Winnie the Pooh and his Hundred-Acre friends generally live very simple
lives and go about in the same clothes (or, in most cases, lack thereof)
day after day. However, one fun thing about the television series The New Adventures of Winnie the Pooh is its expansive imaginative scope. Some episodes allow these plush pals to venture into more unconventional territory. In Cowboy Pooh, part of the Playtime series of Winnie the Pooh videos, we see three episodes along these lines, each spoofing a specific genre.
The Good, the Bad and the Tigger - This Western spoof, also included in the video Growing Up With Winnie the Pooh: It's Playtime With Pooh,
finds Pooh (Jim Cummings), Piglet (John Fiedler), Rabbit (Ken Sansom)
and Tigger (Paul Winchell) in Christopher Robin's (Tim Hoskins) bedroom
admiring his elaborate train set. When his mother calls him away, he
warns everyone not to play with the train while he's gone, but Tigger
can't resist, sparking a lengthy imaginative sequence set in the Old
West. Tigger is a train robber, Pooh is his unwitting accomplice, Piglet
is the sheriff determined to mete out justice however difficult that
may be, Rabbit and Eeyore are his faithful sidekicks and Gopher (Michael
Gough) is the grim judge eager to hand down a sentence for a
"swinging."
This episode is a lot of fun because of the way it
uses Western conventions, from dastardly villains to dusty,
half-deserted towns. The score seems Copeland-inspired, and the chase
sequences along the rickety railroad tracks prickle with excitement.
Lots of fun, too, are the outfits, complete with ten-gallon hats (and
one sombrero). Of course, this being Pooh, the story ends gently for all
concerned, but some pretty harrowing situations precede the satisfying
resolution that includes a lesson in forgiveness and fessing up to
wrongdoing.
Pooh Marks the Spot - I wish I'd watched this video a little sooner; I could have included its infectious pirate ditty in my list of nautical songs
for Talk Like a Pirate Day in September. "Yo ho, everyone knows a
pirate's life is free. Yo ho, wherever we go, pirates is what we'll be!"
Catchy. The pirates in question are Captain Piglet, Tigger, Pooh and
Gopher, who roam the Hundred-Acre Wood in a magnificent pirate ship on
wheels. I don't know who is responsible for the construction of
that contraption - though I suspect a collaboration between handyman
Gopher and creative Tigger - but I wish I had one. And someplace where I
could ramble around in it, of course.
Rabbit does not think so
highly of their pirate activities, especially once they start digging up
his garden in search of buried treasure, so he concocts a plan to trick
them and hopefully curtail their revelry. However, when a trippy dream
sequence leaves him with a boatload of guilt, Rabbit wonders if he went
too far. Aside from the brief dream, which is frankly pretty creepy,
this does not take place in a fantastical setting, but there are pirate
costumes aplenty as well as that remarkable ship. The conclusion
includes a cute twist that emphasizes the kindness and creativity of
these forest friends.
The Masked Offender - I'm pretty
sure that I've seen this before, but as Tigger's secret identity, the
Masked Offender, is all I remember, I wonder if I encountered it in
another episode or perhaps a book. The rest of the story doesn't seem
very familiar. In any case, this is another entertaining tale that seems
to draw from classic heroes like the Three Musketeers and Robin Hood.
Part of the episode occurs within a storybook Christopher Robin is
reading, and this is where we find the most elaborate costumes and
props, but Tigger doesn't do too badly in coming up with an outfit for
himself after the story inspires him to follow suit.
There's
humor in Tigger's choice of name, unintentionally changing "Defender" to
"Offender," since all of his attempts to "rescue" others only serve to
irritate them. Poor Piglet, roped into being his sidekick, doesn't know
how to tell Tigger his heroics are not welcome. This is another episode
that includes a mean-spirited practical joke orchestrated by Rabbit, but
in this case, he doesn't work alone. Owl (Hal Smith) is particularly
anxious to put a stop to Tigger's stunts. However, when a true emergency
beckons, will a chastened Tigger step up to the plate to finally be a
true hero? The storybook portions of this episode are great fun, but
it's the intense action sequence involving one of those impossibly steep
Hundred-Acre Wood canyons that really makes this episode.
Disney has released Winnie the Pooh Halloween specials before. Cowboy Pooh
includes none of those, but the three episodes, taken together, feel
Halloweenish because most of the characters spend the majority of their
time in costume. Thus, this is a particularly good video for October,
but any time of year, it may just inspire a creative playtime costume or
two.
Showing posts with label Jim Cummings. Show all posts
Showing posts with label Jim Cummings. Show all posts
Tuesday, December 13, 2011
Monday, October 10, 2011
Wishing Stars and Pygmy Piglets Make The Wishing Bear a Memorable Pooh Video
Over the years since it was on the air, Disney has released several compilation videos featuring episodes from The New Adventures of Winnie the Pooh. The earliest are from the ten-volume Walt Disney Home Video series of which The Wishing Bear
is volume two. This video includes just two stories from the series,
both of them full-length episodes for a total of about 45 minutes. Both
also happen to be among my favorite episodes in the series, so I’m very
glad I happened upon this particular volume at the library sale over the
summer.
The Wishing Bear - One quiet wintry night, Christopher Robin (Tim Hoskins) takes Pooh (Jim Cummings) up to his favorite spot in the woods and shows him his very own wishing star. After teaching Pooh the “special wishing rhyme,” he tells the bear to close his eyes and make a wish. Of course, Christopher Robin knew he would wish for honey and came prepared. When a delighted Pooh tries to make more wishes on the spot, Christopher Robin warns that too many wishes could wear the star out but promises he can come back tomorrow. The next day, Pooh lets the secret slip to Piglet, Tigger and Rabbit, and after a valiant struggle to remember the rhyme, he leads them to the star, which goes behind a cloud as soon as they leave. When Pooh sees a shooting star immediately afterward, he is convinced that he wore out the star and sets about to grant his friends’ wishes himself.
This is a great episode for several reasons. It shows the powerful bond that exists between Christopher Robin and Pooh. It’s very funny, with Piglet (John Fiedler), Tigger (Paul Winchell) and Rabbit (Ken Sansom) each struggling with specific issues that lead to many complications for Pooh, whose attempts to remember the rhyme earlier in the episode are also quite amusing. He comes up with some very strange lines, my favorite of which is “Flap like an armadillo.” My biggest laugh-aloud moment comes later in the episode when Piglet asks Pooh, who has just been working on a plan to keep the bugs out of Rabbit’s house, about his strange headgear. Scrambling for an explanation that won’t blow his cover, Pooh tells him that its purpose is to keep sharks away, which of course sends Piglet into a panic. Classic!
However, the best thing about this episode is the determination and ingenuity Pooh shows in seeing to it that his friends get their wishes, or at least an approximation of them. It’s an idea that also turned up on the show during a Christmas episode that found Pooh filling in for Santa Claus after failing to get his letter out in time, but the episodes are distinct enough to keep either one from feeling redundant. It just goes to show what a kind and generous bear Pooh is. Even though so much of what he does is driven by the demands of his rumbly tumbly, ultimately his heart takes precedence.
The Piglet Who Would Be King - Like The Wishing Bear, this is a story about being generous to a friend. However, the circumstances are quite different. In this case, after Pooh gives Piglet a spring he finds on the ground as a “friendship gift,” Rabbit and Tigger tell Piglet that he must reciprocate by giving Pooh the grandest gift of honey imaginable. A small pot will not do; he needs something truly extravagant. After their first honey-collecting attempts go awry, Tigger proposes an audacious idea: undertake a quest to the Land of Milk and Honey, where they will find all the honey they could ever want. As before, Piglet uncomfortably goes along with the plan, and once they get there and find it populated by the Pigglies, who look just like Piglet but are half his size, he becomes more and more distressed. They regard him as their rightful king, a job he is reluctant to accept, but Tigger and Rabbit insist he take the job so they can enjoy its perks. As their selfishness escalates, Piglet must find the courage to truly step into his role as ruler.
