Edelweiss: A Rumination on Rogers and Hammerstein's Underappreciated Classic

According to the liner notes for a CD I bought many years ago (when I still bought CDs), “Edelweiss,” Rogers and Hammerstein’s song about the Austrian flower, is one of the most moving songs ever.  Even without the hyperbolic wording, it is easy to scoff at such a thought.  The song seems like a sentimental side note within an even more sentimental musical and movie, a minor selection within the maudlin excess that is The Sound of Music.  At first glance, it doesn’t even seem to completely fulfill the definition of moving.  For most of the population, moving means grandiose declarations and copious weeping.  Undoubtedly, musical theatre has offered numerous songs with more outright passion and pathos; from the Rogers and Hammerstein canon alone, songs such as “We Kiss in the Shadows,” “I’m in Love with a Wonderful Guy,” and “You’ll Never Walk Alone” offer considerable dramatic flair.  By comparison, “Edelweiss” is a short, simple, and somewhat repetitious love song to nature.  It lacks the tragedy of young lovers separated by circumstance, the exhilaration of falling in love for the first time, or the comfort in understanding that no one is truly alone.

However, to simply dismiss “Edelweiss” as a clichéd ode to flowers does a great disservice to the song and its composers.  One part of the song’s undeniable appeal and moving quality does have to do with its context within the film version of The Sound of Music. 

Alone in the spotlight, seeing the Nazi guards waiting to take him into custody so he can fight in the army, Captain Von Trapp starts singing this simple tribute to his homeland, a place that, according to the Nazis, no longer truly exists.  In the film version, Christopher Plummer’s purported dislike of the project makes it even more meaningful.  Even as he manfully sings and strums, Capt. Von Trapp’s voice cracks as he realizes the enormity of what has happened.  For just a moment, Plummer’s cynicism fades, and he allows the audience to see the vulnerability and sadness lurking beneath the stoic façade.  His family, led by the incomparable Julie Andrews, joins in and urges the audience to sing too.  I still remember my 8^th grade teacher’s explanation of this moment – “It’s like singing the National Anthem in the face of defeat.

Despite the intense emotions associated with the scene, a close examination of the song reveals its considerable strengths without the context of Nazis, Austria, and Julie Andrews.  “Edelweiss” was Oscar Hammerstein’s final work before succumbing to cancer.  Unlike the obvious morality of “You’ll Never Walk Alone” or “Climb Ev'ry Mountain,” “Edelweiss” offers a more restrained method of inspiration.  While time and life are fleeting, some things remain unchanged.  In this sense, “Edelweiss” is also one of the most Romantic (with a capital R) of Rogers and Hammerstein’s songs; nature remains constant and provides a sense of comfort within this ever-changing world.  The music takes a similarly understated and simplistic approach.  Stripped of histrionics and vocal gymnastics, the tune emulates traditional folk music.  This is not a song that lends itself to lush orchestrations or complicated choral arrangements; instead, it embraces the sincerity and spontaneity that usually only comes with impromptu singing.

As for its inclusion on the most moving songs of all times list, it is difficult to take a sale-priced CD at the bookstore as the world’s foremost authority on music.  However, in the case of “Edelweiss,” perhaps it is on to something…

Pop Culture that Restores Your Faith in Humanity

Sorry for the click-bait-like title, but it perfectly encapsulates the post’s topic. This morning, The A. V. Club featured anarticle on feel-good entertainment where they asked their staff, “What’s your favorite entertainment based on people making the world a better place, talking down the villains instead of shutting them up with a bullet, making firm sacrifices for the welfare of others, seeing the world as half-full rather than half-empty, etc.?” The answers ranged from Adventure Time to Mystery Science Theater 3000 to Groundhog Day, and reading them, I was struck by how diverse the list and how each person explained his or her choice. This also made me think about my own pop culture choices for when I need a little moral uplift. While I admit that much of the entertainment I will consume when I’m down comes in the form of books, there are also some movies and YouTube clips that (almost) always cheer me up. Below, in no particular order, are some of my favorites (several of the works mentioned in The A. V. Club article would be here, but I wanted to bring something new to the table).

Hairspray (the movie musical) – While I miss the snark and over-the-top humor found in the stage musical, the earnestness of the movie version make this a great reminder that acting on one’s convictions can help change the world (or, at the very least, integrate a local teenage dance program). Also, how can you be blue after hearing Shaiman and Wittman’s infectious songs?

The Many Adventures of Winnie the Pooh and Winnie the Pooh – I adore Winnie the Pooh in almost any of his forms (except for the shows that involved enormous puppets and computer-generated animation). Both the original feature-length film, which was cobbled together from a series of shorts, and the 2011 sequel of sorts provide some life-affirming lessons in the gentlest and kindest way possible. For all of the mild (if amusing) adventures the characters have, the central idea for both movies is that friendship is important and that sacrifice for friends is worthwhile. Not bad lessons for a bear of little brain.

