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supercantaloupe · 1 year

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The Rent Post™

aka, a lengthy screed on how rent the musical goes about adapting la boheme, where it fails, and what can be done about it

so i’m admittedly a reformed Theater Kid™. and tbh i still very much am a Theater Person, even a Musical Theater Person, i’m just in my 20s now and my taste has shifted away from what’s mainstream on broadway right now and closer to the world of opera. but there absolutely was a time in my early teens when i was Really Into Rent, as many Theater Kids™ were…and there was also a time in my later teens when i thought about it and realized that rent was not only just not my thing, but that there were some significant Problems with it, as its own work and as an adaptation. now, having finally seen boheme for myself, i feel like i’m really in a place to piece together how the two works compare to one another, and why/how i think rent falls short of success (as a piece of theater anyway. obviously rent is not lacking in commercial and popular audience success, for better or worse).

i knew years ago that rent is a direct adaptation of la boheme, but wow, only after seeing the opera did i come to realize just how closely rent follows boheme: in plot beats, in character names, even borrowing a couple of lyrics and musical motifs here and there.

but it also changes things from the original opera -- namely, it adds things -- and i think this is the first place where rent runs into trouble. now i am by no means such a purist that i think no work should ever be adapted unchanged (more on this later...what’s the point of adaptation if not to change things to make the work resonate with a new audience anyway?). however, any and every change made to an existing work in adaptation should be thoughtfully made and motivated, because every single change has an effect on the whole product in some way, and many small changes can add up to create a rather different final product than a creator might realize.

(and this goes both ways, i think -- both in a work where a more flawed source material is adapted into something new and better, and when a superior original work is adapted into a worse new creation.)

definitely some of the changes made in rent while adapting la boheme are due to the change in medium. opera and musicals are both theater, sure, and more similar in many ways to each other than either is to straight play or film perhaps, but it’s still like a spanish speaker and an italian speaker trying to have a conversation with one another. the languages are similar and there might even be a bit of crossover in mutual intelligibility but they are still ultimately two different languages with different grammars and vocabulary. opera in general tends to have slower pacing than book musicals, fewer plot threads of equal importance. that rent is specifically a musical adaptation of la boheme, rather than a true rock opera, demonstrates this well. the mimi/rodolfo relationship is still front and center (americanized of course as mimi and roger), with marcello and musetta close behind (though expanded in rent as more of a love triangle among mark, maureen, and joanne, the latter being an invented character for the musical who i think embodies the original marcello as much as mark does). but rent adds a lot of stage time and focus to a new couple, collins and angel, who are directly lifted from colline and schaunard, who are essentially secondary comic relief characters, whereas collins/angel are arguably as important plot wise to mimi/roger and mark/maureen/joanne.

(and i’m not gonna get into the level of #problematic there is to the depiction of maureen as an overly promiscuous bisexual or discuss why colline and schaunard can’t have been a gay couple the whole time or whatever because. wow i do not care. there are more important things to complain about here c’mon)

first big addition to rent that wasn’t original to boheme is that increased stage presence/focus for collins and angel. it's not inherently a bad addition, and for its time the open depiction of multiple queer romances onstage was still kind of groundbreaking. and yes, rent having a longer runtime than boheme should give it the opportunity to flesh this relationship out more as well as the other two to make sure they all have an equal chance to develop and end in a satisfying way. hell, they don’t even all have to be equal in stage presence/focus/importance to be a positive addition to the show (and how can it be when angel dies halfway through act ii? then again, the character dying doesn’t exactly mean the relationship loses its importance in the plot…) but despite the extra runtime and faster storytelling pace, rent doesn’t actually develop angel and collins all that much, especially not before angel dies. this isn’t an issue with colline and schaunard, of course, cause it’s obvious they’re not important characters in boheme. but collins and angel are arguably more important in rent than even mark/maureen/joanne. and angel dies halfway through act ii…meanwhile, mimi survives the end of rent, when she very pointedly does not in boheme.

and…oh, mimi. she is probably the biggest and most problematic adaptational change in rent as compared to la boheme. on the surface she (and roger/rodolfo) seems the least changed of all the opera’s characters, her name not even undergoing the same americanization treatment as the others. but there are just so many small details that add up and up until she’s a fundamentally different character in rent. i don’t even begrudge the change in occupation: her becoming a stripper/exotic dancer/possible sex worker(?) rather than a seamstress does bring with it some cultural baggage, but i am not personally interested in reading any morality into her choice of occupation, and i choose not to read her line of work as having any implications for her “innocence” or moral value as a character. nor will i read her addiction or disease as being moral qualities either. however: there is a big difference between tuberculosis in the 1840s and both AIDS and drug addiction in the 1980s. neither boheme’s mimi nor rent’s are morally responsible for their illnesses. but there is absolutely nothing mimi could do about her tuberculosis in boheme except die, because it was france in the 1840s and nobody knew what an antibiotic was. in new york in 1989, there were rehab clinics and there were medications for HIV. these things were expensive and hard to access, yes, but rent really goes out of its way to show us that mimi had the resources to access these things -- she is able to afford AZT in act i on her own (and the fact that she’s on AZT is used as shorthand for her HIV+ status, as opposed to other characters about whom we are told outright)...

… and her relationship with benny (the much-expanded counterpart to boheme’s benoit the landlord character) in act ii, who verbally offers to pay for her admittance to a rehab program.

yet the next time we see or hear anything of her, her loving mother is calling to ask where she is as she’s presumably gone missing…

…and then discover she has been living on the street, dying from exposure/disease/addiction.

did she do this willingly? did benny refuse to continue supporting her? we don’t really get an answer to any of this; rent isn’t really concerned with why mimi is in the position she’s in, but is rather entirely preoccupied with staying true to boheme -- up until mimi’s death, anyway. because mimi doesn’t die in rent, she is saved, and says that angel told her to keep on living (as though it were a choice). why? we can only speculate. really, if any character embodies the same “dying tragically in a world too cruel for them to survive” theme as mimi in boheme does, it’s angel. and her death is honestly used as a tool throughout the rest of the show: a purpose for kindness, community, life.

is this a bad “bury your gays” kind of thing? i don’t really know, i’m inclined to believe not. but i do think angel’s death is more thematically akin to mimi’s death in boheme than the actual (near-)death of mimi in rent.

and this is the biggest difference between rent and boheme: boheme is not about hope. boheme is a tragic romance about how important relationships are among people in disadvantaged communities/situations, but it does not say that love will transcend or materially improve those conditions. rent, by contrast, does. rent suggests that the love of partners and community (even if filled with complications and tensions) is lifesaving.

(and i know rent’s stated thesis is “no day but today,” i.e. live and enjoy every day as though it could be your last, but i think thematically all the characters and their interactions overall suggest a theme of community just as if not more strongly, whereas “no day but today” is more limited to the HIV+ characters and has little to do with the mark/maureen/joanne subplot. mimi's outlook on "no day but today" changes when she chooses to stay alive on the urging of angel from the other side.)

now i don’t think this is altogether a bad moral to have in your theater piece. especially in one of the first major pieces of theater centered on marginalized queer characters. i will not deny how important and cathartic it can be, both now and especially thirty years ago when rent premiered, to end on a hopeful note rather than a tragic one. but i have a couple of issues with how rent goes about making this its central theme. for one thing, mimi has frankly too many Things affecting her health in the end for her survival to be realistic, and absolutely nothing up to this point in the show has suggested a setting of magical realism or pseudofantasy; everything has been as grounded in real life as possible, until finale b, when mimi suddenly and near-inexplicably survives. it feels like it comes out of nowhere tonally and thus isn’t very satisfying an ending when put to scrutiny. for another, angel has already died, and angel is, compared to mimi, a much more beloved and uncomplicatedly positive force in their community and relationships. angel’s entire stage presence (while she’s alive and when her character is invoked or referenced after her death) is a positive one: caring for collins when he’s injured, providing food and funds to the group, placating arguments, etc.

and the fact that angel has no concerned parents leaving her voicemails, unlike mark, roger, and mimi, underscores that she has no one else to lean on for support except her community of bohemians. and we’re not given a reason to believe one way or the other about her home life or financial stability outside of today 4 u when she got a sudden windfall for killing a dog (whatever; schaunard did the same thing to the parrot in boheme). in contrast to mimi, roger, and especially mark, who are clearly shown to have family who care about them and want to support them, yet they choose to live in romanticized poverty anyway. mark even gets a good job in filming and still finds a way to complain about it.

really, except for angel (and arguably collins, too), it’s difficult to totally sympathize with the characters in rent and care fully about their plight because they’re just…not depicted as particularly likable people. maureen is an unfaithful and kind of manipulative partner, and her approach to “protest” is really just bad self-absorbed performance art. roger just kind of sucks at songwriting (how is your eyes the song that he’s spent the whole show writing? it’s the worst number in the musical lol), and he’s quick to anger…his decision to leave mimi makes even less sense here than rodolfo’s decision to leave her in boheme, where at least he did so out of genuine concern for her health (also why does he leave mark? rodolfo embraces marcello as a friend still after mimi leaves in boheme...act iii of boheme is the least closely adapted in rent by far.). wheras in rent roger seems to be both genuinely jealous of mimi interacting with other men and upset by her continued drug use. although this last one i don’t begrudge him for, since it’s made clear he’s a recovering addict himself…although it does make mimi’s relationship with him all the worse, considering that mimi’s take on the whole “no day but today” theme is to throw caution to the wind with her actions and not worry about the future at all, and her interacting with roger is directly tempting him back into addiction which he clearly does not want. (and roger’s rejection of her in another day is framed as him being in the wrong with mimi being backed up by the life support chorus…)

while mimi as we’ve seen is reckless and throws her life away even when people try to help her (very very different from boheme’s mimi, who makes no particularly reckless choices, and accepts help when it's offered). and mark is entitled and uses his film as an excuse to disengage with the real world, even exploit it (see: the way he films the life support meeting without permission, or the homeless woman, which is never really confronted elsewhere in the show…)

the inclusion of a homelessness subplot in rent is particularly strange to me. it shows up a lot, especially in act i: the threat of homelessness for the main characters should they not pay their rent or come to some kind of agreement with their landlord; the vague future threat of benny’s “cyberarts studio” getting built which is implied would evict those living in tents on the lot; mimi being found living on the street in the finale; and the chorus/ensemble who show up periodically, as above. homelessness is an ever present element of set dressing/conflict in rent but it’s never really addressed, no points are ever made about it, which is in my opinion kind of wild and very unsatisfying. the above scene especially, considering how direct of a callout it is towards the show’s own characters and writing, yet it is never addressed afterwards, and this conflict is never really resolved.

one could take similar issue with the choice to swap tuberculosis in boheme with AIDS in rent. though in my opinion i think addiction is as much as if not more rent’s analogue to boheme’s TB, since that is a much more acutely seen disease for mimi and only mimi while there are multiple characters (main and chorus) living with HIV…then again, angel is the character who gets the real tragic death analogous to mimi’s in boheme, and angel dies of complications from AIDS, so i suppose it’s open to debate. regardless, there’s a significant contextual difference between TB in the 1840s and HIV and addiction in the 1980s: there was no system, political, social, or medical, that could truly heal someone of tuberculosis in boheme’s setting. but there very much was a medical and social system in place to help people with HIV and addiction in the 1980s; systems which were aggressively denied to those who were suffering by the political system. and for as much as the characters in rent like to sing about revolution, protest, and activism, not a single one actually challenges the powers that be or call out by name those responsible for the systematic denial of healthcare to the marginalized. activism and artistic revolution is hollow and meaningless in rent, they never name a real enemy, just a vague sense of “the man.” but it’s a story set in a real and still recent historical time period, the effects of which we still deal with today (and i’m sure even more acutely so back in 1996); it just feels disrespectful to me to use those crises as such important set dressing for your musical which positions itself as a “fuck the man” revolutionary kind of piece of theater and yet do or say absolutely nothing about the real world issues it is appropriating. for more information i highly recommend checking out lindsay ellis’ video on the topic.

so is all this to say i think rent is an irredeemable, fundamentally broken work? actually, no; i think it has a decent foundation and some solid music. i understand the reasoning behind and appeal of updating an old work to a new time period/setting for a new audience, and i think trading 1840s paris for 1980s nyc is an interesting and workable substitution. but when i look at rent as it is now, i just do not see a finished product.

and i think this is the most frustrating and disappointing thing about rent to me: rent is, quite literally, an unfinished show. its composer and librettist, jonathan larson, died suddenly the day of its first preview performance. and for so many developing (off-)broadway shows, previews are when the actual finished product is crafted, as the show is revised based on audience reactions. of course audience and critical reception to rent from the very beginning was positive, but i can’t help but speculate how much of that is influenced by the mere fact of its creator’s untimely death. and i wonder what changes larson would have made to his show if he had lived, and been able to hear the audience’s reactions, and revise the show accordingly. i wonder if he would have thought it worked. i wonder if he would have seen the same cracks that i see in it. i don’t think rent is inherently unsalvageable, but it is so far unsalvaged.

and frankly i don’t know that it ever will be salvaged; not for many years, at least. not until copyright and licensing in musical theater changes, and not until broadway audiences get more comfortable with the idea of altering beloved and familiar classics (the 2019 revival of oklahoma! was, in my opinion, a work of genius, but i’m well aware my opinion is not universal, and especially during its national tour the show’s entire concept has been extremely controversial). do to rent what bartlett sher and aaron sorkin are doing to camelot right now: keep the heart and soul of the piece intact, but rewrite what doesn’t work. or do something even more drastic, cut subplots and change character traits, i don’t know. maybe mimi should die; maybe it really is important that she survive! maybe rent shouldn’t have been based on boheme at all; hell, what would rent look like if it was based on la traviata instead? (well the answer to this one is “a different show entirely,” most likely, but if you want to write a poignant and tragic love story based on a romantic opera and set in 1980s nyc featuring queer and/or HIV+ characters, well…it could work and i’ll leave it there.) maybe that’s going too far, i don’t know, but the point is, i want to see directors and writers have the freedom to try that stuff out. because i don’t think rent is unsalvageable; i think it’s unfinished.

but rent is far too popular and beloved for anyone to dare touch its libretto with new ink. the memory of jonathan larson is held far too preciously for anyone to allow such debasement of his work. when searching online for libretti to reference when writing this essay, i found one transcribed script with this at its heading:

and i think that about sums it up for me. “may he be friggen worshiped!” him and all his creations, holy and untouchable. it’d be tantamount to theater sacrilege at this point to try and change it. how dare you sully larson’s good name by thinking you could “fix” his masterpiece…the masterpiece no one wants to admit he never got to actually finish. well, i don’t know, maybe it’s me being jewish and sentimental here, but if i have enough respect for a piece of work i want to be able to engage with it and question it and interpret it as i think it best ought to be. (jonathan larson was also jewish. would he agree with me? i don’t know. but i think he’d want to see the best of his work, just like i do.) live theater is inherently participatory and dialectical. and it ought to be alive, not carved into stone. neither immovable nor under threat of utter annihilation should someone come too close with a chisel. rent has potential. la boheme is still as affecting today as it was a hundred thirty years ago (did you know rent premiered almost exactly a hundred years after la boheme?). rent could be the same. and it does have emotionality behind it as it is now, credit where credit’s due. but it could be more than just that. if we could just let someone finish the thing already, even if larson himself couldn’t.

#sasha reviews #rent #<- afraid of putting this in the tag. rent fans please be cool. just scroll past this if you don't wanna see me being critical ;;#la boheme #this took so long to write. please enjoy #tldr; rent isn't irredeemable or unworkable but it is unfinished #i think it ought to either just let itself be closer to boheme (the 'keep it simple stupid' approach)#or let itself stray from that source material more and give each of its subplots the full attention it deserves (and needs)#(and maybe cut one or two of them...)#and be more of its own thing already #i don't know. who knows what would work best? no one does. cause no one's tried it yet. that's the bottom line i guess

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night-unfurls-its-splendour · 1 year

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When the Longing Returns (Phantom of the Opera 2004 Fanfiction) || Erik x Christine

Ch. 5 Author's Notes

Read the fic here on tumblr or on AO3

◇ She felt intimidated just looking at it, with its dual manuals of ivory and ebony keys; its rows of stops, also capped with ivory; and all its pipes standing proud and erect, like incredibly regular leaden stalagmites, reaching for the cavern ceiling.

A quick and dirty rundown on pipe organ anatomy and terminology, as told by a layman: the console is the main housing for all of the organ controls; the keyboards (or manuals), the pedalboard (basically exactly the same as a keyboard but played with your feet; the pedalboard corresponds to the lowest notes on the bass clef), and the stops.

Each stop corresponds to a set, or "rank", of pipes, and is labelled with what quality of sound or timbre those pipes are designed to produce (e.g. trumpets, bells, flutes etc.) The number of stops on an organ depends on how many ranks of pipes it has. Erik's organ in the lair is fairly small (I'm very much a layman but I would guess it’s a thirty-six pipe organ at most—someone who is better at math than I am can count them).

Each rank of pipes is attached to a wind-box, and Erik's organ design in the movie is fairly unique in that the pipes are spread out in a kind of walk-through labyrinth, rather than clustered together. I have no idea if this design is realistic or viable, but it sure looked good when he walked between them during “Music of the Night”.

All of that should be sufficient that I needn't point out how... just woefully inadequate I find the organ console in the musical. Like, that keyboard, and... what does he only have a stool to sit on? Does it even have a pedalboard? I know, I'm sure there are practical reasons why it is like that, but it doesn't cut it for me, when high schools have done such amazing lair organs as this:

◇ Christine knew music—her father had taught her to read notes before she was even able to read letters

Book Canon: this is direct reference to the book, Ch. 5 "The Magic Violin”:

"This peasant had a little daughter to whom (even before she could read) he had taught the musical alphabet."

◇ "Christine recognized it as a prop table for Violetta's salon in La Traviata."

In English "The Fallen Woman", an opera by Giuseppe Verdi. Based on Alexandre Dumas' stage adaptation of his own novel La Dame aux camelias, La Traviata relates the tragic story of Violetta, an affluent courtesan, and her attempt to settle into a quiet life and marriage with her lover, Alfredo; plans which are foiled by Alfredo's disapproving father.

◇ "The water was on the cool side of lukewarm (of course, he would not give her cold water before a lesson.)"

While it’s extremely important for singers (especially in intensely rigorous disciplines such as opera) to keep hydrated, cold water tightens the muscles of the larynx, making them tense and thus more likely to suffer from vocal strain. Lukewarm or room temperature water is recommended.

Opera singers in general are very restrictive in what they consume in order to keep their voices in peak condition. Caffeine, sugar and alcohol are all terrible for the voice and are generally avoided. If they are consumed it is only occasionally, and never within a week of a performance. Some Opera singers even go so far as to teetotal.

◇ They had listened in the doorway; her father would not take her into the Narthex (directly above which rested the organ loft)

The area directly outside the sanctuary of a church. In classical churches, its original purpose was to provide a place for penitents and the unbaptized (not permitted entry into the church proper) to listen to services.

In modern churches it is still used to refer to the lobby, vestibule, or area immediately outside the sanctuary.

In addition I would like to specify that the main organ loft in the Uppsala Cathedral is indeed located above the Narthex.

◇ Christine felt a thrill that sang in her veins as recognition dawned. She knew this song.

In case it's not perfectly clear, I decided to go full meta here: he is playing the Phantom of the Opera Overture. I watched several YouTube videos of covers to get an idea of exactly what it looks like when this is played. And this particular piece seems horrifyingly complex. I am not joking at all. I really wanted to bring Erik's skill to the fore here, and illustrate, in detail, exactly how much effort and, just, sheer talent is necessary to play his music.

I decided to use the excuse of its being incomplete to explain why the music ends so abruptly.

◇ The Cahman organ in the Uppsala Cathedral had played liturgical music—sacred and solemn.

The Uppsala Cathedral (or, in Swedish, Uppsala Domkyrka), is located in the center of Uppsala, Sweden, the nearest major city to the village where Christine was born. Uppsala is the seat of the Church of Sweden (Svenska Kyrkan), which practices High-Church Lutheranism.

Designed in the Gothic style by French architects, it is the tallest cathedral in Scandinavia, historical venue for the coronation of Sweden's monarchs, and is the resting place of King Eric the IX, also called Eric the Holy, who happens to be the patron saint of Sweden. His wife, amusingly (if unsurprisingly), was Queen Christina.

The Åckerman Pipe Organ (above, right), which is the current main organ of the cathedral was built in 1871, after our story takes place—Christine and her father would have heard the 18th century Cahman Organ, which the Åckerman was built to replace.

◇ "... it is not in my nature to lie about music to spare anyone's feelings; even yours."

Or as Winslow Leach would have it:

"I would never let my personal desires influence my aesthetic judgement."

I'd love to say this line was an homage to Winslow, but it isn't: I wrote this several weeks prior to viewing Phantom of the Paradise for the first time. Still, the similarity in the sentiment was just too perfect, I had to draw attention to it.

◇ the King of Thulé Aria.

Marguerite's first solo in the opera. Her first singing appearance actually takes place in Act II when Faust, accompanied by Méphistophélès, approaches her, and offers to escort her home; but her sung dialogue consists of only a couplet, in which she modestly refuses his offer.

In the King of Thule Aria, Marguerite is singing to herself, a somber ballad about the King of Thule (hence the name), but continually interrupts herself, thinking aloud about the encounter with Faust, and lamenting that he did not at least give her his name.

◇ The Jewel Song

Marguerite's second major solo, which immediately follows the King of Thule. Siebel (the role Christine has been cast in—see notes on Ch. 4), a youth who is in love with Marguerite, has previously lain a posy of flowers at her doorstep, singing a small solo where he charges the flowers with conveying his love to her. Immediately after this, Mephistopheles places a casket of fine jewelry next to the posy on Faust's behalf. Upon discovery, Siebel's humble flowers are, of course, upstaged by the jewels, and the modest but naive Marguerite loses herself in rapturous fantasies of Faust seeing her so richly adorned. This song foreshadows Marguerite's coming fall into decadence with Faust, as she yields to the deadly sin of Vanity—shortly to be followed by Lust.

Here and here are performances of Faust which I used as reference. The links begin with Marguerite's entrance in scene IV of Act III, but both feature the legendary Samuel Ramey as Mephistopheles, and I highly recommend watching them in full whenever you find the time.

◇ No one who did not hear Christine Daaé sing Faust would be able to claim to know Faust.

Leroux reference: an homage to the rave reviews Christine receives following her Triumph in Chapter 2, "The New Marguerite". The "great critic, P. de St.-V” writes of Christine's debut:

"I am perhaps indiscreet, but only love is capable of working such a miracle, of causing such a drastic transformation. Two years ago, we heard Christine Daaé in her competition at the conservatoire, and she gave us charming hope. What is the origin of the sublime talent she had today? Anyone who has not heard her sing the final trio of Faust does not know Faust: the exaltation of a voice and the rapture of a pure soul can go no further!" [Trans. Lowell Bair, 1990]

◇ "... her vulgar, Café Jacquin caterwauling."

Leroux reference: a popular dance hall of the period. This is mentioned in one of Erik's notes in Ch. 4 "Box Five" as one of the venues Carlotta sang at before she joined the Opera:

"I know what you have done for Carlotta and Sorelli and little Jammes and for a few others whose admirable qualities of talent or genius you have suspected.

Of course, when I use these words, I do not mean to apply them to La Carlotta who sings like a squirt and who ought never to have been allowed to leave the Ambassadeurs and the Café Jacquin..." [Trans. 1911, Alexander de Mattos]

◇ "Only you can sing Marguerite as she was meant to be heard."

Now, this line is an homage to Erik Destler in the 1989 film starring Robert Englund. It's maybe my favourite non-ALW take on PotO and I appreciate the little references to the source material peppered in. And I just genuinely love Englund's Erik. This is one of the few adaptations that actually includes Faust and is also one of the few versions that actually shows a music lesson between Erik and Christine (it is fairly perfunctory, but at least it's there.)

◇ "... one, who was anonymous, very highly esteemed by the public, and clearly too rich to be bought, had very openly (and accurately) criticised Carlotta's Marguerite as "Rather too splendidly sensuous".

Wow! Lots of Leroux this chapter. Another pull from Ch. 2, "The New Marguerite":

"Up to this point, Christine Daaé had played a merely appropriate Siebel to Carlotta's rather too splendidly sensuous Marguerite." [Trans. Leonard Wolf, 1996].

Now, this judgment in the book comes from Leroux's narrative voice, not from the critic alluded to in my text (though that is also a book reference), but immediately after said critic's rave review of Christine's sudden genius.

Elsewhere in the book, in Chapter 7 (or 8, depending on your translation) "Faust and What Followed", Leroux describes how Carlotta,

"flung herself into the role without restraint of modesty..." according to Alexander de Mattos,

Or, according to Leonard Wolf:

"Intoxicated, gave of herself utterly, enthusiastically, passionately. Her performance was entirely unrestrained and shameless."

What both translators agree on, though, is that Carlotta was "no longer Marguerite, but Carmen." This, of course, referring to Georges Bizet's opera, based on Prosper Merimee's novella of the same name about the Spanish soldier José who is seduced and then jilted by the fiery title character.

I so wanted to include this dig as another critique of Carlotta's turn as Marguerite; unfortunately, Carmen was not produced until 1875—four years after this story is set.

◇ “From the recitatif, 'Je voudrais bien savoir'. Whenever you are ready, Christine."

"Recitative" in English: sung dialogue or soliloquy in an opera (also used in musicals like Phantom of the Opera). Recitatif is used in opera-lyrique, as opposed to the spoken dialogue used in opera-comique.

◇ "Excellent, Christine! Magnificent!" he ejaculated, his voice and expression saturated with an adulation so powerful she felt a fire seem to light in the apples of her cheeks.

I just want to be absolutely clear here;

Ejaculate (Verb)

ejac·u·late

1: to eject from a living body

specifically : to eject (semen) in orgasm

2 : to utter suddenly and vehemently

◇ Trailing it tortuously along her collarbone, he finally took that errant lock of hair which had distracted him during their lesson, let the kinks of burnt umber silk run through his fingers, and lifted it delicately over her shoulder, allowing his fingertips to graze her skin.

