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Disney Animated Classics: Numbers 11-15 Ranking

The next bunch of films see a return to the classical format of animated offerings based on 19th and early 20th century classics (with the exception of Cinderella). This blog also looks at some of the most controversial films in the catalogue for its racist depictions of Native American Indians (Peter Pan) and Asian stereotypes (Lady and the Tramp) as well as misogynistic qualities that will sadly become even more so prevalent in Disney animations. The films, however, have stood the test of time and remain among the most loved classics in the Disney repertoire.

As ever, here are the links to previous installments:

Films 1-5

Films 6-10

Here we go with films 11-15:

11) The Adventures of Ichabod and Mr. Toad (1949)

I don’t know if there is a darker tone in the Disney catalogue than the “Ichabod Crane” segment in this collection. Consisting of two segments inspired by The Wind in the Willows and “The Legend of Sleepy Hollow”, this is the last of the segmented features found in the Disney collection. I would watch this on repeat when I was younger and “Ichabod Crane” certainly made an impression in terms of how I see films today and approach them. It taught me that you don’t always need the happy ending that is usually given in family films and can be dark without being overtly scary. I am not as fond of The Wind in the Willows segment as much but I still find it a joyful treat to watch. Telling the story of Mr. Toad, an eccentric proprietor and his friends, Ratty and Moley, who are tasked with finding him before he gets himself in serious trouble, The Wind in the Willows follows Mr. Toad as he finds himself eventually jailed for car theft despite being framed. This differs greatly to the following segment of “The Legend of Sleepy Hollow” where Ichabod Crane moves to the lazy town of Sleepy Hollow where he tries to woo Katrina von Tassel in a bid to take her family inheritance while also being bullied by Brom, the village hero who also loves Katrina. It’s a film littered with flawed characters but this adds to the suspense as the audience doesn’t know who to trust.

12) Cinderella (1950)

Probably the most iconic Disney princess, Cinderella is the classic fairy-tale about a young girl subjected to servitude at the hands of her Evil Stepmother and Ugly Stepsisters. With the help of her Fairy Godmother, Cinderella attends a ball where she meets a prince before leaving her glass slipper. The palace search for the mysterious woman who captured the prince’s heart and the glass slipper is tried on by every woman claiming to be the woman. However, Cinderella puts the slipper on and they live happily ever after. There is no doubt that this film is a classic and for good reason. It is a simple film with likable animal sidekicks and a strong moral purpose; however, I believe that there are a lot of better films that captured my imagination as a child. I always enjoy watching Cinderella but it has never been among my top favourite Disney films simply because I find that there is more development given to secondary characters than primary characters. Ultimately, we learn more about Jacques and Gus more than Cinderella herself. Her character is supremely passive with events simply happening to her rather than her actually doing anything herself. Whereas Snow White shows an achievement in the animation field as a whole, I completely appreciate that she too is a passive character but what separates it for me is that there are fantastic sequences throughout the film such as when she flees the huntsman whereas Cinderella doesn’t do anything spectacular in the animation that we haven’t seen before.

13) Alice in Wonderland (1951)

The most famous adaptation of the classic Lewis Carroll novel, Alice in Wonderland follows the titular character as she delves in an absurd world filled with the unlikeliest of characters from the White Rabbit to the evil Queen of Hearts. Filled with lots of songs that have stood the test of time such as “Golden Afternoon” and “Painting the Roses Red”, it is a film filled with colour and nonsense and knows it. Disney makes the most of the bonkers plot by allowing the animators to create the most unimaginable creatures such as those found in the forest. Characters such as the Cheshire Cat and the Madhatter are also designed brilliantly with the former being among the most recognisible of Disney characters.

14) Peter Pan (1953)

Peter Pan tells the story of Wendy Darling and her brothers, John and Michael, as they venture to Neverland with Peter Pan, a young boy who never grows up. It is probably the trickiest Disney film to write about because it spawned some of the most iconic characters including Tinkerbell and the film itself is loved around the world; however, its damaging representation of Native American Indians and misogyny throughout the film make it an uncomfortable film to watch. The infamous scene I am talking about in particular is when Peter and co are celebrating the return of the Chief’s daughter, Tiger Lily in what is a highly racist collection of stereotypes with every aspect of Native American Indian culture being ridiculed. I thoroughly enjoy every other part of the film, particularly the baddies Captain Hook and Mr. Smee and a special mention to the Crocodile who I am convinced spawned my fear of alligators and crocodiles. It’s a film that I remember watching frequently and I think it sparked my imagination and writing. I love the scene when we see Captain Hook’s reaction to the Crocodile for the first time. It’s comical and terrifying at the same time but it’s the fear that keeps me going back to watch it, very much like Snow White.