Anytime Mr. Rogers was being awesome – There are so many examples of this, but some of my favorites are his 1999 induction into theTelevision Hall of Fame and his 1969 testimony in front of the United StatesSenate in support of funding for public broadcasting. If you need more examples of how he was just an all-around great person (and someone to aspire to be like), check out Mental Floss’s 35 Facts about Mr. Rogers video and this Salon.com article on his kindness and humanity.

The Princess Bride – In a world where happy endings are scarce and where good doesn’t always triumph, this modern fairy tale provides an alternative universe where fathers are avenged, miracles happen, and true love conquers all. All of this sentiment is balanced with a wry wit, making this the ultimate film version of comfort food.

What pop culture helps restore your faith in humanity? Please feel free to leave your comments below – I’d love to hear your ideas!

Movie Review: "Winnie the Pooh"

In the frenzy surrounding the final movie of the Harry Potter franchise, another childhood favorite sneaked into theaters under the radar this weekend. Disney released a feature-length (if somewhat short) Winnie the Pooh film based on several of A. A. Milne's original stories, and the entire enterprise makes for an enjoyable movie experience, particularly for those little ones who might be a tad too young for the daring exploits of Mr. Potter and his companions. That said, much of the audience in the showing I attended on a warm Saturday afternoon were adults, signaling that the nostalgia and affection for our bear of very little brain transcends age (even if some of us might have felt a little silly going to the ticket desk and asking for the 12:30 showing of Winnie the Pooh).

The 60-minute movie (I told you it was short) has three interweaving storylines involving our favorite silly old bear and his 100 Acre Wood friends. Besides Pooh's usual quest for honey, we also have the search for Eeyore's tail and some confusion over the whereabouts of Christopher Robin (who looks and sounds a lot more British than earlier incarnations). If this doesn't sound like an awful lot to sustain a film, it is because it isn't. However, it is light, fluffy, and very enjoyable. As Roger Ebert noted in his review, it would make the perfect first film for small children, since there isn't anything terribly menacing or disturbing about it. It is just innocent, gentle fun from beginning to end.

The characters are much the same as you remember, even if they seem a little broader and less subtle than they were in the original shorts. My brother and sister found them to be caricatures (for instance, Pooh seems much, much more honey obsessed than he did in other incarnations, which is saying something), but I didn't have this problem. Perhaps it is because my nostalgia goggles were firmly in place, but I had a lot of fun seeing the characters on the big screen.

Perhaps one of the real reasons to see the movie (especially on the big screen) is the animation. Simply put, it is gorgeous and is a fitting tribute to the original Winnie the Pooh films made by Disney. Besides Christopher Robin, all of the characters look much as they always did, and the lush but familiar depiction of the Hundred Acre Woods is beautifully rendered. Eschewing than the creepy, computer-generated characters found in other animated movies and shows (including the terrible My Friends Tigger and Pooh on the Disney Channel), the hand drawn quality of this film makes it that much more enjoyable. Imagine the difference between going to an old-fashioned movie theatre and the multiplex behemoths that most cities have, and that is the difference between seeing a soulless, CGI version of Pooh and this animated version.

The voice actors do a nice job; joining Jim Cummings (the original voice of Pooh) are John Cleese as the narrator and Craig Ferguson as the blustery Owl. The other voice actors are not necessarily people you would have heard of, and that, to me, is an excellent thing. Without having to be dwell on being vocally recognizable to their audience (think of the numerous Dreamworks animated movies that seem obsessed with featuring stars' voices), these actors can slip into the familiarity of the characters that thousands (millions?) have grown up with.

The songs are fun if not super memorable. There isn't anything that comes close to the wonderful Sherman brothers' songs, even though Robert Lopez (of Avenue Q fame) and Kristen Anderson-Lopez do a serviceable job of it. I also wasn't too taken with the Zooey Deschenal cover of the original Winnie the Pooh theme. However, Ms. Deschenal more than makes up for it in the fun "So Long," which plays over the clever ending credits. Do yourself a favor and stay through all of them. They are charming and entertaining without being too wry, and they have some lovely callbacks to the Milne stories. Even my disenchanted brother and sister loved the credits (and thought they were the best part of the film).

If you are feeling fatigued by the Harry Potter hoopla (or, if you are like me, you never really got into Harry Potter in the first place), do yourself a favor and spend 60 minutes in the 100 Acre Wood. Sitting in the back of a theater and seeing little kids clutching their stuffed Pooh bears and watching their friends on the big screen for the first time is a truly magical experience (no broomsticks or Hogwarts required).

