and the exuberantly sunny outdoors, which matches the enormous smiles Paul flashes toward the end.

I’ll be curious to see where this musical goes and whether there might be a place for Paul in the cast in the future. From this one song, along with what I’ve already seen and heard from him in his recordings on his own and with Celtic Thunder, I have no doubt he would make a charming prince indeed.

Giant John Makes a Big Mark Wherever He Goes

One of my favorite authors is Arnold Lobel, who I associate primarily with his four Frog and Toad books. But he had other noteworthy work too. I recently checked out Giant John, which dates back to 1964. There was something familiar about the story and its characters, so I suspect I've read it before, but that must have been many years ago. Mostly, this simple story of a well-meaning giant was new to me, while bearing the distinct stamp of Lobel.

This story is told in a straightforward manner, like many old folktales. It isn't as funny or as profound as some of Lobel's other work, but the protagonist is very likable, and the overall tone of the tale is so cheerful it's hard to avoid breaking into a smile while reading. As with most of Lobel's work, the colors in Giant John are basically limited to various hues of green and brown, giving the book an earthy feel. John wears a green shirt and reddish vest. His socks and hat are a drab shade of brown; his leggings and shoes are black. Handily, he also has a giant-sized green umbrella, which he is perfectly happy to share.

Everything that John does in this book is motivated by a desire to help others. He leaves the home he shares with his mother so that he can earn some money to buy them food. The work he finds involves making life simpler for a royal family living in a tall castle. He finds lots of ways to help the king, the queen, the princess and their dog, and it's clear that he's not just in it for the money. He really cares about these people. Oddly, this king and queen seem to have no subjects, and their castle is scarcely large enough for their family to expand. Perhaps they merely like to think of themselves as royalty and built a home to match their fantasy. In any event, these are pleasant people, and John is ideally situated to aid them, since he stands as tall as their entire castle.

Unfortunately, that's also a liability under certain circumstances. John isn't generally very clumsy, but whenever he hears the music of the fairies of the forest, he is unable to resist dancing. And a dancing giant is hazardous to anyone in his path. The impression one gets is that John never told his friends the fairies that he was leaving and that he would be back as soon as he could. Thus, they felt the need to track him down. Hence, the story potentially offers a subtle lesson in the importance of communicating properly with one's friends and loved ones. That could extend to his mother as well. If she had indicated a little sooner just how little food was in the house - because apparently John wasn't paying attention - she might have been spared several days of hunger and the indignity of considering eating her shoe.

Affable John is an easy fellow to embrace, and there's humor in the creative ways he finds of using his unique talents. The architecturally improbable result of his Extreme Home Makeover on the castle is especially amusing. Though Frog and Toad will always be my favorite Lobel creations, I still get a big kick out of Giant John.

My Top Ten Movies of the Late '80s ('85-'89)

The late 1980s were some of the most formative years of my life, as I headed off to school for the first time and experienced some major milestones, including gaining a brother and losing a grandfather.  The movies that I saw during these years really stuck with me.  Here are some of my favorites.

Back to the Future (1985) / Back to the Future II (1989) - For some reason, I saw the second installment of this classic Robert Zemeckis trilogy first, so that when I saw the first movie several years later, a lot of the jokes made a lot more sense. Each is much funnier in tandem with the other, but as stand-alones, they're great, too. Michael J. Fox is irresistible as Marty, the teenager who gets propelled backward then forward through time courtesy of Doc Brown, who is played to the eccentric hilt by Christopher Lloyd. Since LOST became preoccupied with time travel, I've been especially getting the urge to go back and watch these two movies, which so humorously examine all of the problems that might arise from such a feat. Extra kudos to Crispin Glover, who is a bundle of neuroses as Marty's wimpy dad, George, and Thomas F. Wilson, who perfectly portrays the brutish, dim-witted Biff Tannen and has forever lodged in my mind the phrase "Why don't you make like a tree and get outta here?"

Anne of Green Gables (1985) / Anne of Avonlea (1987) - These gorgeously filmed adaptations of the first few books in L. M. Montgomery's classic series are two of the first videos we ever owned - or I should say four, as both run well over three hours in length and require two cassettes each. We used to pop them in whenever we had my cousins over for a sleepover, as they made a very comforting backdrop, and if we were still up when the second movie was over, we could really consider ourselves champion night owls. Megan Follows is spectacular in the title role, especially the first time around when she gets to play Anne in her early teenage years to the over-dramatic hilt. But then every character is perfectly cast, from Colleen Dewhurst as stern but kind Marilla and Patricia Hamilton as busybody Rachel to Richard Farnsworth as incurable softie Matthew and Jonathan Crombie as the incredibly patient Gilbert. The first film is extremely faithful to the first book, while the second takes considerable liberties as it combines elements of the second, third and fourth novels. Both make for excellent, high-quality, wholesome viewing, not to mention some of the best advertising Prince Edward Island has ever gotten.

An American Tail (1986) / Land Before Time (1988) - I always think of these two Don Bluth films in association with each other. They came out within a couple of years of each other, and they both concern a young animal who is separated from his family making new friends as he undertakes a dangerous journey in hopes of an eventual reunion. The first features Fievel the mouse and his close-knit family, who happen to be Russian Jews, and it is a full-blown musical, with the earnest duet Somewhere Out There a particular highlight. While American Tail introduces kids to the immigrant experience, Land Before Time gives some background on dinosaurs while presenting a powerful tale of faith and friendship. Too many shoddy sequels followed both of these movies, but the originals remain outstanding.

