There's a tendency to see Blu-ray as a boon to color films and it is.
, as reported earlier, is true eye candy. However, when it comes to black-and-white film, Blu-ray accentuates the details and makes the clarity sharp as can be.
. As with so many
movies, there are those who just can't get into his very specific vision and those who can't get enough of it. If the latter is you,
My kids enjoyed it, particularly my son, but the family agreed that it was very intense viewing for young children. Please don't just plop this into the player and let the kids loose on it if they're very young and impressionable -- but you're the best judge of where your kids are in relation to movies and TV (we waited a loooong time before we showed
to my son).
, in Burton style, is grotesque yet touching, strange yet perceptive. If you haven't seen the 1984 live action short that inspired it (included on the Blu-ray but not the DVD), it's the Burton world of a misfit in a suburban environment of eccentrics that screams "Who's the real crazy one?" This motif is especially strong in
, in which the neighborhood kids are much weirder than the odd central character.
Things get pretty monstrous in the final climax, much like a vintage sci-fi matinee (only done with a great deal more time and budget). The animation is as amazing as ever. There is just nothing like stop-motion and its kinetic excitement. The massive work behind this kind of art is nicely shown in another Blu-ray only feature, "Miniatures in Motion."
exhibit that spent some time at Disney California Adventure Park. But the original short, "Captain Sparky vs the Flying Saucers" is also Blu-ray only. It's a charmer, very much a nod to Burton's
, as well as hundreds of amateur movies made by eager young filmmaking kids. Too bad it's so short, but then, so was a reel of 8mm film.
"BABES" IN TELEVISION LAND: NEIL SIMON, DIMPLES & DREW
Posted on Jan 01 2013 by Greg
Until this year, I had no idea there was a live musical spectacular based on Babes in Toyland
on NBC in 1954 and 1955, but this year, it showed up on DVD from the same folks who gave us the treasure of The Stingiest Man In Town
on DVD last year.
This production, produced and directed by Your Show of Shows
' Max Leibman
, was co-written by Neil Simon
not long after the young scribe was in the Show of Shows
writers room. It was likely to be a very big event for TV viewers in '54 and '55, as it starred the Today Show
host Dave Garroway
as a department store Santa who narrates the story, as well as Wally Cox
as toymaker Grumio (a character from the original 1903 script). Cox was starring in Mr. Peepers
at the time.Dennis Day
, best known as Jack Benny's
confused tenor, is perfect as Tom (Tucker this time, not Piper). Ellen Barrie
and the legendary Broadway/cabaret performer Barbara Cook
play Joan, in the '54 and '55 broadcasts, respectively. Jack E. Leonard
plays villainous Barnaby to the hilt in the most wisecracking, sardonic version of the character to date (likely benefitting from the comedy material supplied by Simon, William Friedberg
and Fred Saidy
(the latter the co-ilbrettist for Finian's Rainbow
Musically, many of the Victor Herbert/Glen McDonough
songs are intact, along with several instrumental melodies throughout, particularly during two lengthy clown performances that put one in the mind of "Circus Day" on the Mickey Mouse Club
. Irwin Kostal
did the orchestrations, with such landmarks as West Side Story, Mary Poppins
and The Sound of Music
ahead of him.
It's cool to watch both years' broadcasts and compare them. There isn't a lot of difference overall, except the female leads and the ending, which contains a more overt plug for the "Rocket Engine Oldsmobile" in the second show. You'll notice changes in the technical quality and some improvements to the sets as well.
Because both shows are live (presented here in very good kinescopes), there are the occasional flubs. Most notable is Garroway's stumble over his lines about the meanness of Barnaby, getting ice cube trays and eggs scrambled up in the 1955 show (he does is perfectly in 1954).Babes in Toyland
showed up again on NBC in Living Color on the December 1960 Christmas episode of The Shirley Temple Show
, hosted by Shirley Temple Black
, former star of such movie hits as Dimples
and Curly Top
, now grown up with three kids of her own. About a dozen of these charming shows are available through her own website.