Upcoming Theatre Events (Tony-Related and Otherwise)

Despite my relative apathy towards the Tony nominees this year, I am jazzed about some of the upcoming theatre-related events that are happening this month. Granted, few of them are occurring anywhere near me, but if you are in New York City or in Washington, D.C., then get ready.

In New York, there's the free Tony Award Documentary Film Series, which features Finding Billy (May 9 - sorry!), Every Little Step (May 16), and Show Business: The Road to Broadway (May 23). This also includes a panel discussion with some excellent speakers. While I haven't seen Finding Billy, I have seen the other two films and can safely say that both are very good. If you're in New York, this is definitely work checking out.

Washington, D.C.'s Kennedy Center is currently showing Stephen Sondheim's Follies, starring Bernadette Peters and Elaine Paige. It is running through June 19.

If you, like me, are not able to jaunt to NYC or D.C., you might be able to console yourself by seeing the New York Philharmonic's version of Company, which was filmed during its incredibly limited run and is being shown in movie theaters across the country.

In Honor of the Bard's Birthday: "Romeo and Juliet" from "Reefer Madness"

Today is the day that Shakespeare's birthday is traditionally celebrated (they weren't too big on paperwork back in his day, so the actual date is unknown). In celebration, here is an awesomely chipper and inane song performed by two characters who have obviously not read the entire play:



To give you some context, this song appears in the musical Reefer Madness, which satirizes the over-the-top film of the same name from the 1930s. In this clip, Jimmy Harper (Christian Campbell) and Mary Lane (Kristen Bell) are preparing to read Romeo and Juliet while falling in love. Unfortunately, the play foreshadows the outcome of their relationship, which is tragic yet utterly hysterical (just watch the movie).

In Honor of Independence Day: More 1776

I know that I blogged about 1776 two years ago, it is definitely a musical worth revisiting. While it isn't perfect, there is something very moving about it. Here are two of my favorite moments from the movie adaptation.

In the first scene, Franklin, Adams, and Jefferson fret while the Continental Congress read Jefferson's Declaration of Independence. However, despite (or perhaps in response to) the stress of waiting, the three men find time to bicker over what the national bird should be:




The second scene is considerably meatier and more dramatic. This scene follows the harrowing "Molasses to Rum" number, which one of the delegates from the southern states performs in response to the demands that slavery end. Adams, alone and shattered, tries to rally himself after the delegates leave the hall:



For more information on 1776, visit the musical's official web site.

Happy Independence Day!

Book Review: "Showgirls, Teen Wolves, and Astro Zombies: A Film Critic's Year-Long Quest to Find the Worst Movie Ever Made"

While there are many good movies I have a sincere appreciation for, part of me loves watching a truly awful movie. And I don't mean just Twilight awful (even given my hatred of the books, I thought that the movie was boring and the Twi-hards deserved better); I mean Grease 2 awful or Xanadu awful. Consequently, when I came across Michael Adams's Showgirls, Teen Wolves, and Astro Zombies: A Film Critic's Year-Long Quest to find the Worst Movie Ever Made, I was immediately intrigued.

Adams, an Australian film critic, decided to spend an entire year and an absurd amount of money watching bad films. From the titular Showgirls to the works of the infamous Ed Wood to even lesser-known works, Adams undertook the daunting (and somewhat scary) task of watching at least one bad film a day for a year. His book outlines his experience trying to watch these movies while also working as the reviews editor for Empire magazine, becoming a movie critic on an Australian television show, and raising a toddler with his extremely patient wife.

The book has a lot of strengths. Besides the inherent humor of reading a critic's reactions to horrible films (I love Roger Ebert's I Hated, Hated, Hated This Movie for the same reason), Adams is very careful not to be too rancorous to the movies he includes. In fact, he takes his job very seriously; in addition to documenting the different films he watched during the year, he also interviewed numerous people (including David Sedaris) to get their recommendations for bad films. Furthermore, he also interviewed some of the directors of the bad films he watched in order to get their side of the story. The resulting book is not so much an unadulterated pummeling of bad movies as it is a sort of celebration of B (and C, D, and F) grade flicks. While Adams doesn't hold back when it comes to the most reprehensible movies, he also is willing to try and see the sincere effort put forth by some of the filmmakers and actors.

There are a few flaws in the book. Its premise, of doing something novel or unusual for a year and then writing about it, is not a new one. Also, I would have liked more of Adams's insight into some of the movies; given that he watched over 300 bad movies in one year, he doesn't get the chance to go very deep into discussing the different works. However, when a book is as engaging and well-written as Adams's is, it is easy to overlook the somewhat formulaic and gimmicky premise and just get lost in the cornucopia of of bad movies.

A Trailer for Every Academy Award Winning Movie Ever

Cracked.com is not for everyone, but some of the videos and articles can be very funny...