Now, this is a very strange episode positing that deep in the Hundred-Acre Wood, or just beyond it, lies a secret civilization of pygmy Piglets resting in the shadow of a volcano. Between Piglet’s house and the Land of Milk and Honey, they come across a hysterical hyena, a monkey marching band led by a burly primate in a sharp red suit and a thick Scandinavian accent, and a herd of stampeding pint-sized elephants. It’s weird, all right. But it’s an excellent episode full of adventure. Tigger and Rabbit even sing an original song, Nothing’s Too Good for a Friend, as they drag Piglet through treacherous paths toward the Land of Milk and Honey.
The question is, what are the true qualities of a friend? Tigger and Rabbit spend this entire episode as Piglet’s dueling advisors, united in their desire to force Piglet into procuring an unusually complicated gift but bickering over every detail along the way. Both of them are extremely bossy, and even when their intentions are good, their way of doing things isn’t the best way for Piglet. Hence, this episode is about Piglet learning how to do like Neville Longbottom in the first Harry Potter book and assert himself when he believes they are in the wrong instead of being a pushover. Two excellent quotes come out of this process: “People should do things for friends not because they have to but because they want to” and “Even very small animals must stand up for what’s right.” As Piglet’s timidity is a characteristic to which I can relate far too easily, I find this an inspiring episode.
As always, I wish that it was possible to buy a DVD boxed set of the entire series, but if you’re going to get them piecemeal, I highly recommend this second volume. If you’re wishing for a pair of great Pooh stories, your wish will certainly be granted.
The Wishing Bear - One quiet wintry night, Christopher Robin (Tim Hoskins) takes Pooh (Jim Cummings) up to his favorite spot in the woods and shows him his very own wishing star. After teaching Pooh the “special wishing rhyme,” he tells the bear to close his eyes and make a wish. Of course, Christopher Robin knew he would wish for honey and came prepared. When a delighted Pooh tries to make more wishes on the spot, Christopher Robin warns that too many wishes could wear the star out but promises he can come back tomorrow. The next day, Pooh lets the secret slip to Piglet, Tigger and Rabbit, and after a valiant struggle to remember the rhyme, he leads them to the star, which goes behind a cloud as soon as they leave. When Pooh sees a shooting star immediately afterward, he is convinced that he wore out the star and sets about to grant his friends’ wishes himself.
This is a great episode for several reasons. It shows the powerful bond that exists between Christopher Robin and Pooh. It’s very funny, with Piglet (John Fiedler), Tigger (Paul Winchell) and Rabbit (Ken Sansom) each struggling with specific issues that lead to many complications for Pooh, whose attempts to remember the rhyme earlier in the episode are also quite amusing. He comes up with some very strange lines, my favorite of which is “Flap like an armadillo.” My biggest laugh-aloud moment comes later in the episode when Piglet asks Pooh, who has just been working on a plan to keep the bugs out of Rabbit’s house, about his strange headgear. Scrambling for an explanation that won’t blow his cover, Pooh tells him that its purpose is to keep sharks away, which of course sends Piglet into a panic. Classic!
However, the best thing about this episode is the determination and ingenuity Pooh shows in seeing to it that his friends get their wishes, or at least an approximation of them. It’s an idea that also turned up on the show during a Christmas episode that found Pooh filling in for Santa Claus after failing to get his letter out in time, but the episodes are distinct enough to keep either one from feeling redundant. It just goes to show what a kind and generous bear Pooh is. Even though so much of what he does is driven by the demands of his rumbly tumbly, ultimately his heart takes precedence.
The Piglet Who Would Be King - Like The Wishing Bear, this is a story about being generous to a friend. However, the circumstances are quite different. In this case, after Pooh gives Piglet a spring he finds on the ground as a “friendship gift,” Rabbit and Tigger tell Piglet that he must reciprocate by giving Pooh the grandest gift of honey imaginable. A small pot will not do; he needs something truly extravagant. After their first honey-collecting attempts go awry, Tigger proposes an audacious idea: undertake a quest to the Land of Milk and Honey, where they will find all the honey they could ever want. As before, Piglet uncomfortably goes along with the plan, and once they get there and find it populated by the Pigglies, who look just like Piglet but are half his size, he becomes more and more distressed. They regard him as their rightful king, a job he is reluctant to accept, but Tigger and Rabbit insist he take the job so they can enjoy its perks. As their selfishness escalates, Piglet must find the courage to truly step into his role as ruler.
Now, this is a very strange episode positing that deep in the Hundred-Acre Wood, or just beyond it, lies a secret civilization of pygmy Piglets resting in the shadow of a volcano. Between Piglet’s house and the Land of Milk and Honey, they come across a hysterical hyena, a monkey marching band led by a burly primate in a sharp red suit and a thick Scandinavian accent, and a herd of stampeding pint-sized elephants. It’s weird, all right. But it’s an excellent episode full of adventure. Tigger and Rabbit even sing an original song, Nothing’s Too Good for a Friend, as they drag Piglet through treacherous paths toward the Land of Milk and Honey.
The question is, what are the true qualities of a friend? Tigger and Rabbit spend this entire episode as Piglet’s dueling advisors, united in their desire to force Piglet into procuring an unusually complicated gift but bickering over every detail along the way. Both of them are extremely bossy, and even when their intentions are good, their way of doing things isn’t the best way for Piglet. Hence, this episode is about Piglet learning how to do like Neville Longbottom in the first Harry Potter book and assert himself when he believes they are in the wrong instead of being a pushover. Two excellent quotes come out of this process: “People should do things for friends not because they have to but because they want to” and “Even very small animals must stand up for what’s right.” As Piglet’s timidity is a characteristic to which I can relate far too easily, I find this an inspiring episode.
As always, I wish that it was possible to buy a DVD boxed set of the entire series, but if you’re going to get them piecemeal, I highly recommend this second volume. If you’re wishing for a pair of great Pooh stories, your wish will certainly be granted.
Tuesday, October 4, 2011
Christopher Robin Faces Some Grown-Up Problems in Winnie the Pooh: Growing Up
When I was a kid, I had a bit of a crush on Christopher Robin. Of
course, the idea of Christopher Robin having a crush on anyone seems
pretty foreign to the world of Winnie the Pooh. However, in the video Winnie the Pooh: Growing Up, part of the Learning series of videos that use episodes of The New Adventures of Winnie the Pooh
to demonstrate simple lessons, it doesn’t seem quite so far out of the
realm of possibility. The two episodes on this video both deal with
Christopher Robin (Tim Hoskins) maturing, and hints of romance enter the
picture in the second episode, though they loom much larger in the
minds of his fluffy friends than his own…
Home Is Where the Home Is - In this episode, Christopher Robin’s mom (Patricia Parris) leaves him alone for a few hours with instructions to clean up the house and not to disturb the bust of a very grumpy-looking Great-Grandfather Eustace. Pooh (Jim Cummings), Piglet (John Fiedler), Tigger (Paul Winchell) and Rabbit (Ken Sansom) try to help him tidy up the place Mary Poppins-style, but they end up making an even bigger mess and the statue topples in the process. Afraid to face his mother, he decides to live in the woods, but nobody’s house seems like a good fit and taking the first bus to who-knows-where begins to look like the best option. But is it?
This is a fun group episode which has the above five characters together for a majority of the story. Eeyore (Peter Cullen) turns up a bit later, and while he’s still a sad sack, particularly since his house keeps crumbling on him, he’s more of a sage, dispensing bits of homespun wisdom. While the others try to help their friend run from his problems, he is the one who gently encourages him to return home and face them. A fun but also serious episode about taking personal responsibility for one’s mistakes.
Grown But Not Forgotten - This episode is one of my favorites, in part because it starts out with Pooh, Piglet, Tigger and Rabbit playing a rousing game of Squishball, an anything-goes, make-up-the-rules-as-you-go-along game that I at one time declared the funnest game in the world. My brother, my neighbor and I used to play our own version, though it was never quite as satisfying as it is in the Hundred-Acre Wood, where there is so much open space and so much oddball equipment and where one of the players – Piglet – keeps getting confused for the ball.