Directly inspired by this moment between Thomas Ambt Kofod and Sybille Glosted during "Point of No Return" (Copenhagen, 2019), which makes me absolutely feral.

◇ "But Erik... had not yet completely lost hold of the good end of his reason."

Really going nuts with Leroux refs but, I just can't resist.

This is not a PotO reference, but reaches into the wider Leroux-verse (And there is an interconnected universe—you can catch Inspector Mifroid, who appears in PotO to investigate Christine's disappearance, in one of Leroux's earlier works The Double-Life of Theophraste Longuet).

"Le bon bout de la raison" or "The good end of reason" is a kind of motto for Leroux's young gentleman detective, Joseph Josephin Rouletabille, who says:

"Reason has two ends, the good and the bad. There's only one which you can depend on with confidence, and that's the good end. One recognizes it because it will not shatter, no matter what you may do or say."

Rouletabille uses this principle to unravel the mysteries of the criminal cases he undertakes to solve; Erik is using it here to help him with the mystery of the advancement of Christine's sexuality.

◇ "On the high platform beyond his bedroom, there sat, what could only be described as, a throne; ornately carved and gilded, with sumptuous cushions of darkest red velvet."

So I was on my... seventeenth watch? Of the movie when I first noticed that, though it gets absolutely NO ACTION, there absolutely is a throne in the lair in the movie.

I don't know if I'm the only one who missed it but I thought I would toss a footnote in here, in case anyone else did.

Part of me wonders, why bother? And why put it so far off to the side? But, oh well. I’m glad it’s here, in my toolbox for potential use in ... future chapters....

#poto #phantom of the opera fanfiction #phan phic #poto fanfiction #poto fanfic #poto fic #when the longing returns #erik x christine #christine x erik #eristine #poto e/c #e/c #poto 2004 #phantom of the opera 2004 #gerik #author's notes

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unpopularwiththepopulace · 3 years

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Chicago at Long Beach, LA, 1992: A Story of Bebe Neuwirth, Choreography, Riots, Revivals, and Relevance

Recently and rather excitingly, more footage made its way to YouTube of the 1992 version of Chicago staged at Long Beach in LA, featuring Bebe Neuwirth as Velma and Juliet Prowse as Roxie.

Given its increased accessibility and visibility, this foregrounds the chance to talk about the show, explore some of its details, and look at the part it might have played as a contribution to the main ‘revival’ of Chicago in 1996 – which has given the show one of the most resonant and highly enduring legacies seen within the theatre ever.

This Civic Light Opera production at Long Beach was staged in 1992, four years before the ‘main’ revival made its appearance at Encores! or had its subsequent Broadway transfer, and it marked the first time a major revival of Chicago had been seen since the original 1975 show disappeared nearly 15 years previously.

This event is of particular significance given its position as the first step in the chain of events that make up part of this ‘new Chicago’ narrative and the resultant entire multiple-decade spanning impact of the show hereafter.

But for all of its pivotal status, it’s seldom discussed or remembered anywhere near as much as it should be.

This may be in part because of how little video or photographic record has remained in easily accessible form to date, and also because it only played for around two weeks in the first place. As such, it is a real treat on these occasions to get to see such incredible and unique material that would otherwise have been lost forever after such a brief existence some 30 years ago.

This earlier revival of the show still feels like what we have come to identify “Chicago” as in modern comprehension of the musical, most principally because the choreography was also done by Ann Reinking. As with the 1996 production, this meant dance was done “very much in the master’s style” – or Mr Bob Fosse.

The link below is time-stamped to Bebe and Juliet performing ‘Hot Honey Rag’. As one of the most infamous numbers in Broadway history, it’s undoubtedly a dance that has been watched many times over. But never before have I seen it done quite like this.

https://youtu.be/4HKkwtRE-II?t=2647

‘Hot Honey Rag’ was in fact formerly called ‘Keep It Hot’, and was devised by Fosse as “a compendium of all the steps he learned as a young man working in vaudeville and burlesque—the Shim Sham, the Black Bottom, the Joe Frisco, ‘snake hips,’ and cooch dancing”, making it into the “ultimate vaudeville dance act” for the ultimate finale number.

Ann would say about her choreographical style in relation to Fosse, “The parts where I really deviate is in adding this fugue quality to the numbers. For better or worse, my style is more complicated.” The ‘complexity’ and distinctness she speaks of is certainly evident in some of the sections of this particular dance. There are seemingly about double the periodicity of taps in Bebe and Juliet’s Susie Q sequence alone. One simply has to watch in marvel not just at the impressive synchronicity and in-tandem forward motion, but now also at the impossibly fast feet. Other portions that notably differ from more familiar versions of the dance and thus catch the eye are the big-to-small motion contrast after the rising ‘snake hips’ section, and all of the successive goofy but impeccably precise snapshot sequence of arm movements and poses.

More focus is required on the differences and similarities of this 1992 production compared against the original or subsequent revival, given its status and importance as a bridging link between the two.

The costumes in 1975 were designed by Patricia Zipprodt (as referenced in my previous post on costume design), notably earning her a Tony Award nomination. In this 1992 production, some costumes were “duplications” of Zipprodt’s originals, and some new designs by Garland Riddle – who added a “saucy/sassy array” in the “typical Fosse dance lingerie” style. It is here we begin to see some of the more dark, slinkiness that has become so synonymous with “Chicago” as a concept in public perception.

The sets from the original were designed by Tony Walton – again, nominated for a Tony – and were reused with completeness here. This is important as it shows some of the original dance concepts in their original contexts, given that portions of the initial choreography were “inextricably linked to the original set designs.” This sentiment is evident in the final portion of ‘Cell Block Tango’, pictured and linked at the following time-stamp below, which employs the use of mobile frame-like, ladder structures as a scaffold for surrounding movements, and also a metaphor for the presence of jail cell bars.

https://youtu.be/4HKkwtRE-II?t=741

Defining exactly how much of the initial choreography was carried across is an ephemeral line. Numbers were deemed “virtually intact” in the main review published during the show’s run from the LA Times – or even further, “clones” of the originals. It is thought that the majority of numbers here exhibit greater similarity to the 1975 production than the 1996 revival, except for ‘Hot Honey Rag’ which is regarded as reasonably re-choreographed. But even so, comparing against remaining visible footage of Gwen Verdon and Chita Rivera from the original, or indeed alternatively against Bebe and Annie later in the revival, does not present an exact match to either.

This speaks to the adaptability and amorphousness of Fosse-dance within its broader lexicon. Fosse steps are part of a language that can be spoken with subtle variations in dialect. Even the same steps can appear slightly different when being used in differing contexts, by differing performers, in differing time periods.

It also speaks to some of the main conventions of musical theatre itself. Two main principles of the genre include its capacity for fluidity and its ability for the ‘same material’ to change and evolve over time; as well as the fact comparisons and comprehensions of shows across more permanent time spans are restricted by the availability of digital recordings of matter that is primarily intended to be singular and live.

Which versions of the same song do you want to look at when seeking comparisons?

Are you considering ‘Hot Honey Rag’ at a performance on the large stage at Radio City Music Hall at the Tony Awards in 1997? Or on a small stage for TV shows, like the Howard Cosell or Mike Douglas shows in 1975? Or on press reel footage from 1996 on the ‘normal’ stage context in a format that should be as close to a replica as possible of what was performed in person every night?

Bebe often remarks on and marvels at Ann’s capacity to travel across a stage. “If you want to know how to travel, follow Annie,” she says. This exhibits how one feature of a performance can be so salient and notable on its own, and yet so precariously dependent on the external features its constrained to – like scale.

Thus context can have a significant impact on how numbers are ultimately performed for these taped recordings and their subsequent impact on memory. Choreography must adjust accordingly – while still remaining within the same framework of the intention for the primary live performances.

This links to Ann’s own choreographical aptitude, in the amount of times it is referenced how she subtly adapted each new version of Chicago to tailor to individual performers’ specific merits and strengths as dancers.

Ann’s impact in shaping the indefinable definability of how Chicago is viewed, loved and remembered now is not to be understated.

An extensive 1998 profile – entitled “Chicago: Ann Reinking’s musical” – explores in part some of Ann’s approaches to creating and interacting with the material across a long time span more comprehensively. Speaking specifically to how she choreographed this 1992 production in isolation, Ann would say, “I knew that Bob’s point of view had to permeate the show, you couldn’t do it without honoring his style.” In an age without digital history at one’s fingertips, “I couldn’t remember the whole show. So I choreographed off the cuff and did my own thing. So you could say it was my take on his thoughts.” Using the same Fosse vocabulary, then – “it’s different. But it’s not different.”

One further facet that was directly carried across from the initial production were original cast members, like Barney Martin as returning as Amos, and Michael O'Haughey reprising his performance as Mary Sunshine. Kaye Ballard as Mama Morton and Gary Sandy as Billy Flynn joined Bebe and Juliet to make up the six principals in this new iteration of the show.

Bebe, Gary and Juliet can be seen below in a staged photo for the production at the theatre.

The venue responsible for staging this Civic Light Opera production was the Terrace Theatre in Long Beach in Los Angeles. Now defunct, this theatre and group in its 47 years of operation was credited as providing some of “the area’s most high profile classics”. Indeed, in roughly its final 10 years alone, it staged shows such as Hello Dolly!, Carousel, Wonderful Town (with Donna McKechnie), Gypsy, Sunday in the Park with George, La Cage aux Folles, Follies, 1776, Funny Girl, Bye Bye Birdie, Pal Joey, and Company. The production of Pal Joey saw a return appearance from Elaine Stritch, reprising her earlier performance as Melba Snyder with the memorable song ‘Zip’. This she had done notably some 40 years earlier in the original 1952 Broadway revival, while infamously and simultaneously signed as Ethel Merman’s understudy in Call Me Madam as she documented in Elaine Stritch at Liberty.

Juliet Prowse appeared as Phyllis in Follies in 1990, and Ann Reinking acted alongside Tommy Tune in Bye Bye Birdie in 1991, in successive preceding seasons before this Chicago was staged.

But for all of its commendable history, the theatre went out of business in 1996 just 4 years after this, citing bankruptcy. Competition provided in the local area by Andrew Lloyd Webber and his influx of staging’s of his British musicals was referenced as a contributing factor to the theatre group’s demise. This feat I suspect Bebe would have lamented or expressed remorse for, given some of her comments in previous years on Sir Lloyd Webber and the infiltration of shows from across the pond: “I had lost faith in Broadway because of what I call the scourge of the British musicals. They've dehumanized the stage [and] distanced the audience from the performers. I think 'Cats' is like Patient Zero of this dehumanization.”

That I recently learned that Cats itself can be rationalised in part as simply A Chorus Line with ears and tails I fear would not improve this assessment. In the late ‘70s when Mr Webber noticed an increase of dance ability across the general standard of British theatre performers, after elevated training and competition in response to A Chorus Line transferring to the West End, he wanted to find a way he could use this to an advantage in a format that was reliable to work. Thus another similarly individual, sequential and concept-not-plot driven dance musical was born. Albeit with slightly more drastic lycra leotards and makeup.

But back in America, the Terrace theatre could not be saved by even the higher incidence of stars and bigger Broadway names it was seeing in its final years, with these aforementioned examples such as Bebe, Annie, Tommy, Juliet, Donna, or Elaine. The possibility of these appearances in the first place were in part attributable to the man newly in charge as the company’s producer and artistic director – Barry Brown, Tony award-winning Broadway producer.

Barry is linked to Bebe’s own involvement with this production of Chicago, through his relationship – in her words – as “a friend of mine”.

At the time, Bebe was in LA filming Cheers, when she called Barry from her dressing room. Having been working in TV for a number of years, she would cite her keenness to find a return to the theatre, “[wanting] to be on a stage so badly” again. The theatre is the place she has long felt the most sense of ease in and belonging for, frequently referring to herself jokingly as a “theatre-rat” or remarking that it is by far the stage that is the “medium in which I am most comfortable, most at home, and I think I'm the best at.”

Wanting to be back in that world so intensely, she initially proposed the notion of just coming along to the production to learn the parts and be an understudy. Her desire to simply learn the choreography alone was so strong she would say, “You don’t have to pay me or anything!”

She’d had the impetus to make the call to Barry in the first place only after visiting Chita Rivera at her show in LA with a friend, David Gibson. At the time, the two did not know each other that well. Bebe had by this point not even had the direct interaction of taking over in succession for Chita in Kiss of the Spider Woman in London. This she would do the following year, with Chita guiding her generously through the intricacies of the Shaftesbury Theatre and the small, but invaluable, details known only to Chita that would be essential help in meeting stage cues and playing Aurora.

Bebe had already, however, stepped into Chita’s shoes multiple times, as Anita in West Side Story as part of a European tour in the late ‘70s, or again in a Cleveland Opera Production in 1988; and additionally as Nickie in the 1986 Broadway revival of Sweet Charity – both of which were roles Chita had originated on stage or screen. In total, Velma would bring the tally of roles that Bebe and Chita have shared through the years to four, amongst many years also of shared performance memories and friendship.

They may not have had a long history of personal rather than situational connections yet when Bebe visited her backstage at the end of 1991, but Chita still managed to play a notable part in the start of the first of Bebe’s many engagements with Chicago.

After Bebe hesitantly relayed her idea, Chita told her, “You should call! Just call!”

So call Bebe did. One should listen to Chita Rivera, after all.

Barry Brown rang her back 10 minutes later after suggesting the idea to Ann Reinking, who was otherwise intended to be playing Velma. The response was affirmative. “Oh let her play the part!”, Annie had exclaimed. And so begun Bebe’s, rather long and very important, journey with Chicago.

In 1992, this first step along the road to the ‘new Chicago’ was well received.

Ann Reinking with her choreography was making her first return to the Fosse universe since her turn in the 1986 Sweet Charity revival. Diametrically, Rob Marshall was staring his first association with Fosse material in providing the show’s direction – many years before he would go on to direct the subsequent film adaptation also. Together, they created a “lively, snappy, smarmy” show that garnered more attention than had been seen since the original closed.

“Bob Fosse would love [this production],” it was commended at the time, “Especially the song-and-dance performance of Bebe Neuwirth who knocks everyone’s socks off.” High praise.

Bebe was also singled out for her “unending energy”, but Juliet too received praise in being “sultry and funny”. Together, the pair were called “separate but equal knockouts” and an “excellent combination”.

Juliet was 56 at the time, and sadly died just four years later. Just one year after the production though, Juliet was recorded as saying, “In fact, we’re thinking of doing it next year and taking it out on the road.”

Evidently that plan never materialised. But it is interesting to note the varied and many comments that were made as to the possibility of the show having a further life.

Bebe at the time had no recollection that the show might be taken further, saying “I didn’t know anything about that.” Ann Reinking years later would remark “no one seemed to think that the time was necessarily ripe for a full-blown Broadway revival.” While the aforementioned LA Times review stated in 1992 there were “unfortunately, no current plans” for movement, it also expressed desire and a call to action for such an event. “Someone out there with taste, money and shrewdness should grab it.”

The expression that a show SHOULD move to Broadway is by no means an indication that a show WILL move. But this review clearly was of enough significance for it to be remembered and referenced by name by someone who was there when it came out at the time, Caitlin Carter, nearly 30 years later. Caitlin was one of the six Merry Murderesses, principally playing Mona (or Lipschitz), at each of this run, Encores!, and on Broadway. She recalled, “Within two days, we got this rave review from the LA Times, saying ‘You need to take the show to Broadway now!’” The press and surrounding discussions clearly created an environment in which “there was a lot of good buzz”, enough for her to reason, “I feel like it planted seeds… People started to think ‘Oh we need to revive this show!’”

The seeds might have taken a few years to germinate, but they did indeed produce some very successful and beautiful flowers when they ultimately did.

In contrast with one of the main talking points of the ‘new Chicago’ being its long performance span, one of the first things I mentioned about this 1992 iteration was the rather short length of its run. It is stated that previews started on April 30th, for an opening on May 2nd, with the show disappearing in its final performance on May 17th. Less than a fleeting 3 weeks in total.

Caitlin Carter discussed the 1992 opening on Stars in the House recently. It’s a topic of note given that their opening night was pushed back from the intended date by two days, meaning Ann Reinking and Rob Marshall had already left and never even saw the production. “The night we were supposed to open in Long Beach was the Rodney King riots.”

Local newspapers at the time when covering the show referenced this large and significant event, by noting the additional two performances added in compensation “because of recent interruptions in area social life.”

It sounds rather quaint put like that. In comparison, the horror and violence of what was actually going on can be statistically summated as ultimately leaving 63 people dead, over 2300 injured, and more than 12,000 having been arrested, in light of the aftermath of the treatment faced by Rodney King. Or more explicitly, the use of excessive violence against a black man at police hands with videotaped footage.

A slightly later published review wrote of how this staging was thus “timely” – in reference to an observed state of “the nation’s moral collapse”.

‘Timeliness’ is a matter often referenced when discussing why the 1996 revival too was of such success. The connection is frequently made as to how this time, the revival resonated with public sentiment so strongly – far more than in 1975 when the original appeared – in part because of the “exploding headlines surrounding the OJ Simpson murder case”. The resulting legal and public furore around this trial directly correlates with the backbone and heart of the musical itself.

I'm writing this piece now at the time of the ongoing trial to determine the verdict of George Floyd’s murder, another black man suffering excessive and ultimately fatal violence at police hands with videotaped footage.

I think the point is that this is never untimely. And that the nation is seldom not in some form of ‘moral collapse’, or facing events that have ramifications to do with the legal system and are emotionally incendiary on a highly public level.

Which perhaps is why Chicago worked so well not just in 1996, but also right up to the present day.

Undoubtedly, we live in a climate where the impact of events is determined not just by the events themselves, but also the manner in which they are reported in the media. Events involving some turmoil and public outrage at the state and outcome of the legal system are not getting any fewer or further between. But the emphasis on the media in an increasingly and unceasingly digital age is certainty only growing.

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aceofshitposts · 3 years

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I saw that you like CATS the musical. What are your thoughts on the movie?

AAAAH AHHAHA oh man oh boy y'all should BUCKLE IN cuz it's a ride

my simple thoughts? it's entertaining if only because it butchered the stage show so badly in an attempt to idk modernize it? Well, modernization is one part of it I think. The other part I'll go into below lol. I don't necessarily hate some of the more modern renditions of the songs (mostly the ensemble sets like Jellicle Song for Jellicle Cats) but then others are just... so poorly done it's insulting.

I've said this at the end of this whole rant too but I'm gonna put it up here in case people don't (justifiably) wanna see me go on and on about it:

The movie wasn't made for fans of the musical. It was made to make money and I believe they choose, at least partially, to do that through making it the weirdest and worst possible adaptation they could so that people would want to go see the train wreck. Which, really, worked! It was all people could talk about for a good while so like... Goal achieved, I guess.

A MUCH MORE COMPREHENSIVE ANALYSIS UNDER THE CUT cuz i don't wanna. flood your dash with... this

ALRIGHT SO. Most of my friends know I'm actually a huge fan of new adaptations of things. I love remakes (provided the people making it are coming at it with some form of heart and not just... cash grabbing which is more often the case) I love seeing other peoples interpretations of characters, or changing settings. It's one of the reasons I like American comics so much, getting to see different writers takes is fascinating.

I think musical movies can be wonderful ways to introduce people to a stage show that might have been unavailable to them otherwise! Chicago, for example, is one of the BEST musical to movie adaptations in my opinion. It kept the heart of the show, it's funny and the song numbers are done really well.

There are of course other famous examples, such as Grease or Bye Bye Birdie. Hairspray was also a wonderful take. These are simply off the top of my head, there are of course more.

CATS in particular has a history. If you go through my CATS tag you may see a few posts from @catsnonreplica which posts photos from non broadway productions of CATS! It's a fascinating read and I love, love, love looking at the other interpretations of the characters! CATS is a musical full of fun and wonderful characters if you take the time to see past the ridiculousness haha and the Korean and Japanese runs of CATS especially have some of my favourites.

How does this relate to the movie, I hear you say well. As you might has noticed the movie's interpretations of the characters is........ lackluster at best and downright uncanny valley at best.

CATS is, at its core, a ridiculous thing. I will fully admit that! But it's fun, it's entertaining and if you pay a little attention you can actually get the plot. (Honestly I don't understand when people complain it has no plot but that's a whole other rant for another day)

The movie was... obsessed with this idea of like... semi realism? Like obviously, as a fan, I think they should have leaned into the over the top character designs but instead we got...w ell:

Bombalurina:

Demeter left and Bomba right. Demeter was actually cut! From the movie which is. upsetting lmao.

Macavity is one of the worst offenders for me:

Macavity was... I wish I could know what the hell they were thinking there cuz it's even in his song? Ginger cat??? THAT IS NOT... A GINGER CAT...... but I digress. I would show more examples but I think you get the point.

So. We've butchered the characters appearances. Okay that's fine but what about their personalities?

ALSO BUTCHERED.

There's... there's a lot to unpack here. Just for context: the Jellicle Ball happens once a year and the Jellicle leader chooses a single cat to be reborn into a new life. In the stage play all the cats who are nominated for this honour are on the older side (Jenny-Any-Dots, Bustopher Jones, Skimbleshanks, Gus The Theatre Cat, and eventually Grizzabella) AND are always nominated by another cat. Not themself, unlike the movie where they all seem to nominate themselves.

Jenny-Any-Dots went from a doting grandmother figure who's celebrated for her selfless volunteering and tireless work into a conceited, vain younger cat who is obsessed with fame.

It's an incredibly strange dichotomy. I don't doubt some of it isn't the result of the uh people playing the characters honestly. I do think some of them did the best they could! I don't really blame Jason Derulo, for example, for Tugger. And honestly, Tugger was probably closest to his stage version (while being a trouble maker, he's shown to show Deuteronomy an immense amount of respect)

Speaking of Tugger! This will bring us to one of the biggest grievances with the movie and that is how they handled Mr Mistoffelees.

So... Ugh. So. We have Victoria as the pov character, which imo is like whatever in the grand scheme of things, and then we have Misto who they have decided will be get live interest cuz... Of course. Misto is shown throughout the musical to be awkward, unsure of himself and well. Really, kinda incompetent. Which is Wild cuz in the stage show he might be aloof but he's fairly confident in his powers.

So, Old Deuts gets kidnapped. In the stage show Tugger is the one to bring Misto forward! It's really quite sweet, imo, and I'm showing myself as a Tuggoffelees shipper here, but again Tugger is previously shown to be pretty conceited but then here he is boosting and hyping up Misto to bring Deuteronomy back. My friends and I have lovingly dubbed this the boyfriend hype song.

SOMEHOW. The movie manages to make this, easily, the MOST BORING number in the whole thing. Which, again, WILD. Misto awkwardly stumbles through his whole song, which again is... Boasting of his supreme magical powers which movie Misto clearly. Does not have or believe to have. The song, to me, feels super awkward and unnecessarily drawn out in the movie which sucks cuz it's one of my favourites in the show.

The declawing (heh) of Mr Mistoffelees actually reminds me strongly of how they changed Gaston in the live action Beauty and the Beast movie. He's gone from a beloved figure in the animated movie to someone so disliked in the town that Le Fou has to pay people off to say nice things about him. It's just. Wild character choices were made!!

Skimbleshanks the Railway Cat is probably my favourite in movie non ensemble number. It feels the most... Genuine? Compared to the other nomination songs.

Other problems include but are not limited to:

The inconsistent size scale of the CATS which throws me off constantly.

The weirdly overt sexual overtones added to MANY of the songs (Jenny and Bustopher being the worst)

This is just a personal gripe and opinion but I don't like that they used the UK version of Mungojerrie and Rumpleteazer. The American version is both better known and tbh way more fun. Teazer's giggle? Adds ten years to my life every time.

Victoria's added solo song, Beautiful Ghosts, while I like the song as a song it doesn't fit the style of message of the musical. In the movie she's singing directly to Grizzabella who's being an outcast for years that she should be grateful she even has memories of being part of the tribe?? What?? But I know they had to add an original song to be able to be nominated for awards in like the Grammys n shit (which is why all musical movies will have an original song, fun fact!!) kinda funny they went to the effort though considering........... I don't think anyone could have genuinely believed CATS 2019 was gonna win anything but golden rhaspberries.

Movie Mr Mistoffelees has made repeated appearances as my sleep paralysis demon

The various cut characters, shout outs to Jemima, Demeter and Jellylorum especially

Bombalurina being a henchman to Macavity rubs me the wrong way

God I've written... So much. You probably get it by now haha. Like I said at the beginning, I try to go into any adaptation with an open mind but... Let's be honest, this movie wasn't marketed to people who are fans of the musical.

It was marketed, and made, to make money. And they choose to do that through, I think, intentionally making the worst possible version ever. Bad press is still press and the more outrageous people said the movie was the more people wanted to go see exactly what kind of train wreck it was.

Which is a disservice to the stage show, honestly, and all the people who've worked on it over the years.

But what can we do, right?

And besides all that, I do... Still own the movie version and I do still rewatch it on occasion. It is entertaining even if it's in a train wreck kind of way. I usually end up watching the 1998 version, then 2019 and then various tour runs that are on YouTube. (I highly recommend the 2016 tour, it's very good)

So in conclusion. It's fun (?) to watch. I enjoy picking things apart and doing analysis (if you couldn't tell!) so like... I don't hate it?

It did what it set out to do, I guess, and I can't fault it for that but. It's not a fair metre with which to judge the stage show imo. But I know it's not everyone's cup of tea, haha.