Originally called Shirley Temple Storybook
, this weekly anthology series managed to do a full-fledged musical almost every week. Such an ambitious undertaking had mixed results, as the show was delightful but limited to the TV capabilities of the day. It was also NBC's competition to the Disneyland
series on ABC. The following year, Disney would take over Temple's time slot on NBC as Walt Disney's Wonderful World of Color.
Unlike the Disney film of 1961, which retained the original score -- adding new lyrics to songs and melodies and keeping others intact -- the Temple version of Toyland
is perhaps the first to replace most of the score with completely original songs. The remaining songs are "Toyland," "Floretta," "I Can't Do The Sum" and "March of the Toys."
Though it's difficult to assume because so many rewrites of Babes in Toyland
took place between its major stage runs, touring companies and local shows, the concept of "Meantown" takes place, at least on the Temple show, for the first time on TV. Within a few years, a Pickwick children's record would also incorporate Meantown, which is exactly what the name implies: a town where everyone is cranky.
The cast appearing with Shirley Temple (who also plays Floretta the gypsy witch) is especially notable -- Jonathan Winters
as Barnaby with Joe Besser, Carl Ballantine
and Jerry Colonna
as his bumbling crew; plus a very young Angela Cartwright
as Jane. Even Temple's own children appear as she narrates.Babes in Toyland
didn't show up on TV in another version for decades. Meanwhile, the Disney film was broadcast twice on network TV since its theatrical release and the Roach/Laurel & Hardy movie became a staple of local programming throughout the '70s. At the dawn of the home video era, TV would take one last official trip to Toyland
I couldn't wait for the night in 1986 when a new musical TV movie version of Babes in Toyland
would premiere. How could it miss? New songs by Leslie Bricusse
(Scrooge, Willy Wonka
) conducted by Ian Fraser
! Great character actors in the cast, like Eileen Brennan
as Mother Goose and Richard Mulligan
as Barnaby! Fresh from E.T., there was a slightly older Drew Barrymore
as the star, with a young Canadian lead actor named Keanu Reeves.
The whole was even filmed at the same Munich studio where Wonka
Sadly, it was not to be. The entire production has an earthbound feel to it. The Toyland outdoor set looks like office bungalows that had porches and quick paint jobs and signs added. One of the climactic battle scenes took place on little go-karts. All but "Toyland" and "March of the Toys" were removed, yet apparently some of Bricusse's songs were cut, too, leaving a few that I am sure he doesn't like to think about.
If this were a low-budget schlock kiddie movie like Santa and the Ice Cream Bunny
, it might make sense. But considering the credits of almost everyone involved, it makes one wonder whether anyone really knew what they were getting into when they agreed to do it. This film did make it to VHS, even sold for one Christmas season at McDonald's (perhaps to cash in on Reeves later fame), but it never made it to DVD.
The last non-stage version of Babes in Toyland
was the only animated version ever produced. MGM had intended it for theatrical release, but after the failure of All Dogs Go to Heaven 2
, the project became direct-to-video (and I suspect the budget was cut). The resulting film was released to VHS and is now available on DVD.
MGM's animated Toyland
has its head in the '90s, very much a product of the "second Golden Age" of Disney animated musicals and modern-day sensibilities. Virtually the entire storyline is new. Mary (who bears a resemblance to Disney's Belle from Beauty and the Beast
, is now the modern concept of a strong, assertive woman who runs her late father's toy factory. Tom is her employee, a dreamer who resembles the hunky male lead in Ferngully: The Last Rainforest
. Mary says Human Resources phrases to Tom, like "I admire your enthusiasm." Both characters have those wedge haircuts that came and went in the '90s.
Gone is the Herbert score again, except the "big two." The new songs are quite wonderful, very much in the Howard Ashman/Alan Menken
mold of the Disney films (and every studio's animated feature that tried to repeat their successes).
That may be a bit of nitpicking, because this Toyland
is actually quite entertaining, especially for young children. It is animated very much like the high-grade TV animation of Animaniacs
, with lots of action, though it does sag a bit (as do many direct to video features). Despite its 90's-ness, it holds up very well and is worlds better than the 1986 Barrymore TV movie.