But that’s ultimately a small part of the episode. The bulk of it deals with the quartet’s discovery that Christopher Robin has been invited to a formal party – with (GASP!) girls. He has to dress up, he has to show proper manners and he might even have to dance. At first they try to help him get out of going, but when his mom won’t back down, Rabbit decides to instruct him in the finer points of etiquette and Tigger gives him dance lessons. During a practice tea party, Rabbit sternly demonstrates the correct sipping posture: “Proper gentlemen drink with the pinky extended – like so!” My brother and I have imitated this little demonstration time and again even since we first saw the episode.
While it’s not much longer than the first episode on this video, it feels longer because there’s just so much story stuffed into it. Although Pooh never quite understands what all the worry is about and simply hopes Christopher Robin goes to the party and has fun, the other three, spurred on by a goofy scenario in which Tigger imagines Christopher Robin’s life as an adult with a wife (played by Tigger) and a baby (played by Gopher (Michael Gough)), begin to panic. If they can’t prove themselves sufficiently grown up stat, they are sure to lose his friendship forever. An incredibly sweet and funny episode about the balance between embracing new opportunities and staying true to one’s friends.
As always, I’m a little annoyed at the way that Disney chose to package these. It seems like a money-grubbing move to get people to buy a whole library of videos at ten bucks a pop when you could have a boxed DVD set that would take up a lot less room and ultimately be less expensive. That typical complaint aside, though, I love these two episodes, which complement each other very well, allowing Christopher Robin to do just the tiniest bit of growing up without any fear of his outgrowing his wonderful friends in the Hundred-Acre Wood.
Home Is Where the Home Is - In this episode, Christopher Robin’s mom (Patricia Parris) leaves him alone for a few hours with instructions to clean up the house and not to disturb the bust of a very grumpy-looking Great-Grandfather Eustace. Pooh (Jim Cummings), Piglet (John Fiedler), Tigger (Paul Winchell) and Rabbit (Ken Sansom) try to help him tidy up the place Mary Poppins-style, but they end up making an even bigger mess and the statue topples in the process. Afraid to face his mother, he decides to live in the woods, but nobody’s house seems like a good fit and taking the first bus to who-knows-where begins to look like the best option. But is it?
This is a fun group episode which has the above five characters together for a majority of the story. Eeyore (Peter Cullen) turns up a bit later, and while he’s still a sad sack, particularly since his house keeps crumbling on him, he’s more of a sage, dispensing bits of homespun wisdom. While the others try to help their friend run from his problems, he is the one who gently encourages him to return home and face them. A fun but also serious episode about taking personal responsibility for one’s mistakes.
Grown But Not Forgotten - This episode is one of my favorites, in part because it starts out with Pooh, Piglet, Tigger and Rabbit playing a rousing game of Squishball, an anything-goes, make-up-the-rules-as-you-go-along game that I at one time declared the funnest game in the world. My brother, my neighbor and I used to play our own version, though it was never quite as satisfying as it is in the Hundred-Acre Wood, where there is so much open space and so much oddball equipment and where one of the players – Piglet – keeps getting confused for the ball.
But that’s ultimately a small part of the episode. The bulk of it deals with the quartet’s discovery that Christopher Robin has been invited to a formal party – with (GASP!) girls. He has to dress up, he has to show proper manners and he might even have to dance. At first they try to help him get out of going, but when his mom won’t back down, Rabbit decides to instruct him in the finer points of etiquette and Tigger gives him dance lessons. During a practice tea party, Rabbit sternly demonstrates the correct sipping posture: “Proper gentlemen drink with the pinky extended – like so!” My brother and I have imitated this little demonstration time and again even since we first saw the episode.
While it’s not much longer than the first episode on this video, it feels longer because there’s just so much story stuffed into it. Although Pooh never quite understands what all the worry is about and simply hopes Christopher Robin goes to the party and has fun, the other three, spurred on by a goofy scenario in which Tigger imagines Christopher Robin’s life as an adult with a wife (played by Tigger) and a baby (played by Gopher (Michael Gough)), begin to panic. If they can’t prove themselves sufficiently grown up stat, they are sure to lose his friendship forever. An incredibly sweet and funny episode about the balance between embracing new opportunities and staying true to one’s friends.
As always, I’m a little annoyed at the way that Disney chose to package these. It seems like a money-grubbing move to get people to buy a whole library of videos at ten bucks a pop when you could have a boxed DVD set that would take up a lot less room and ultimately be less expensive. That typical complaint aside, though, I love these two episodes, which complement each other very well, allowing Christopher Robin to do just the tiniest bit of growing up without any fear of his outgrowing his wonderful friends in the Hundred-Acre Wood.
Saturday, July 23, 2011
Take a Trip Back to the Hundred-Acre Wood With Winnie the Pooh
When I first heard about Winnie the Pooh, Disney’s sequel to 1977’s The Many Adventures of Winnie the Pooh, I immediately realized that it would come out the same weekend as Harry Potter and the Deathly Hallows: Part 2.
How could I choose between the bear I’ve loved all my life and the
wizard who took me on a magical literary journey lasting nearly a
decade?
I do question the wisdom of Disney releasing Winnie the Pooh on that particular weekend, when any box office revenue would be dwarfed by one of the most anticipated movies in recent memory, but perhaps the thought was that it would fill the niche of children too young for Harry Potter. I was only able to catch one of the movies opening weekend, and I couldn’t resist the allure of Harry, but I caught up with Pooh and his friends this weekend. His adventure is far shorter and simpler, but it’s just as enjoyable in its own breezy way, at least for a lifelong fan like me.
It surprised me to hear Winnie the Pooh described as Pooh’s first time on the big screen since the 1970s. Other Pooh movies have been released in theaters, featuring the same basic look and several of the same cast members as Pooh’s first Disney outing, so I’m not sure why this one is considered so fundamentally different. Then again, it does feel more closely tied with Many Adventures, given the strong presence of the narrator and the frequent interaction with the book in which the stories reside. One scene makes particularly clever use of some letters that tumble into the tale.
There’s nothing revolutionary about this movie. Life in the Hundred-Acre Wood is very simple, with just a few basic problems that plague its residents time and again. Hence, Eeyore losing his tail is familiar territory, as is Owl misreading a note from Christopher Robin and sending everyone into a panic, Piglet facing his fear and Pooh running out of honey. Because of the leisurely pace and the repetitive nature of the stories, my guess is that many adults will find it a bit on the snoozy side despite the mere 70-minute length, and some kids might as well. One family in my showing actually left halfway through. You have to go into this movie with a certain mindset, accepting that its driving events are not going to be very adrenaline-inducing.
The movie reprises a couple of established songs and introduces several others, though most are short and forgettable. The most memorable is a fearsome description of the Backson, the beast that has allegedly kidnapped Christopher Robin. This sequence, accompanied by chalkboard illustrations, has a trippy edge to it reminiscent of the Heffalumps and Woozles sequence in the original film. The characters’ imaginations run away with them as they dream up all the dreadful things this monster does, and the song seems to invite post-movie creativity from children in the audience.
All of the voice actors are expressive and fit into their roles well, but most of the cast is new for this movie, and the differences take some getting used to. Jim Cummings continues to inhabit the role of Pooh perfectly, and he does an admirable job with Tigger as well, but Travis Oates’ voice is distractingly high as Piglet. The tone is about right, but the pitch makes it sound like he’s on helium. He’s been playing Piglet on My Friends Tigger and Pooh and related specials since John Fiedler’s death in 2007, but this is my first encounter with the new Piglet, and he hasn’t quite won me over yet. Tom Kenny takes over for Ken Sansom as Rabbit for the first time, and his voice sounds decidedly off as well. Bud Luckey fares better as despondent Eeyore; aside from sounding a bit too Southern at times, he seems like a good match for Peter Cullen. Wyatt Dean Hall is fittingly spunky as Roo, while Jack Boulter is a more refined but still boyish Christopher Robin, Kristen Anderson-Lopez makes a very maternal Kanga and John Cleese is a predictably fine narrator.