Jazz hands. I'm more than happy to elaborate or just chat about CATS if anyone wants! I grew up listening to the Broadway CD since I was a toddler so it's been! A very long standing obsession haha. Probably the only other thing on par with CATS is my obsession with Jurassic Park which I've also been a fan of since I was 3 (but that's a whole story in and of itself)

#astrix thoughts #cats the musical #Thanks for the opportunity to talk about one of my hyperfixations anon!#And to anyone who reads this whole mess lmao

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aion-rsa · 3 years

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How TCM Resurrects Plan 9 from Outer Space for Ghoulish Table Read

https://ift.tt/3rnt3hu

UFOs are often visible, but not always. Sometimes they make noise, sometimes they are silent. If you’ve never seen a flying saucer, that is proof they are everywhere. This is one of the many amazing things we learn in TCM’s upcoming table read of Ed Wood’s masterwork, Plan 9 from Outer Space.

We once laughed at the horseless carriage, the aero-plane, the telephone, the electric light, vitamins, radio, and even television. But it took a while to get the joke about Plan 9 from Outer Space. Written and directed by Edward D. Wood Jr. in 1959, it was a little-known independent film with a direct line through directors who carried on the DIY-filmmaking spirit like John Cassavetes, Melvin Van Peebles and John Waters. The Cult of Plan 9 began when Ed Wood was posthumously awarded a Golden Turkey Award for Worst Director of All Time in 1980. Though this has been disputed.

Turner Classic Movies is the go-to channel for prestigious films. You can always count on a showing of The Treasure of Sierra Madre or The Public Enemy, or Citizen Kane. But top prize in the Golden Turkey awards carries its own prestige.

“This isn’t ‘Plans One Through Eight from Outer Space,’” Jerry Seinfeld proclaimed at the Chinese restaurant in a 1991 episode of Seinfeld. “This is Plan 9. The one that worked. The worst movie ever made.”

The SF Sketchfest presentation was adapted for the stage and virtual stage by former The Simpsons writer, and self-proclaimed Ed Wood superfan, Dana Gould. He and his Stan Against Evil co-star Janet Varney have been acting in live staged reads with a revolving cast of eager comic actors for over three years. The Zoom production also features Kat Aagesen, Bob Odenkirk, Bobcat Goldthwait, Oscar Nuñez, Deborah Baker Jr., Maria Bamford, David Koechner, Jonah Ray, Paul F. Tompkins, Baron Vaughn, and Gary Anthony Williams. The miniature visual effects, which are by no means just cardboard cutouts, were done by Mike Carano, and the sounds of musical accompaniment came out of Eban Schletter.

Laraine Newman is the narrator. She brings Gould’s adapted stage directions to such vivid life they can reanimate the dead, which is a key element of the actual plan at the center of the cult movie. Originally titled “Grave Robbers from Outer Space,” the film marked the last appearance of Bela Lugosi, who had also acted in Wood’s 1953 feature Glen or Glenda.

Lugosi’s footage for Wood’s unmade film “The Vampire’s Tomb,” was repurposed for Plan 9. Lugosi died of a heart attack on Aug. 16, 1956. To complete the film, Wood cast his chiropractor, Tom Mason, who in spite of his professional familiarity with the human skeletal structure, somehow believed he could mask the fact that he was much taller than the horror icon by pulling his cape over his face.

The table read of Ed Wood’s Plan 9 from Outer Space is part of TCM’s Classic Film Festival weekend, which runs through May 9. For easy comparisons, the original film will air directly after the event. Dana Gold and Janet Varney spoke with Den of Geek about refurbishing the low-budget cult classic, and how, like their predecessor, they proudly spared every expense on its new décor.

Den of Geek: I watched the table read a second time while playing Plan 9 in another window, and I just have to say, recreating those sets must’ve cost a fortune.

Janet Varney: Yeah, just like it cost Ed Wood a fortune.

Dana Gould: That’s the genius of, of Mike Carano. All those things were this big. You can see, I have the Bela Lugosi statue and the saucer. What he did was so amazing, and it really brought [the production] up to be better than it had a right to be. When Janet and I discussed doing this on Zoom, we were like, “Well, how do we take the limits of Zoom and turn them to our advantage? Why is it on Zoom?” By doing it, one, it allowed us to get a cast that we might not be able to get. Got people in different places. Maria Bamford was in Minnesota. Bob Odenkirk was in Vancouver. So, we could get people that normally we couldn’t get. Doing it in black and white helped. And then what Mike Marano did, it made it something unique.

Janet Varney: I would just also add, as a tribute to Ed Wood, we’ve never had anyone that we’ve asked to do the show who hasn’t wanted to do the show. Whether or not they’ve been in town for the live version, every person that we love that we’ve asked to be a part of the cast at one time or another is like, “Oh, my God, I need to do that. I want to do it. When is it? Please say it’s not a date I’m out of town. Please say it’s not. Will you ask me on the next one?”

Everyone knows this movie. And the idea of getting to step into its shoes in any kind of iteration is really exciting for every single person that we’ve ever asked.

Dana Gould: And it’s great to see how different people play different parts. Joel Murray plays the General different than David Koechner plays the General. Bob Odenkirk plays Eros differently than Patton Oswalt plays Eros. It’s always great. And Janet and I, we don’t want to know what you’re going to do. Just do it.

For this production, you assembled the all-star team. But were you ever tempted to use the same kind of players Wood used: wrestlers, tap dancing accordion players, chiropractors, and radio psychics?

Janet Varney: That’s a great question. I feel like we also have pretty good access to all those folks. So maybe that will get the next variety version. Because our friend, Jim Turner, is just about to do a fundraiser for the kind of variety acts who have been struggling in this last year, because of the many myriad things that they do.

So, I actually love that idea, Tony. And you’re right, it would be a totally different experience. That’s an interesting idea too, because we do come at it with a bunch of people who love the movie, but there’s also some major winking going on, as all the comedians and actors try to lean into being: “It’s my first time on stage, maybe my first time saying words,” really playing that up.

In the future, do you hope to see this performance eviscerated on Mystery Science Fiction Theater 3000?

Dana Gould: That would be great. If they did this.

Janet Varney: Especially because Bill and Kevin have done it. They have been in our production of Plan 9. Bill had been what Laraine [Newman] did. Bill did the narration at a show, at SketchFest, and it was great.

Dana Gould: I would like to see Jonah making fun of himself.

Janet Varney: Yeah. Let’s get meta. Our fans can handle it. Fans of MST3K can handle it. Plant 9 fans can handle it. Everybody could handle it.

I know I’m paraphrasing Seinfeld, but as the person who’s trusted with Plan 9 and all that comes with that, did you get to see the first eight plans from outer space?

Janet Varney: And are you allowed to talk about it if you did?

Dana Gould: Exactly. What were they?

Janet Varney: So many questions.

Dana Gould: So many questions.

Were the first eight plans rejected?

Janet Varney: Or were they all executed? And I use that word purposefully. Were all of those plans executed and they didn’t have great results?

Dana Gould: That’s a drunk man at a typewriter, “Plan 9 sounds good.” I remember showing Plan 9 to somebody who’d never seen it before. And they turned to me afterwards and said, “Did he not have any friends he could have shown this to and gotten notes?” He didn’t have those kinds of friends.

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What are some of your favorite mistakes from the movie?

Janet Varney: Oh, God. I was going to say Dana had mentioned that the first time he saw the movie was on a video cassette that Tom Kenny and Dan Spencer, and Bobcat Goldthwait showed him. And I was actually going to ask, did you think it was the tape glitching at the end when the monologue goes from, blip to [makes a noise]? And you’re like, “Wait a minute. Back that up, hold on. Is somebody going to fix this?”

That’s definitely one. That’s a spectacularly new, weird problem in a movie that was not a consistent problem. So, you’re like, “Wait, how did that happen one time, in this very, very overt way?” So good.

Dana Gould: From the very beginning, it’s like the first time you saw William Shatner do “Rocket Man.” I remember, I had a party at my house, and I was working on The Ben Stiller Show, and everybody was there. And back then, there was no YouTube. You would just have these cassette tapes with all of the weird stuff that you had collected on it, like the farting priest and all these weird things that you had, and “Rocket Man.” And I remember showing “Rocket Man” at this thing and Bob Odenkirk just shouting at my television, “You’re a grown man. You’re a grown man.”

I always thought Shatner gave the same line reading for “Mr. Tambourine Man” as he did for “Kahn.”

Dana Gould: Yes, he did. He did. He had a couple of tricks, and he used them. Yeah. There’s one direction he doesn’t get a lot, “You want to just try one big? You want to just see how it goes?” “Take the chains off and let it rip?”

Was some of the background music in this reading, especially the oxidation bit, inspired by The Simpsons?

Dana Gould: That’s all Eban [Schletter, the musical accompanist], you have to ask Eban. But again, that’s great, especially the Solaronite song. Necessity being the mother of invention, that is a brutal chunk of dialogue for anybody, a thankless, brutal chunk. And every time I give it to Paul, I say, “I’m apologizing ahead of time. I give it to you because I don’t want anybody else to do it. Because if it was anybody else, it would be death.”

Eban came up with that. And we were just like, “Maybe we can break this up. Maybe there’s a way to break this up.” And then Eban came up with that kind of thing. And it is one of those things that I love, that it’s like a mutant. It’s grown into its own weird thing to solve its inherent problems. You can’t describe it to anybody. It’s just like, you have to see it.

I used to remember describing Kevin Meaney, the comedian. I used to just tell people, “I can’t describe what he does. You just have to see him, but then you’ll know. You only need a minute, and you’ll get it. But I can’t describe it to you.” That’s really a good analogy.

Laraine Newman, I believe, steals this as the narrator. How much of that is improvised and how much of that is written by you? Because I know that you wrote the stage directions.

Dana Gould: It’s written, but Laraine, I call it “newscaster flat.” Laraine knows how the notes need to be played. It’s like the Wrecking Crew, you have a guitar behind you. I don’t know what Tommy Tedesco is going to play, but I know it’s going to be good. I don’t know what Carol Kaye is going to play, but I trust it. It’s the same thing. It’s a murderers’ row, and I wouldn’t have the gall to tell them what to do.

Janet Varney: It takes a very specific kind of confidence as a performer to be that deadpan. It’s such a specific skill. And it’s a skill, I think, born out of a type of bravado and expertise that’s all just tightly contained in this tiny space, where she’s not trying to sell any of it. And that is the genius behind what she does is just letting it lay out there like that. I mean, it’s hard.

When you have something that you know is funny and you would be laughing yourself, if you were listening to someone else read it, it’s so hard not to want to sell it. Like, can I make this even funnier? And she’s like, “No, I need to take it all the way back, to the back of the house just like, who me, who me? I’m just reading these things.” And it’s just so brilliant.

Dana Gould: This is a person that did sketches on live television with John Belushi and Bill Murray. So she definitely knows where her center of gravity is.

Janet Varney: That’s right. Well said.

Dana Gould: And yeah, again, unflinching. And that takes, as a performer, just like a little inside baseball, a lot of control and to really, to have control of your own ego, to know that I’m going to get what I want by stepping way back. I mean, Sterling Hayden is the only person I’ve ever seen blow Peter Sellers off the screen. And he does it just by, he’s like a statue, but there’s so much weight to it.

In the original movie, I love the “Criswell Predicts.” So I wanted to ask, Janet, do you get asked to do bathroom readings?

Janet Varney: I would if asked, I would love to. That’s one of the things that’s great about Ed Wood in general too, is just having this a sort of fascination with the occult and that kind of thing. And the way that it fits into camp is so appealing. And so, yeah, I would very happily jump back into some bad psychic practices if I could. Hopefully, I will someday.

Dana Gould: And an unerring dedication to Wicker furnishings.

Janet Varney: That’s right. Always that. Paula and her wicker.

Because the table read is done during COVID and everyone feels an immediacy to Zoom calls, were you ever at all concerned about an Orson Welles’ scenario, where the residents of San Fernando Valley will believe they’re under attack by flying saucers from outer space?

Janet Varney: If only.

Dana Gould: Yeah. That’s the least of our problems out here. I don’t know when you visited last time, but the walking dead, they’re around.

The table read of Ed Wood’s Plan 9 from Outer Space airs on Friday, May 7 at 8pm on TCM. Plan 9 from Outer Space airs at 9:30pm.

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citoyenneangele · 4 years

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Les Mis in Bernese (Swiss Les Mis part 3)

The most interesting finding I had during my research at the library was a script of Les Mis in Bernese German (Bärndütsch), a Swiss German dialect, my native language kind of.

I found this extremely fascinating, to read a story that means so much to me, in particular a version of it that is very close to the original in many quotes, in my local language. It was without a doubt a very particular experience for me, enriching in many ways.

This script was written by Ueli Bichsel in the occasion of a open air theatre production in the Bernese old town in 2011.

Sadly it was pretty hard to find actual footage of the show after 9 years, since many of the things are no longer available on the internet after such a long time. This sadly also includes the photos that the theatre company uploaded.

Here is a partly reconstructed version of the website, that does include some aspects of it, like the introduction to the play and the cast, but sadly no photos :(

Here is one of the few pictures I found on the internet a few months ago, featuring probably Javert and Gavroche

youtube

here is a little exctact of the play featuring Valjean’s dispair, a fair in Montreuil, the Thenardiers, Cosette and the other 2 kids, possibly Fantine...

The way this video is arranged makes me suspect there would be a whole recording, to which I sadly don’t have access, but this video just focuses on the woman who plays the accordeon.

Besides that the only file I have access too is a a few scenes that were featured in a christian tv show which you can find here. It is a portrait of the woman who did the co-direction of the production. The portrait starts at about 5mins in. It features besides the portait of Nathalie Trachsel also some behind the scenes clips from the rehearsals, also some scenes from the actual play: Javert upon Valjean’s release, Valjean and the Bishop, Fantine dying, Javert confronting; then after a break The Amis shouting “to the barricades!” (in particular Combeferre, Feuilly, and Enjolras (the guy with the red cravat), them building the barricade, the first attack, Gavroche shooting the sergeant and Gavroche dying, Valjean releasing Javert.

Now let me tell you about the particularities of this play and its adaptional choices:

The language: as I already said, this is the first time I hear and read Les Mis in my native dialect. It is a very poetic form of it using many specific Bernese terms of vocabulary, that I would probably not use on everyday basis.

The script is specifically designed for the square in the old town where it was realised in 2011. Multiple references concerning the nearby streets are being made. Also the actual cathedral of Bern, giving the square its name, is being integrated, as the seat of the Bishop of Digne. I think they invested also some part of the introduction to the play by stating that all of this could also have happened right here, in these streets, which is a pretty powerful message.

The play includes multiple dreamlike sequences, that also explain multiple cast of Valjean. The first dream is kind of a nightmare that Valjean has during his first night after prison where he sleeps on the stone bench which resumes the ordeal he experienced since his conviction for stealing bread (featuring various Valjean-actors at different stages of his life). The next one is the one where everyone surrounds Fantine and wants money from her after her dismissal. Another dreamscene is the internal debate that Valjean experiences after learing about the “trial of the applethief”, where multiple actors represent the different voices in Valjean’s head (Madeleine’s self who doesn’t want to give up his freedom and doesn’t want to give his town up and do good there instead, even if this means breaking with the past, Fantine who insists that he has to save her daughter and thus can’t go in prison, the apple thief who doesn’t want to go to prison for life in his place, the Bishop who wants him to stay with the truth...). The last dreamscene is the near-death experience Marius has after the barricade which is very similar to the finale of the 2012 film which it predates, except that they are actually not singing the finale but the regular Do You Hear The People Sing in (standard) German.

Another particularity is the insert of Javert as some sort of narrator that comments basically the entire story from his point of view. This is particularly interesting because this Javert seems to me more omniscient than I expect actual Hugolian Javert to be. And since there is no story without a narrator, this play ends with Javert’s suicide.

Generally the book seems to have been an important source of information, many of the dialogues are directly taken from Hugo

The influence of the musical is there and reaches also to the point of the already anticipated inclusion of a song into the play. But there are some part of influences that also make me think of other versions, in particular some dialogue seems to be directly taken from 2000 Les Mis (conversation about the cause from Marius and Enjolras)

Marius is a Republican (and sadly partially rude to Gavroche)

Javert tries to hire Gavroche to spy on the Musain, and the latter takes the money, but later uses this against Javert

Gavroche kills the artillery sergeant and not Enjolras, and gets killed while rejoicing his success

preparation for the barricade is featured

In general I have to say that I enjoyed reading this very much as it was really a well done adaptation from how I can tell this. Very detailed.

I am gonna keep a copy of this script. So if you have questions or would have to see something more in detail, just ask ;)

Click on read more to see the detailed summary.

Before the actual script several interesting documents are included

So the very first page is a letter that the director wrote to one of the actors in the play (he plays Le Noir, a elderly revolutionary, who gets a few lines of one of the unnamed workers of the Faubourg that Hugo quotes). He makes an excuse that it took so long, but they had to edit some things because there were not enough male actors for all the roles, so they had to change a few male roles into female roles, and they are also considering where someone may take over multiple roles.

Then we have a list of all the roles with the respective actors who played them. Some roles are still open, and marked with a question mark, as this list was made before the rehearsals actually took place

Next up we have a plan of the rehearsals, with days and hours and everything... interestingly enough they took place at a location that I personally know, so that is very meaningful for me.

Then follows the actual script. The title is Les Misérables - fate, death and love. The translation is by Ueli Bichel, last edited by Marlise Oberli-Schoch, in 2010.

Prologue

Valjean enters from one of the side streads, is poorly clothed, unshaved, lies on a stone bench and sleeps.

Valjean has a nightmare. so there is a scene within the scene. Which explains the quantity of Valjeans that are employed. Like the Madeleine's self, they appear to the actual Valjean actor in the dreams. In this particular dream sequence Valjean is sentenced to 5 years galleys. While both Valjean and his sister Jeanne beg for mercy (because he tried to work but that was not enough to feed all 8 of them, and parents are dead and so on...) the judge has none of this because the LAW.

Valjean2 is sentenced to more prison and other... corrective measures

Valjean 3 and 4 are sentenced to more prison and other unhuman treatment. Javert appears and lets the prisoners to be chained together. They go away

Javert has a monologue about Valjean. Basically he knows that we will say that this sentence is inhuman and that arresting people like JVJ causes more misery since he is the breadwinner of his family etc. But the law is clear and shall not be questioned. He is not in the position to judge the law, and he is also not responsible for the existence of criminals. His duty is it to find out about crimes and to fight them and to deliver criminals to their rightful punishment. He also gives Valjean his passport and tells him what he has to do and what happens if he breaks is parole...and then Javert speaks to the public and talks about how Valjean cried after his first conviction, and how he now doesn't show any feelings anymore. Wonders what happened to his soul.

A woman called Delacroix wakes Valjean up and asks him what he is doing here, why he sleeps on a stone bench and why he is not going to a inn. He says he was rejected everywhere. She gives him a tip and indicates... the actual cathedral that is on that square in Bern where the theatre takes place.

Image/Act 1

Valjean knocks at the cathedral door. First Magloire with Baptistine, then the Bishop come out. While the women are scared the Bishop approaches Valjean without fear and calmly. greets him with a blessing. Valjean tells him who he is and that he has nowhere to stay, that they didn't let him in even in the prison and so on.... Bishop invites him. JVJ continues to talk about his yellow passport. and is surprised that he wants to take him in ... more conversation of this kind. Bishop says it is not his home, it is the home of jesus, that the door ask not how the one is called who comes in, that is asks if one has hunger or thirst.... Says Valjean come sfrom a place where lots of sad things exists, a place full of hatred and anger against the peple, you have the right to mercy. When you go from here with a benevolence, and thoughts of freedom, a penitent sinner and a peaceful man, then you are worth more than anyone of us. Lets him sleep there.[

Magloire has a panic attack because the silver is missing and what else terrible could have happened. The gendarmes bring the arrested Valjean back.The entire conversation about how the bishop exonerates Valjean, by saying he gave him the silver and why didn't he take the candlesticks... And tells him to become a honest man, that he no longer belongs to evil...Javert as narrator again comments the whole scenery and does not believe that Valjean can become a good person in such a short time. Because once a prisoner, always a prisoner.

almost to prove Javert's judgement the next scene is Petit Gervais, but with a girl called Odette, Valjean tears his ticket

Image/Act 2

there is some kind of fair with music and dancing and market, and all kinds of shows. Javert is there, Thenardier is in his inn, Mme T. is there too... Thenardier boasts about how he, sergeant Thenardier, saved a General in Waterloo with lots of overdramatic details People in the audience have mixed feelings about his narration. While someone is totally impressed, someone else has heard other things about this "ghoul". The Thenardiers have first names (Justin and Rose) They have a discussion about their newest visitor and how they can rip him off the best. Make some remarks about his job as a innkeeper that remind me distantly of Master of the house in the musical. Javert has a conversation with Mme T. about Cosette. Then a conversation about Javert, who is new in town. and once they know where he wants to go (the police prefecture) they suddenly ask lower prizes.

So apparently the Thenardiers are in the same place here as Javert, and thus probably also Fantine and Valjean..

Javert arrives at the police. there is a captain Bovet, who is currently ridiculously eating a sandwich and is not bothered by Javert's arrival until he says who he is, i.e. the new police inspector, and he keep telling him that he is not behaving the way he is supposed to according to the official instructions. He wants to see the mayor immediately. On the way, Javert has a conversation with Bovet about how much more clean it is here and how much less crimes there will be here than in Paris. Bovet says that is due to the glass manufacture that the life in Montreuil has never been better. He asks him if he wants to see it. He says, first the mayor. Whom does the factory belong to? To the mayor. He first worked as worker, but after the bankruptcy of the former owner he bought the entire factory six years ago. Javert thinks then it is even better if they first go and see the mayor, when he seems to be the driving force in this town. Bovet says, yes, but also that he is kinda extraordinary, eccentric, well very shy. He lives like an eremit, retired and alone. He even did not want to be elected, he had rejected to be mayor at first. The people think he is abit crazy, but Bovet thinks he is sympathetic and yet he has a bit of pity for him because he is so lonely. A very short, very formal visit at Madeleine's house, where for some reason a soldier is watching, and asking the mayor to come. The scene concludes with Javert-narrator wondering from where he knows this man, finds it weird that this man does not show any interest in the prefect of police (excuse me what are you now, Javert, prefect, inspector, officer? I have lost the overview in this play), wonders if he has something to hide, himself, his face, his voice, a movement, his language....

a woman called Ducret approaches Madeleine, and tells her about one of the girls at the factory, that she has not spoken to ehr yet, but everything indicates that she has a child. Madeleine asks if she is a whore. He only does not want that his workers are captured by moral disintegration. Ducret then suggests to dismiss her. Madeleine trust upon her judgement, and says in this case she shall give her 50 francs and send her away. Ducret has a conversation with Fantine which starts with innocent smalltalk and ends with her being dismissed.

basically Fantine is in a state of powerlessness and everyone wants money from her and threatens her. (The Thenardiers, the landlord the renter of furniture, the letter writer...) Fantine breaks down.

a woman called Françoise who offers haircuts, wigs and teeth, buys Fantine's hair.

Whores in front of the Thenardier's inn and apparently Mme T. is there too, singing (apparently not being a whore). and Javert and Bovet are there too, about how they are being more and more... Two guys called Rambone and Savioni are harassing Fantine who looks worse than the other whores, and Fantine defends herself tries to kick one of them in the eggs ^^ When Javert comes the men disappear...

Javert arrests Fantine and as a narrator he makes a comment in which he says very clearly what he thinks about her (I am not gonna repeat that here though), but basically she is very criminal and is treating good and honorful citizens of this town badly and this can not be tolerated. She breaks down and asks him for mercy because Cosette, you know, but of course Javert doesn't care. So she breaks down and coughs even more...

Madeleine intervenes, Fantine attacks Madeleine, who only wants Javert to release her, but Fantine thinks Madeleine is responsable for all her misery and spits at him. Madeleine says he know what happened, the men are at fault and should be punished, not she. But she insulted the mayor. But the mayor says that this is his business and not the justice's. The whole Javert-Valjean argument about Law and who has what competences Fantine is free. Madeleine wants to pay her debts and bring her daughter back and make that she can live a worthy life again. Fantine faints, and Valjean says to the soldiers to bring her to the hospital

Fauchelevent's incident with the cart. Involves various inhabitants of the town called Toutou, Zidane, Josephine, Fabienne, and Rahel Javert is there too, and in the end of the chapter he is sure that Madeleine has to be 24601

Fantine is deadly ill, Madeleine wants to bring Cosette before she dies

Javert demands to be dismissed, featuring detailed description by Javert on the points where he thought to have recognized Valjean (and reading this script in its entirety makes me realise mistakes that they didn't. For instance here he still stole from a boy (i.e. Petit Gervais and not Odette). Equally detailed description of the apple thief, and who recognized him as Valjean. Mention about the trial the next day. Madeleine says he can leave. Javert insists to be dismissed. Madeleine says, rather than dismissed he'd need to be promoted, he appreciates him as the dutifuly man of honor that he is. Javert has another monologue that how each time when he arrested someone and mercilessly judged him, he told himself "help me god that you will never stumble", And now he stumbled and needs to accuse himelf. It is about justice, the law asks for an example. Valjean just says we'll see.

dreamlike sequence. Features different actors that represent the different voices in Valjean's head.

Bishop: tells him to go his way. And stand to his identity, to lie would be very wrong, he promised to do no wrong anymore.

Apple thief: blames him for making him his substitute, the one who needs to suffer in his place

Madeleine's self: is relieved that Javert is no longer going after him. Valjean no longer exists. This was god's will. God wants me to do more good here, to be an example for others, everything else is destiny. And for that I need to stay the mayor who gives food to the ppor and makes that the orphans get good education. He shall break the candlesticks as he shall break with the past. He shall forget about the bishop. And also this apple thief is a criminal, he shall be in prison.

Fantine: asks when she will finally see Cosette, he owes her a lot for all the injustice she has suffered because of him. She doesn't think the apple thief wil be a better person but he will be an example for her child. He shall save Cosette who is suffering because she is mistreated by the Thenardiers

Valjean wakes up and tells Arnaud to leave for Arras.