Flight of the Navigator (1986) - Another time travel movie, this one about a boy who finds himself the navigator of a snarky ship carting dozens of aliens across the universe. Young David only jumps ahead eight years, but he's surprised to discover how many things have changed. There's an element of poking fun at the decade in this fun fantasy that is mostly about the unlikely bond that develops between the boy and the sentient spaceship voiced by Paul Reubens. It's been too long since I've seen it, but when I was a kid, I absolutely loved it.

Great Mouse Detective (1986) / The Little Mermaid (1989) - The former was the first movie I remember seeing in the theater. It's a little dark for Disney, focusing on a kidnapped inventor and a plot against the queen of England by a diabolical villain by the name of Ratigan. But I love this very English tale of about Basil, an arrogant detective, and Dawson, his faithful assistant, doing their best to avert a disaster for the sake of sweet young Olivia, the inventor's daughter. Most of the characters in this are rodents or other scuttling creatures, while The Little Mermaid features an array of aquatic characters and some incredibly catchy songs. Disney's twist on the Hans Christian Andersen tale is more upbeat and includes plenty of amusing sidekicks, most notably the world-weary Caribbean crab Sebastian, advisor to the quick-tempered but affectionate King Triton. I wasn't sure how much I'd like this one when it came out, but once I saw it I quickly became obsessed with it. Both are great examples of the magic of Disney in some of its most exceptional years.

Karate Kid II (1986) - When we were growing up, my brothers and I all took karate at one point, as did my dad. I suspect that a lot of folks did that in the '80s after cheering on Daniel, the east coast teen who moves to California with his mom and gets over his fish-out-of-water blues by striking up a friendship with his elderly neighbor, karate expert Mr. Miyagi. I love the movies, particularly because of Mr. Miyagi, who is such a wise and funny character. The second film is my favorite of the trilogy because it focuses primarily on him, delving into his past and using his example to teach Daniel and the audience a powerful lesson on the value of mercy and redemption. It also includes my favorite of Daniel's three girlfriends, whose relationship with him unfolds on screen with some help from a montage backed by The Glory of Love, perhaps the ultimate '80s power ballad.

Short Circuit (1986) - I've always had a soft spot for robots, whether it's Data in Star Trek: The Next Generation or R2-D2 and C-3PO in Star Wars, but Johnny Five may just be may favorite robot of all. The first time my family watched this movie, I was in the other room reading, and the sounds of laughter drew me to the television within minutes. It wasn't long before I was laughing too: at the malapropisms spewed by Fisher Stevens' perpetually befuddled foreigner Ben; at the lovable robot's inappropriate behavior as he insatiably seeks more input; at the incredulity of adorable Steve Gutenberg's Newton Crosby as he comes to accept that his creation has actually come to life. This incredibly quotable movie is one of the most hilarious I've ever seen, and it has moments of real tenderness as well. It introduced me to several terrific actors, and may it well have even sparked my fondness for Dr Pepper, which has long been my beverage of choice.

Star Trek IV: The Voyage Home (1986) - Easily the most accessible of the Star Trek movies, this fourth installment is also by far the funniest, though the stakes are higher here than in any other. The fate of the entire planet is at stake, so it's up to the crew of the Enterprise to save world by going back in time and fetching a couple of humpback whales. Like Back to the Future, this movie toys around with the absurdity of time travel, but it saves most of its energy to skewer '80s culture while making our heroes look like a bunch of buffoons as they try to navigate it. Among the highlights are Kirk and Spock's disastrous trip to the aquarium and the conversation in the car that follows it; Scotty's attempt to interact with a primitive computer; and a hospital escapade that involves high speed, heaps of deception and an instant kidney. All that, plus a lesson in environmental consciousness makes this the only original Trek film that rivals The Wrath of Khan.

The Princess Bride (1987) - Every year at Christmas, we watch this with my dad's side of the family, laughing late into the night over jokes we've all heard dozens of times before, dialogue we've had memorized for a couple of decades. This movie has everything: fantasy, adventure, romance... Most of all, it has humor. Every other line is a quotable classic, impeccably delivered by a top-notch cast. Burly, lovable Fezzik (Andre the Giant), Spanish, revenge-driven Inigo (Mandy Patinkin) and short, demeaning Vizzini (Wallace Shawn) are particularly memorable among a host of entertaining characters. The decision to frame the story with scenes of a grandfather reading the book to his cynical grandson is the icing on the cake in this film that perfectly blends so many elements to create a masterpiece I will never get tired of watching.

Dead Poets' Society (1989) - I remember hearing about this movie when it came out, but it's the only one of the bunch I didn't see until many years later. We watched this in my eleventh grade English class, which was led by an unconventional teacher not so different from the man Robin Williams portrays. This film has a darker tone to it than anything else on this list, but it is inspirational in many ways, demonstrating the power that literature and an involved teacher can have in one's life. It also shows the danger of trying to exert too much control over one's children as they reach adulthood. One of Williams' finest performances, and my introduction to the terrific Robert Sean Leonard.