The standout cast member for me, though, is Craig Ferguson, who seems to be having the time of his life as the grandiloquent Owl. Having often watched Ferguson’s rambling monologues on The Late Late Show, I would say that the character is an ideal fit with his style, and I can’t help wondering whether he had the same sort of free improvisational rein that Robin Williams did with Aladdin. Owl similarly steals the show, getting most of the best lines and generally making more of an impression than any other character, even Pooh himself. Ferguson nails the essence of the character, striking a perfect balance of sophistication and silliness whether he’s composing his extensive memoirs or delivering a rousing speech of encouragement to Piglet as he embarks on a rescue mission that Owl could much more easily undertake himself. His insistence on using complicated vocabulary is a running joke throughout the movie as poor muddled Pooh tries to puzzle out his meaning, and I found myself reminded of Trixie Belden scratching her head over the overly complex proclamations of her older brother Mart. I’d love to see those two try to talk each other under the table.
While most of the movie is more likely to elicit a nostalgic smile than a hearty laugh, some scenes are quite funny, and most involve words in some way. Pooh and Eeyore’s misunderstanding of Owl’s use of the word “issue” and a discussion of knots that reminds me of Abbott and Costello’s Who’s On First? routine are a hoot, as is the way everyone’s speech becomes absurdly littered with the word “honey” when the rumbly in Pooh’s tumbly gets to be too much for him to bear. This movie paints Kanga as being easily annoyed by loud noises, which adds to the humor and makes her more prominent than usual. It also seems like a sly nod to the parents in the audience who can probably relate all too well with her desire for a little peace and quiet.
The movie also emphasizes the consideration the characters have for each other. When they believe Christopher Robin to be in danger, everyone steps up to the plate to help. When Eeyore gets left out of the main contingent’s plan to rescue him, Tigger takes him under his wing. Piglet braves the spooky forest and Pooh puts his craving for honey aside for the sake of their friends. That pervasive spirit of camaraderie, even more than the idyllic scenery and the lackadaisical lifestyle, is what makes the thought of a sojourn in the Hundred-Acre Wood so appealing.
Disney tends to reward viewers patient enough to sit through the credits, and that’s certainly the case here. To the tune of a charming new song by Zooey Deschanel, the credits roll, complete with animated tidbits as Pooh and his pals interact with the names scrolling down the screen. There’s even a final funny scene at the very end of the credits that is well worth the short wait.
Before the movie, meanwhile, we’re treated to The Ballad of Nessie, an old-school-style short warmly narrated in rhyme by Billy Connolly. Given Ferguson’s prominence in the movie – albeit with an upper crust British accent rather than his natural Glaswegian accent – I wonder if he was a factor in deciding to pair the film up with this short, which is largely a celebration of stereotypical Scotland. With a rustic, bagpipe-laced score reminiscent of Ashokan Farewell and nods to everything from thistles and tartans to golf and Braveheart, it has great appeal for those who love that country as much as I do. Nessie, with her rosy cheeks, long eyelashes and vaguely Wookiee-like voice, is adorable, as is her rubber duck companion, and the takeaway message is a worthwhile one.
My showing of Winnie the Pooh had an audience of about a dozen, and I doubt that was too atypical. It doesn’t have the same sort of blockbuster draw that Harry Potter or even a typical animated Disney feature does; despite the popularity of Pooh products, most consider the movies themselves to be the realm of the very young. However, if you’re still young at heart and if you ever wished you could blink yourself to the Hundred-Acre Wood for a day, I suspect you will find this outing with Pooh and his friends a pleasant return to beloved company.
I do question the wisdom of Disney releasing Winnie the Pooh on that particular weekend, when any box office revenue would be dwarfed by one of the most anticipated movies in recent memory, but perhaps the thought was that it would fill the niche of children too young for Harry Potter. I was only able to catch one of the movies opening weekend, and I couldn’t resist the allure of Harry, but I caught up with Pooh and his friends this weekend. His adventure is far shorter and simpler, but it’s just as enjoyable in its own breezy way, at least for a lifelong fan like me.
It surprised me to hear Winnie the Pooh described as Pooh’s first time on the big screen since the 1970s. Other Pooh movies have been released in theaters, featuring the same basic look and several of the same cast members as Pooh’s first Disney outing, so I’m not sure why this one is considered so fundamentally different. Then again, it does feel more closely tied with Many Adventures, given the strong presence of the narrator and the frequent interaction with the book in which the stories reside. One scene makes particularly clever use of some letters that tumble into the tale.
There’s nothing revolutionary about this movie. Life in the Hundred-Acre Wood is very simple, with just a few basic problems that plague its residents time and again. Hence, Eeyore losing his tail is familiar territory, as is Owl misreading a note from Christopher Robin and sending everyone into a panic, Piglet facing his fear and Pooh running out of honey. Because of the leisurely pace and the repetitive nature of the stories, my guess is that many adults will find it a bit on the snoozy side despite the mere 70-minute length, and some kids might as well. One family in my showing actually left halfway through. You have to go into this movie with a certain mindset, accepting that its driving events are not going to be very adrenaline-inducing.
The movie reprises a couple of established songs and introduces several others, though most are short and forgettable. The most memorable is a fearsome description of the Backson, the beast that has allegedly kidnapped Christopher Robin. This sequence, accompanied by chalkboard illustrations, has a trippy edge to it reminiscent of the Heffalumps and Woozles sequence in the original film. The characters’ imaginations run away with them as they dream up all the dreadful things this monster does, and the song seems to invite post-movie creativity from children in the audience.
All of the voice actors are expressive and fit into their roles well, but most of the cast is new for this movie, and the differences take some getting used to. Jim Cummings continues to inhabit the role of Pooh perfectly, and he does an admirable job with Tigger as well, but Travis Oates’ voice is distractingly high as Piglet. The tone is about right, but the pitch makes it sound like he’s on helium. He’s been playing Piglet on My Friends Tigger and Pooh and related specials since John Fiedler’s death in 2007, but this is my first encounter with the new Piglet, and he hasn’t quite won me over yet. Tom Kenny takes over for Ken Sansom as Rabbit for the first time, and his voice sounds decidedly off as well. Bud Luckey fares better as despondent Eeyore; aside from sounding a bit too Southern at times, he seems like a good match for Peter Cullen. Wyatt Dean Hall is fittingly spunky as Roo, while Jack Boulter is a more refined but still boyish Christopher Robin, Kristen Anderson-Lopez makes a very maternal Kanga and John Cleese is a predictably fine narrator.
The standout cast member for me, though, is Craig Ferguson, who seems to be having the time of his life as the grandiloquent Owl. Having often watched Ferguson’s rambling monologues on The Late Late Show, I would say that the character is an ideal fit with his style, and I can’t help wondering whether he had the same sort of free improvisational rein that Robin Williams did with Aladdin. Owl similarly steals the show, getting most of the best lines and generally making more of an impression than any other character, even Pooh himself. Ferguson nails the essence of the character, striking a perfect balance of sophistication and silliness whether he’s composing his extensive memoirs or delivering a rousing speech of encouragement to Piglet as he embarks on a rescue mission that Owl could much more easily undertake himself. His insistence on using complicated vocabulary is a running joke throughout the movie as poor muddled Pooh tries to puzzle out his meaning, and I found myself reminded of Trixie Belden scratching her head over the overly complex proclamations of her older brother Mart. I’d love to see those two try to talk each other under the table.
While most of the movie is more likely to elicit a nostalgic smile than a hearty laugh, some scenes are quite funny, and most involve words in some way. Pooh and Eeyore’s misunderstanding of Owl’s use of the word “issue” and a discussion of knots that reminds me of Abbott and Costello’s Who’s On First? routine are a hoot, as is the way everyone’s speech becomes absurdly littered with the word “honey” when the rumbly in Pooh’s tumbly gets to be too much for him to bear. This movie paints Kanga as being easily annoyed by loud noises, which adds to the humor and makes her more prominent than usual. It also seems like a sly nod to the parents in the audience who can probably relate all too well with her desire for a little peace and quiet.
The movie also emphasizes the consideration the characters have for each other. When they believe Christopher Robin to be in danger, everyone steps up to the plate to help. When Eeyore gets left out of the main contingent’s plan to rescue him, Tigger takes him under his wing. Piglet braves the spooky forest and Pooh puts his craving for honey aside for the sake of their friends. That pervasive spirit of camaraderie, even more than the idyllic scenery and the lackadaisical lifestyle, is what makes the thought of a sojourn in the Hundred-Acre Wood so appealing.