Image/Act 3

again no trial scene, just a summary of a very angry Javert who wants to go after Valjean NOW, as he humiliated him

Fantine dying. Javert confronting Valjean and making respectless remarks to both Valjean and Fantine. Valjean in turn accuses Javert of having killed Fantine. Valjean attacks Javert with a chair so that he can pay his last respect to the dead Fantine. Then says to Javert that now he is at his command. Javert makes another extremely unnecessary stupid comment. Valjean approaches Javert and stretches out his hands, as Javert wands to bond them, he knocks Javert down and escapes

Valjean sees Cosette and wants to help her carry the bucket of water home to ther mother. Cosette says she has no mother, thinks she never had one, that she brought her and never picked her up again. Valjean asks if she lives alone. She says, almost, Monsieur and Madame are only beating her. Realizes she is Cosette, says he wants to stay in the inn for the night, she shall show her the way. They talk about the two other children, Popine and Zelma, who never have to work and have beautiful dolls, and always are allowed to play, while she has to work all day and is not allowed to play as the two other kids don't let her. Only sometimes she is allowed to play, when she is done. But she has nothing to play with. She once played with one of the dolls but then Madam beat her. But she has a small sabre of tin with which she dissects leaves and rainworms

Usual Thenardier-inn conversations, in particular the one about the missing bread, the lost money, that Valjean miraculously finds, Valjean buying the work she'd have to do, (socks), he buys her a doll in a nearby shop, the whole negotiation about Cosette, including Thenardier insisting to see a passport. Valjean saying he doesn't have any, it is not required here. If he takes Cosette with him they won't know his name or his address, they will break down all the bridges behind them . However he has the letter of Fantine. They leave quickly.

Here the Thenardiers don't go after him, they just regret that they didn't make more money

another Javert-narrator monologue, about the dangerous criminal that escaped him and that now also has an innocent girl in his hands. He searched with 36 men and 6 dogs but he is like disappeared from this world. He felt so bad wehn he told the police minister about this development. But the latter did not seem to be that interested, talked about social misery, about shortcomings in the health system. Told him about the beggars, the neglected, from the small criminals who kill another man for bread, about big criminals who in hordes rob reputable citizens, he shall not chase a phantom. But our dear Javert is obsessed with said phantom and doesn't want him to escape. He wants to follow his trace until he has him on (no, not under) the guillotine. He is coming to Paris, not for the miserables, for whom he does not care that much, but for Valjean!

Image/Act 4

Gavroche singing a song about Paris in the time text, yet missing

a coin falls on the square (no idea from where), an entire bunch of poor children and teenagers fight upon it. Gavroche, the most streetwise/smart/crafty of them takes it, and escapes, the other children behind him, he gets caught by Javert, the other children disappear Javert treats him badly and takes the money away from him. When he asks Gavroche for his name, he asks Javert back, but he doesn't seem to be interested in reavealing his identity. But then Gavroche tells him his name, because he told him that there are many like him. And he insists that he, gavroche is unique. So basically Javert recruits Gavroche to spy on the Café Musain "because there are things happening that are of big significance for the state and the city", and Gavroche says yes, because he gave him money. Javert wants to know who is there, what they speak about and what they intend to do.

The students and workers in the Café Musain discuss the situation and Javert spies on them. The people is agitated, one fears that there will be a revolution, a uprising of the miserables Grantaire (who is absent in an older version of the script) declares that he only wants to drink and forget about life, a stupid invention without purpose. Bahorel and Joly have a conversation about Bahorel's lover Feuilly talks about Roman Gods (apparently we now have a Jehan Feuilly or is that a Feuilly Prouvaire or whatever?) Grantaire has a monologue about what they consume in different cities, and harrasses the waitress. Courfeyrac doesn't want any kings anymore and does not like the charter, thinks she belongs to the fire. Enjolras comes in with Marius, presents the latter as a friend of his who want to join them. Marius is a republican and declares that he wants to fight for the republic with all his force, however he hopes it won't get that far that he'll need to give is life. But he prefers to do so rather than life under a tyran (suspicously similar to 2000 dialogue if you ask me) They sing the Marseillaise until Louison tells them to stop, because she does not want the police to shut down her pub. Yes, apparently she now is an innkeeper too.

Outside the café: chaingang. Valjean with Cosette watching. The conversation between the two that ends with Cosette saying "If one of them would cross my way, I think I would die... Dad, what are galleys?" Valjean wants to leave. Marius sees her and wants to follow her, but loses her in the crowd. Goes after Gavroche instead and handles him pretty rudely (Sorry Marius, but this is not how you do it). Basically he tells him to find an angel. Gavroche then is just like "but does this angel have white wings?" Marius instead gives him a detailed description of Cosette and her goldbrown hair and white dress, and how velvet her look is and how silky smooth her lips ar and everything...

They are back to the Musain Combeferre says all the workers have to swear that they go to the streets at the first alarm and fight Feuilly says he can be sure, they fight. But the students have to pave the way. We workers fight, and even if there are as many enemies, we'll fight Feuilly says they are 300 already (oukei, now I am really impressed) Bahorel is convinced that in 14 days they will be as strong as the government i.e. 25000 Bossuet declares he doesn't go to bed, he makes cartridges. Feuilly wants to fight. now. Enjolras says first they need to have weapons Courfeyrac insists that the soldiers do have weapons. Le Noir has the "either for the people or against the people speech" that is more or less an exact translation of the speech that one of the revolutionaries in the Faubourg has in the preparations chapter. Gavroche comes, announces Lamarque's death Combeferre: what? Lamarque? The courageous freedomfighter, our advocate? Now we have resist on our own! Away with the government! Feuilly: we overturn the government! To the barricades! Enjolras: it is about us! now its about everything! at his funeral - to the barricade!

Valjean and Cosette in the garden. They are considering to move again. Cosette: we are changing houses like we are changing names. Valjean is like "I know that must be weird for you, but one day you will understand". Valjean goes inside. Marius is with Cosette (Gavroche led him here, for money), lots of poetic blablabla, and <3<3<3, and you know, Marius shows her handkerchief and ask if it is hers, she says yes. In the end Valjean calls her. Says he keeps the handkerchief as a pledge

The "Thenardier Gang" (yes that is how they are called nowadays) sets out to rob Valjean's house. Eponine tries everything that they don't. In the end she succeeds.. Claquesous blames not only her but also the sight of 2 fighting sparrows and a black cat during the day. Cosette tells Marius they are leaving for England and probably won't come back. Cosette says Marius he should follow them, but Marius says he has no money. He says e won't come tomorrow, only the day after, and also he dies if she leaves. Marius says they have to renounce on each other for 1 day, but maybe they'll win life. Marius tells her the address. or more precisely he graves it into the wall, says he lives with Courfeyrac. when he is gone, Valjean decides they need to leave immediately, he has seen people that don't please him and Paris is bubbling, they have no choice...

Image/Act 5 (named the revolution)

So basically Lamarque's funeral has already happened. And many of the poor have paid him their last respects. Then the subversive slogans suddenly caused the troops of the king to attack people. People are kinda angry and meet up in front of the Musain. Courfeyrac finds a group of workers who come from the funeral, but luckily have not been among those who were attacked by the dragoons (ah, they are not called dragons, good to know :)), but are very angry, Courfeyrac tells them to go inside they can use people like them. Bossuet speaks with a worker from another group, who has a grazing shot in the arm, but doesn't care, they discuss about their weapons Feuilly asks a working woman what she wants. She says: to fight. Show them up there that they push back against that. Feuilly approves. Another worker has no weapon but would fight if he had one. Bossuet tells him he should provide himself one. Worker sets out to pillage a armorer. Everyone in the crowd shares rumors about what happened, and the Thenardier and Claquesous are awaiting happy times. And Babet also. Extraordinary mention to Combeferre declaring this is the best day of his life. They start building a barricade and undercover Javert has made his appearance.

Eponine tells Marius Cosette has left, apparently without leaving a sign. Marius is heartbroken and wants to die on the barricade at any cost. Which again upsets Eponine because she loves him

Inside Musain. Enjolras wants to know what is happening. Courfeyrac says the rumors are very contradictory and it is hard to tell what is truth and what is a lie. Lots of army, people is building barricades everywhere. Barricade is growing and more people are there. Gavroche comes over the barricade. Asks a worker who has the command. One who's called Enjolras. He wants to know if he is a general. Worker says no, the generals are on the other side. We are only brothers. Gavroche says Enjolras he wants to volunteer. Wants to send him to the ambulance. But Gavroche wants a gun. But Enjolras wants to arm first the men, then the women and only then the children. Gavroche leaves and comes back. Tells Courfeyrac and Enjolras there is a problem and draws their attention on Javert, and tells them how he offered him money to spy on them. For some reason he now knows his name. They arrest Javert and by binding him on the post at the entrance they want to show a warning to anyone who dares to betray them

they are awaiting the 1st attack Combeferre sees someone approaching. Enjolras says don't shoot, we know who it is. Bossuet says it's Gavroche. Gavroche wants his gun. who's there- french revolution. The whole Mabeuf thing except that they really present him as an ancient assemblyman who was "at the convent" (which is here not meant the place where nuns are, but the convention, which is apparently called convent in german for some reason). Javert gets another weird narrator-monologue where he denounces the stupidity of the students who throw their lives away and those of the workers because they always think you can change the world all of a sudden. And how they don't have a chance as badly equipped as they are against so many more well trained soldiers. That has to end badly. Either they die in the hail of bullets or "they are beheaded on the guillotine" (ok apparently this Javert has a guillotine obsession but doesn't know how such a thing works ) Javert goes back into the scenery where Joly reminds him that he will be next... The whole first attack plus Marius wants to blow the barricade up, and thus saves it, and asks for the leader, and Enjolras says its Marius. But all Marius wants is to be alone for a moment

Eponine dies and Marius discovers that Cosette still is in Paris

they sing and women bring food, they reprepare the weapons, basically drink with me mode I guess... Marius writes his letter to Cosette and asks Gavroche to bring it. Gavroche doesn't want to miss the next attack and thinks he shall wait... Marius insists that he has to leave now, that they won't attack until tomorrow. And then it will be too late to go because all the streets are closed. Gavroche goes.

It is night and they are trying to rest. One starts to sing the "Song of the Revolution (Musical)" and then the others join in. Combeferre and Gavroche come back. Gavroche has a bag of cartridges with him. Gavroche asks what is going on with them. Here no one sleeps anymore. The whole army of Paris is around etc. (basically what Enjolras says in the book divided between Gavroche and Combeferre) The whole we'll stay and build the barricade higher, conversation, and the uniform conversation, except it is reduced to the essential and Combeferre doesn't get to say anything, it is all Enjolras, in between Marius asks Gavroche who told him to come back. He says he delivered the letter "to the gatekeeper" Valjean comes with the 5th uniform, the 5 leave. Enjolras cares for Javert. Javert recognizes Valjean and says he's gonna have it easy now. Gavroche announces their arrival. A cannon is being heard, like it being rolled there. Cannon attack. 2 people die. Enjolras says this was a grapeshot, and that they needs to stop this cannon, i.e. that it needs to be "fireworker"'s turn. Gavroche says he takes that over. Before anyone can prevent him from doing so, he is up on the barricade and shooting. he hit his target, and is all excited and rejoicing about how he "blew out his lamp", that he evidently forgot that he is standying on a freaking barricade. This causes him to be also shot, of course, and he falls down dead right into the arms of Combeferre.

Enjolras says to all that the last one alive shall shoot the spy. Valjean asks Enjolras if he can crush this man's skull with his own hands, and since no one has objectsions he lets him. Final attack is announced by both Marius and horns. (yes another Hernani flashback for Autumn ) . Everyone goes to the barricade Valjean and Javert alone. Valjean frees Javert with the mention of the promise he made to the bishop of Digne to never do anything unjust. And killing him because he did his duty as a policman here today, or because he followed him his entire life would be wrong. And if he against the expectance should make it out of here alive he can find him in Rue de l'homme armé. Javert says he hates this kind of games, he shall rather kill him. Valjean tells him to leave. He shoots in the air and goes back to the others where he says he is done. Heavy shooting happens. One after the other the defendants of the barricade die. Valjean does stay at the background and doesn't shoot on the soldiers, yet he supports the defendants of the barricade. he realizes that Marius was hit and falls from the barricade. Valjean goes to him. And whereever he looks there are just dying or dead "revoluzzers" (yes, this is the word he uses in the script, not revolutionaries or something like that). During the very last attack on the barricade he carries Marius away from the barricade and can escape with him to the sewers. The soldiers pull the flags of the revolution out and plant the flag of the monarchy (whatever "the flag of the monarchy" may be)

Image/Act 6

We are in the sewers now. Barely conscious Valjean falls down on a sleeping Thenardier at the gate that leads out of the sewers who thinks he has made the great gain. and of course wants to steal from them. and comments this in a monologue this is observed by Javert. And of course now Thenardier is all about helping these people, if they aren't dead yet etc. Javert says him just to back off, calling him by his name. Thenardier insists to help, but he says he shall just leave. Valjean gets back his conscience and checks if Marius is still alive, wants to lift him up again, then sees Javert and lets him down again. But Javert just asked him if he needs help. Valjean says to Javert he hasn't given him the address , so that je can escape. Javert wants to know who that man is. And reminds Valjean what happened to those who were on the barricade. Valjean says he survives if he gets help quickly. He is a daredevil, an idealist, but a good person and he can do many good things yet for our country. Please let for once in your life reign mercy before law. Javert insists that he is dead Valjean says not yet. Insists that he needs to save Marius and then he says he'll come back They arrange a meeting at the same place at the same hour the next day.

Marius lies in the middle of the open square between Barricade and inn scenery. There is only the bed and Toussaint that cares ffor him and Cosette that is looking over him. Marius has a fever dream and is near death when they sees all the friends including Gavroche and eponing with the revolutionary flags and singing "The song of the barricade" climbing on the barricades. It is the german DYHTPS (Lied des Volkes), arranged kinda like the finale in the movie that came out notabene after this thing here. Basically Marius is convinced that they came to lead him to heaven, but in the end they get fainter again and in the end of the scene Marius is alive and awake and with cosette.

Javert derailed made by Javert-narrator which linguistically resembles the confusion of Javert Valjean comes in in the middle of that and says "here I am" Javert halfway awakens from his trance, makes a step towards Valjean, holds his pistol agains Valjean for 2 seconds, then he turns around makes two steps back and holds it against his head. Light goes out. Shot.

THE END.

#Swiss Les Mis #Les Mis uf Bärndütsch #Bärndütsch #Swiss theatre #les mis #les mis play #les mis script

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laffiteslanding · 4 years

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Today in Movies that Need Theme Park Adaptations: Little Shop of Horrors (1986)

There are certain movies that just scream out for theme park adaptations. Jurassic Park. Jaws. Avatar, apparently. To this esteemed company, I humbly submit Little Shop of Horrors.

Revisiting this movie, I honestly can’t believe that no one has ever attempted to adapt it to theme parks, even if only as a stage show. Even at a glance, it has a lot going for it:

A killer Menken/Ashman score (that directly preceded their work on The Little Mermaid no less!)

A theatrical design/aesthetic that could be adapted to theme parks super easily

A memorable location in the form of the shop, which actually attracts tourists in the film, giving guests a convenient reason to be there

Great creature design and puppetry effects that could be incredibly realized through animatronics

Merchandising potential. Especially with the original ending factored in

Also in the original (cut) ending, some fantastical potential dark ride environments

Posters that write themselves: “See Audrey II!”

Finally, a delightfully twisted sense of humor

I can imagine nothing happened with the property because it was released

A) by Warner Bros.

B) in the 80s, when Disney alternatives weren’t super into the theme park game and Universal wasn’t licensing other studio’s IP

C) regional parks weren’t big on licensing properties either - and still aren’t, mostly, with the exception of cartoons and superheroes.

Furthermore, the film was a only a modest box office success at the time, though it has since grown into a cult classic that has spawned countless high school and professional theater productions. Little Shop is more well-known (and relevant!) now than it’s ever been, which makes 2020 the perfect time to adapt it!

So, How Would It Work?

Glad you asked! Little Shop could go in a few different directions, but in this case the most obvious answer seems to be the best one: we’ll make it into a shop! Not just any shop, mind you. No, this is going to be a full-on experience, like shopping in Diagon Alley but even more immersive. Here’s a quick rundown:

Leading up to the shop/in the area are posters that have a handcrafted quality to them and display sayings like “See Audrey II!”, or “Mr. Mushnik’s This Way!” There can also be graffiti on the walls cheekily referencing “Big Green Mother From Outer Space,” or bemoaning a terrible dentist appointment. There are also a number of missing persons flyers, and a few small vines may be creeping out of the shop entrance.

Once we get to the entrance, it’ll be an approximation of the small store front windows, though with a few changes for practicality. We’ll expand the space a bit beyond the tiny confines shown in the film to allow for better guest flow - perhaps Mr. Mushnik expanded a bit after his recent windfall. Not too much bigger, though. It is a “Little Shop” after all.

After heading through the facade, guests will be greeting with a room equally reminiscent of Ollivander’s and Disney’s Enchanted Tiki Room. The room is quaint, but not quite claustrophic. The ceiling may be raised to add some necessary breathing (and show) room. Houseplants and flowers line the walls, as does a host of purchasable goods - more on that later. Apart from the increased stock, the shop appears to be relatively normal, albeit with the tiny exception of a massive AUDREY II animatronic/puppet situated along the far wall.

The trick here is that this is two attractions in one - a shop and a show, kind of like Sonny Eclipse but way more involved. Even better - there’s no real barriers between the two. Ideally, there’s no fencing or barriers in the middle of the shop, though Audrey II has one or two handlers that keep everyone at bay. It seems Mr. Mushnik has taken on some extra staff to help with his booming business.

Audrey II, unsurprisingly, is the star of the show. There’s a considerable amount of movement in the animatronic, and though it slows down occasionally, it never stops completely. Most of the time, Audrey II will function as a sort of puppet, making snide, guest-specific commentary that is improvised by a hidden controller, similar to Turtle Talk or Islands of Adventure’s Magic Fountain. Movements will be synchronized so that it seems it’s actually making such comments in real time. Every 15 minutes (or three times an hour), however, Audrey II gets hungry. Like, really hungry...

So hungry, in fact, that it will burst into song! As the gigantic plant begins to sing one of a few songs from the film (”Feed Me” or “Mean Green Mother From Outer Space” are prime picks, and can alternate), the room around us comes to life. Vines begin to snake down from above and clusters of singing buds emerge from hidden cracks in the walls and ceiling. There may even be a sort of rumble effect to accompany these changes as the vines make the building supports groan in protest.

As the song reaches it’s climax, an unlucky “shopper” (read: cast member) ventures too close to the plant by mistake. Despite their screams, Audrey II swoops down and gobbles them up, closing its mouth around them but leaving their legs flailing for all to see before they, too, finally disappear. In reality, this effect could be accomplished in a number of ways - a more conservative approach would be that the lights go down for a moment as the song ends and suddenly we see (animatronic) legs flailing in Audrey’s mouth. The “shopper” is never actually eaten. Alternately, the mouth is fitted to actually fit a cast member inside, much like it is in stage productions. The “eaten” cast member can then slide out the back of the puppet through to a room on the other side of the wall. The latter would be preferable, as it could be quite an effect.

Afterwards, the shop suddenly returns to normal. All is as it was, and the shop’s staff encourage you to shop to your heart’s content. If anyone has any concerns, the staff cheerfully inform them not to worry - there’s no danger now that Audrey II has been fed! Besides, Mr. Mushnik has informed them they have to meet their quota.

While that concludes the “show” portion of the attraction, there’s still the “shop” aspect to explore. There is some merchandise available in the store, though it also spills out into the street outside to provide more space for the show. Make no mistake - this little shop isn’t going to be a t-shirt/bag/ears extravaganza. The merchandise here is intended to be an extension of the show in a way that is, I think, somewhat unique to Little Shop. That is to say, all of the merchandise available at the shop revolves around Audrey II and its cuttings. Animatronic toys, Audrey bud bouquets, and even seed packets are available. If there’s one rule in play here, it’s that the items available for purchase must be some form of the plant (Note that this playfully mirrors the alternate ending of the 1986 film).

The reason of this is simple, and its the same reason the two parts of this attraction are intended to coexist in the same space: theme. Both the film and the play focus on the morality of desire, and the film goes a bit further, touching on the dangers of consumerism. The act of purchasing something from the shop, especially after seeing a full grown version of the thing you’re purchasing eat a man alive, becomes an inherently thematic and even moralistic act. It may make the purchaser feel uncomfortable, yes, but there’s a thrill to the act now, as if you’re doing something dangerous. Even those who purchase nothing will likely feel some sort of reaction, perhaps even a positive one. Either way, the shop’s merchandise now serves as part of the experience, rather than being a separate (albeit adjacent) one, and now serves to enhance the immersion further. That’s why the whole thing is the attraction, rather than just the show element. It’s a cohesive thematic experience, but only if all of the elements work together.

Details, Details

A few more tidbits to really flesh out the experience:

Various animatronic buds are scattered throughout the store’s merchandise shelves to add to the ambiance (and provide great stereo sound quality!)

If Audrey II ever needs to go into B-mode/goes down, a secondary show can involve the staff bringing a dentist in examine to examine the plant’s teeth. Hilarity ensues.

Instrumental versions of the musical soundtrack play over the radio in the background when Audrey is not singing. Radio announcers are soundalikes for the “Greek chorus” girls, and there’s at least one advertisement for an eye doctor that will help you “suddenly see more.”

And that about wraps it up! Got a different idea for an adaptation? Would you have done something differently? Let me know!

#little shop of horrors #armchair imagineering #disney #universal #theme parks #adaptation #musical #shopping #shows #attractions

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sophieakatz · 4 years

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Thursday Thoughts: “Cats” Is Not Bad

My dad was in a community theatre production of Andrew Lloyd Webber’s Cats years ago. One night, he came home from rehearsal still wearing his makeup – fur, whiskers, the whole shebang, all created with face paint. He quietly entered the house, and my siblings and I watched as he crept around the edge of the room, his eyes wide and his head tilted to the side in a feline sort of way. I was entranced. While of course I knew it was Dad, in that moment, he was a cat.

And then he looked me in the eye, and said “MEW!” in a goofy, high-pitched voice. We all laughed, the spell broken.

Years before that, my family attended a showing of Cats at a different community theatre. During intermission, while the audience milled about the theatre, several of the ensemble cast remained onstage – as cats. They sat at the edge of the stage and stared at us, still and silent and unblinking. They crawled up the aisles, brushing up against people’s legs. One came right up to my brother, who was holding his program out lazily, and WHACKED the paper with a paw, startling him. Another even jumped up onto my dad’s lap and lay there, purring, while my siblings and I gleefully pet the “kitty.”

For me, this is the magic of Cats. It taps right into the suspension of disbelief at the heart of all theatre. Cats allows you to forget for a couple hours that the people before you are human. For the duration of the show, they are cats. Cats who sing, dance, and wear ballet shoes, yes, but cats nonetheless.

My biggest issue with the 2019 movie adaptation of Cats is that it does not allow the viewer to forget that the performers are human.

I mean, they have human toes, for crying out loud! Human toes! And human hands, and faces! My eyes kept snapping to these details, latching onto them instead of the beautiful music. The wonderful makeup that transformed my father into Old Deuteronomy is nowhere to be found.

At the same time, all these not-cats have CGI ears and tails, twitching and twisting in uncanny ways that don’t go at all with the otherwise-human body. It’s as though the filmmakers couldn’t decide whether to go for realism or fantasy and ended up stuck somewhere in the middle, trying to do two things at once with a discomforting result.

This uncomfortable “two things at once” feeling permeates the film.

The film doesn’t seem to have a firm stance on what size objects are in this cat-run world. In stage productions of this show, the stage is covered with larger-than-life pizza boxes and boots to establish that the characters are actually cat-sized. But in the film, Mr. Mistoffelees in quick succession picks up a slightly larger-than-life hand of playing cards, a much larger-than-life red die, a pencil that is pretty much normal-sized, and a fork that is larger than the pencil but somehow not as large as the die. It’s like the film is trying to show a world in which cats are cat-sized in one moment and human-sized the next – two things at once – resulting in confusion.

And then there’s the matter of the cats’ clothing. Some of the cats wear clothes while others do not. This is, of course, a carry-over from the stage version, in which some cats wear fur-patterned leotards, while others have clothing items which symbolize the kind of fur the cat has. However, the film takes some bizarre twists on cat-clothing.

For example, in the stage production, Jennyanydots begins her number in a shabby coat which she later drops to reveal a fun, frilly, colorful layer of fur. In the film, we meet Rebel Wilson’s Jennyanydots as a cat with realistic orange-and-white fur – which she suddenly unzips down her front mid-number to show that she is wearing clothing on her real body underneath.

The film is trying to have it both ways – Jennyanydots is a real cat with real fur, but also a fake cat with fake fur, and more questions are raised than answered.

Bustopher Jones has always been a cat in a top hat and tuxedo, evocative of a cat with tuxedo-pattern fur. James Corden as Bustopher Jones starts out in a top hat and tuxedo. Then he takes off the tuxedo to reveal tuxedo-pattern fur.

Once again, the film is trying to do two things at once – clothing to emulate cat fur, and cat fur to emulate clothing. The result, however, is leaving the viewer with the impression that a grown man has just stripped naked in front of them in a PG-rated movie.

If you put animated animals in clothing, then the animals can become naked. Disney’s Zootopia recognized this to hilarious effect, but Cats does not seem to.

Idris Elba as Macavity looks excellent in his beat-up hat and coat, which give the theatrical impression of a creepy scarred-up cat. But this illusion is abruptly discarded when Elba, too, strips down naked. I ended up watching that scene through my fingers, as I had put my hands over my eyes.

It struck me early in the film that they could have – should have, even – completely owned the fact that these were cats.

Unlike stage theatre, which depends on practical effects and clever costumes, film presents the unique opportunity to go all the way into fantasy.

They could have completely animated the cats – four-legged and meowing! This would have avoided the nudity problem and rescued all the film’s animals, mice and cockroaches included, from the uncanny valley. Instead of doing two things at once, the film could have done one thing wholeheartedly, the one thing that film can do but theatre cannot.