A Trailer for Every Academy Award Winning Movie Ever -- powered by Cracked.com

The Nostalgia Critic's Top 12 Greatest Christmas Specials

I love the Nostalgia Critic. Even though he usually seems bitter and angry in his videos, he doesn't hesitate to give credit where credit is due (even if it is somewhat grudging). He also occasionally shows his softer side, as he does in his rundown of the top 12 greatest Christmas specials. Although I don't agree with all of them (I don't love A Christmas Story and I did not find Mickey's Christmas Carol moving), he mentions a lot of lesser-known specials that are certainly worth watching. So, without further ado, here is the video:

Movie Review: To Wong Foo

Recently (perhaps due, in part, to the untimely passing of Patrick Swayze last month), BET has been playing To Wong Foo, Thanks for Everything! Julie Newmar. This movie follows three drag queens, played by Swayze (Vida), Wesley Snipes (Noxeema), and John Leguziamo (Chi-Chi), as they make their way to a drag queen pageant in California. They get harassed by a homophobic sheriff, their car breaks down in a small town, and hi jinks ensue.

While in the town, Vida and Noxeema help plan the Strawberry Social, find vintage 60's fashions, and give the women of the town a makeover. Vida befriends abused housewife Carol Ann and intervenes when Virgil, Carol Ann's husband, tries to beat her up again. Chi-Chi indulges in a crush but eventually does the right thing and sends the young man into the arms of Carol Ann's daughter, Bobbie Lee. Essentially the three of them (well, not so much Chi-Chi) revitalize the town.

On one hand, I know that this movie isn't particularly good. It is basically the poor man's The Adventures of Priscilla, Queen of the Desert. Also, the film student/ English major in me understands that:

1. The script takes the magical Negro stereotype (where an African American character helps a white protagonist) and makes it about drag queens. The queens (especially Vida) are selfless individuals who try to make the best out of their given situation and help those around them. From beating up Virgil to giving Bobbie Lee tips on how to attract Bobby Ray, they are like fairy godmothers (Vida even makes a comment about this).
   
2. The character of Noxeema is pretty one-dimensional, even by this movie's standards. Her main job is to act sassy and spout off one-liners.
3. The movie seems to have some sort of personality disorder. It veers from serious (spousal abuse) to farcical in a blink of an eye.
   
4. The ending, which wraps everything up in a pretty bow, is much too perfect.

In short, this is a movie that makes drag queens completely acceptable for middle America by portraying them as essentially sexless do-gooders who are there to help others.

Despite these issues, I really love this movie. In fact, I consider it my favorite Patrick Swayze film (sorry Dirty Dancing). Yes, it is cheese, but it is satisfying just the same. There is something very sweet and charming about it that makes my black and shriveled heart grow three times its normal size. Swayze is very effective in the role of Vida, a person who really wants to be loved for who she is, and Snipes makes the most of an underwritten role.

The supporting cast is also quite good, and the small moments are surprisingly touching. One of my favorites is when Jimmy Joe (yes, the names are all like this) asks Beatrice to dance, saying, "Miss Beatrice. I've waited 23 years to ask you this. May I have this dance?" and Beatrice (played by the great Blythe Danner), in a wonderfully understated line reading, accepts with a soft "Oh my gracious." Since my description cannot hope to compete with the actual scene, check out the first part of this clip:

Twilight (the Movie) - How Can Something This Bad Be This Boring?

As you may have noticed, there is no love lost between me and the Twilight series (you can read all about it here). Consequently, it took me a very long time to watch the movie. I only did so after a lot of coercion by my friends ("We'll make fun of it! And we can make up a drinking game!"). Although I was very hesitant, I agreed that we should make an afternoon of it and drink ourselves silly while watching the supposed acting of Kristen Stewart. Besides, terrible movies can be hysterical in their awfulness (watch Xanadu or Grease 2 and try not to laugh at the absurdity of it all). Given the hype and my hatred of Twilight, how the movie not be fun to mock?

Unfortunately, Twilight the movie took the place of The Skateboard Kid (a movie that involved a magic skateboard and looked like it was shot with a camcorder) as the worst movie I have ever seen. Copious amounts of alcohol and food couldn't make the movie entertaining (even on a kitschy level). With that said, the only way I would ever willingly watch this movie again is if I could watch it with the Rifftrax commentary. I don't know how these three gentlemen managed to watch this film enough to skewer it so thoroughly, but I must admit that they are stronger than I am. So, without further ado, here is the "Best of" the Rifftrax for Twilight.