Disney tends to reward viewers patient enough to sit through the credits, and that’s certainly the case here. To the tune of a charming new song by Zooey Deschanel, the credits roll, complete with animated tidbits as Pooh and his pals interact with the names scrolling down the screen. There’s even a final funny scene at the very end of the credits that is well worth the short wait.
Before the movie, meanwhile, we’re treated to The Ballad of Nessie, an old-school-style short warmly narrated in rhyme by Billy Connolly. Given Ferguson’s prominence in the movie – albeit with an upper crust British accent rather than his natural Glaswegian accent – I wonder if he was a factor in deciding to pair the film up with this short, which is largely a celebration of stereotypical Scotland. With a rustic, bagpipe-laced score reminiscent of Ashokan Farewell and nods to everything from thistles and tartans to golf and Braveheart, it has great appeal for those who love that country as much as I do. Nessie, with her rosy cheeks, long eyelashes and vaguely Wookiee-like voice, is adorable, as is her rubber duck companion, and the takeaway message is a worthwhile one.
My showing of Winnie the Pooh had an audience of about a dozen, and I doubt that was too atypical. It doesn’t have the same sort of blockbuster draw that Harry Potter or even a typical animated Disney feature does; despite the popularity of Pooh products, most consider the movies themselves to be the realm of the very young. However, if you’re still young at heart and if you ever wished you could blink yourself to the Hundred-Acre Wood for a day, I suspect you will find this outing with Pooh and his friends a pleasant return to beloved company.
Monday, February 14, 2011
The Anastasia Soundtrack Is a Melodious Celebration of Adventure and Romance
It’s a frosty Valentine’s Day in Erie, PA, the perfect excuse to pull
out the soundtrack to one of my favorite wintry romances: Don Bluth’s Anastasia.
My brother and I caught this underrated gem in the theater in high
school, and it may just take pride of place as my favorite Bluth movie,
though there are several others that I love as well. One of the big
reasons I’m such a fan of Anastasia is the music, with songs by
Lynn Ahrens (lyrics) and Stephen Flaherty (music) and a score by David
Newman. I liked it so much that I not only bought the soundtrack, I got
the sheet music too. It’s sweeping, melodious and adventurous, with just
a dash of romance. A great way to start off my Valentine’s Day.
A Rumor in St. Petersburg - A lively opening number. This isn’t the first scene in the movie, but it’s the one that firmly sets us in a time a decade after the initial scene, during which villainous Rasputin launches an attack on the Romanovs, Russia’s royal family, in which most of them are killed. Princess Anastasia, a young girl, escapes but loses her memory. This song brings us up to speed in delightful fashion, with a whole city full of characters gossiping about the rumor that Anastasia might still be out there somewhere. This song gets a lot of exposition out of the way in a most entertaining manner, and it also introduces us to likable conmen Dmitri and Vladimir, who plan to find a girl who looks like Anastasia and go to Paris, where Anastasia’s grandmother has put out a reward for her return, to pass her off as the princess. Jonathan Dokuchitz voices slick young Dmitri instead of John Cusack, while Kelsey Grammer is one of the few voice actors in the movie who takes on his character’s singing role as well as speaking. I’m a big fan of Frasier and of Grammer in general, but he’s so effectively disguised his voice in a thick Russian accent here that I always half-forget it’s him. A wonderfully chaotic beginning that reminds me of such Disney greats as Beauty and the Beast’s Belle and Aladdin’s One Jump Ahead. “We’ll find a girl to play the part and teach her what to say, dress her up and take her to Paris. Imagine the reward her dear old Grandmama will pay! Who else could pull it off but you and me?”
Journey to the Past - I love this song, and as is almost always the case with these animated musicals that produce radio hits, I prefer the in-movie version. There’s such an air of wonder and anticipation, as well as trepidation, about it, and I can relate so well to that tug-of-war between a longing for adventure and a fear of leaving the familiar. The song reminds me a lot of I Have Confidence from The Sound of Music, and it’s one of my two favorites in the movie. The piano and violins evoke the snowflakes and wind that accompany her as she sets out. Liz Callaway, singing in place of Meg Ryan, voices Anastasia with a clear-throated exuberance and beauty that reminds me of Jodi Benson from The Little Mermaid. This is the moment during which the audience is meant to fall in love with the adult Anastasia, who goes by Anya and does not yet realize who she is. All she knows is that she yearns to belong to someone. An exhilarating track. “Heart, don’t fail me now. Courage, don’t desert me. Don’t turn back now that we’re here. People always say life is full of choices; no one ever mentions fear…”
Once Upon a December - Callaway has this one to herself as well, and it’s a whispery, awestruck waltz that is nothing short of haunting. Anastasia has returned to her childhood home and is catching snatches of memories, none of which make much sense to her. The song is an outgrowth of the lullaby she and her grandmother used to sing together, the song that played in the music box that she received on the night her life changed forever. It’s an utterly beautiful song that captures the sense that all of Anastasia’s childhood lies just beyond a veil, and dim glimpses are all she can see. It carries with it the hope that one day those memories might be recovered. Starts and ends quietly, with a crescendo in the middle as everything comes into focus for one shining moment before eluding her again. Gorgeous. “Far away, long ago, glowing dim as an ember, things my heart used to know, things it yearns to remember. And a song someone sings once upon a December…”
In the Dark of the Night - The big villain’s number. Jim Cummings, voice actor extraordinaire perhaps best known for replacing Sterling Holloway as the voice of Winnie the Pooh, is Christopher Lloyd’s singing counterpart as the evil, putrescent Rasputin. This is an appropriately dark and creepy song reminiscent of Gaston’s Kill the Beast from Beauty and the Beast and especially Scar’s Be Prepared from The Lion King. He’s plotting the destruction of the one person who foiled his perfect plan for the annihilation of the Romanovs. The sound is ominous, and Cummings’ delivers the lyrics with sadistic relish. “I was once the most mystical man in all Russia. When the royals betrayed me they made a mistake. My curse made each of them pay, but one little girl got away. Little Anya beware, Rasputin’s awake!”
Learn to Do It - This is a fun number that covers several hours or days during which Dmitri and Vladimir give Anastasia a crash course on how to be a Romanov. There’s a banter type of feel to this song as Vlad, Dmitri and Anya interrupt each other in their eagerness to instill and display knowledge. Definitely one of the most fun tracks. “Count Sergei.” “Wore a feathered hat.” “I hear he’s gotten very fat.” “And I recall his yellow cat…” “I don’t believe we told her that…”
Learn to Do It (Waltz Reprise) - The same basic melody as the last track returns in this gentle, much shorter reprise. Where the last one was energetic and a bit zany, this one is quiet, slow and romantic. It’s mostly instrumental as Dmitri shows Anya how to dance to prepare her for the possibility of a formal ball in Paris. As Vlad watches, it’s painfully obvious to him that this tender moment was the only catalyst these spitfires needed to realize that they have fallen in love – and that could wreak major havoc on their perfect plan. A nice little showcase for Kelsey Grammer. “Vlad, how could you do this? How will we get through this? I never should have let them dance…”
Paris Holds the Key (to Your Heart) - Another very lively song that gets the whole city involved, but in this case we’re in France instead of Russia. It’s basically an exuberant celebration of French culture led by Bernadette Peters as Vlad’s old flame Sophie, with a moment at the end for some quiet reflection by Dmitri, who has just realized that Anya actually is Anastasia and suddenly doesn’t find the idea of a hefty cash reward all that attractive. I don’t get that into the more raucous parts of the song, but I really like Dmitri’s lines, which show how much he’s changed over the course of this journey. “Paris holds the key to her past. Yes, Princess, you’ve come home at last. No more pretend; you’ll be gone, that’s the end.”
At the Beginning - This radio-ready end-credits song is performed by Donna Lewis and Richard Marx. It’s a nice follow-up to Journey to the Past as it reflects Anastasia and Dmitri’s desire to embark on a new journey together. I’m not a huge fan of Lewis’s voice, but I do like this song, and I think it’s nice that one more song was written to give us a sort of epilogue to the movie. Of course, it’s a great stand-alone too. “No one told me I was going to find you. Unexpected what you did to my heart. When I lost hope, you were there to remind me this Is the start.”