And this is where 2019’s Cats is excellent: when it takes full advantage of the film medium.

Films are not grounded in a single location or time. The camera can jump-cut to anywhere! This is used to great effect in “Mungojerrie and Rumpleteazer,” following the troublesome cats as they jump around the bedroom, dining room, and staircase, sowing chaos. Throughout the film, we move beyond the junkyard and are able to see the alley of trash cans that Bustopher Jones eats from (rather than the clubs themselves as the song implies – hilarious!) and the barge that Growltiger commands. I downright love how “The Ad-Dressing of Cats” is set around the Trafalgar Square lions – an appropriately grandiose setting. And the very best musical sequence in the film is “Skimbleshanks: The Railway Cat,” which transforms Skimble’s tap-dance into the rhythm of a train, seamlessly transitioning the scene from the theatre hall to the train tracks.

Cats as a film also devotes time to character development in a way that the opera-esque stage show never has. Sure, you can research the backstories of all the cats if you want to, but the casual viewer never learns anything beyond what’s said in song. With just a bit of dialogue, Cats transforms Mr. Mistofelees from a cocky deus ex machina to an endearingly clumsy magician who finally, on this night, gets his first big break.

Another transformed character is Victoria. While originally a dancing role with no solo singing part, Victoria is reimagined as a newcomer to the Jellicle Ball, there to ask questions and be sung to. She is, in other words, the audience surrogate, a necessary figure in film. While Cats the stage musical addresses the audience directly throughout the show, fourth-wall breaks are something that a stage show can get away with more often than a film can.

A critique I’ve heard repeatedly about the film is how Judi Dench suddenly sings directly to the camera in the final number. For me, this was not a detriment. “The Ad-Dressing of Cats” is and has always been a song sung directly to the audience!

However, I can see why someone who was expecting a traditional film would be bothered by this. The film put a lot of effort into removing the other fourth-wall breaks by having the songs originally sung to the audience be sung to Victoria instead, so the sudden return to a device that works better on stage than in film is a bit jarring as, once again, Cats tries to do two things at once – to be both a film and a stage show.

I’ve been a fan of this musical for a long time. But given how many people were vehemently calling this a bad film, I didn’t expect to enjoy it.

But I did enjoy it. I enjoyed Cats.

The music is just as entertaining as ever. The singing and dancing is just as good as you would expect it to be given how much star power they packed into the cast. What’s more, watching this movie made me think of all the great experiences I had with the stage production, watching my father from the wings as he sang “The Moments of Happiness” and having staring contests with the still-in-character performers as a child.

When I critique a creative work, I think less about terms like “good” and “bad” than I think about the effect the work had on me. As I made clear in the first half of this review, a lot of the design choices in this film made me uncomfortable and took me out of the magic. At the same time, a lot of this film felt like coming home.

Cats is a weird and beautiful musical. It’s about cats who sing, dance, and address the audience directly. None of these qualities are inherently bad – far from it! Together they create one of the longest-running shows ever on Broadway.

Could the film have been better? Yes, I believe so. If it completely owned the fact that it is a film about talking cats, and if it focused more on doing one thing well than it tried to do two things at once, then Cats could have been an excellent film.

But Cats is not bad. It really isn’t. And this is this, and that is that, and that’s how you address a cat.

#cats #cats 2019 #cats musical #andrew lloyd webber #musical theatre #musical theater #musicals #broadway musicals #jennyanydots #bustopher jones #mr mistoffelees #victoria #film #reviews #thursday thoughts #critique #film criticism #suspension of disbelief

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kalira · 4 years

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CATS movie thoughts~

(post mirrored from Pillowfort here)

I went to see the new CATS movie with @mad-madam-m yesterday (we've been planning this since the first trailer dropped) and it was actually a) better than I expected, and b) enjoyable, which was a nice surprise! (I expected us to enjoy it because it was entertainingly bad, honestly.)

I've loved CATS since I saw the Broadway version as a kid, and listened repeatedly (incessantly) to the soundtrack thereof back then - and at times even these days - and was delighted to see a production of it when it came to our city when I was small.

The movie left me with 2-3 major issues and a handful of quibbles. . . I have not organised them at all, but here are my thoughts.

. . .which I am putting under a cut because I had a lot more to say than I thought, apparently.

I am not surprised they did an outsider character to be an audience surrogate, but *SIGH*

Also . . . Victoria? Whose characterisation in the stage show is 'excellent ballerina'?

I know that's why they chose her, they could fill her in as they chose, but it was weird to have a cat who left almost no impression in the stage show as the 'main character'

Okay I admittedly missed that they apparently folded in Jemima/Sillabub to her as well, but that really doesn't make me feel any better

Did we have to have the incredibly forced romantical feeling type focus?

Not to mention we had some oddness towards that with Munkustrap initially

Then there was Misto falling tail over paws - because he bumbles through everything - at her

Then the oddness of the Munjojerrie and Rumpelteazer song which was probably not supposed to added the both of them to that list, if more briefly

Holy heckies adding a new song for the new central character was not a bad idea but literally anywhere else in the goddamn movie, and not spinning off of Memory oh my lord all the no it was so cringe

Look you cannot build off of Memory as 'but I have it worse than you so feel better'

Who has it worse is never a good game to play at all, playing it here was so cringey

'What's a Jellicle?'

Okay I know, audience surrogate, but oof

Actually let me skip back - the CGI did not bother me that much and it's like 99% of the ranting I have seen about this since the very first trailer. It never bothered me that much.

The cats were made a bit more plain; that bothered me.

Let them have ruffs, especially the toms, wtf did you remove those for it looks a) weird, and b) wrong for cats

However the show really can only be played by humanoid cats, I think, or it . . . look, the production wouldn't work with more catlike cats

The addition of dialogue stringing together the songs and adding more plot elements and freedom to work with them was really not an issue in my opinion

It strung together the slightly expanded plot in a way it really needed

It wasn't that jarring or awkward, to me

Misto, oh baby, why oh why did they do that to you~

Mister Mistoffeelees, who is an aloof, confident, and incredibly skilled magician in the stage show is made into a nervously fumbling barely-past-kitten who fails at almost every bit of magic he attempts (and falls and trips rather a lot as well, when he's a brilliantly graceful dancer in the stage show)

It was painful, oh sweetie

I can guess part of why they did it, but it was not well done and I don't think it was necessary

Misto's magic was painful; not because it was painful itself but because he was so bad at it, and everyone expected him to fail every time he tried

Misto using his magic for Gus' song, for dramatic effect? I thought it was really great and also really sweet

Actually Misto being so starry-eyed at Gus was adorable all around

That could have been put in even with Misto being his confident stage self, in fact it could have been super cute to have him be composed and confident and then go to an overexcited kitten with Gus in front of him

The absence of the Conjuring Turn was so sad, it is a star point of Misto

Look I'm not a fan of the 'awkward bumbling male finds his confidence because of the unwavering (with no reason) faith of the new female love interest' trope in general, having it wedged in here suddenly did not make me like it any more

Upon the note of Misto, the rescue of Deuteronomy . . . was very badly timed on the beats, and badly done (I felt) when it finally happened.

I didn't expect her to show up when Misto first tried

I semi-expected the second time, but okay

When she didn't show up the third time it stopped being any kind of suspense - especially since, let's be real, the plot is not really a huge mystery - and became 'okay so . . . what are we doing instead now?'

And then the fourth try, when she did appear, it was done very anticlimactically

Deuteronomy being female didn't really bother me but it left me a bit eh

Judi Dench is awesome, but Deuteronomy not really singing is weird

Also, let Judi Dench's Deuteronomy have been implied to have had 9 - or 99 - wives you cowards

. . .plus that line being altered to be another repeat of 'Old Deuteronomy's had many lives, some may say ninety-nine' . . . it was awkward/clunky and felt over repetitious

Jennyanydots . . . oof, poor hon

Jennyanydots is a mature and above all sweetly sincere queen in the stage show

She honestly wants to better the mice and the cockroaches, and it's a bit silly perhaps, but she is determined to do it - and does

And the other cats respect her and, more, they genuinely care very much for her it seems

And she's earnest

I expected her to be played more for comedy given who was cast to play her, but the extent of it felt not great, to be honest, even before the other cats began to feel like they were mocking her a bit

Not to mention - the joke about the mice being dinner and a show I could let pass despite being very different from Jennyanydots as she originally was, but actually eating cockroaches as it went was a bit too far

As I told M when we were discussing the movie after the showing, it was like, I was rolling with it, and then they rolled too far

Also on that note? The CGI mice were a bit o.O - when the CGI cockroaches started marching my thought was actually 'oh, this won't feature in my nightmares at all'

They won't actually but they were kind of horrifying

I did like the cats watching with that alert, slightly twitchy focus of a cat seeing a small moving creature

The traditional costume change looked . . . weirder and creepier with the CGI than costume work

Bustopher Jones went from a dignified figure to a ridiculous one

It was again rather terrible to watch, wince-worthy

Prancing through the rubbish bins and splatting through things instead of his usual stage show refinement and rather snobbishness? Oof

Bustopher has always been respected, even specifically so because of his size, making his weight a joke and/or something he's 'extra sensitive' about was . . . so unnecessary

The Rum Tum Tugger has always been my favourite, since I was a wee tiny Kalira

. . .he was blessedly not so bad as I feared - and even went back closer to the rocker cat (complete with flirtatious tease nature) than the rap adaptation I have heard of and been continually ohgodwhy no at

However, why did they discard the few details of his character that are not a self-important flirt?

He's not even focused at that - in the stage show I am accustomed to he is very much a determined performer, basking in being adored

he was a bit 'oo shiny' and kept ignoring his adoring audience in the movie?

In the stage show he is also around to drop in playful lines from time to time

Also he sings a good chunk of Misto's song and brags him up, as well as pieces of other songs

While he claims to be distant and aloof, and may somewhat be, he continually comes back and causes minor disruptions for his own (and others') amusement in the stage show

He also protectively shelters some of the kittens more than once

Misto's barb was kept in but sounded more like a jealous, anxious attempt to detract attention instead of a teasing barb at an egotistical friend

Along with many of the songs, Tugger's was altered so that it is entirely sung about himself, and as with many of them, I felt it was better with some of the lines from another singer

Though his is not so bad as many, perhaps because he's already talking himself up

I wasn't really surprised to find he's changed from the inspirations I remember from the stage show and when I was little (Mick Jagger and David Bowie, mother told me when I got older XD) but it was still a little bit of a disappointment

Also a bit random, when mostly the soloing cats - at least/especially the ones singing for themselves in front of all the others - were competing in the formalised 'who gets to ascend' spread, that Tugger is evidently not

Mungojerrie & Rumpleteazer were kind of fantastic and then kind of wtf for me

me, during their song, as they pulled Victoria along with them to play and cause all manner of mischief in the house: I don't think I'm intended to be shipping Victoria with both of them now, but I definitely am

me, at the end of their song, as they deliberately abandoned Victoria strangling and trapped as a dog came barrelling up after her with saucy nonchalance: . . .what the fuck?

me, when they were helping with Macavity's attack directly: excuse me no

I know they're said to be 'rumoured' to help him out in the stage show but this was very different

Yeah they said here that it was 'only a bit of fun' and they didn't know Macavity was planning to kidnap Deuteronomy, but . . . no

I did actually like their colouration redesign, making them I think the only cats I did in the entire movie

The lack of their tumbling and acrobatics was a bit sad, though their song and playful successsion of running about, Victoria in tow, was fun

Macavity was played super well considering he has no lines in the stage show so rather little to go on, and the expansion of his plot was honestly understandable - I mean, CATS has a heck of a thin plot for a musical, let alone a movie

One of the things that bothered me about him was honestly that his song where he is described he is described as ginger and poorly-combed

He's played by Idris Elba and his fur is sleek rich brown

He looks great, but alter the lines, you've already altered several, including Deuteronomy's because of the genderswap

On that note, the plot expansion in general . . . it was way better than I feared

I was afraid they were going to wedge in another plotline alongside the (very thin/hardly there, admitted) one in the stage show and it wouldn't go well

On the other hand the making the Jellicle Ball an official competition was a little eh to me

The more I think about it the less I like it even, really

I suppose it had to be, maybe, to work with expanding Macavity's plot and actions, but I don't care for it (and I think it could probably have been worked around)

I could have done without the queens being actively aggressive to Grizabella, oof that was owch

They recoil and hiss and act like she has the plague or a curse, very disdainful of her, in the stage show, and it works well

Having the queens actively attack her, not only hissing but instead of recoiling circling her and closing in on her to slash at her? It was . . . not good

So I guess the lead queen that I noticed doing that the most is . . . Cassandra? I honestly thought it was supposed to be Bombalurina

Bombalurina only showed up as Macavity's chief singer and queen underling, to distract and drug everyone

Really? Yeah some of the queens sing about Macavity in the stage show, but Bomba is even the one who comforts Demeter when Macavity's presence freaks her out (in what seems like a trauma reaction, rather) in the stage show

I have no idea who is supposed to be Demeter, the queens were all but interchangeable background, really most of the chorus cats were

Which brings up the theme of a lot of the cats being unrecognisable to me, honestly, and/or having their roles remixed a little, or straight-up lessened

Skimbleshanks was awesome, and his song/number was perhaps even better than in the stage show

The tap-dancing along the rails? Awesome

The cats playing around in the sleeper cabin was also pretty great honestly

I will say when Skimbles appeared my immediate impression was of a very specific within-the-LGBT+-community gay man stereotype

Also I am terribly amused that he's wearing half a suit of clothes and it's the opposite half that he was in the stage production I'm most familiar with

Munkustrap was rather different, still a large part of keeping things going, if not the same way

Less serious than I'm used to? Not that he's only serious, but still

He made the best faces, like, it rescued a few awkward moments

At least a handful of moments that made me go 'this is so very not the Munkustrap I know' characterisation-wise

With the battle removed and a few other things, many of the moments that make his personality shine were gone

No seeing him lunge into action as the Jellicle Protector, basically

No seeing him trying to manage the little play-within-a-play put on for Deuteronomy (even when Tugger causes mischief) although I can't blame them for cutting both of those

No seeing him shield the kittens or younger/other cats without hesitation

Instead there was mostly just the slightly silly characterisation that showed in the moments between in the movie, it seemed to me

Gus the theatre cat was another of those whose song was rewritten to be sung by themselves, though his is the most notable for that, given he barely sings at all in the stage show

I really think it worked better the other way

But they gave me Ian McKellen being awesome in that song so I am okay with this

Also, Gus using a bit of that to scare Growltiger off the ferry and into the Thames? Fabulous

Misto's song - I talked about him and about Deuteronomy's rescue, but the song

I love having it led in by Tugger in the stage show, and I love having Tugger brag him up

Tugger is good at that, honestly, it so suits his style

Misto needs a bit of bragging up, especially for this moment

First of all, changing it up so Misto sings most of it himself instead is a bit sketchy

Changing it so it becomes less of a confident, showy number and instead is Misto being so anxious he can barely sing and constantly checking reactions . . . that made it worse

Next up, changing it from Tugger - who reads as friendly to Misto, in the stage show - leading in Misto's song and encouraging the others to praise him, to Victoria who has only just met him and all the other cats being dubious as they join in. . . I did not like

My shipper heart: why would you take that away it was excellent interaction!

My non-shipper heart: why would you take that away it makes much more sense and it also makes a lovely balance with Misto teasing Tugger during his song and shows that Tugger took it in the light-hearted spirit (they're friends, they're there for each other) it seemed to be

Also that it was so sweet a bit of interplay they took it away from Tugger to give to Misto's Sudden Romantic Interest in the movie, with zero changes otherwise? I have some side-eye.

I already mentioned the rescuing Deuteronomy beats being all wrong, but it also left me thinking we'd be getting less of Misto's song and it was oddly broken-up when we did get more

The catnip usage had me a bit o.O I'll be honest, for several reasons

Erwhat with the drugging everyone in that scene?

The glowing I'm going to assume is to show that it's having an effect on the cats, but it came off a bit weird to me

There were several cats it looked like were 'trying to escape' the catnip who most definitely had/should have already been hit

Also how did the cats assisting Macavity avoid being affected? Bombalurina at first made sense, sprinkling it below herself, none of it after that did

Wow Macavity's song and climax there with the stairs right up to the 'Heaviside Layer' in his stage display? So cocky! An unwise cat

Deuteronomy smacking him down? Very nice

Continuing to do so when he disappeared them both? Even better

I was really rather surprised not to see the melee battle among the cats in the climax with Macavity

Of course that also took away some of the drama, aaand some of the chorus cats, especially the toms', chances to shine

The queens were pretty indistuingishable from each other but at least we saw them somewhat, the toms mostly seemed to be entirely background blur

Growltiger being added in as Macavity's henchcat was actually kind of great? Watching over the kidnapped cats and as a secondary (and subordinate) Bad Tom, yes

In contrast to the mischievous Mungojerrie and Rumpelteazer being used that way, I am so there for it

Grizabella was . . . a little disappointing?

She was played wonderfully! But she could have been played more

Seriously, fabulous actress there for her and they did nothing with her other than her songs and crying while singing them?

The stage production I'm familiar with has more than that with her and less time

Let her be proud and trying to gather herself up

Let her be dubious of herself and/or the others

Let her stand aside as though she doesn't even want to rejoin them after being turned aside

Look there's lots more that could have been done in the space there was with her in the movie (and without involving Victoria so much as she was, which was still a bit cringey outside Victoria's song, but at least not so badly)

She 'went with Macavity'? Felt a little unnecessary and also . . . hrm, to me

The stage show doesn't explain why the Jellicles reject her or where she was

I honestly always assumed she left on her own - Grizabella the Glamour Cat? - to make her own way, and eventually fell from grace

It was also a little strange to see her so young

Deuteronomy making the choice also felt . . . a little flat to me

I'm not sure what I was expecting or what the problem was

Regardless, it felt a little lacking somehow

I was impressed with how they had Grizabella's ascension managed, since that would be necessity be rather different from the stage show

Also great for Misto keeping some of his confidence from his song and rescue for this bit

Macavity trying to leap on and hitch a ride to the Heaviside Layer was excellent, and his getting stuck and having his magic not work to get himself un-stuck? Great

I do wonder - is his magic entirely broken, or just not working to catch his ride on Grizabella's balloon again?

The Ad-Dressing of Cats feels a bit awkward in a stage production to me; having a close-up of Judi Dench staring at me in the movie screen, for an extended time, did not make it better

Also the prologue bits about the naming of cats and what a Jellicle is were both changed and so there was no semblance of something similar in the beginning

I still think it would have been awkward, but if it bracketed the movie with the fourth wall breaks it might have worked better

The faces of the three cats close around Deuteronomy as she recited the entirety of that - which felt too long - were the only things that kept it being too awful

Munkustrap was the best in that

Misto looking horrifically embarrassed a few times and hiding behind his hat once . . . oh baby, I feel

'You're a Jellicle now!'

There's a Jellicle Ball once a year, see you then

So . . . for now, goodbye to your butt that was thrown in a sack into a junkyard we immediately ran away from

Rather than it being the Jellicles' (second, in some cases) home

I know your whole arc has been please accept me, see me, give me a place to be

But run off on your own, see you in a year

Seriously Victoria could have followed Misto, or Munkustrap, or Mungojerrie & Rumpleteazer, or anyone

Even Munku's mate could have, say, come up and encouraged Victoria to come with them

Not that we saw enough to assume he had one, still don't know who was supposed to be Demeter, but beside the point

It was a rough ending there

. . .I had a lot to say, and I'm not willing to swear that I didn't repeat myself anywhere - if I did I apologise - or skip over things I might have wanted to say. I saw the movie 24 hours ago and wrote most of this when I should have been asleep.

I did enjoy the movie and will probably watch it again - I also plan to watch the Broadway version again very soon (as soon as the library brings it to me) and have been listening to the Broadway soundtrack since yesterday afternoon.

(I may also be writing more for this fandom soon, but we'll see about that.)

#CATS (movie)#CATS (musical)#by way of my rambling references and preferences #Kalira rambles #yelling at M about things #MadMadamM

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the-risen-tide · 4 years

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OKAY SO, I finally went to see the new Cats movie in theaters. I wanted to give myself a bit to collect my thoughts, because HOO BOY are there thoughts. Not terrible ones though...like my reviews of everything else, I gave it a look with a level head.

Because I can’t really review without spoilers, I’m going to put my thoughts under a cut. Read at your own peril.

Now, I’d promised myself ages ago that I’d go into the movie with an open mind and a clear head. I’d already seen reviews that were divided greatly on it (mostly between people who’d already seen Cats on stage and those that have never seen it ever), but as usual it’s a good idea to have your own opinion.

That said.

I loved it.

The weird part is, at first, I came away from it thinking that I didn’t enjoy it as much as I thought I would. But everything about it from the visuals to the music (especially the new song, I’ll get to that in a bit) and the story, all of it was still sticking with me after I left the theater, and I began loving it more in hindsight than I did sitting there in the moment, if that makes sense.

Cats has always been one of those shows that breaks quite a few rules of what people think a show should be. More an opera than a musical, more a dance/ballet performance than a story, with a look that allows the audience to use their imaginations, and as such can put more than a few people off of it. It’s not everyone’s cup of tea, but despite that, it’s memorable, and has a great following. The movie seemed to try to take that feeling from the stage show, strange and mystifying and daunting (maybe even a bit awkward), yet charming and inspiring and heart-catching. In many ways it succeeded, and some ways it didn’t...and where it didn’t was probably mostly the fault of the presentation. And of course, opinions are going to vary wildly on it.

But anyway, for those that know and love the show, it’s a good idea to see this one as just another production, an alternate canon, because you can’t compare each production to each other (much less a movie to a stage show), as that’s where an adaptation fails in everyone’s minds. This one seemed to take inspiration from the original 1981 production and build a new story from the ground up, while of course still keeping the music and songs that everyone loves. The lyrics of some of the songs do call back to the original production (the version of Mungojerrie and Rumpleteazer used was from that one, and not from the 1998 video and subsequent performances, which I found surprising; but not displeasing, they did it very well), and while I was a little disappointed that Jemima/Sillabub wasn’t an important character as she is in the stage show, I remember Lloyd Webber at first wanting a kitten character with both Victoria’s dance prowess and Jemima’s singing prowess, who embodies the show as a whole. He got what he wanted in movie form with Victoria, and they took the character to a whole different direction than the original, which was interesting.

So, to sum up, one can see this movie as an adaptation of the original ideas for the stage show. It isn’t my personal canon concept, but it’s one I ended up liking just as much. Now, here are my personal likes and dislikes.

Dislikes: The background characters aren’t given as much personality as they are on stage, or at least, aren’t shown as much personality; and with many of them taking on different designs, it’s hard to tell who’s who until you see the credits, where everyone’s named. You only ever know a few of the main characters, their own stories, and that’s it. Not even Munkustrap gets named directly, and he’s still got his role as the sort-of narrator and introduction to the world of the Jellicles. Of course, this is probably a minor grudge, as background characters can’t be as prevalent in a movie version without it going on longer than needed. But, at least they’re still there, and still lend their charm to the setting, and perhaps in subsequent watches I’ll be able to see more of who everyone is and what they’re doing.

Still, leaving characters in the background also means leaving various character relationships behind, save for the main ones. Demeter, who in the stage show is still an ensemble character (but an important one for the subplot of Macavity), has been downgraded to another of many minor characters; Cassandra now mostly fills the role of a forefront ensemble singer, and nobody really seems to have anything that connects one to another emotionally. Basically it was like the relationships common to many of the productions were ret-conned or tossed altogether; the focus is on the main characters. But again, another minor grievance, as it is a movie, and a separate production, and no production is canon...and we still have our imaginations to go on. X3

Also, personally, I disliked that they made Bombalurina evil. On stage, though she’s presented as the “good-bad girl”, attractive and seductive, she’s still a beloved part of the ensemble, friend to quite a few of the queens, and protective in a sisterly way over Demeter. “Macavity” is meant as a duet with the two warning the others of his malevolent deeds; in the movie, she’s not seen until nearly the end, and the song is sung in praise of him while helping him bring the Ball to a halt. It was a good number, though, and the different take on the character probably had to be there plot-wise...but still, IMHO the character deserves better.

Plus, it’s no wonder why Munkustrap was thought boring by his actor; they didn’t really give him his “protector” role. The fight with Macavity is taken out entirely. Again, Munk as a character also deserves better.

Also, Jennyanydots deserves better. X3 She’s presented as a comedy-relief character, and honestly I think they tried a little too hard with that, along with Bustopher Jones; both of their segments were a tad cringey to me...but theirs were the only ones, really. The music in them was still superb, it was just the way they were presented. They could have probably just stuck Bustopher with the comic-relief role (as he is somewhat in the stage show), and that would’ve been sufficient.

I believe those were my only grievances. Now let’s get to what I liked.

THE MUSIC, first of all. STILL awesome. I feel like, really, the movie kept in what made the stage show important...and as with musicals, that was keeping the tones of the beloved songs, from the overture at the beginning all the way to The Ad-dressing of Cats. That plus the impressive dancing. I could still catch some little bits of choreography from the stage show in them, although mainly it was all revamped for the movie...but they kept the music, so that’s the biggest point (though some were edited down a bit to make time for dialogue; understandable, still). Skimbleshanks’ number has to be the most impressive, by far.

Adding to this, the new song, Beautiful Ghosts, written together by Lloyd Webber and Taylor Swift. Wow. You can tell they made a song that would really fit into the show...it’s haunting and sad, and yet hopeful, and the more I listen to it with Victoria’s story in mind, the more I tear up. It’s brilliant.

The story, I also liked. I admit, it has to be hard to try and make a plot out of a musical that has a fairly bare-bones presentation to it, and is mostly comprised of songs adapted from a poetry book about cats. There are many ways they probably could have taken the plot, but they did it very well, in my opinion; plus they still kept the most important events from the stage show: Grizabella’s redemption arc, and Macavity’s trying to derail things, straight down to kidnapping Old Deuteronomy and her being brought back through Mistofelees’ magic; I love how that bit was presented, too. He and the others are expecting a grandiose magic return, and instead it’s off-screen and softly sung, and as the music swells from solemn to joyous, you know it’s just as magical all the same.