Best of Rifftrax - Twilight


My favorite lines from the Rifftrax? Too many to count. However, here are some of the absolute gems:

• That look is from the "Guy you alert the flight attendant about" collection.
• (Referring to Bella): Come liven up our discussion with your bubbly personality.
• (Regarding Edward/ Robert Pattinson): He combines the composure of George Costanza with the suaveness of David Schwimmer.
  
• (Also regarding Edward): It's tough to look bad ass posing next to a Volvo.
• (In response to Edward's assertion, "Nobody's going to believe you"): Quoting directly from the abusive guy's handbook there.
• (About Kristen Stewart's stellar acting choices): Seriously, I don't know what emotion you're going for - you always just look nauseous.
  

The Nostalgia Critic

I am obviously late to this party (what else is new), but last week I found the website That Guy with the Glasses and I have been hooked. I am particularly fond of the Nostalgia Critic, in which Douglas Walker (aka that guy with the glasses) "remembers it all so [we] don't have to." As the Nostalgia Critic, Walker discusses and reviews popular culture from the 1980s and 1990s, particularly television shows and movies that are geared towards kids.

Although he not-so-gently mocks much of what he reviews (most of it with good reason - you try saying something nice about the tv series Full House), he is usually very fair and will acknowledge when a show or movie actually has a good joke or a funny moment. However, the real reason to watch his videos is to see how he mercilessly skewers some of the most memorable moments from childhood. Consequently, Walker combines some of my favorite things: 1980s/ 1990s kiddie pop culture (The Animaniacs! Christmas specials! Addictive theme songs!), humor, and ranting. It. Is. AMAZING!!!

For those of you who are not familiar with Walker, the ultimate place to start is Walker's hilarious analysis/ rant on Titanic - The Animated Musical. While I don't think I could ever watch the actual movie (it is basically a blatant rip-off of the James Cameron film with a rapping dog and cheap animation), this clip may be one of the most hysterical things I have ever seen:

Movie Review: "Every Little Step"

Almost every group has a movie, show, or song that serves to define it. For actors and dancers in the theatre, no other song encapsulates the struggle of getting defying the odds and getting a job than A Chorus Line's "I Hope I Get It," the show's opening song that shows dozens of hopefuls vying not for stardom but for a part dancing in the chorus. Quite fittingly, "Every Little Step," a documentary that gives audiences an unprecedented look at the arduous audition process for a Broadway show, opens with "I Hope I Get It." While the documentary is not perfect (what in this life is?), it is a wonderful and eye-opening look at what happens long before the curtain goes up opening night on Broadway. Furthermore, it provides an equally heart-breaking and exhilarating alternative to faux-audition shows (I'm looking at you Legally Blonde the Musical: The Search for the Next Elle Woods and You're The One That I Want).

Every Little Step focuses mainly on the audition process of the recent revival of A Chorus Line. During the two-hour documentary, we see the huge crowds lined up in New York to audition for the iconic roles of Cassie, Paul, Shelia, and others. From over 3,000 auditionees, the crowd is whittled down, and the film follows several of the actors, ranging from those who are established (Charlotte D'Amboise) to those trying to break into the business (Jessica Lee Goldyn), as they prepare for callbacks and battle nerves. Interspersed with the vignettes of the auditionees are interviews with Bob Avian (the revival's director), Donna McKechnie (the original Cassie and Michael's Bennett's friend and muse), and Baayork Lee (the original Connie and who restaged Bennett's choreography for the revival) as well as some footage from the original production and the audio footage from Bennett's recordings that helped launch A Chorus Line.

The documentary is surprisingly free of the gossip, cattiness, and snark that serves as the hallmark of much of reality television. Instead, the actors and the revival's creative team are refreshingly professional. While Avian and his team will often comment that a particular actor is not right for a role, this criticism lacks the needless anger or sarcasm of Simon Cowell. The actors are, for the most part, more focused on their own performing than undermining each other and most understand the capriciousness of show business. Even as Nikki Snelson watches competitor Jessica Lee Goldyn (who eventually wins the part) audition for "Val," her expression is simultaneously wistful and hopeful.

As I mentioned earlier, this documentary is not perfect. Devotees of A Chorus Line will not learn anything new about the show, and the documentary is very (and perhaps overly) reverent of Bennett's legacy and memory. No where does anyone address the many issues that arose regarding mining actors' lives and personal heartache for the purposes of creating a show. Furthermore, given the fact that the documentary wants to look at the different people auditioning for the show, it skips around and does not grant equal time to the different people.

However, these are small issues and, given the film's many merits, can be easily overlooked. Ultimately, this film is a case of art imitating life imitating art. Watching these actors audition and deal with the highs and lows of working in theatre is much more real than any reality show could ever hope to be.

Chick Flick Cliches and Ideas for the Anti-Valentine's Day Party

Since we are on the cusp of February, which has perhaps one of the most reviled holidays ever (Valentine's Day), chick flicks are coming out in full force. Bridget Jones's Diary, While You Were Sleeping, and the like will take over networks and basic cable, and there will be no escaping from them.