Journey to the Past (Aaliyah) - I considered this song pretty superfluous at the time, but even though I prefer the movie version, there’s something very poignant about listening to this song now, since Aaliyah, the promising young singer who performed it, died in a tragic accident a few short years later. She puts a funky vibe on it and sings beautifully; this arrangement is a little repetitive, but it’s still a nice track.
Once Upon a December (Deana Carter) - This song scarcely changes from the movie version. It’s a little less dynamic, and the most prominent instrument is a mandolin, played by Jerry McPherson. I love his instrumental work here, and that’s the main reason to listen to this, though Carter does a nice job with the vocals too.
Prologue - This mostly-instrumental track captures the sense of majesty in the Romanov court, along with the tenderness between Anastasia and her grandmother. We get to hear Angela Lansbury, who, unlike Kelsey Grammer, is immediately recognizable despite her Russian accent, as well as Lacey Chabert as the young Anastasia, singing a snippet of Once Upon a December together before the tone turns dire with the appearance of Rasputin.
Speaking of Sophie - A bright, sunshiny instrumental track heavy on the woodwinds that evokes the giddiness of Vlad’s recollections of his long-ago love. Just a very cheerful, sweet track that puts me in mind of a picnic in the park.
The Nightmare - The creepiest of the instrumental tracks, it’s half blissful dream and half torturous nightmare. The chorus of voices adds to the eeriness, and the full orchestral backing captures the frightening flavor of a storm at sea.
Kidnap and Reunion - Starts off a bit perilous but blossoms into one of the loveliest tracks on the album, with a hope-filled melody peeking out hesitatingly as Anastasia’s memory finally begins flooding back and her incredulous grandmother begins to think that this might actually be the little girl she lost so long ago. It concludes with a reprise of Once Upon a December, with Lansbury and Callaway this time. Probably my favorite instrumental track, along with Reminiscing with Grandma, which almost feels like a continuation. Lovely and stirring, it incorporates Journey to the Past and feels mysterious and familiar all at once. Finale also feels mostly like an outgrowth of these two scenes as we get the impression that her journey has come full circle and she is home at last but has gained something valuable in the journey as well as the destination. A joyous conclusion.
Viaje Tiempo Atras (Journey to the Past) - You know, this song would make more sense if it was in Russian, or even French. But a Spanish version of Journey to the Past seems pretty random, not to mention superfluous, since it’s the third version of this song on the soundtrack, not counting the song’s appearances in the instrumental tracks. Thalia does a nice job with the vocals here, it just seems like a rather odd choice.
But I really do love this album, especially the first eight tracks. Another plus is that the liner notes include stills from the movie, along with the lyrics to the songs. It’s very attractively packaged. Anastasia is a story of self-discovery and learning that sometimes it takes another person to help you become yourself as fully as possible. A touching tale and stirring music for Valentine’s Day or any day.
A Rumor in St. Petersburg - A lively opening number. This isn’t the first scene in the movie, but it’s the one that firmly sets us in a time a decade after the initial scene, during which villainous Rasputin launches an attack on the Romanovs, Russia’s royal family, in which most of them are killed. Princess Anastasia, a young girl, escapes but loses her memory. This song brings us up to speed in delightful fashion, with a whole city full of characters gossiping about the rumor that Anastasia might still be out there somewhere. This song gets a lot of exposition out of the way in a most entertaining manner, and it also introduces us to likable conmen Dmitri and Vladimir, who plan to find a girl who looks like Anastasia and go to Paris, where Anastasia’s grandmother has put out a reward for her return, to pass her off as the princess. Jonathan Dokuchitz voices slick young Dmitri instead of John Cusack, while Kelsey Grammer is one of the few voice actors in the movie who takes on his character’s singing role as well as speaking. I’m a big fan of Frasier and of Grammer in general, but he’s so effectively disguised his voice in a thick Russian accent here that I always half-forget it’s him. A wonderfully chaotic beginning that reminds me of such Disney greats as Beauty and the Beast’s Belle and Aladdin’s One Jump Ahead. “We’ll find a girl to play the part and teach her what to say, dress her up and take her to Paris. Imagine the reward her dear old Grandmama will pay! Who else could pull it off but you and me?”
Journey to the Past - I love this song, and as is almost always the case with these animated musicals that produce radio hits, I prefer the in-movie version. There’s such an air of wonder and anticipation, as well as trepidation, about it, and I can relate so well to that tug-of-war between a longing for adventure and a fear of leaving the familiar. The song reminds me a lot of I Have Confidence from The Sound of Music, and it’s one of my two favorites in the movie. The piano and violins evoke the snowflakes and wind that accompany her as she sets out. Liz Callaway, singing in place of Meg Ryan, voices Anastasia with a clear-throated exuberance and beauty that reminds me of Jodi Benson from The Little Mermaid. This is the moment during which the audience is meant to fall in love with the adult Anastasia, who goes by Anya and does not yet realize who she is. All she knows is that she yearns to belong to someone. An exhilarating track. “Heart, don’t fail me now. Courage, don’t desert me. Don’t turn back now that we’re here. People always say life is full of choices; no one ever mentions fear…”
Once Upon a December - Callaway has this one to herself as well, and it’s a whispery, awestruck waltz that is nothing short of haunting. Anastasia has returned to her childhood home and is catching snatches of memories, none of which make much sense to her. The song is an outgrowth of the lullaby she and her grandmother used to sing together, the song that played in the music box that she received on the night her life changed forever. It’s an utterly beautiful song that captures the sense that all of Anastasia’s childhood lies just beyond a veil, and dim glimpses are all she can see. It carries with it the hope that one day those memories might be recovered. Starts and ends quietly, with a crescendo in the middle as everything comes into focus for one shining moment before eluding her again. Gorgeous. “Far away, long ago, glowing dim as an ember, things my heart used to know, things it yearns to remember. And a song someone sings once upon a December…”
In the Dark of the Night - The big villain’s number. Jim Cummings, voice actor extraordinaire perhaps best known for replacing Sterling Holloway as the voice of Winnie the Pooh, is Christopher Lloyd’s singing counterpart as the evil, putrescent Rasputin. This is an appropriately dark and creepy song reminiscent of Gaston’s Kill the Beast from Beauty and the Beast and especially Scar’s Be Prepared from The Lion King. He’s plotting the destruction of the one person who foiled his perfect plan for the annihilation of the Romanovs. The sound is ominous, and Cummings’ delivers the lyrics with sadistic relish. “I was once the most mystical man in all Russia. When the royals betrayed me they made a mistake. My curse made each of them pay, but one little girl got away. Little Anya beware, Rasputin’s awake!”
Learn to Do It - This is a fun number that covers several hours or days during which Dmitri and Vladimir give Anastasia a crash course on how to be a Romanov. There’s a banter type of feel to this song as Vlad, Dmitri and Anya interrupt each other in their eagerness to instill and display knowledge. Definitely one of the most fun tracks. “Count Sergei.” “Wore a feathered hat.” “I hear he’s gotten very fat.” “And I recall his yellow cat…” “I don’t believe we told her that…”
Learn to Do It (Waltz Reprise) - The same basic melody as the last track returns in this gentle, much shorter reprise. Where the last one was energetic and a bit zany, this one is quiet, slow and romantic. It’s mostly instrumental as Dmitri shows Anya how to dance to prepare her for the possibility of a formal ball in Paris. As Vlad watches, it’s painfully obvious to him that this tender moment was the only catalyst these spitfires needed to realize that they have fallen in love – and that could wreak major havoc on their perfect plan. A nice little showcase for Kelsey Grammer. “Vlad, how could you do this? How will we get through this? I never should have let them dance…”
Paris Holds the Key (to Your Heart) - Another very lively song that gets the whole city involved, but in this case we’re in France instead of Russia. It’s basically an exuberant celebration of French culture led by Bernadette Peters as Vlad’s old flame Sophie, with a moment at the end for some quiet reflection by Dmitri, who has just realized that Anya actually is Anastasia and suddenly doesn’t find the idea of a hefty cash reward all that attractive. I don’t get that into the more raucous parts of the song, but I really like Dmitri’s lines, which show how much he’s changed over the course of this journey. “Paris holds the key to her past. Yes, Princess, you’ve come home at last. No more pretend; you’ll be gone, that’s the end.”