I knew that Growltiger would make an appearance in this, but I didn’t realize he’d be made his own character, when in the play, he’s a character that Gus the Theater Cat played in the past...only the first few lines of his song was sung, too. But at least they kept his appearance from the play, down to the “somewhat-missing” ear. X3 That bit was clever, I liked it.

Also, Victoria and Mistofelees are adorable as heck in this one, can’t lie. XD

Speaking of the characters, the casting too is pretty great. Robert Fairchild, I could see actually playing Munkustrap on stage. He has the same cadence and comforting tone of voice and is a lovely singer. Sir Ian Mckellan, I couldn’t see anyone else playing Gus (he even has a very similar voice to the original 1981 cast member)...and Taylor Swift did make a good Bombalu, if in appearance and voice. X3 And of course we can’t forget Francesca Hayward’s performance as Victoria; hope to see her career expand. Dame Judi Dench made a very regal Deuteronomy (and yes, the thought of a female Deut has grown on me), and it’s good to see that she got to be in Cats, knowing her history. And as predicted, Idris Elba made a pretty sinister Macavity. X3

So, all in all?

This movie probably gets so many negative reviews from the general public, because most of the general public has never seen the musical, and really don’t know what to make of the adaptation. X3 This is definitely not for anyone who doesn’t like musical theater, let alone Cats...I feel that the movie was only made with the true fans in mind. And that’s just fine; not everything has to cater to the public at large, because if you try to do that, it’s not really a passion project. Cats has always been unique, and still is, and there are people out there who very much appreciate the hard work that has been put into it. The sets are phenomenal. The CGI could use work, but for an experimental style, it was done pretty well (yes, it’s possible to get past the uncanny-valley looks of the characters, at least it was for me, because they didn’t bother me in the first place). It shows that they tried hard to stay true to the spirit of the stage show, while also putting something completely new into it. And I think they nailed the spirit, which is the important thing in an adaptation: the spirit.

There’s a few things that could be changed, namely in presentation overall...they could have used another director, to be honest...but the casting, the music, the dancing...heck, some of the designs...that’s all good. Actually it’s funny to me to observe how easy it is to make a musical-type movie into a stage show, a-la The Lion King, but how hard it is to do it the other way around. XP

Would I watch it again? Heck yes. Buy the DVD? Heck yes (especially once they’ve put out the full version). Does it hold up to other productions? No, but I didn’t expect it to; it’s a movie. They took all the essential things and rebuilt it, simple as that.

And so, overall, I give the movie a score of 3.5 out of 5. It’s not my canon, but it’s still good, and you can ignore the hell out of the reviewers, they’re all plebs. XD

Thank you, my dears!

#text post #blog post #movie reviews #cats the movie #cats the musical #cats musical #cats 2019 #cats spoilers

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buzzdixonwriter · 4 years

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Hoo Noo Shmoo?

Never let it be said that this blog is flagging in its enthusiasm for flogging horses so dead they’re found in the glue bin at Office Max.

To whit, the Scorsese vs MCU brouhaha.

Bottom line: Scorsese is right. As well made as MCU movies are, they ain’t cinema, they’re glorified commercials to sell MCU product.

Full disclosure: I should know, since I wrote for G.I. Joe, Transformers, and a host of other toy-based syndicated animation shows. I’m happy with the work I did, I can point proudly to specific episodes I wrote that aspire to be more than mere half-hour commercials…

…but they ain’t art.

They ain’t art, despite our aspirations to do the best job we could, because ultimately we creators were not allowed to create what we felt best for our stories, but what Hasbro deemed vital to their sales.

(The closest we got to art was when Hasbro cancelled The Inhumanoids toy line in mid-production of the TV series, and said we could finish our broadcast commitment however we saw fit so long as it didn’t result in an FCC complaint. As a result, we went nuts.)

My Hasbro / Sunbow experience remains a highpoint of my creative life, so I’m not denigrating the talent, skill, ability, spirit, and enthusiasm of those making MCU movies.

…but they ain’t art.

Now, those who love MCU movies think Scorsese’s comments are a slam against them.

Welllll…no, not directly.

But they do underscore how popularity -- especially of media designed to push product -- is a faulty measuring stick for artistic merit.

Case in point: The Shmoo.

Wuzza shmoo, you ask (and thus proving my point)?

Shmoos were extremely popular in the late 1940s. Part of the wonderfully wacky world cartoonist Al Capp created for his hit Li’l Abner comic strip, shmoos represented a parable on American consumerism, modern day geese laying not mere golden eggs but birthday cakes with candles a’blazin’.

As Capp described them:

They reproduce asexually and are incredibly prolific, multiplying faster than rabbits. They require no sustenance other than air.

Shmoos are delicious to eat, and are eager to be eaten. If a human looks at one hungrily, it will happily immolate itself -- either by jumping into a frying pan, after which they taste like chicken, or into a broiling pan, after which they taste like steak. When roasted they taste like pork, and when baked they taste like catfish. Raw, they taste like oysters on the half-shell.

They also produce eggs (neatly packaged), milk (bottled, grade-A), and butter -- no churning required. Their pelts make perfect boot leather or house timbers, depending on how thick one slices them.

They have no bones, so there's absolutely no waste. Their eyes make the best suspender buttons, and their whiskers make perfect toothpicks. In short, they are simply the perfect ideal of a subsistence agricultural herd animal.

Naturally gentle, they require minimal care and are ideal playmates for young children. The frolicking of shmoos is so entertaining (such as their staged "shmoosical comedies") that people no longer feel the need to watch television or go to the movies.

Some of the more tasty varieties of shmoo are more difficult to catch, however. Usually shmoo hunters, now a sport in some parts of the country, use a paper bag, flashlight, and stick to capture their shmoos. At night the light stuns them, then they may be whacked in the head with the stick and put in the bag for frying up later on.

Of course, in the original strip continuity, the shmoos were quickly eradicated, driven to extinction by food packagers who feared bankruptcy.

It was a sharp, biting message, and one that looked critically at both insatiable consumerism and capitalism’s claims of superiority.

Capp, of course, was too savvy a marketeer himself to eliminate the shmoos entirely, and so he provided for one breeding pair to survive…and for the shmoos to make repeated appearances for the rest of Li’l Abner’s run.

Shmoo mania ran rampant with shmoo dolls, shmoo clocks, shmoo games, shmoo candy, shmoo snacks, and shmoo apparel.

The money truck basically backed up to Capp’s front door and dumped its load on his porch. Shmoos proved insanely popular and it seemed the mania would never end…

…except it did.

To mangle metaphors, you can only take so many trips to the same well before your audience starts asking “What? Beans again?”

And then, in a fickle flash, it’s over.

I’d be hard pressed today to find anyone younger than the boomer cohort who ever heard of Al Capp or Li’l Abner unless their school or community theatre presented the Broadway musical adaptation of the strip (the show remains popular with amateur theatrical troupes such as high schools and colleges because the huge cast of Dogpatch citizens guarantees everybody who tries out for the show will land some part in it).

For all their popularity and merchandise and media impact -- songs on the radio, big spreads in weekly news magazines -- the shmoos left virtually no cultural footprint.

(Full disclosure yet again: I wrote for a Scooby-doo knock-off by Hanna-Barbera called The New Shmoo and it was a piece of crap, abandoning the whole consumerism point of the original shmoos and making them -- or just “it” in our case -- a pseudo-funny dog sidekick for a squad of mystery solving kids. And it wasn’t a piece of crap because we didn’t try our best, it was a piece of crap because the shmoo was treated as ubiquitous “product” under the misconception that of course everybody younger than Joe Barbera would recognize the name and love the character so deeply that they’d simultaneously develop amnesia about what made the original character so appealing.)

Product.

That’s what one of the most brilliant, most poignant, most spot-on commentaries on rampant consumerism and ruthless capitalism ironically reduced down to. Product.

There’s a line in Jurassic Park that resonates here: ”Life will find a way.”

Let’s paraphrase that to “Art will find a way” because like life, art is an expression of the creative urge.

Right now, by and large, it’s trapped in the giant all encompassing condom of corporate consumerism, providing fun and pleasure and excitement, but not really creating anything new, to be wadded up and thrown away when the suits are done screwing us.

But every now and then there’s a tiny pinprick in the sheath, and when that happens there’s the chance of something wonderful, something meaningful, something of lasting value emerging.

It is possible for art to emerge from a corporate context, but only if the corporate intent is to produce a work of art for its own purposes. Michelangelo carved David as a work for hire, the local doge commissioning the sculpture because he wanted to impress peers and peasants by donating the biggest statue ever made by the hottest artist of the era (and even then Michelangelo needed to resort to subterfuge to keep the doge from “improving” on his work with “suggestions” [read “commands”].)

The very first Rocky movie was a work of art because the producers focused on telling a simple, singular story about a loser who could only win by going the distance, not by defeating his opponent but by refusing to be beaten by him.

It’s a great cinematic moment that rings true and it’s going to last forever…unlike sequels Rocky II - V where Rocky fights supervillains like Mr. T and a robot (hey, that was the movie playing in my head when I watched Rocky IV and it was a helluva lot more entertaining than what I actually saw onscreen).

The suits castrated Rocky, reducing him from a unique universal cultural touchstone down to…well…product.

The MCU movies are product; rather, they are two-hour+ commercials to sell product in the form of videogames, action figures, T-shirts, and Underoos.

The real art occurred almost 60 years ago when Jack Kirby and Steve Ditko knocked out page after page as fast as they could, drawing deep from the wellsprings of their own interests, experiences, and passions.

(“What about Stan?” I hear you ask. Look, we all love Stan, but truth be told his great contribution to the MCU came in his service as drum major for the Merry Marvel marching Society. God bless him for firing up the fan base’s enthusiasm for the Marvel bullpen’s work, but compare what his artists did before and after their collaboration with him to what he did before and after his editorial tenure at Marvel and it’s clear upon whose shoulders the muses rested.)

As much fun as MCU movies are (I’ve seen about 1/3 of ‘em and enjoyed most of what I saw), I also recognize in them the harm they do.

They are promoted heavily to sell product to raise the fortunes of one of the biggest corporations on the planet, a corporation that holds control over five of the largest, most popular entertainment brands on the market.

To protect their cash cows, Disney chokes potential rivals in their cribs.

Think there’s going to be another Alien or Predator movie now that Disney owns them and Star Wars? Why create rivals to a mega-successful property you already own? (I will be genuinely surprised if we see another Guardians Of The Galaxy movie in light of the faltering popularity of Star Wars in Disney’s eyes; they’re going to want to shore up their billion dollar investment rather than call it a day and let some upstart -- even an upstart they own 100% -- rob them of revenue.)

Disney’s battle plan to choke out all potential rivals leaves no room in the DEU (Disney Expanded Universe) for independent minded creators.

They want competent hired pens who can churn out the product they desire in order to bolster sales of other products derived from those.

(Even more full disclosure: I wrote for Chip ‘n’ Dale’s Rescue Rangers as well as some Aladdin and Scrooge McDuck comic book stories.)

Disney’s MCU, for all its expertly executed whiz-bang, is a bloated, soulless zombie, a giant gaudy inflated parade balloon blocking the vision of others.

There’s a scene in the movie The Founder -- a genuine cinematic work of art that comments ironically on the selling of a product -- that applies here.

Ray Kroc (Michael Keaton) relentlessly browbeats the McDonald brothers (Nick Offerman and John Carroll Lynch) into letting him replace their real milkshakes with what will come to be known as the McShake, an ersatz product that at best reminds one of what a real milkshake should taste like.

The McDonald Brothers are horrified. Not only does it not taste like a real milkshake, but it goes against the very grain of what they desire as restauranteurs: To provide quality food quickly for their customers, trading value for value.

Kroc will have none of this. To him the customers are simply one more obstacle between him and their money.

He doesn’t see them as the source of his revenue, but as impediments to same.

What benefits them, what nurtures their diets, what gives them pleasure, what trades value for value is completely unimportant to him.

They exist only to make him rich and powerful.

By the end of the film, Kroc has effectively declared war on his own partners, his own employees, his own customers. He recognizes he is not in the business his customers and employees and partners think he’s in (i.e., fast food) but rather in the real estate business, buying land that McDonald’s franchises must lease from him in order to operate.

By the end, he’s not concerned with how well his customers eat, or how well his employees are treated, or how financially secure his franchise managers feel.

By the end, all he wants is the money, and he doesn’t care how his franchises make it so long as they pass it along to him.

As a result, McDonald’s contributes heavily to America’s obesity and diabetes epidemics, advising their employees to take second jobs so they can afford to continue working for them at substandard wages.

Disney’s MCU is a super-sized Happy Meal™ that’s ruining the cultural health of its consumers.

#Marvel #Disn #Jack Kirby #Stan Lee #Steve Ditko #Star Wars #MCU #Rocky #Martin Scorsese #media #movies #superheroes

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aspiestvmusings · 5 years

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THE MASKED SINGER: SEASON 2 [SPOILERS]: MY THOUGHTS & GUESSES

I was gonna do a full guesses post for the shows second season, but then I realized... I might be on to something (because I guessed 50% of the first double-episodes masks) & I don’t wanna ruin it for so many, so I am only giving my HINTS of the my guesses, not the names or anything. But still...

SPOILER WARNING!

I didn’t watch during S1, but I saw the clips over summer & have watched the first few shows this season...

During the first week I knew one of the reveals. The other I did not know, because I'm “old” & am just not familair with current young generation idols and stars... And the more I think about my guesses (I did just google each of my guesses..fast, and many things I read match with the character clues I suspect they play on this show, so...)

CHARACTERS IN ALPHABETICAL ORDER

1. The Black Widow = before I heard her & could make my own guesses that weren’t guided by others opinions, I heard other peoples guesses & now can’t see/hear anyone else...besides the ones others suggested. Yet I am not sure which of the possibilities it actually is. I’m torn between two ladies - R. & A. ETA on Oct 17th: After tonight’s ep clues it’s basically conformed - that’s miss R.

2. The Butterfly = before I heard her & could make my own guesses that weren’t guided by others opinions, I heard other peoples guesses & now can’t see/hear anyone else... besides the ones others suggested. Yet I am not sure which of the possibilities it actually is. ETA: After the Oct 17th episode it’s pretty much confirmed that it’s miss M. (the singer, not the actress)

3. The Eagle = HAVE NOT HEARD HIM PERFORM YET, but based on the outfit & first clues it is a big “rock” star from the “past”. Yet I am not sure which of the possibilities it actually is. ETA: Well, this one was pure character play - he was the “weakest link” of the episode. Not a singer. He was the one unmasked. It was... SPOILER. And since I’m not from US, he’s one of the stars I did not know & hence would’ve never guessed.

4. The Flamingo = before I heard her & could make my own guesses that weren’t guided by others opinions, I heard other peoples guesses & now can’t see/hear anyone else... besides the ones others suggested. Yet I am not sure which of the possibilities it actually is. ETA on Oct 17th: After tonight’s ep clues it’s basically conformed - that’s miss A.

5. The Flower = HAVE NOT HEARD HER PERFORM YET, but based on the clues it can only be one person. An actress. The clues that reveal it’s her are: There are a dozen (read: 12) reasons...; She blossoms in every field she plants herself in. Also...the number 314 was seen at one point (which in this case is not P = 3.14, but stands for something other). These three clues alone tell us who she is. Miss M. The doctorate clue also points to her. But... then there are clues & things that say the opposite. EDIT: And after seeing & hearing her... I’m torn...cause now it seems that it’s someone “legendary”, cause of that voice! ETA: It was miss P.L.

6. The Fox = The clues strongly suggest this is one of the Marvel superheroes. Since I haven’t heard him perform yet, I cannot be sure who. But based on the looks (his posture, movement...), and the clues so far it sounds most like Mr. J. EDIT: But... after hearing him it sounds more like mr. W (who I originally considered for Thingamajic) - he worked with actors, who were hinted at the clue section. Yet... I still think that despite what he sounds like it actually is someone, who plays a superhero on TV/in films, and I’m still leaning towards MCU actor. But I have to re-listen to make a better guess. Cause the clues suggest different MCU actors than I initially thought based on the previews... Yet it could also be someone else, who has been in film industry.... But based on the voice it’s most likely mr. W.

7. The Ladybug = before I heard her & could make my own guesses that weren’t guided by others opinions, I heard other peoples guesses & now can’t see/hear anyone else... besides the ones others suggested. Yet I am not sure which of the possibilities it actually is. It does sound a lot like miss K. based on the voice, and the clues, though. ETA: Yes, it was K.O.

8. The Leopard = The clues point to several possibilities, but based on the voice alone..my first guess (and so far only guess based on that voice) is Mr. S. Most clues also fit him. A few clues don’t fit that well, but his voice to me sounded most similar to the man known by the artist name different than the one he’s portraying. And all the lines mentioned by/about him on stage were direct references/quotes/titles of his hit songs etc. The other clues hint more towards a stage presence of a more colourful persona though, so other peoples guesses that it’s B. or R. or R. or J. or D. are good, too. I’m just unfamiliar with some of their voices, so cannot agree/disagree. Based on his behaviour I’d say it’s mr. J. The personality seems more like J. (a known “prankster” with amazing voice & talent), or R. (he’s worn leopard print outfits that made into headlines, he’s British, has had hits...only thing is that to me the voice doesn’t match the characters...though great singers can mask their voices, too...).

The clues: British Elizabethan dress/costume; the “British accent”, the newspaper headlines in the clues segment: Crazy game ends with win for the Leopard + Out of Hits & Out of Time + The Runaway; adaptable & can survive anywhwhere - even under harsh conditions; knows what it’s like to be at the top; has had many hit songs (he’s been a heavy hitter); “scandals” & “celebrity culture” - people/fans more interested in the celebrity aspect & rumours etc... than in his music/talent; he really doesn’t care what they about what he’s wearing...or about his relationships; clock hand on number 9; J’adore; “Don’t stop”; DIVINE: "Leopards can be fierce, and yer so divine”; playing with the hosts/Nick's tux/suit; Kiss(ed by) from a Leopard; “from the jungle”; “piercing green eyes”; ready for the spotlight; “ready to move mountains”; “spectacular performances”; "The Secret Service”; “Spotted with the presidents”

ETA on Oct 17th: After tonight’s ep clues it’s confirmed - that’s mr. S. Almost no chance it could be anyone else... Oh, darling...that gave you away. And even though several clues fit also mr. T.D., the song title references to me confirm my first guess.

9. The Penguin = I HAVE NOT HEARD HER PERFORM YET

10. The Rottweiler = The voice and several clues say it’s well known singer Mr. C. (who lost to miss K.M.), but the clues are also very fitting to a singing actor Mr. S. (who co-starred opposite the same miss K.M. on a certain show)…but though I know he has a great singing voice, based on many things I’m currently leaning towards my first guess. Both fit several of the clues..in several ways, though! All the (fantasy) football, abs/six pack (and most likely coming clues that claim he’s a comic book fan & supports his wife...publicly, is a proud + great father)... clues fit both of them - these two men have quite a lot in common. Both are also born in the same year & both had/have a big birthday this year. The voice seems so much like the singers, and the clues fit so well (everything from the football to roses to the “beauty salon setting” and the LIVE fit this great voice, who has had hits on radio). At the same time almost all clues & much more suggest it’s the actor with a good voice (whose old band had the word dog in it, whose been in a boy band, whose done musical theatre, and who might have found bigger fame on tv/film, but to those who know him... he’s always been a great singer & performer, he’s even been in a band that was a “warm up act” for N’Sync tour once. He’s a multi-talent, who studied to be a structural engineer... and even though he was working on one big project this summer, I do think he would’ve had time to also do this).

For me the greatness of the voice + the hair salon and one specific line in the clues suggest it’s the singer & the on-stage-presence and backwards hat suggests the actor. Everything else fits both! So it all depends on if the chose the “hip hop” look as a disguise...cause the singer is not known as hiphop artist, or if the hip outfit is more his style...which would mean it’s the actor. If I’d figure out the dog’s (that’s god backwards) height, I’d know which of the two he is, because one of them is 172cm and the other 182cm & the taller one is also buff-ier (he’s all muscles!..and the dog seems quite small under the costume) - The Rottweiler seems to be about the same height as the host Nick (he is 183cm) - their shoulders seem to be about the same height, so this would tip the scales to the actor. But after a re-watch it now seems to me the dog is shorter than the host, so that confirms the singer. Even the fact that they’ve always had the lead roles (on screen, in bands...), but they’ve also both lost to someone else...is similar. If they’d include numbers as clues, then number 5 would suggest the singer & number 425 the actor. If the blue roses symbolise a tattoo, its the singer, if the blue & purple symbolise something else (HD), its the singer...

Only thing I can’t directly connect to either of the two is the gold chain... That seems to suggest at the third option... or maybe it was added just to make the two parts of the costume blend in better together...not be so obvious) But then I’ve also heard some great guesses from others & though I am unfamiliar with Mr. B.W.’s voice, several (dog) clues fit him, too. He’s done music with canine titles, and he’s talented + he’s also known to wear gold. Plus I am also kinda suspecting (based on the great voice) that it might be a certain Canadian even though I cannot fit most clues to him... But in my minds if it’s not one of the two I suspect, I will be very surprised. It would also be a great and fun “promotional” trick, if the dog would be the spider-kid T.H., who is the voice of a dog in an upcoming film (he even posted a pic of his charcater with the same words the dog used “This dog’s bark is just as good as his bite”. But it cannot be either him or his screen-dad mr. R.D.J, cause while they both match the height, they dont match the voice or the clues. Based on the costume choice it’d be the funniest if it was one of the (hiphop) artists, who use a canine name: Snoop Doggy Dog, Pitbull... but the voice and clues match others better.

The clues: The hair salon/beauty salon style setting; the vinyl record with the title/name LIVE playing; “grooming” shaving the dogs “body hair”; “touched the pigs skin under the friday night lights” (pigs skin = football) = Friday Night (Lights); preparation is key; blue roses; (being a) hungry competitor; rising to fame (by being a competitor)... almost overnight; Fantasy (Football) Champion (ring); was bitten by a dog/rottweiler as a kid; “it’s not over”; gold chain around his neck; the big (golden) wrist watch; (golden) bowtie; the (backwards) baseball hat; the fashionable look and the sneakers; “this pretty pup’s got chops”; “take a bite out of this competition”; just “wait and see”; “get up on our high lanes”; “he’s there to be the best in show and his bark is just as big as his bite”; he’s a total perfectionist; “he’s gonna work his tail out to earn your puppy love”; the fashionable hip-hop look of the costume; roses are blue - violets are red (a poem by Patrick Star?), “rockin’ a furry 6-pack”, = the six-pack! (abs)

If the next clues say that he has strong arms it’s the actor, if they say that he wanted to become the iNext Michael, but didn’t..it’s the singer. Either way...all eyes are on the Rottweiler... ;) And since the height & the song clues pretty much confirm it’s the singer....the song choice makes sense, too. He has actually performed with Hall & Oates. I’ve heard him sing “Out of Touch” with the band/duo. So, while I still wish it could be the actor... there are clues that pretty much confirm it is the singer... the height alone does that. Yet... the dog is holding the mic in his left hand... and I’ve only ever seen the singer hold the mic in his right, when he performs, but the actor switches hands (ambidextrous while holding the mic), so... I really need to hear and see some more to solve this mystery, cause I keep going back & forth... ETA: It is mr. C.D.

....

11. The Skeleton = If this is not some known comedian/host/comedic actor, I will be surprised. Based on the voice alone I can’t really guess. Based on the stage presence the character reminds me of Mr. M.’s character on a certain streaming services show, - there was/is a storyline about him doing musical theatre, and this stage presence + voice to me looks so much like that characters stage presence. Only thing throwing me off is that though that actor is also shorter & older, it doesn’t really seem to be him (the appearance). But… actors can be good at disguising themselves… Also..the clues apparently fit him… so well! I do not read gossip magazines (usually), but I just googled him to see this latest projects, etc...like I did with all the names that I suspect are hiding behind the masks...to check the facts for this post) and the headlines about him this year match the skeleton’s clues…quite well, so now I'm not sure. But I still think its someone a bit younger than mr. M.).

12. The Thingamajic = The stage presence screams tall athlete (basketball/baseball player). The clues give us a possible birthday and from the people born on that day who can sing (read: who I am aware of that can sing) Mr. V. fits most of the clues + what can be seen & heard. It could be some other tall athlete, or non-athlete. Like mr. J (who has played a character, who was a huge Chewbacca & SW fan), who is tall...though I remember his natural voice being different. But..since the show likes to trick us, I’d say that the person inside the costume is not as tall as the outfit suggest, so I would guess more based on the voice than by the height alone. So.. it could also be Mr. W., who is not 7 feet tall, but whose voice (to me) seems very similar to this characters (many clues fit him extremely well). For me its either V. or W. ETA: It is mr. V.O:

The clues: The height (7 feet tall with the costume); backstage dressing room style outfit closet; plaid/tartan shirts; karaoke style subtitles during the clue segment; rhyming text during the clue segment; puzzling/puzzles; gentle giant, feather (feathery kind of gentle giant); portfolio case with wings; a magic case (magic ticks); keep up the pace; triangles; old school style microphone stand; loves to sing...but isn’t necessarily known as a singer; silhouettes of people & palm trees...; he’s more than fashion shoots and dreams; sneakers; “walk the line” - rope walking; magnifying glass, number 4 (on a cupcake), colourful glasses frames, dressed in plaid, rip/tear in the costume on the “thigh”, his eyes are actually at the height where the costumes mouth is. He’s ALL the things we see (in the clue package & more), “I’m easy like a Sunday morning", ON AIR 31-33-41-43, in need of a dentist, he’s kind of a big deal, “welcome to my kingdom”, his puzzling persona, he’s literally unlike anything like you’ve ever seen or heard before, He’s not Chewbacca...though they do celebrate together. ETA on Oct 17th: After tonights ep clues it’s conformed - that’s mr. V.