One thing that this version seems to prove, though, it how it becomes more and more difficult to produce a filmed Babes in Toyland for a modern audience that incorporates any of the original Herbert/McDonough creations. The further we get away from the original in time, naturally the more our music, social mores, storytelling tools and mass tastes change. Many kids today don't know who Mother Goose is, much less her rhymes and characters.
However, it's awfully tempting to take such a fanciful story and melodic score and try something. One thing is for certain -- there are never enough remakes to suit the entertainment industry. Perhaps the law of averages will tilt in Toyland's
favor and there will be a new vision. It may not be the best version, but, like the others, it sure will be fascinating.
"BABES" IN MOVIELAND: ANNETTE & LAUREL & HARDY
Blog, Movies, TV
Posted on Dec 21 2012 by Greg
By this time, Blu-rays have become so prevalent that pretty much every recent and classic movie has been released in the format. The real event releases are the ones that really show the brilliance and clarity of Blu-ray to its fullest.
That would be Walt Disney's Babes in Toyland
. It's been over one hundred years since the Victor Herbert/Glen McDonough
operetta premiered, yet there have only been two theatrical movies based on it. We'll get to the first one in a moment.
The second one came to theaters in 1961, when Walt Disney had just given the world Disneyland, three hit TV series and movies that were broadening from animation alone to live-action comedies and adventures as well. To understand and fully appreciate the significance of Babes in Toyland,
it helps to put its release within that context and then see how it looks now.
Starting with the context: the Mickey Mouse Club
had left ABC TV but was heading to syndication. Zorro
was canceled, but still carried on in a few prime time episodes on the Disney Sunday night anthology show. They all overlapped, many of the performers appearing in numerous other productions for the studio.
For Toyland, we got Annette Funicello, Tommy Kirk and Kevin Corcoran
, all of whom had been stalwarts of the Mickey Mouse Club
. From Zorro
, we have the underappreciated Henry Calvin
and Gene Sheldon
, both of whom turn in superb comic performances in Toyland
-- not mere Laurel & Hardy
knock-offs, but genuinely unique on their own. (It's worth mentioning that their characters, Rodrigo and Gonzorgo, both existed in the 1903 Toyland stage show, long before the Laurel & Hardy version).
The Disney studio had only been making sporadic attempts at live action films for a relatively short time by 1961. Most of the earliest movies were British productions, 20,000 Leagues Under the Sea
being the first all-live action feature made domestically. And that was only 1954. Making a full-scale musical was a little ambitious at this point -- and the one Walt Disney wanted to make was called "The Rainbow Road to Oz."Rainbow Road
was to star Annette, Tommy Kirk and many of the other Mickey Mouse Club
performers in an original musical that would even tie into a Disneyland attraction. Neither happened (though you can get a glimpse at Rainbow Road
on the DVD set, "Your Host, Walt Disney').
When Walt turned to Toyland
, he used many of the same creatives intended for Rainbow Road
. At the same time, his animators and other artists had worked on Disneyland projects, blending the Disney movies, TV and theme park productions into a house style of its day.
That's exactly what you see when you watch Babes in Toyland
today, especially in the bright light of Blu-ray, in which even the fabric textures are astonishingly defined -- as if you're looking through a magic window.
What you're admittedly not really seeing, though, is a movie in the strictest sense. Few critics have good things to say about Toyland
, and though they certainly make valid points, I don't think a movie is what this production ultimately is. It's more a big show on screen -- and a theme park ride if you will.
Looking at Mary Contrary's garden is like seeing a floral display at the Epcot International Flower & Garden Festival. The settings would not be out of place in Fantasyland (the sets, in fact, were displayed at Disneyland in 1961 for holiday Guests to explore).
