Tag Archives: Rob Marshall

Fresh Catch

The Little Mermaid

by Hope Madden and George Wolf

After knocking it out of the park early with The Jungle Book, Disney’s been hit-or-miss with the live-action reboots of its classic animation tales, especially the nearly shot-for-shot reimaginings. But there was plenty of reason for optimism when it came to Rob Marshall’s The Little Mermaid.

Halle Bailey shines as the irrepressible adolescent Ariel. She’s in fine voice, and thanks to some script updates from writer David Magee, the character has agency. She’s utterly charming, and – again thanks to some updating to the material – Jonah Hauer-King has an actual character to dig into. His Prince Eric has depth and personality. Both characters mirror each other in their longing and belief that they don’t into their own worlds. It’s easy to root for them.

But how is Ursula, one of the best Disney villains of all time?

Happy to report that Ursula the Sea Witch is still delightfully, deliciously evil. And the casting! Melissa McCarthy drips villainy as poor, unfortunate Ariel’s dastardly auntie. Her Ursula is campy, gloriously over the top and yet drolly above it all. The look is perfection, and her voice is magnificent. This villain is the highlight of the film.

And while we’re on casting, Javier Bardem makes a majestic King Triton, and some delightful voice work from Daveed Diggs as Sebastian and Awkwafina as Scuttle brighten scenes both in and out of the water.

Behind the camera, director Rob Marshall brings an impressive musical resume. From the Oscar-winning Chicago to the visionary Into the Woods to some dazzling sequences in the otherwise disappointing Nine, Marshall has proven he knows what makes a musical number pop onscreen.

Strangely, though, the film’s first big music moment, “Part of Your World,” seems a bit muted, leaving us wanting at least one more big crescendo for Bailey’s wonderful voice. Similarly, “Under the Sea” is rollicking fun, if not quite truly magical.

“Kiss the Girl” makes things right with a completely enchanting treatment, while Marshall and McCarthy both shine in a mischievously satisfying “Poor Unfortunate Souls.”

And while these numbers will remind you of the legendary talents of composer Alan Menken and lyricist Howard Ashman (who sadly passed in 1991), the additional of Lin Manuel Miranda will be unmistakable. Miranda not only brings some timely lyrical updates, he also teams with Menken for original songs, including “Scuttlebutt,” a showcase for Awkwafina full of Miranda’s typically snappy wordplay.

The look of the film is mainly strong. Underwater sequences are not quite as impressive as they were in Black Panther: Wakanda Forever, but still better than Aquaman. Above the water line set pieces – including a thrilling shipwreck – are beautifully executed. But Marshall struggles with scenes that break that barrier. When he can’t rely entirely on CGI for water scenes – when characters are partially submerged and the magical quality afforded by FX is missing – you feel it.

And as Ariel and her Prince struggle to find each other, you also feel the karmic beauty of the film’s culturally diverse cast – starting right at the top. Themes about different worlds living in harmony resonate more deeply when everyone doesn’t look the same.

This isn’t a revelation, and the film doesn’t treat it as one. It’s one of the many things The Little Mermaid gets right, and another example of how Marshall and his terrific ensemble manage to navigate the spotty squalls and bring this one home.

Practically Perfect

Mary Poppins Returns

by Christie Robb

Recreating the magic of a classic film like Mary Poppins seems like it should be impossible. Thankfully, with the sequel Disney proves that truly everything is possible, even the impossible.

Set 20 years after the original, Jane and Michael Banks are grown and eking out a living during the “Great Slump” (the term for the Great Depression in the United Kingdom). Michael (Ben Wishaw) has been recently widowed and is struggling to raise his three children alone when the bank sends some agents to inform him that his family home on Cherry Tree Lane is in foreclosure. He’s got until Friday at midnight to cough up the cash.

Enter Mary Poppins (Emily Blunt), who returns to take care of the Banks children. This time the stakes are clearly a bit higher. Instead of the children and nanny dealing with neglectful and boring parents, they have to negotiate grief over their dead mother, probable homelessness, and some light animated kidnapping. It’s a more Lemony Snicket approach that keeps the plot moving at a good pace, but may be intense for the more sensitive kiddos.

The drama is balanced with some exhilarating song and dance numbers that mirror, but update, those in the original film. Remember Uncle Albert? Now we have a song with Cousin Topsy (Meryl Streep). The live action/animated number occurs inside the pattern of a Royal Doulton china bowl instead of a chalk drawing. And instead of chimney sweeps elevating the kids to the London rooftops for a jig, lamplighters led by Mary’s friend Jack (Lin-Manuel Miranda) wind the kids through the sewers and engage in some stunt biking and parkour.

Throughout, director Rob Marshall is faithful to the tone of the original film. There’s a continuity established from the opening credit sequence that continues through the choices in musical score, sets and costuming. However, Marshall’s experience directing movie musicals (for example, Into the Woods and Chicago) makes for more dynamic camera work and the occasional vaudevillian set piece.

This charming bit of nostalgia makes for an excellent holiday movie that celebrates the joys of childhood, imagination and family.





The Meryl Witch Project

Into the Woods

by George Wolf

 

Don’t let the name Disney at the top of the poster fool you, Into the Woods isn’t little kid stuff. But it is more evidence that Rob Marshall is the guy who should be directing your next musical.

After nearly thirty years, the Tony-award winner from Stephen Sondheim (music) and James Lapine (book/screenplay) makes it to the big screen. It’s more lean, less mean, and still pretty spectacular.

Having Meryl Streep at the top of your cast list is always a wise move, and she’s utterly commanding as a Witch who offers the village Baker (James Corden) and his wife (Emily Blunt) a mysterious deal. In exchange for a few magical items (red cape, white cow, yellow hair and golden slipper), the Witch will reverse a curse that is keeping the couple childless.

As the Bakers head into the woods to begin their search, four classic fairy tales begin an enchanting intersection.

With the benefit of a live stage, Cinderella, Rapunzel, Red Riding Hood, Jack and his beanstalk could take turns in the spotlight while still keeping a combined narrative intact. A screen version presents an inherent challenge to recreate that vision, but Marshall doesn’t shrink from it.

His camera is almost always moving, with wide aerial shots showcasing everyone’s place in the woods, and slow pans that glide easily from one fairy tale to the next. While Marshall’s Nine was more a series of dazzling parts, here he’s able to sustain the realization that each storyline in the woods is connected.

Marshall is also smart enough to know the material and adjust. The high-stepping pizazz he utilized so well in the Oscar-winning Chicago was a perfect fit for that show, but this is Sondheim. The songs are graceful, poetic, challenging, and Marshall, with a big assist from Dion Beebe’s pristine cinematography, frames them accordingly.

The fine ensemble cast follows suit with sharp characterizations. Blunt is excellent (when isn’t she?) as the desperate wife, Corden makes a fine unlikely hero and Anna Kendrick’s Cinderella is..apologies in advance…pitch perfect. Chris Pine makes Prince Charming a delightfully amusing cad while Johnny Depp, as Johnny Depp does, leaves a memorable impression with limited screen time as the Big Bad Wolf.

Though several songs have been pruned from the stage musical, along with some of the darker edges, Marshall keeps the metaphor of “the Woods as real life” intact without overplaying the hand. Into the Woods explores what’s on the other side of fairy tales, where handsome Princes “will always love the maiden who ran away.”

The wee ones may not find any bland theme songs to call their own, but this is family entertainment on a grand, sometimes glorious scale.

 

Verdict-4-0-Stars