13. The Tree = before I heard her & could make my own guesses that weren’t guided by others opinions, I heard other peoples guesses & now can’t see/hear anyone else... besides the ones others suggested. Yet I am not sure which of the possibilities it actually is. I wish it was an actress, who also sings - miss Z. She’s done Christmas films/music... but that voice is not really hers, so...

EXTRA: If I am correct in guessing their identities, then two of the male singers behind the masks have worked together on a special musical project in 2016.

ALREADY BEEN REVEALED

1. The Egg = Johnny Weir (He was the only one I guessed based on the clues + his on stage performance & presence + voice)

2. The Ice Cream = Tyler “Ninja” Blevins (The kids may start to know the popular names amongst todays next generation, but I am “old”, so his name & persona were completely unknown to me)

3. The Panda = Laila Ali (I should’ve known based on the letter the baby panda wrote to her daddy panda, but I didn’t guess immediately & decided to watch the reveal right away… not giving myself time to guess some more)

4. The Eagle = Dr. Drew Pinsky (radio host)

5. The Skeleton = Mr. SPOILER

NOTE: I am new to this show, but since I love music, and I love puzzles, I have decided to follow this season. And since i did’t watch last year (just watched clips etc later...), and am unaware of how things are done on the show, but... based on the two shows I’ve now seen... it kinda seems to me that they are hiding clues about the contestants in other contestants parts. Like... if we’d use last season as an example... they’d say “this person has felt PAIN... a lot” for someone else than the Monster character. Or “he’s a KNIGHT in shining armor”...for someone else than the Bee character. I just had this strange sensation when listening to/watching the clues that the things they alluded to weren’t always about the character whose segment was on.

Also: I do not think the comments that the “judges” say are pointless. I do think that they’ve chosen very carefully which ones to keep. Like I think that “I don’t think its an actor on a tv show” is meaningless. The little, seemingly random lines often seem to me actually like clues.

For those, who are familiar with showbiz and people in showbiz the show is/should be really easy. The voices + the clues combined make it too easy... but none of us are familiar with every “celebrity”, which is why not all masked singers are guessed correctly. But yeah, I would say that the clues are often too easy. Like...if the Flower, Fox, Leopard, Rottweiler turn out to be who I think they are... they are still making it too easy. They are literally telling you who it is. Including song titles/words and film/show titles and/or character names, or sports team names...literally... in the dialogue/voiceovers....

But...the thing is that some of the clues are actual helpful clues, and some seem to have been added as “red herrings” - to muddy the waters, and make it more confusing. Also... many of them do seem to mask their voices & not reveal their real voice right away, so that is also a distraction method... making it harder to guess.

So... this is all for show, because there is no way the “judges” don’t recognize some of the voices & think of certain people as possible options for specific characters. This year it’s specifically means that there’s no way they did not hear & consider certain singer being the leopard...as the voice just sounds like his...even if its an act (someone is mimicking him). So this alone tells me that the panel is putting on a show - they’re directed to not say the right name right away..if they know/guess it... to keep the suspense longer. And/Or the show is edited so that if someone guesses some character too fast...that part is cut out..and/or saved for later (they do add audio from the panel...at times...when they’re actually showing the artist, so it also seems to me as some editing has been going on... to mix different moments...)

#SPOILER #THE MASKED SINGER #TMS SPOILERS #TMS SEASON 2 #TMS #long post #list post #text post #SPOILERS #MASKED SINGER

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snkpolls · 5 years

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SnK S3E13 Poll Results (Manga Reader Version)

The poll closed with 539 responses. Thank you to everyone who participated!

Please note that these are the results of the manga reader poll. Anime only watchers are suggested not to read if you do not wish to be spoiled about certain events! Anime only viewers, click here to view your poll results!

RATE THE EPISODE 534 Responses

WIT kicked off the arc fantastically according to the viewers! This episode got overall positive reviews, with 95% of respondents giving it a 4 or 5 rating.

An ideal opening episode in my opinion!

Incredible start for possible the best season yet ♥

Awesome opening episode to set the stage for the arc to come. Pacing was just right, imo.

HYPE MY SOLDIERS

I think it was a great ep and did pretty well with the chapters it adapted. The dialogue was there and so were the scenes, the ending hyped what is coming so much so I'm already in love!

Lack of creavity when it come to the OP and ED visuals, but the ep overall was good.

The soundtrack slaps, voice acting is on point, and the animation proves to be very promising. Overall, it's a great episode to start off the second cour!

Awesome episode with awesome soundtrack.

One of the best episodes of the whole series, which was surprising.

RATE THE OP 533 Responses

Overall respondents liked the new Linked Horizon opening, which was a great summary of the current arc, but overall it fell flat as a song that most would be willing to label as their favorite.

OP depicts the upcoming battle well!

Great adaptation, just wish the opening was a little more original

It is the worst OP of all. The song is disappointing; it sounds like typical, boring song from random shonen series.

The opening definitely had some parts to it that felt recycled from previous openings, but I guess it's just Linked Horizon's way of linking them all together.

SPACE OPERATION RAINBOW!!!

To me it looks like they ran out of time to make an OP so they slapped a green filter on what they had done already.

RATE THE ED 530 Responses

The 104th-centered still-frame ED has some mixed reviews with most of the fandom sitting somewhere in the middle between loving and hating it. Respondents overall are leaning more toward the positive, however.

ED is perfect with the time skip just over the horizon

WE GOT A FEW NEW SAWANO TRACKS. HOW ARE YOU FEELING ABOUT THEM? 530 Responses

Well over half the fandom are already pumped for new music from the series’ composer Sawano Hiroyuki! A whopping 76% already feel that he’s killing it. 22% need more time to decide how they feel. A small sliver of respondents don’t really care for the OST. Who hurt you?

ost perfect as usual

It was good but at this point everything sounds like it's been reused a bunch of times. Hopefully we get some new great tracks later on..

Hyeh

The bassline in the new rendition of "Attack on Titan" (or however Sawano spells it) is amazing. I cannot wait for the S3 soundtrack to be released.

WHICH OF THE FOLLOWING WAS YOUR FAVORITE MOMENT? 532 Responses

The scene with the Beast Titan appearing with his army of titans took 30% of the vote, with Levi attacking Reiner as a close second with 22% of the vote. 10% overall liked the entire episode, and 7% favorited the cliffhanger staredown. We can all agree the battle to come has us all hyped!

I repeated the scene where Reiner appears until the end of the episode tons of times already

Did they really had to skip Levi's frustrated expression after he failed to kill Reiner? It was my favorite moment…

Levi attacking Reiner and everything after that has become one of my favorite scenes in the series. Damn!

Nice Erwin Screentime, nice Levi nyooming behind Eren

Best girl makes her appearance

the last three minutes of the episode where the warriors show up was fucking amazing

ON SCALE OF ARMIN TO ERWIN, HOW GOOD ARE YOU AT GIVING ORDERS? 526 Responses

The majority of respondents relate to Armin’s timid nature a bit more when it comes to overall confidence in giving orders. Just a small 6.3% of you guys feel you have the charismatic swag that Erwin brings to the table.

I loved Armin giving orders politely.

How was Armin overcoming social anxiety a billion times cooler then eren flying over a 60m wall, becoming a titan and basically saving humanity.

ON A SCALE OF 1-5, HOW MUCH DO YOU WANT TO GO HORSEBACK SURFING? 528 Responses

This was in no way a serious question. But at an almost even split, 35.8% of voters would totally try their hand at horseback surfing, while 35.2% would never risk their life doing such a dangerous activity!

HOW DO YOU FEEL ABOUT THE ANIMATION QUALITY IN PART TWO SO FAR? 529 Responses

Overall respondents are pleased with the animation in the first episode of the RtS arc, with 54% stating that it’s the best animation they’ve seen from the series yet. 42% feel it could be better, but is also not the worst. A small percentage don’t find the animation all that impressive.

I can’t believe how clean all of the animation is looking. SUPER impressed with the difference in art-style compared to season 1 as well.

The animation is on the highest level.

i miss the thick lines the show used to have

i really love the colour palette of this season and the op especially.

IMO the color tones on this episode could've been handled better, it was too gloomy on some scenes :(

The animation & art style was almost as good as season 2’s (which is one of my favorite pieces of animation of all time) but still lacked in some areas.

Looks like they went all out with budget on this season and I'm loving it

WHAT DO YOU THINK OF THE CG COLOSSAL TITAN IN THE OPENING? 532 Responses

57% of respondents aren’t too upset about the GCI Colossal Titan in the opening and say they don’t mind either way. 35% aren’t happy at all with the decision to make the Colossal CGI, while a few actually find the effect super cool.

ON A SCALE OF 1-5, HOW EXCITED ARE YOU TO FINALLY SEE THIS ARC ANIMATED? 533 Responses

The overwhelming majority are extremely excited to see this arc animated after all these years. With its high levels of action and drama, it’s no surprise to us to see that the fandom is looking forward to getting this arc in an animated form!

IVE WAITED MORE THAN 2 YEARS FOR THIS IM NEVER BEEN SO FUCKING HYPED IN MY WHOLE LIFE

I've waited so many years that I'm satisfied and ready to pass now that my favorite arc is being animated

HOW DO YOU FEEL ABOUT THE ADAPTATION OF RTS SO FAR? 532 Responses

67% of respondents are feeling very satisfied with the way the arc is unraveling in the anime, finding that it’s a very close adaptation of the original source material. 23% feel that it’s still too early to judge the adaptation properly, and a few less feel that the adaptation so far is somewhere between good and bad.

Fantastic adaptation.

Good pacing jumping right into the action, while staying faithful to the manga.

Overall very good, but could be a TAD better

I think the adaptation so far has been great, but I need to see how the action is handled before I say for sure whether it's well adapted or not.

It was ok.

It was very well-adapted! All the important details were there and nothing important seemed to be missing, which was something I was sad about in the last arc. It seems like everything I want will get covered.

How do we come back from there without breaking my heart?

PART 2 IS SLATED FOR 10 EPISODES. DO YOU THINK THIS WILL BE ENOUGH TO ADAPT THE ARC WELL? 531 Responses

Voters are confident that WIT knows what they’re doing by shortening the amount of episodes that will air for this action-heavy arc, with only ¼ of respondents feeling that they haven’t given themselves enough screen time to cover every last detail. 10% don’t want to say either way.

i was disappointed in knowing it was a 10 episode arc, but seeing the quality and taking into account that this is an action-heavy arc, i'm bouncing off of the walls to see what wit has underneath their sleeve. hopefully they don't ruin the best arc

one advantage of the short season is that they cant draw out the serum bowl for too long. God, that was a painful wait when the manga was dropping those chapters.

Really well done, the pacing in particular was great. After seeing it I was convinced 10 episodes was perfect for this arc. A 6-4 split is perfect.

WHAT DO YOU THINK ABOUT THE VERY SPOILERY OPENING? 532 Responses

61% of respondents agree that the opening, while spoilery, is a great summary and teaser of what is to come for those who only watch the anime. Without context, they can’t know what every last symbolic image in the opening means, after all! 23% of voters expressed distaste at how much WIT is spoiling the viewers, however. 9% aren’t even concerned about it.

The whole opening was just one big “fuck you” to people who don’t read the manga.

it only becomes obvious b/c manga readers keep pointing stuff out. Yes, the intros have always hinted at things but it goes so fast that I don’t think every person will know exactly what something means if they’re anime only.

The Opening is good representation of this phase of the story ending.

I don't get why people are making a big deal over the "spoilers" in the opening when they're not even anime-onlies themselves in the first place.

Man, it only seems spoilery for those of us who know what's coming. Anime onlies don't understand the context of the images, so they can't recognise them as spoilers unless it's directly identified as such! We gotta stop judging this stuff from the perspective of someone who already knows what's coming.

It's definitely not holding back on the indications that'll happen in the arc

HOW DID THE NEW ED MAKE YOU FEEL? 527 Responses

61% of manga readers felt nostalgic seeing the images of the 104th during their trainee days coupled with a somber song. 20% felt sad about the ending, and 15% were just disappointed with the entire thing.

Lazy ending.

WHAT DID YOU THINK ABOUT THE RED EYES ON THE TITANS? 533 Responses

Just over half of the fandom feel that the red-eyed pure titans was a cool aesthetic to add to show that they are under some form of control by a shifter. 33% feel it’s a cool addition, but not really necessary. 11% don’t care.

I was on board with the red eyes until the cart titan also had them. No longer made any sense.

I don't get why Pieck's eyes are red when she's not a mindless being controlled by Zeke…

Like the red eyes but why does Pieck have them too.

WHICH SCENE FROM THE PREVIEW ARE YOU MOST LOOKING FORWARD TO? 530 Responses

Perhaps unsurprisingly, over half of the fandom is most hyped to see the Eren vs. Reiner showdown in Shiganshina. Although not far behind, 28% of respondents are excited about Erwin’s badass unhooding moment as he challenges Reiner.

THUNDER SPEARS FOR NEXT CHAPTER!!!!!!!!!!

ADDITIONAL THOUGHTS ON THE EPISODE?

Even though I totally know what will happen, the episode is written and directed in a way I still get goosebumps and forget I actually know what will happen. And the music, oh god. That's amazing. These two together have a really good effect.

I need the next one RIGHT NOW.

AAAAAHH!!!!

It was an introduction episode, so imo, it's just there to put the basis for the rest of the season. There was a good balance between the "emotionally charged" scenes and the more quiet ones, all this accompanied with an increasing tension in the background.

I wish theyd reanimated the scene of armin talking to eren about the opening instead of just reusing the animation from season 1.

that Zeke smile is like : hey there, i am here to euthanize you all. Love it !

I'm buying tickets into denial islaaand, bye, bye!

Airpipes. AIRPIPES. p.s. cracking soundtrack

Reiner has been enjoying himself some Marley protein, he extra swole now.

Armin was the MVP

PIECK!!!

I don't like the fact that WiT decided to spoil a lot. Some anime onlies already have guessed that Armin is going to be burned and then will become the next CT. So the serumbowl won't be as emotional and exciting for them anymore. I don't understand why WiT decided to do such thing. Don't they want anime-onlies to enjoy the show?

Exactly as expected you'll find a strange titan next to the beasty

I love Mikasa’s improved design and hope they show more of her working in a team like the manga. Focusing on the mission ect without pandering

RIP nameless soldier killed by Reiner.

Very happy to get a glimpse at best girl Pieck

Really no questions about our exactly right girl in this poll ? I am dissapointed :/

Watching this episode is bringing back all the suspense and awe I felt when I read this part in the manga. What a treat to be able to relive it!

They did a great job at keeping the tension and the "well shit everything's about to go wrong" from chapters 73 and 74, and managed to make the explosion at the end worth it, despite the fact I still think Reiner's continued survival throughout the arc is stupid and wish the anime had changed it so it'd be more believable, but here we are.

WHERE DO YOU PRIMARILY DISCUSS THE SERIES? 514 Responses

Thank you to everyone who participated! We’ll see you again in a few days!

#snk poll #snk polls #snk spoilers #snk s3 #poll results

17 notes · View notes

upontheshelfreviews · 5 years

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And now we come to the final piece of Walt Disney’s original animation trifecta, Fantasia, and it’s one I’m both anticipating and dreading. Fantasia isn’t just one of the crowning jewels in Disney’s canon, a landmark in motion picture animation, and second only to Snow White in terms of influential music and storytelling in the whole medium, it’s one of my top three favorite movies of all time. Discussing it without sounding like an old history professor, a pretentious internet snob, or a hyper Disney fangirl is one hell of a daunting task.

“Did someone say hyper Disney fangirl?! I LOVE Disney!!”

“I thought you only liked Frozen.”

“Well, DUH, Frozen is my favorite, which makes it, like, the best Disney movie ever! But Disney’s awesome! There’s a bunch of other movies I like that are almost as good!”

“And Fantasia’s one of them?”

“Yeah!!…Which one is that again?”

“The one with Sorcerer Mickey?”

“Ohhhh, you’re talking about the fireworks show where he fights the dragon!”

“No, that’s Fantasmic. I’m referring to Fantasia. Came out the same year as Pinocchio? All done in hand-drawn animation…has the big devil guy at the end?”

“THAT’S where he’s from?! Geez, that’s some old movie. Why haven’t I heard about ’til now?”

“Probably because you spend twelve hours a day searching for more Frozen GIFs to reblog on your Tumblr.”

“Ooh, that reminds me! I need to go post my next batch of theories about the upcoming sequel! Toodles!!”

“Thanks. Another second with her and I would’ve bust a gasket.”

“Don’t mention it.”

Anyway, it’s no surprise Sorcerer Mickey is what people remember the most from Fantasia, and not just because he’s the company mascot. “The Sorcerer’s Apprentice” was the reason we have the movie in the first place. It began as a pet project between Walt Disney and renowned conductor Leopold Stokowski.

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“Yep. THAT Leopold.”

However, between the upscale in animation and the use of the Philadelphia Orchestra, the cost grew too high to justify the creation of only one short. Over time more sequences featuring animation set to various pieces of classical music were added in what was initially dubbed “The Concert Feature”. Later it was wisely changed to the more memorable “Fantasia”. It works not only because it’s derived from the word “fantasy”, but because “fantasia” is a term for a musical composition that doesn’t follow any strict form and leans towards improvisation. Combine the two meanings and you get the whole movie in a nutshell.

And this leads us to –

Things Fantasia Fans Are Sick of Hearing #1: “It’s SOOOOOO boring! Nobody’s talking and nothing ever happens!”

You know, few recall that decades before Warner Brothers was known as that studio that made rushed prequels to beloved fantasy franchises and a hastily cobbled together superhero universe, it had humble origins in the music business; their Merrie Melodies and Looney Tunes shorts began as music videos made to sell their records. Disney’s Silly Symphonies followed in the same vein, though they focused more on pushing the envelope in animation technique and character resonance than selling music, as did the lesser known Harman-Ising Happy Harmonies.

And if that’s the case, then Fantasia is the Thriller of animated music videos. It’s the result of years of technological advancement and trial and error, all culminating in the flawless weaving together of visuals and some of the greatest music mankind has created to tell seven stories and elicit an emotional response for each one.

Let me repeat that: FANTASIA. PREDATES. THRILLER.

“And unlike Thriller, Fantasia has the advantage of NOT being directed by a man who literally got away with murder or involving an artist whose pedophilia accusations are still discussed a decade after his passing…at least as far as we know.”

By the way, if you’re watching the current version of Fantasia that’s available, do me a favor and pause the movie to watch the original Deems Taylor intros; while they’re shorter than the ones on the blu-ray, they have Deem’s original voice. All later releases have him dubbed over by Corey Burton because the audio for these parts hasn’t held up as well over time. Now Corey Burton is a phenomenal voice actor who’s done countless work for Disney before, but there’s a problem I have with him taking over these segments: One, he and Deems sound nothing alike, and Two, he makes him sound so dry and dull. Not to mention the longer intros practically spoil everything you’re about to see whereas the cut versions give you just enough to build some intrigue for what’s to follow.

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Regardless of whichever one you’re watching, Deems gives us the rundown on what Fantasia is all about and lists the three categories that the sequences fall under.

A concrete story

Clearly defined images with something of a narrative

Music and visuals that exist for its own sake

And the very first of these parts falls directly into the last one.

Toccata and Fugue in D Minor – Johann Sebastian Bach

Some hear this tune and attribute it as stock horror music, but for me it’s the start of a grand, dark, fantastical journey through realms of the imagination. While it is intended as an organ piece, this full orchestration blows me away. Capturing the orchestra in bold hues and shadows with colors specific to certain highlighted instruments was a brilliant move, setting the stage for what’s to come.

And if the previously referenced Bugs Bunny cartoon was any indication, the real Leopold Stokowski is one of the main draws to this segment. Stokowski’s claim to fame was that he ditched the traditional conductor’s baton and used his hands to guide the orchestra. His passion and restraint is plain for all to see, even in silhouette.

Ultimately Stokowski and the orchestra fade away into the animated ether. The idea behind Toccota and Fugue was to show a gradual transformation from the conscious world to the subconscious, providing a literal and figurative representation of what you see and hear with the music. That’s why the first animated images resemble violin bows sweeping over strings. Over time those distinct objects evolve into abstract geometric shapes.

Honestly, no amount of stills can capture what it’s like to watch this sequence play out. It’s a radically unique experience, almost like a dream.

Things Fantasia Fans Are Sick of Hearing #2: “It’s the world’s first screensaver/musicalizer!”

This is something I hear often from people (ie. the people making the complaints I’ve chosen to highlight). First, read the previous Thing. Second, Toccata is not so much about recreating a story as it is capturing a feeling. And yet a story isn’t out of the question. I always saw at as glimpses of a battle of light versus dark, heaven versus hell, albeit not as overt as the opening of Fantasia 2000. That’s the beauty of this segment. It’s all up for interpretation. You can let the images and sounds wash over you as if you were dreaming it, or attach whatever meaning you find.

And on that note (ha) –

Things Fantasia Fans Are Sick of Hearing #3: “God, all these animators must have been so fucking high to come up with this shit.”

I tell ya what, if you’re one of those people who think that, take whatever drug is handy, grab some crayons or whatever you feel comfortable doodling with, and when you’re comfortably high, draw one full second of animation. That’s 24 consecutive drawings that need to flow, squash and stretch into each other realistically. It doesn’t have complicated; it can be a ball bouncing, a flower blowing in the wind, an eye blinking, but it has to work.

Not so easy, huh?

Classic Disney animators who lectured at art schools received comments like this all the time. While there were some like Fred Moore who would go for the occasional beer run on breaks, there’s no record of narcotic or alcoholic influence on the animators’ turnout. I’m pretty sure Walt would’ve fired anyone who turned in work produced while high because it’d be awful. Animation was still a fairly new medium at the time, and Disney was constantly experimenting with what it could do, which is why we got things like this, the Pink Elephants, and other delightfully trippy moments throughout the 40’s, not because of drugs. Isn’t that right, classic Disney animator Bill Tytla?

“Of course! I’ve never done drugs, and I never drink…wine.”

The Nutcracker Suite – Pyotr Illich Tchaichovsky

Things Fantasia Fans Are Sick of Hearing #4: “Yawn. Nutcracker is SO overplayed. Of course Disney had to jump on the bandwagon with their version!”

Ironically, the extended Deems Taylor intro has him mention how nobody performs Tchaikovsky’s Nutcracker; in light of its modern seasonal popularity, the sentiment is rendered archaic. True, the ballet wasn’t an initial critical hit and Tchaikovsky himself virtually disowned it, but much of its ubiquity is largely due in part to Disney adapting it for Fantasia. It eschews the title character in favor of a nature ballet portraying the cycle of seasons. Initial planning included the overture and the famous march featuring woodland critters, though they were eventually cut. Walt considered pumping scents into the theater during this part, but was unable to figure out how to do it naturally. If they had Smell-O-Vision that might work, but what scents would you have to scratch off for the other Fantasia segments? Wood resin? Wine? Wet hippo? Brimstone?

The sequence begins with The Dance of the Sugar Plum Fairy. In the night a group of fairies dance like fireflies, gracing spring flowers and spiderwebs with delicately timed dewdrops.

“Any of you girls seen Tinkerbell?” “She ditched us to hang out with that obnoxious flyboy.” “Again?! That’s the third time this month!”

The scene is atmospheric with beautifully rendered pastel backgrounds. After the fairies comes The Chinese Dance performed by a group of little mushrooms. It’s a cute number, and just another that was parodied more than a few times in other cartoons – wait do those mushrooms have slant eyes? And they’re prancing around nodding like extras in The Mikado…

You fungi are lucky you’re so darn adorable otherwise I’d sic the self-righteous side of Twitter on you.

Dance of the Reed Flutes follows. Lilies gently float on to the surface of a pond before inverting themselves to resemble twirling dancers with long, flowing skirts. And since I’m not always one to take the easy route, enjoy this niche reference instead of “You Spin Me Right Round”.

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A gust of wind blows the spinning lilies over a waterfall into some moody underwater caverns, where a school of unusually sultry goldfish perform the Arabian Dance.

Cleo, does Gepetto know about this?

A novel idea, using the basic swimming motions of a goldfish and their naturally diaphanous tails and fins as veils to resemble exotic dancers, though like other animated characters in a similar vein, this has led to some…”interesting” reactions from certain people.

Right, well, bubbles transition us into the penultimate movement, the Russian Dance. Thistles and orchids resembling dancers clad in traditional Russian peasant clothing spring to life in this brightly colored energetic minute. You’ll be chanting “hey!” along with it.

And finally, the Waltz of the Flowers. As a little girl I would often hold my own “ballets” to this scene, which mainly comprised of me in a ballet costume or fancy nightgown spinning around in circles for family members with this playing in the background. Top that, Baryshnikov.

Fairies similar to the ones from the beginning transform the leaves from fresh summer green to autumn orange, brown and gold. Milkweed seeds blossom forth and float through the air like waltzing ladies. This piece above all else is what really shows the beauty of nature. I feel more emotion watching the leaves pirouette in the wind than any plain live-action drama.

Fall turns into winter, and the fairies, now snow sprites, skate across a pond creating ice swirls while even more spiral down from the sky as snowflakes. The secret of animating these snowflakes was nearly lost to time. Several years ago a notebook by technician Herman Schultheis was rediscovered, revealing how many of the special effects in Disney’s early films – Fantasia in particular – were brought to life. The snowflakes were cels on spools attached to small rails from a train set that were filmed falling in stop motion and black and white, then superimposed on the final picture.

In conclusion, The Nutcracker Suite is a lovely piece of animation and music, and I’ll pop in Fantasia at Christmastime just to watch it. This was my introduction to The Nutcracker, and it’s an excellent and unique one.

The Sorcerer’s Apprentice – Paul Dukas

The symphonic poem of the same name now gets a proper name with Mickey Mouse stepping in the title role. It’s impossible to imagine any other character in his shoes, but for a time there were other considerations.

“Nope. Too wooden.”