Most of us are familiar with chick flicks and the cliches associated with them. However, just in case you aren't, here is a surprisingly good video (made to promote the film He's Just Not that Into You) that provides a funny and quick look at 10 of the most common chick flick cliches.



If you are planning on spending Valentine's Day alone and bitter at either the hype surrounding the holiday or at the fact that you are spending the holiday watching movies with your cat, may I propose the idea of a chick flick drinking game? Get some single (and preferably sardonic) friends together, tell them to dress down (sweats are allowed and encouraged), break out the booze and really fattening food (premium ice cream, chocolates, etc.), and pop in some rom-coms starring Renee Zellwegger, Hugh Grant, or Julia Roberts. Using the cliches mentioned in the clip, make up the rules to your drinking game. For instance:

• Each time the two characters who are obviously supposed to be together put off telling each other what they really feel, take a shot and (almost) tell the person to your left what you really think about him/ her.
• Whenever a musical montage with a sappy or romantic song that helps underscore the characters' feelings comes on, take a drink and then launch into a spontaneous dance number with your fellow drinkers.

If you are not in the rom-com mood, you can substitute any romantic/ sappy movie you desire, as long it contains some of the cliches mentioned above (this pretty much excludes period films of the Merchant Ivory persuasion or any period romance that takes itself too seriously). For instance, if you have single guy friends who balk at watching sappy movies, start the night off slowly with Jerry Maguire, which has sports, Renee Zellwegger, and Tom Cruise before the world knew he was completely nuts. If your party consists of single (or really bitter) women and gay men, feel free to pop in Stepmom, where there is plenty of crying and singing comforting songs into spatulas.

Benjamin Button Vs. Forrest Gump

I don't go to the movies very often, so I haven't seen The Curious Case of Benjamin Button, which has somehow tricked the Academy into giving it 13 Oscar nominations (seriously, most of the reviews I read for the film were kind of "meh"). However, according to a (sadly unavailable) video from Funny or Die, I don't need to see Benjamin Button because the film basically follows the same trajectory as Forrest Gump. Although Gump does not contain a shirtless Brad Pitt, I think I'll stick with Tom Hanks and BB v.1.0, if only to avoid the overpublicized insanity that is Branjelina.

Happy Movie Musicals for Hard Times

While the inauguration of Barack Obama is only eight days away (yay!), the news in the US has been very dire recently. Adding the economic and housing problems to the post-holiday/ winter doldrums makes everything seem that much darker. Even if you don't suffer from seasonal affective disorder (SAD), the weather in most places during the cold and dreary months of January and February would be enough to get almost anyone down.

If you can't afford a quick jaunt to the sunny Caribbean (and who can nowadays?), musicals are here to help! However, you need to be careful when looking for a movie musical to help lift your spirits and put a spring in your step. Many of the recent musicals worth watching, such as Chicago, are not exactly light-hearted nor do they cause you to immediately run out and love life. Actually, when you start thinking about it, many of the old musicals (The King & I, Carousel, Grease) aren't exactly as lighthearted as they would like you to believe. The first two are particularly sad, and Grease is all about succumbing to peer pressure (dress like a tart to win a guy's heart!).

However, do not fear! There are plenty of fluffy, happy musicals out there (particularly if you don't overthink them like I do). Although the movie musical is no longer the sunny jaunt that they were during the golden age, these Technicolor spectacles are readily available on video or DVD. Here are a few to get you started...

Singin' in the Rain - This is arguably the gold standard of movie musicals. From a pratfall filled "Make 'Em Laugh" to the dreamy "You Were Meant for Me" to the ecstatic title number, there isn't a bad minute in this film. Even with some of my favorite movies, I tend to fast forward through some of the numbers of dialogue. However, every moment of this film is incredible. Plus, Gene Kelly is at his dreamiest. Just be certain to ignore the interesting (but slightly disturbing) backstage drama that went on (apparently, everyone was afraid of Gene).

Hello, Dolly! - Okay, so this isn't a great film (or even a particularly good one), but it is pure cheese and spectacle, and sometimes there is nothing wrong with wanting that. In addition to having Barbra Streisand (which can be a plus or minus, depending on your feelings about her) as an improbably young Dolly, you also have a pre-Phantom of the Opera Michael Crawford singing "It Only Takes a Moment" and "Put on Your Sunday Clothes" (both of which were used in Wall-E).

Meet Me in St. Louis - Despite the morose clip I posted earlier, Meet Me in St. Louis is a pretty happy film (and, without giving away too much, it has a happy ending). While the story's conflicts seem fairly inconsequential (will the family move? will the boy next door notice Esther?), but this goes along with the idea of looking back to a simpler time.