At the Beginning - This radio-ready end-credits song is performed by Donna Lewis and Richard Marx. It’s a nice follow-up to Journey to the Past as it reflects Anastasia and Dmitri’s desire to embark on a new journey together. I’m not a huge fan of Lewis’s voice, but I do like this song, and I think it’s nice that one more song was written to give us a sort of epilogue to the movie. Of course, it’s a great stand-alone too. “No one told me I was going to find you. Unexpected what you did to my heart. When I lost hope, you were there to remind me this Is the start.”
Journey to the Past (Aaliyah) - I considered this song pretty superfluous at the time, but even though I prefer the movie version, there’s something very poignant about listening to this song now, since Aaliyah, the promising young singer who performed it, died in a tragic accident a few short years later. She puts a funky vibe on it and sings beautifully; this arrangement is a little repetitive, but it’s still a nice track.
Once Upon a December (Deana Carter) - This song scarcely changes from the movie version. It’s a little less dynamic, and the most prominent instrument is a mandolin, played by Jerry McPherson. I love his instrumental work here, and that’s the main reason to listen to this, though Carter does a nice job with the vocals too.
Prologue - This mostly-instrumental track captures the sense of majesty in the Romanov court, along with the tenderness between Anastasia and her grandmother. We get to hear Angela Lansbury, who, unlike Kelsey Grammer, is immediately recognizable despite her Russian accent, as well as Lacey Chabert as the young Anastasia, singing a snippet of Once Upon a December together before the tone turns dire with the appearance of Rasputin.
Speaking of Sophie - A bright, sunshiny instrumental track heavy on the woodwinds that evokes the giddiness of Vlad’s recollections of his long-ago love. Just a very cheerful, sweet track that puts me in mind of a picnic in the park.
The Nightmare - The creepiest of the instrumental tracks, it’s half blissful dream and half torturous nightmare. The chorus of voices adds to the eeriness, and the full orchestral backing captures the frightening flavor of a storm at sea.
Kidnap and Reunion - Starts off a bit perilous but blossoms into one of the loveliest tracks on the album, with a hope-filled melody peeking out hesitatingly as Anastasia’s memory finally begins flooding back and her incredulous grandmother begins to think that this might actually be the little girl she lost so long ago. It concludes with a reprise of Once Upon a December, with Lansbury and Callaway this time. Probably my favorite instrumental track, along with Reminiscing with Grandma, which almost feels like a continuation. Lovely and stirring, it incorporates Journey to the Past and feels mysterious and familiar all at once. Finale also feels mostly like an outgrowth of these two scenes as we get the impression that her journey has come full circle and she is home at last but has gained something valuable in the journey as well as the destination. A joyous conclusion.
Viaje Tiempo Atras (Journey to the Past) - You know, this song would make more sense if it was in Russian, or even French. But a Spanish version of Journey to the Past seems pretty random, not to mention superfluous, since it’s the third version of this song on the soundtrack, not counting the song’s appearances in the instrumental tracks. Thalia does a nice job with the vocals here, it just seems like a rather odd choice.
But I really do love this album, especially the first eight tracks. Another plus is that the liner notes include stills from the movie, along with the lyrics to the songs. It’s very attractively packaged. Anastasia is a story of self-discovery and learning that sometimes it takes another person to help you become yourself as fully as possible. A touching tale and stirring music for Valentine’s Day or any day.
Friday, November 13, 2009
Ebenezer Bunny Gets a New Shot at Easter in Springtime With Roo
I recently reinstated my Netflix account, taking it off hold in
anticipation of renting a plethora of Christmas movies to help get me in
the holiday spirit. But I haven’t gotten around to updating my queue,
so the first few movies have been surprises to me. I had to laugh at the
seasonally inappropriate nature of my latest selection when I spotted
the title Springtime With Roo. However, while the movie, with its
array of Technicolor flowers and its emphasis on Easter, is thoroughly
rooted in spring, except for the puzzling appearance of a wheelbarrow
full of pumpkins, I discovered that it wasn’t such an oddball choice for
the Christmas season after all.
Springtime With Roo, like most Winnie-the-Pooh movies, is on the short side. Clocking in at just about an hour, this direct-to-video release begins with a hyper Roo (Jimmy Bennett) disturbing the tranquil opening narration of David Ogden Stiers, who explains that the young joey will be the subject of this particular tale. To some extent that’s true, though the movie is just as much about Rabbit (Ken Sansom), who sets the main conflict in motion when he shatters his friends’ anticipation over the annual Easter egg hunt by declaring it Spring Cleaning Day instead. It soon becomes clear that Rabbit no longer considers Easter an acceptable holiday, and while Roo is disappointed to be missing out on so much fun, his biggest concern is his friend’s unhappiness.
It took me a while to cotton on to this, but Springtime With Roo, much like Veggie Tales’ An Easter Carol, is an adaptation of Charles Dickens’ A Christmas Carol. Persnickety Rabbit is an ideal choice to play the role of curmudgeonly old codger; he’s as much a neat freak as Scrooge is a miser, and at his worst, he can be quite the misanthrope. Owl might have been a good choice too, but he doesn’t make an appearance in this video, nor does Christopher Robin. Gopher isn’t in the main feature but does turn up, in typical pyro mode, in the New Adventures of Winnie the Pooh episode Trap as Trap Can, which follows Hunny for a Bunny in the Special Features.
Though the nods to the original story are not as plenteous as they could be, Roo is an excellent stand-in for Tiny Tim, while Tigger (Jim Cummings) exudes a Fred-like joie de vivre. Meanwhile, the narrator, with some help from the storybook and Tigger, provides the proper ghostly framework. The tale’s inspiration is most obvious toward the end, when Rabbit repents, first distraught over his friendless future, then “giddy as a school bunny” that he’s been given a second chance. At this point, if anyone still hasn’t gotten the reference, Tigger, with a broad wink at the viewers, demands, “What the Dickens - and I do mean Dickens - is going on here?”
Tigger gets all the best lines in this flick, with energetic bursts of jibberish that lead to him uttering one of my favorite words: onomatopoeia! Equally random: at one point, while showing Roo all of his Easter gear, Tigger accidentally unearths a dreidel. “Whoops, wrong holiday!” he amends. He also gets to sing a couple of short songs, as do most of the main characters. Eeyore (Peter Cullen) doesn’t have any songs to himself, but his fondness for a pair of fluffy bunny ears is good for a lot of laughs. While none of the musical numbers are still rattling around in my head, they’re fun in context.
Among the Special Features, the First Look at The Magical World of Winnie the Pooh is most worth perusing. What it amounts to is two episodes of the aforementioned series; Magical World was evidently the name of a set of DVDs containing episodes from the show. The first, in which Rabbit decides to give away his beloved bunny bookend because he believes he will never find its mate, fits particularly well with the movie, while the second is a fun romp involving a scrawny heffalump and his burly, heavily allergic father.
Sounds of Spring features three clickable scenes; click on the arrow pointing to an object and hear a corresponding noise. This activity is rather fun, but Decorate Rabbit’s House is annoying, since it is constantly correcting the improper placement of decorations. After a movie in which Rabbit’s fastidiousness proves to be problematic, it seems to go against message to insist decorations go in one particular spot when they would look just as good someplace else. Another feature includes step-by-step instructions for making a sort of butterfly puppet that looks neat but seems like it would fall apart easily. The rest of the features are DVD registration and a preview for Pooh’s Heffalump Movie.
Even though Springtime for Roo is an Easter story, its Dickensian nature renders it a suitable choice for this time of year, since it’s fun to compare it to the oodles of other versions of A Christmas Carol floating around. I’m still waiting for Eeyore to get a centric Pooh movie, but I have no complaints about this outing with Rabbit and Roo.