“Too angry.”

“I’m sorry, but you’re just too darn loud.”

As we all know, Mickey was given the part since his popularity needed a boost. He doesn’t talk here, and I know those who find his voice grating wholeheartedly embrace that fact, but what we’re given is proof that Mickey works just as well silently as he does speaking. Very few cartoon characters can pull off that kind of versatility.

And while we’re on the topic of sound, Walt was so determined for the sound quality to match what was happening on screen that he devised a system he dubbed “FantaSound”, where it would seem as though the music would move around the the theater instead of just blare out from one speaker.

You read that right. Fantasia is the movie that invented SURROUND SOUND.

But that’s not the only technological leap Fantasia is responsible for – this is the first time we see Mickey with sclera.

That’s the white of the eyes for those who don’t speak science.

Before Fantasia, Mickey had what we refer to today as “pie eyes”, a relic of the era he was created in. As the art of animation progressed, animators found it increasingly difficult to create believable expressions with two little dots. Fred Moore is responsible for the mouse’s welcome redesign. Mickey as the apprentice serves the sorcerer Yen Sid, named after his real world counterpart.

“Hey! I didn’t teach him that!”

Mickey’s craving a taste of his master’s power, so he borrows his magical cap after he goes to bed and enchants a broom to finish his work of gathering water. It’s fun and bouncy, though the part where Mickey dreams he can control the cosmos, seas and sky is something to behold.

“The power! The absolute POWER!! The universe is mine to command! To CONTROOOOOOL!!!”

But Mickey is jolted from his dream of ultimate conquest when the broom begins flooding the place. Unfortunately the sorcerer’s hat doesn’t come with a manual so Mickey doesn’t know how to turn it off. He resorts to violently chopping the broom to pieces with an axe. The animation originally called for the massacre to happen on screen, but was altered to showing it through shadows instead. I think it’s much more effective this way. The implied violence is more dramatic than what we could have gotten.

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One of my favorite stylistic choices in Fantasia is what follows. The color is sucked out, drained if you will, mirroring Mickey’s exhausted emotional and physical state after committing broomslaughter. But it slowly returns as the broom’s splinters rise up and form an army of bucket-wielding drones. They overpower Mickey and catch him in a whirlpool until Yen Sid returns and parts the waters like a pissed off Moses.

“You! Shall not! SWIM!!!”

Mickey sheepishly returns the hat, and I have to give credit to the animators for the subtle touches on Yen Sid. He appears stern at first glance, but the raised eyebrow borrowed from Walt? The slight smirk at the corner of his mouth? Deep down, he’s amused by his apprentice’s shenanigans. Even the backside slap with the broom, while rendered harshly due to the sudden swell of music, is done less out of malice and more out of playfulness.

The piece ends with Mickey breaking the barriers of reality to congratulate Stokowski on a job well done.

“Hey! I didn’t teach him that!”

If you haven’t already guessed, The Sorcerer’s Apprentice is easily one of my preferred sequences. It’s energetic, perfectly matches the music, and features my favorite mouse in one of his most iconic roles. I joke about the scene where Mickey controls the waves and the sky due to Disney’s far-reaching acquisitions in the past decade, but within the context of the film it’s one of the most magical moments. Some theorize that The Sorcerer’s Apprentice is an allegory of Walt’s journey to create Fantasia itself, and there’s some merit to it – Mickey’s always been Walt’s avatar after all, and here he dreams big only to wind up way in over his head. But you don’t need to look for coincidental parallels to enjoy this part.

Rite of Spring – Igor Stravinsky

Stravinsky’s Rite of Spring is admittedly my least favorite part of Fantasia, though I don’t hate it by all means. Thematically it’s the furthest from the original work’s intent: instead of a pagan ritual involving a virgin sacrifice, we witness the earth’s infancy. I was never really into dinosaurs as a kid (I didn’t even see Jurassic Park until I was in fourth or fifth grade), and the thundering, threatening music put me off. I found it too long (twenty-two minutes is an eternity in child time), uninteresting, and dour compared to the other sequences, with the exception of one moment. I can appreciate it now that I’m older, though.

A solitary oboe echoes through the vast darkness of space. We soar past comets, galaxies, suns, and down into our lonely little planet still in the early stages of formation. Volcanoes cover the earth. They spew toxic gas, but their magma bubbles burst in precision with the music. Once again this is due to Herman Schultheis. He filmed a mixture of oatmeal, coffee grounds, and mud with air pushed up through a vent, and let the animators go to town on it.

The volcanoes erupt simultaneously. Lava flows and the ensuing millennia of cooling form the continents. But deep in the sea, the first protozoan life wriggles, divides, and evolves into multi-cellular organisms. One of them crawls up on to land, and finally we’re back in the time where dinosaurs weren’t just confined to zoos.

Things Fantasia Fans Are Sick of Hearing #4: “Dinosaur inaccuracies…brain melting…”

True, most of the dinosaur and plant species here never shared the same period of existence, but try telling that to the animation studio or John Hammond. They mostly went for whatever looked cool and prehistoric regardless of scientific accuracy. Some of the designs themselves are a bit off, but the animators did their best considering how much we knew about the creatures in the 30’s and 40’s. Heck, we’ve only recently discovered that most dinosaurs were covered with feathers or fur, and I don’t see anyone harping on Jurassic Park for omitting that detail. Thank God Steven Spielberg doesn’t harbor George Lucas’ affinity for reworking his past movies with extra CGI.

Believe it or not, this scene was once considered the height of accurate dinosaur depictions on film, because nobody else had done it before with this level of research and care in animation. Without Rite Of Spring, we wouldn’t have The Land Before Time or Jurassic Park in the first place. Look at Land Before Time’s bleak, orangey atmosphere and the Sharptooth fights and tell me this didn’t influence it in any way.

The dinosaurs themselves have little character and, while fascinating to see how they might have lived, are not particularly engaging. Until…

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Yes, when the king of all dinosaurs makes his entrance, bringing a thunderstorm along with him no less, all the others are wise to run and hide from him. I would hide under a quilt but still peek through the holes in awe. He snaps about throwing his weight around, but when it goes toe to toe with a stegosaurus? That’s when things get real.

This battle, by the way, is animated by Woolie Reitherman, who had a knack for bringing gargantuan characters to life. He was responsible for animating Monstro in Pinocchio, and was behind Maleficent’s dragon form in Sleeping Beauty.

Though what follows is far from triumphant. The earth has become a hot, barren wasteland. The dinosaurs trudge through deserts and tar pits, their fruitless search for water turning into a slow death march. Not even the mighty T-Rex can survive this.

California: present day.

Some time later, the dinosaurs are all gone. Only their bones bleaching in the sun remain. Without warning, a massive earthquake hits and the seas flood through, washing away the remains of the old prehistoric world. The sequence comes full circle as the lonely oboe plays over a solar eclipse, which sets on an earth ready to step into the next stage of life.

If Walt had his way, the segment would have continued with the evolution of man and ended on a triumphant note with the discovery of fire, but he was worried about the possible backlash from zealous creationists. And I don’t blame him for wanting to avoid a confrontation with that crowd.

“It’s bad enough he makes a mouse act like a people with his dadgum pencil sorcery, but propagandizin’ evil-loution in mah Saturday mornin’ toon box? That’s just plum un-okkily-dokkily!”

“…You wouldn’t happen to have a dictionary on hand, would you?”

“DICTIONARIES ARE THE DEVIL’S BOOSTER SEAT!!”

Subsequently, those edits made to Stravinsky’s score pissed off the composer so much that he considered suing Disney for tampering with his work. He opted not to, yet the experience turned him off animation for good. A crying shame; Stravinsky, apart from being the only classical composer alive to see his work made part of a Fantasia feature, was excited to work with Walt. The two deeply respected and recognized each other as artists ahead of their time. Who knows what else could have come from their collaboration if things ended better?

With that knowledge, it makes sense that one of Stravinsky’s most famous pieces, the Firebird Suite, was included in Fantasia 2000: perhaps on some level Disney wanted to apologize for how the finale of Rite of Spring was mishandled by making Firebird the grand finale (though knowing Stravinsky he would have hated the little changes made to his music there as well).

Following the intermission, the orchestra reconvenes and has a fun little jam session. Deems Taylor takes a moment to introduce us to the most important – but rarely seen – figure that makes Fantasia and most music in movies possible, The Soundtrack.

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Once again, Disney does what it does best and anthropomorphizes what no one thought was possible. Think about it: giving personalities to animals is one thing, but they’ve successfully done the same for plants, planes, houses, hats, and here, sound itself. It may seem silly and out of place, but I think it’s brilliant and charming. The visuals it creates to represent different instruments are perfectly matched; some of them harken back to Toccata and Fugue. This, combined with the improv from the orchestra, is a good way to ease us back into comfort after the harshness of Rite of Spring.

Pastoral Symphony – Ludwig Van Beethoven

There’s a famous story about Walt Disney while he was pitching this segment. When met with complaints that it wasn’t working, he cried out This’ll MAKE Beethoven!” In a way, he was right. This was the very first piece of Beethoven I ever heard, even before the famous “da da da DUUUUUN” of Symphony #5. And as far as I know, it was for a good many Disney fans too. We still get a romantic depiction of the countryside as was the composer’s intent, but instead of an rural utopia, we see the Fields of Elysium at the foot of Mount Olympus. It’s home to a variety of mythical creatures from the golden age of Greece: fauns, unicorns, cherubs, centaurs and Pegasi.

If there was ever a Disney world I wanted to spend a day in, this would be it. It’s so innocent, laidback and colorful; it takes me right back to my childhood. A great portion of this sequence was used in my favorite music video in the Simply Mad About the Mouse anthology album, “Zip A Dee Doo Dah” sung by Ric Ocasek from The Cars. Whether that was my favorite because it featured Pastoral Symphony or Pastoral Symphony was my favorite because it was featured in the video I don’t know. There’s nothing that could ever destroy it for –

Oh son of a…

Things Fantasia Fans Are Sick of Hearing #5: “RACIST. FUCKING. CENTAUR. EQUALS. RACIST. DISNEY… RACIST!!!”

Yes ladies and gents, that image is real. Meet Sunflower (or Otika, I’m not sure which one she is) one of the the censored centaurettes (for very obvious reasons). I’m of two minds when it comes to their inclusion. First off, yes, they’re crude and demeaning blackface caricatures that have no place in a Disney movie, let alone one of the best ones and in one of my favorite sequences. But my inner art/film historian that despises censorship feels that erasing these depictions is the same as pretending they and other prejudices of the time never existed.

Thank you, Warner Bros.

As time and the civil rights movement marched on, all traces of the Sunflower squad were removed from later releases of Fantasia. The downside to that was editing techniques at the time weren’t as high-tech as they are today; I was lucky to see a film print of Fantasia at the Museum of Modern Art in 2015 that must have dated as far back as the ’60s because she wasn’t there, but the cuts were very noticeable. Sad to say the amazing remastered tracks done by Irwin Kostal in the 80’s used a similar print because the shift in the music is very jarring at points in this segment. It wasn’t until Fantasia’s 50th anniversary that they were able to zoom in and crop the scenes that had Sunflower in them while recycling other pieces of animation over parts where they couldn’t get rid of her, eventually managing to digitally erase her from some of the film entirely (look carefully at the part where the red carpet is being rolled out for Bacchus on the blu-ray. Unless he got it from the Cave of Wonders, carpets normally don’t roll themselves…)

I completely understand the reasoning behind Sunflower’s removal, but can also see why animation aficionados would try to pressure Disney into bringing her back with each new re-release for Fantasia, possibly with one of those great Leonard Maltin intros putting everything into context like in the tragically out-of-print Disney Treasures dvds – though the chances of that happening are as likely as Song of the South being made public again (the Disney+ promo should have made that clearer when they claimed Disney’s entire back catalogue would be available for streaming, but I doubt the tag line “We have everything except Song of the South” would hook people). It’s an issue I’m very torn on. So if there was ever a chance that a version of Fantasia with a restored Sunflower was possible, either through Disney themselves or fan edits, my thoughts on it would be a very resounding…

The first movement of the symphony is “Awakening of Pleasant Feelings upon Arriving in the Country”, and this part does just that. As the sun rises and we get our first glimpse of the technicolor fantasyland. Pan flute-playing fauns and unicorns frolic with each other while a herd of Pegasi take to the sky. Again, going back to other notable movies taking cues from Fantasia, Ray Harryhausen carefully studied the movement of the Pegasi here when creating his stop-motion Pegasus for Clash of the Titans. They canter through the air as they would on land, but in the water they move with the grace of a swan.

And look at the little baby ones, they’re just too cute!

The second movement, “Scene by the Brook”, takes place exactly where you think it does. A group of female centaurs, named “centaurettes” by the animators, doll themselves up with the help of some cupids (and the aforementioned Sunflower) in preparation for mating season.

“”I used to like the centaurettes not just because they were pretty but because each of them having different colors could be interpreted as women of all colors hanging out together and finding love. But no, having Sunflower there confirms that they’re all supposed to be lighter-skinned ladies. Racism given context makes it no less of a pain in the ass.”

The male centaurs arrive and hook up with their conveniently color-matching counterparts. The cherubs help set the mood for their flirting interludes until they discover two shy, lonely centaurs (Brudus and Melinda, because I’m that big of a Disney nerd that I know their actual names) who haven’t found each other yet. They lure them to a grove with some flute music a la The Pied Piper and it’s love at first sight.

One of my favorite details throughout the Pastoral Symphony is that we keep coming back to Brudus and Melinda. They’re a cute couple, one of the closest things we have to main characters in this sequence, and it’s nice to follow them.

Our third movement is “Peasants’ Merrymaking”. The centaur brigade prepare an overflowing vat of wine for Bacchus, god of booze and merrymaking. Bacchus, forever tipsy, arrives backed up by some black zebra centaurettes serving him. Maybe they were considered attractive enough to avoid being censored.

The bacchanalia is in full swing with everyone dancing and getting loaded. But Zeus, who appears more sinister than Laurence Olivier or his future Disney counterpart, crashes the party with a big thunderstorm. I used to think he was a jerk for endangering his subjects just for kicks, but in light of recent revelations maybe he had ulterior motives.

“Feel the wrath of the thunder god, you fucking racists!”

“Come on, dad, you used to be fun! Where’s the Zeus turns into a cow to pick up chicks?!”

“He grew up. Maybe you should too, son. Now EAT LIGHNING!”

“The Storm”, our fourth movement, provides some stunning imagery against the torrential backdrop, from the centaurs being called to shelter to the pegasus mother braving the gale to rescue her baby.

Ultimately Zeus grows tired and turns in for the night, ending the storm. Iris, goddess of the rainbow, emerges and leaves her technicolor trail across the sky. The creatures revel in the effects it has on their surroundings, then gather on a hill to watch the sunset, driven by Apollo and his chariot. Everyone settles in to sleep, and Artemis, hunting goddess of the moon, shoots an comet across the sky like an arrow that fills the sky with twinkling stars.

Pastoral Symphony was the one part of Fantasia that always received the most derision from critics, but racist characters aside I simply don’t get the hate for it. It may be longer than Rite of Spring but feels nowhere near as drawn out. I love the colors, characters, and the calm, bucolic fantasy world it creates. This was my first exposure to Beethoven and the world of Greek mythology and I still hold plenty of nostalgia for it. I admit it’s not perfect, and not just for the reason you think. Out of all the Fantasia pieces, this is the one whose quality is closest to an original Disney short than a theatrical feature. It’s a bit more cartoony and there’s some notable errors, particularly when the baby Pegasi dive into the water and emerge different colors. Also, Deems and the animators flip between using the gods’ Greek and Roman names, and the stickler in me wants them to pick a mythos and stick with it. But for all it’s flaws it’s still among my very favorite Fantasia pieces and nothing can change that.

The Dance of the Hours from the Opera “La Giaconda” – Amilcare Ponichelli

Like I said before, Disney was a master of the art of anthropomorphism. And nowhere is this more true than Dance of the Hours. Animals portray dancers symbolizing morning, noon, dusk and evening – only they’re the most unlikely ones for the job. The characters of our penultimate act are as cartoony as any you’d see in a Disney short from the era, but what puts the animation above it is the right balance of elasticity and realism. The exaggeration is on point, but there’s enough heft and weight to the animals that I can buy them being grounded in (some semblance of) reality. The animators studied professional dancers and incorporated their moves and elegance flawlessly. Half of the comedy derives from this.

The other half comes from how seriously the mock ballet is treated. We’re never informed who the dancers will be, leading anyone who hasn’t seen this before to assume they’re people. The ballet itself is a parody of the traditional pageant, but the performers carry on with the utmost sincerity. It doubles the laughs when it comes to moments such as Ben Ali Gator trying to catch Hyacinth Hippo in a dramatic pas de deux or an elephant getting a foot stuck in one of her own bubbles as she prances around. The familiar lighthearted refrain of the dance provides wonderful contrast to the caricatures on screen, particularly if you recall its other most famous iteration beyond Fantasia.

No one ever told me Camp Grenada was this Arcadian or zoological.

Morning begins with a troupe of uppity ostriches in ballet gear waking up, exercising and helping themselves to a cornucopia of fruit for breakfast. They fight over some grapes only to lose them in a pool. Something bubbles up from beneath and the ostriches run away in terror, but it’s only the prima ballerina of the piece, Hyacinth Hippo. She prepares for the day with help from her handmaidens and dances around a bit. Then she lies down for a nap, but no sooner do her ladies in waiting leave than some playful elephants come out of hiding and dance around Hyacinth unawares.

Elephants blowing bubbles in a Disney feature…nah, it’ll never catch on.

The elephants are blown away by a gust of wind (must be a really strong breeze), and with the coming of night a sinister band of crocodiles sneak up on Hyacinth. They scatter at the sudden arrival of their leader, Prince Ben Ali Gator, who immediately falls in love with Hyacinth. Surprisingly, the feeling is mutual.

I’m calling it – first body positivity romance in a Disney flick.

The climax of the piece has the crocodiles returning to wreak havoc on the palace and pulling the ostriches, elephants, and hippos back into a frenzied dance which brings down the house.

No bones about it, Dance of the Hours is a comic masterpiece and one of Fantasia’s crowning jewels. And the moment it ended was always the signal for younger me to stop the tape and rewind it to the beginning, due to what follows making a complete and terrifying 180…

Night on Bald Mountain – Modest Mussorgsky / Ave Maria – Franz Schubert

At last we come to our final part, two radically different classical works that blend perfectly into each other. And brother, what a note to end on.

Composer Modest Mussorgsky passed away before completing his masterwork “Night on the Bare Mountain”, a tonal poem depicting a witches’ sabbath from Slavic mythology. His friend, the great Rimsky-Korsakov, finished it for him while adding his own personal touch. The result is some of the most iconic and terrifying music ever created, and the accompanying animation, with the exception of The Sorcerer’s Apprentice, is the most faithful to its source material.

The scene takes place on Walpurgis Night, which is the closest thing Europe has to a real-life Summerween (those lucky so-and-so’s), on the titular mountain. The mountain’s peak opens up revealing Chernabog, the Slavic deity of darkness.

Chernabog is a masterclass in design and form. It’s easy to mistake him for Satan himself – Walt Disney and Deems Taylor both refer to him as such – though considering he’s technically Slavic Satan, there’s not too big a distinction. Chernabog radiates power, terror and pure darkness from his intro alone. You can imagine him influencing all other Disney villains to do his will, essentially filling in the horned one’s hooves. Chernabog was skillfully handled by Bill Tylta, an early Disney animator with enough talent to create characters as diverse as Stromboli and Dumbo. Bela Lugosi, the original Dracula, posed for reference pictures in the early design stages, though Tylta ultimately discarded them in favor of some different inspiration – sequence director Wilfred Jackson as model, and Tytla’s own Czech heritage. He grew up with folktales of Chernabog, which served him well during the production.

“Soon, master. The one known as Jackson shall take up your mantle and we shall feast upon humanity yet again.”

Chernabog unleashes his might on to the sleeping village below and raises the dead from the cemetery. A cabal of witches, wraiths and demons gallop on the wind and take part in his infernal revelry. Yet they are but playthings to the evil being. He transforms the creatures into alluring sirens and wretched beasts, sics harpies on them, condemns them to the flames, and lustfully embraces the hellish blaze. It’s an in your face pageantry of pure malevolence that you can’t look away from

Things Fantasia Fans Are Sick of Hearing #6: “This is too scary for kids!! What the hell were they thinking?!”

I think it’s time we made one thing clear: Fantasia was NOT made for children – or to be more accurate, not EXCLUSIVELY for children. While Disney movies are made to be enjoyed by both kids and adults, Fantasia is the only one who dared to appeal to a more mature audience, and Night on Bald Mountain is proof of that. It had the audacity to explore some of the most darkest, ancient depictions of evil in a way that no Disney feature has before or since. Most importantly, it’s not done for shock value like any random horror movie you could name. It’s meant to show the juxtaposition between the darkest depravity and purest good; combined with Ave Maria it makes for the perfect symbolic climax to Fantasia. Light versus darkness, chaos versus order, life versus death, profane versus sacred, and the quest to master them all are the themes that unify the seemingly disparate sequences, and this finale is the apotheosis of that.

I stated in my Mickey’s Christmas Carol review that Bald Mountain was one of my first introductions to the concept of eternal damnation at the tender age of…I wanna say four, five? It was easily one of the most petrifying things from my childhood, but at least I could avoid some exposure to it thanks to its position at the very end. Though now I adore Night on Bald Mountain for how bold and striking it is. Tytla’s animation, Kay Nielsen’s stunning demon designs, and Schultheis’ effects culminate in harmonious diabolical artwork that’s impossible to extricate from the music. It’s a shame Schultheis left the studio after Fantasia. He met a mysterious, tragic end in Guatemala, right around the time Bill Tytla left too as a matter of fact…

“He knew too much…about the secrets of animation, I mean. Nothing at all about das vampyr walking the earth. No sir.”

Yet at the height of his power, one thing stops Chernabog cold – the sound of church bells. Disney historian John Culhane saw Fantasia during its original theatrical run (lucky so and so…) and he recalled how much having FantaSound affected his screening: when the bells rang, he could hear them coming from the back of the theater and slowly course their way up front as their power grew. It was an awe-inspiring moment that took the Bald Mountain experience one step further into reality.

The bells and the rising sun drive Chernabog and his minions back into the mountain and the restless spirits return to their graves. In the misty morning a procession of pilgrims glides through the woods like a parade of tiny lights, and thus the Ave Maria begins. It’s one of the rare times Disney has gone overtly Christian. Maybe Walt wanted to get back into the God-fearing American public’s good graces after the sorcery, paganism, devil worship and evolution theory we’ve witnessed in the past hour and fifty minutes. It does relieve the tension from the previous turn of events.

The first pitch had the march enter a cathedral, but Walt didn’t believe recreating something people can already see in Europe. So instead they move through a forest with trees and natural rock formations resembling the Gothic architecture of a cathedral. It’s the stronger choice in my opinion. The implication speaks greater volumes than a specific location, subtly connecting nature to the divine. It’s difficult to make out most of the hymn’s words, but regardless it sounds beautiful, especially those final triumphant notes as the sky lights up over a view of the verdant hilltops.

“When the sun hits that ridge just right, these hills sing.”

And with that, Fantasia comes to a close.

Really, what else can I say about it at this point. I keep forgetting this movie came out in 1940. It’s virtually timeless, and a must-see for anyone who loves animation and classic film and wants to jump into either one.

Fantasia was a critical and box office success…sort of. Despite the praise and high box office returns for the time, it sadly wasn’t enough to make up for the cost of putting it all together. Like Pinocchio before it, the war cut off any foreign revenue. And not every theater was willing or able to shell out for that nifty surround sound so the effects were lost on most people. Then there’s the audience response, which is the most depressing of all. The casual moviegoers still viewed Walt as the guy behind those wacky mouse cartoons and called him out for being a pretentious snob, while the highbrow intellectuals accused Walt of debasing classical music by shackling it to animation. The poor guy just couldn’t win.

Fantasia marked the end of an era. Never again would Walt attempt a feature so ambitious. His plans of making Fantasia a recurring series, with old segments regularly swapped out for new ones, would not be seen in his lifetime. There’s been the occasional copycat (Allegra non troppo), a handful of spiritual successors (Make Mine Music, Yellow Submarine), and of course the sequel which I’m sure I’ll get to eventually, but through it all, there is only one Fantasia. And no amount of my ramblings can hope to measure up to it. Fantasia is one of those movies you simply have to experience for yourself, preferably on the biggest screen available with a top of the line sound system. I know it’s a cliche for Internet critics to name this as their favorite animated Disney movie, but…yes, it’s mine too. It opened a door to a world of culture and art at a young age. The power of animation is on full display, and it’s affected the way I look at the medium forever. Fantasia was, and still is, a film ahead of its time.

Thank you for reading. I hope you can understand why this review took me nearly three months! If you enjoyed this, please consider supporting me on Patreon. Patreon supporters get perks such as extra votes and adding movies of their choice to the Shelf. If I can get to $100, I can go back to making weekly tv show reviews. Right now I’m halfway there! Special thanks to Amelia Jones and Gordhan Ranaj for their contributions.

You can vote for whatever movie you want me to look at next by leaving it in the comments or emailing me at [email protected]. Remember, unless you’re a Patreon supporter, you can only vote once a month. The list of movies available to vote for are under “What’s On the Shelf”.

Artwork by Charles Moss. Certain screencaps courtesy of animationscreencaps.com.

To learn more about Fantasia, I highly recommend both John Culhane’s perennial book on the film and The Lost Notebook by John Canemaker, which reveals the long-lost special effects secrets which made Fantasia look so magical.

Now if you’ll excuse me, I’m going to be spending the rest of the month with my handy dandy garlic, stake and crucifix and pray Bill Tytla doesn’t visit me this Walpurgis Night. I suggest you do the same.

March Review: Fantasia (1940) And now we come to the final piece of Walt Disney's original animation trifecta, Fantasia, and it's one I'm both anticipating and dreading.

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