The Bandwagon - This is a sly backstage musical that doesn't always get the attention it deserves. The awesomely overwrought first attempt at the musical within a musical is hysterical, and Fred Astaire, who was at a Tony Hunter-like point in his career, is dashing even when he exhibits a slight height complex when paired with Cyd Charisse.

One final thought: for those of you who are skeptical of the uplifting possibilities of singing and dancing, you may want to witness Stanley Donen's acceptance speech for the Oscar for Lifetime Achievement. Besides being very humble and gracious, he does a marvelous little number that makes the audience (including Arnold Schwarzenegger) very happy.

Movie Review: Love's Labour's Lost

One of the great things about a snow advisory is that it provides a great excuse to sit around at home and idly flip through the channels to see what is on. This month one of the free movies available on my cable subscription is Kenneth Branagh's version of Love's Labour's Lost, which he re imagines as a movie musical set in the 1940s. As I noted in an earlier post, this was far from a great film and had some atrocious acting. However, since I had the time, I decided to revisit it to see if my initial judgment was correct. While the flaws that I noted earlier still ring true, I must admit that the film's concept is actually quite interesting, even if the execution leaves a great deal to be desired.

Love's Labour's Lost is one of the oddest of Shakespeare's plays; even though it is considered a comedy, it doesn't have a traditional comedic happy ending. Furthermore, some consider it to be the most Elizabethan of Shakespeare's works, and a great deal of the language and word puns are not easily understandable (or even translatable) for modern audiences. Consequently, Kenneth Branagh's idea of taking the play, cutting the hell out of it (approximately 1/3 of the dialogue from the original remains), and replacing sonnets and word play with songs and dancing isn't a completely horrible idea, at least on paper.

However, problems arise when these ideas are realized. Branagh does make some helpful and effective choices, such as including periodic newsreel footage that recaps the information for the audience. Unfortunately, this decision is utterly necessary, since it is very difficult to understand the plot if you are relying solely on the actors. Although some of the actors have a strong grasp of the language and Adrian Lester, as Dumaine, is quite facile at singing and dancing, the entire production feels rather shoddy and half-finished. Even though the actors gamely try their best and are quite energetic, their enthusiasm doesn't always make up for their lack of skill at singing, dancing, or interpreting Shakespeare's language. Alicia Silverstone and Matthew Lillard seem particularly lost, and their line readings are often embarrassing to watch.

The other problem is that Branagh's homage to the movie musical of the 1930s and 1940s (think Fred and Ginger) lacks the original musicals' wit and polish. Some have noted that Fred Astaire and Ginger Rogers understood the inanity of their genre; consequently, they have a twinkle in their eye as they deliver their lines. However, Branagh et al's take on the movie musical waffles between complete sincerity (see any number that Branagh is in) and winking acknowledgement of the genre's limitations (the patently fake sets, the purposefully [one hopes] horrible choreography for "The Way You Look Tonight).

The other problem is the abrupt change of tone at the end, even though it is arguably the most effective scene in the entire film. While most of the movie takes on a frothy, light tone (Nathan Lane is in the cast, for crying out loud), the last 10 minutes bring a sudden death and the start of World War II. As the ladies leave, the characters break out into Gershwin's "They Can't Take That Away From Me," and we are treated to a black and white montage of the characters dealing with the war. The result is Fred and Ginger meet Casablanca. Even though this is incongruous and not entirely successful, it is the most surprisingly moving part of the entire film.

Love's Labour's Lost is undoubtedly flawed. Even my high school students, who readily admitted that they had a difficult time understanding and interpreting Shakespeare, were stunned into silence when faced with Alicia Silverstone's attempts at speaking the bard's language. However, it isn't a bad introduction to the play, and there are much worse ways of spending 90 minutes of a snowy Saturday night than watching a group of actors willingly and agreeably attempt to tackle singing, dancing, and Shakespeare in one fell swoop.

The Curse of Disney Channel, Part I

A quick warning: if you like Disney Channel or any of its shows/ movies (High School Musical, Hannah Montana, etc.), then this post is probably not for you. I've been meaning to spew my hatred for the Disney Channel for a while, and it is not going to be pretty.

Once upon a time (so I am told), the Disney Channel actually had standards and presented at least moderately entertaining and interesting shows starring actors with some talent. Unfortunately, even if that time ever really existed, it has come and gone. Walt Disney, who apparently had some very questionable work tactics and ideas (to say the least) would be horrified to see what passes for entertainment on the channel that bears his name.