Springtime With Roo, like most Winnie-the-Pooh movies, is on the short side. Clocking in at just about an hour, this direct-to-video release begins with a hyper Roo (Jimmy Bennett) disturbing the tranquil opening narration of David Ogden Stiers, who explains that the young joey will be the subject of this particular tale. To some extent that’s true, though the movie is just as much about Rabbit (Ken Sansom), who sets the main conflict in motion when he shatters his friends’ anticipation over the annual Easter egg hunt by declaring it Spring Cleaning Day instead. It soon becomes clear that Rabbit no longer considers Easter an acceptable holiday, and while Roo is disappointed to be missing out on so much fun, his biggest concern is his friend’s unhappiness.
It took me a while to cotton on to this, but Springtime With Roo, much like Veggie Tales’ An Easter Carol, is an adaptation of Charles Dickens’ A Christmas Carol. Persnickety Rabbit is an ideal choice to play the role of curmudgeonly old codger; he’s as much a neat freak as Scrooge is a miser, and at his worst, he can be quite the misanthrope. Owl might have been a good choice too, but he doesn’t make an appearance in this video, nor does Christopher Robin. Gopher isn’t in the main feature but does turn up, in typical pyro mode, in the New Adventures of Winnie the Pooh episode Trap as Trap Can, which follows Hunny for a Bunny in the Special Features.
Though the nods to the original story are not as plenteous as they could be, Roo is an excellent stand-in for Tiny Tim, while Tigger (Jim Cummings) exudes a Fred-like joie de vivre. Meanwhile, the narrator, with some help from the storybook and Tigger, provides the proper ghostly framework. The tale’s inspiration is most obvious toward the end, when Rabbit repents, first distraught over his friendless future, then “giddy as a school bunny” that he’s been given a second chance. At this point, if anyone still hasn’t gotten the reference, Tigger, with a broad wink at the viewers, demands, “What the Dickens - and I do mean Dickens - is going on here?”
Tigger gets all the best lines in this flick, with energetic bursts of jibberish that lead to him uttering one of my favorite words: onomatopoeia! Equally random: at one point, while showing Roo all of his Easter gear, Tigger accidentally unearths a dreidel. “Whoops, wrong holiday!” he amends. He also gets to sing a couple of short songs, as do most of the main characters. Eeyore (Peter Cullen) doesn’t have any songs to himself, but his fondness for a pair of fluffy bunny ears is good for a lot of laughs. While none of the musical numbers are still rattling around in my head, they’re fun in context.
Among the Special Features, the First Look at The Magical World of Winnie the Pooh is most worth perusing. What it amounts to is two episodes of the aforementioned series; Magical World was evidently the name of a set of DVDs containing episodes from the show. The first, in which Rabbit decides to give away his beloved bunny bookend because he believes he will never find its mate, fits particularly well with the movie, while the second is a fun romp involving a scrawny heffalump and his burly, heavily allergic father.
Sounds of Spring features three clickable scenes; click on the arrow pointing to an object and hear a corresponding noise. This activity is rather fun, but Decorate Rabbit’s House is annoying, since it is constantly correcting the improper placement of decorations. After a movie in which Rabbit’s fastidiousness proves to be problematic, it seems to go against message to insist decorations go in one particular spot when they would look just as good someplace else. Another feature includes step-by-step instructions for making a sort of butterfly puppet that looks neat but seems like it would fall apart easily. The rest of the features are DVD registration and a preview for Pooh’s Heffalump Movie.
Even though Springtime for Roo is an Easter story, its Dickensian nature renders it a suitable choice for this time of year, since it’s fun to compare it to the oodles of other versions of A Christmas Carol floating around. I’m still waiting for Eeyore to get a centric Pooh movie, but I have no complaints about this outing with Rabbit and Roo.
Tuesday, March 10, 2009
Stunning Animation and Tender Relationships Make Brother Bear 2 a Worthy Sequel
Back when Brother Bear came out, I was wowed by the beauty of the previews and figured it would be the most visually appealing Disney movie since Pocahontas. The sweeping panoramas of unspoiled wilderness certainly didn't disappoint, but I wondered if such care would be taken with Brother Bear 2.
This sequel may have been direct-to-video, but I found it just about as enthralling as the original. If you can get past the premise of a guy turning into a bear, it's a fun, romantic romp with breathtaking scenery and well-written songs. While the story is largely about Kenai (Patrick Dempsey) and his "adopted" kid brother Koda (Jeremy Suarez), the primary focus is on Nita (Mandy Moore), Kenai's childhood sweetheart.
After Kenai saved her from drowning when they were children, he gave her an amulet to represent the depth of their friendship. Unsurprisingly, the two lost touch when he became a bear, and now he's a distant memory to her, but a reunion becomes a necessity when her attempt to enter into an arranged marriage is unsuccessful because the powers that be consider her already committed because of the necklace. Her task? Find Kenai, and go with him to the spot where the amulet was given so that they can destroy it together during the Vernal Equinox.
Nita is aided in her mission by the temporarily bestowed gift of being able to communicate with animals. With the speech barrier gone, other challenges separating her from her old friend seem much more surmountable. The real issue is that once Nita and Kenai reunite and begin to fall into their old rhythm, it's clear that affection between these two runs very deep. Is breaking that bond really the best course of action?
There are plenty of adventurous scenes to keep youngsters entertained, including a thrilling pursuit through a racing river and a treetop battle with a troop of raccoons that recalls Jane's troubles with monkeys in Tarzan. There's also plenty of comic relief from moose pals Rutt (Rick Moranis) and Tuke (Dave Thomas), who are fixated on securing the admiration of a pair of female moose who couldn't be less interested. Back in the village, Nita's squabbling aunts also provide a few laughs, and spirited Koda feels a bit like wise-cracking Donkey, with Kenai and Nita as Shrek and Fiona.
But the movie is more about heart than humor, from the sensitive songs by Melissa Etheridge to the dynamics among the main trio and Nita's relationship with her tender, widowed father (Jim Cummings). As Kenai finds himself torn between his self-appointed duty as caretaker to Koda and his desire to return to his former life with Nita, it becomes fairly easy to guess at the unconventional ending, but that doesn't prevent it from being a touching conclusion to a sequel that was obviously handled with great care.
This sequel may have been direct-to-video, but I found it just about as enthralling as the original. If you can get past the premise of a guy turning into a bear, it's a fun, romantic romp with breathtaking scenery and well-written songs. While the story is largely about Kenai (Patrick Dempsey) and his "adopted" kid brother Koda (Jeremy Suarez), the primary focus is on Nita (Mandy Moore), Kenai's childhood sweetheart.
After Kenai saved her from drowning when they were children, he gave her an amulet to represent the depth of their friendship. Unsurprisingly, the two lost touch when he became a bear, and now he's a distant memory to her, but a reunion becomes a necessity when her attempt to enter into an arranged marriage is unsuccessful because the powers that be consider her already committed because of the necklace. Her task? Find Kenai, and go with him to the spot where the amulet was given so that they can destroy it together during the Vernal Equinox.
Nita is aided in her mission by the temporarily bestowed gift of being able to communicate with animals. With the speech barrier gone, other challenges separating her from her old friend seem much more surmountable. The real issue is that once Nita and Kenai reunite and begin to fall into their old rhythm, it's clear that affection between these two runs very deep. Is breaking that bond really the best course of action?
There are plenty of adventurous scenes to keep youngsters entertained, including a thrilling pursuit through a racing river and a treetop battle with a troop of raccoons that recalls Jane's troubles with monkeys in Tarzan. There's also plenty of comic relief from moose pals Rutt (Rick Moranis) and Tuke (Dave Thomas), who are fixated on securing the admiration of a pair of female moose who couldn't be less interested. Back in the village, Nita's squabbling aunts also provide a few laughs, and spirited Koda feels a bit like wise-cracking Donkey, with Kenai and Nita as Shrek and Fiona.
But the movie is more about heart than humor, from the sensitive songs by Melissa Etheridge to the dynamics among the main trio and Nita's relationship with her tender, widowed father (Jim Cummings). As Kenai finds himself torn between his self-appointed duty as caretaker to Koda and his desire to return to his former life with Nita, it becomes fairly easy to guess at the unconventional ending, but that doesn't prevent it from being a touching conclusion to a sequel that was obviously handled with great care.
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