And the stylistic design, very much out of any Big Disney Golden Book, have influenced the Theme Park parades and shows ever since 1961, especially the Toy Soldiers, who have become such a Disney fixture that many do not realize they were created for this film by X Atencio
and Bill Justice
(and also appeared briefly in Mary Poppins
In essence, Walt Disney's Babes in Toyland
was no Poppins
, but it's an E-ticket in other ways. And it paved the way. Musical fantasy and high camp are both notoriously difficult to capture in movies (The Wizard of Oz
and Mary Poppins
being the only two such films to be embraced by critics and audiences upon their very first releases). Toyland
doesn't flinch from being as broad as a barn, just like the stage show upon which it is based, which has its roots in vaudeville and British Pantomime. When you approach it like that, suspending disbelief as you would for a whimsical children's stage show, suddenly it's one of most bold and brash of its kind.Ray Bolger
isn't so much playing a villain as having a blast and letting us all in on it. Annette Funicello
is the very soul of sincerity. Tommy Sands
is remarkably believable considering the silliness going on around him -- no easy feat -- and he gets a chance to jump into the "camp camp" with his unbridled Floretta performance, so totally different from the Tom character that one wonders if it's the same person.
And then there's Ed Wynn
, who always plays "Ed Wynn" even when he's in a serious role, and what a joy he is to watch. After all, you're listening to Alice's Mad Hatter and seeing Mary Poppins' Uncle Arthur at the same time And that toy making machine -- couldn't you just see it in Willy Wonka's inventing room or at a candy shop in Downtown Disney?
By the way, the original vinyl "original cast" album of Disney's Toyland
(a studio recording of the score with Annette, Wynn, Bolger, Ann Jillian
and others) is downloadable on iTunes.
To many fans, Hal Roach's 1934 Babes in Toyland
(retitled March of the Wooden Soldiers
) is the superior film. But I love both versions for any number of reasons.
This Laurel & Hardy vehicle is one of the most quotable movies, at least in three generations of my family ("You're not scared now!" "I don't love him!" "Good night, Ollie!" "Why, that's neither pig nor pork! It's beef"" "Ollie, here's your watch!' "He and I are just-like-that." Tut-tut-tut-turrut!" "We shall seeeee." I could go on and on...)
is closer in musical tone to the 1903 show, complete with a tenor (Felix Knight
) and other trappings of the musical form of theater before Rodgers and Hammerstei
n. It also bears a musical resemblance to Disney's own Snow White, released only three years later. What is amazing is how The Wizard of Oz
, which came only five years later, avoids the operetta sound and still sounds amazingly mainstream. But then, Snow White
was less than ten years after Steamboat Willie
-- how fast the advancements came!
Laurel & Hardy starred in several similar operetta-style films -- Swiss Miss, Fra Diavolo and The Bohemian Girl
-- that had the elements of a young singing couple, evil villains and comic set pieces with Stan and Ollie. Several of the Marx Brothers
films did this as well.
High-pitched operetta-style though it is, Roach's Toyland
is more cinematic than Disney's version. They both begin with a Mother Goose introduction and a glorious reveal of the village, but Disney deliberately shows the polished wood stage while Roach's village seems more grounded.
Walt Disney and Hal Roach apparently also had a friendly relationship; according to Leonard Maltin's The Disney Films
, Disney warmly agreed to Roach's use of the Three Little Pigs (with different names) and a monkey appears to be playing Mickey Mouse
(riding in a blimp that gets a visual nod in the 1961 film's toy battle scene).
Another Laurel & Hardy historian, John McCabe
, wrote that Stan Laurel was very fond of Toyland
, but regretted it not being filmed in color. The film is very accessible on home video in both colorized and black-and-white editions (Warner released a very nice print on DVD in recent years).
Colorization is a pariah to many film buffs, but since Laurel himself wished Babes in Toyland
was made that way, it's kind of fun to watch the colorized version (keeping a black and white copy on hand as well). Toyland is so unreal, the lack of true tones and tints in colorization actually works, even clarifying some of the darker, less defined scenes in the last reel. It's a question of taste, but in this case, it's worth seeing in color at least once.
So which is better? I'm not the person to ask, being like Archie having to chose between Betty and Veronica (or Charlotte Henry
and Annette). Roach's is more of a "movie," Disney's is more of a very, very expensive TV special or Theme Park extravaganza. Why worry about it? They're both delectable holiday confections. Enjoy.
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