Quite frankly, the Disney Channel is one of the main hubs of mediocre talent. Along with the upsetting rise of reality television (which is everywhere, but most noticeably on Fox and MTV), the Disney Channel has started foisting some of the most annoying and shrill child actors onto pop culture since Steve Urkel first came on the scene. In order to be on a Disney show, apparently the only things that you need are:

1. Minimal talent (preferably in acting and singing)
2. The ability to look really happy and excited while doing inane things
3. Photogenic but ultimately bland features

Of course, Disney has happened upon some people who surpass these standards. Shia LaBeouf and Keri Russell, both of whom got their starts on a Disney Channel show (Even Stevens and The All New Mickey Mouse Club, respectively) are both prime examples of talent; one could even make the argument that this applies to Justin Timberlake and Christina Aguilera. However, for every genuinely talented star that comes from Disney are at least a dozen mediocre ones that are overexposed on merchandise and in the media.

Take, for instance, Vanessa Hudgens. She's cute and got incredibly (INCREDIBLY) lucky by being in the ubiquitous High School Musical franchise. However, I can't imagine Meryl Streep or even Anne Hathaway worrying that Hudgens is going to present any real competition for roles. Hudgens manages to fulfill all three of the criteria mentioned above. She can act and sing (sort of), she seems extremely perky, and she is pretty but not terribly memorable. Regarding her talent, she's okay, but so are the workers at any given Coldstone Creamery, who must sing for tips (and don't have the luxury of multiple takes). For those of you who want more proof, just check out her big duet in HSM2, where she can't generate any chemistry with Zac Efron (her boyfriend in real life) and manages to suck at lip synching. The scene is the perfect example of negative talent, where she is a virtual black hole that devours any talent in her path. Watching her try to carry a scene by herself is akin to chasing and watching tornadoes: even as you recognize the spectacle you are watching as ultimately destructive and threatening to your well-being, you can't tear your eyes away.

Merry Christmas Eve

I'm going to be away from my blog for a few days because of the holidays, but I hope that all of you have a wonderful Christmas. Here is one more song to help you get in the holiday spirit. While Irving Berlin's "White Christmas" is one of the most popular songs in history (really) and has been covered by almost everyone, my favorite version is Bing Crosby's from the beginning of the movie White Christmas. While the movie's finale is certainly more uplifting, the wistful tone and minimal orchestration of this version makes it far superior (at least in my humble opinion):

Movie Review: A Muppet Christmas Carol

Due to weather issues, I am not spending my evening watching A Muppet Christmas Carol with my siblings, so I figured I would do the next best thing and discuss it. Out of the approximately five billion versions of A Christmas Carol that exist, this is by far my favorite. Although I grew up watching Mickey's Christmas Carol, that adaptation never rang true, and it is truly colorless when compared to the Muppet version.

First, let's get a few things out of the way. This movie is pure, unadulterated cheese. The tiny sets, the odd mixture of humans and Muppets in Victorian clothing, and the unapologetic cheer (see the choreography for "It Feels Like Christmas" as a prime example of all of these things) should spell disaster. Some of the songs, such as "When Love is Gone," seem destined to provide the audience with the opportunity to get more snacks or to use the rest room. Furthermore, on paper, the very idea of combining the Muppets, Michael Caine, and Charles Dickens seems destined for disaster.

And yet, despite these potential issues, it manages to work on so many levels. Not only is it able to bring a unique spin to familiar territory, it also manages to balance levity (usually in the form of Gonzo, who is standing in for Charles Dickens) with the story's more somber moments (if you aren't tearing up when the camera pans to Tiny Tim's abandoned chair with his cap and crutch, you are made of sterner stuff than I am). It sticks fairly close to Dickens's story and even uses a great deal of his language from the story. Furthermore, the movie avoids the pitfall of Mickey's Christmas Carol by taking the time to actually establish the characters. While it does typecast the Muppets, which is to be expected, it also is careful to provide a good understanding of the actual Dickens characters. The songs also add a great deal to the script. Although I fast forward through some songs on a regular basis, there are far more hits than misses in this film. "A Thankful Heart," "One More Sleep Til Christmas," and "Bless Us All" are incredibly catchy and really should be available through iTunes (just a suggestion).

In addition to a strong script and good songs, this movie also has Michael Caine, who makes a surprisingly good Scrooge. He does a good job interacting with the Muppets (which must be more than a little strange) and is able to make a believable transformation from miser to benefactor in less than two hours. Most importantly, you never get the sense of condescension from him and he actually seems to be enjoying himself. The casting on the Muppet end works well too; Kermit's character makes him an effective Bob Cratchit and including the two hecklers as Scrooge's former partners is a stroke of genius.

If you are tired of the endless airings of A Christmas Story or How the Grinch Stole Christmas (at least the Jim Carrey version), you may want to consider renting this and making it part of your holiday. Yes, it is a little cheesy, but what are the holidays without some cheese?