15) Lady and the Tramp (1955)

Now for a film that is simultaneously classic but always understated and quite forgotten a lot of the time compared to other offerings. Lady and the Tramp is about an upper class spaniel called Lady who falls for a stray dog, Tramp and the two fall in love despite their different backgrounds. It’s a clever take on classicism during a time in which society was very much torn in the aftermath of the war. As Lady begins to venture out of her comfort zone, her character becomes three dimensional as she becomes fearless and most importantly flawed in a world that expects her to be perfect. Again, much like Peter Pan, we see another racist trope in the form of the infamous Siamese cats who are the epitome of Asian stereotypes. Their appearance and song is frowned upon in modern times and again is uncomfortable to watch. Thankfully, their appearance doesn’t last long and we are served with famous songs like “Bella Notte” and “He’s a Tramp”. With a remake in the works to be released this year, this is a love story that has stood the test of time and can melt the hardest of hearts.

So that’s films 11-15 reviewed with some of the most famous Disney films covered. As you can see, Disney appear to have fully recovered financially and critically from the segmented offerings made during and after the war.

Here is my ranking:

1) Snow White and the Seven Dwarfs (1937)

2) Fantasia (1940)

3) Bambi (1942)

4) Alice in Wonderland (1951)

5) Peter Pan (1953)

6) The Three Caballeros (1945)

7) Pinocchio (1940)

8) Dumbo (1941)

9) Cinderella (1950)

10) Lady and the Tramp (1955)

11) Fun and Fancy Free (1947)

12) The Adventures of Ichabod and Mr. Toad (1949)

13) Saludos Amigos (1943)

14) Melody Time (1948)

15) Make Mine Music (1946)

The next blog looks at the last bunch of films made and approve before Disney died including classic favourites, Sleeping Beauty and The Jungle Book. Check it out and see where the films rank!

Do you agree with the ranking so far? What are your favourites from this blog? Let me know in the comments below!

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Disney Animated Classics: Numbers 6-10 Ranking

The next five films are a unique bunch in the Walt Disney animation collection. Created during World War II with a very limited budget, these films consist of segments inspired by music and incorporate live action in a bid to reduce animation costs. Admittedly, this makes these films difficult to rank because they are completely different medium of film in my opinion to the regular offerings from the studio. However, despite the quantity of animation, the quality is still there and makes these films worth watching.

Since there are numerous animators working on various segments, it means that the style of animation isn’t consistent as well, allowing the studio to bring a more experimental approach that attempts to push animation even further than the revolutionary Fantasia. Some of the films are a lot more successful at achieving this than others but the passion to create fun and groundbreaking animation of quality is present in all of the films.

You can read the link to the previous ranking here:

Films 1-5

And now for the discussions of Walt Disney Classic Animation Studios films 6-10:

6) Saludos Amigos (1943)

Made in an attempt to unite the two Americas in the midst of World War II, Saludos Amigos is a tribute to various South American countries such as Argentina and Brazil. It comprises of various shorts as groups of Disney animators draw inspiration from the places they visit merging the classic Disney style with South American culture. The result sees Donald and Goofy learn about the countries and it also sees the introduction of iconic Disney character, Brazilian parrot, Jose Carioca. The film heavily features live action which makes me unconvinced whether it should belong in the Disney Classic Animation collection, but the animation we view is a real treat. My main downside with this film is that the balance between educational and entertainment is heavily swayed in favour of the former with a lot of lecturing overshadowing the animation at times. Each segment shows the live action footage and pictures that they took away from their trips narrated in depth and is then followed with the animated footage with the narrator repeating the information he has already told us. The heavy use of narration sometimes distracts because there is so much information and therefore we miss some of the cultural aspects in the animation itself. I found this particularly distracting in the first segment when Donald Duck visits “Lake Titicaca”. I don’t think that narration is needed during the animated parts because we already know the information.

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7) The Three Caballeros (1945)

If there were doubts about Saludos Amigos position in this list then The Three Caballeros knocks it entirely out of the park. Again, featuring a more forgiving dose of live action, this film yet again focuses on Donald Duck’s adventures as he learns about South America through his friend, Jose Carioca. This film feels like a huge improvement on its predecessor and features some unforgettable songs. It feels more focused and yet isn’t afraid to be completely bonkers with a bigger than life finale. It’s a shame that Disney don’t use Jose Carioca in its cartoons or merchandise more because he’s a brilliant character. Another part of this film that I enjoy more than Saludos Amigos is that it is a fun film that isn’t as serious. Although it is a film that is educating its audience on South American cultures, it doesn’t feel like its lecturing us which as I previously said is something that Saludos Amigos does a lot. My favourite moment in this film is the brilliant inclusion of the eccentric Aracuan bird, a bird that lives in the rainforest and has a unique (to say the least) song. It is the funniest 30 seconds ever and the song he sings will be stuck in your head for hours.

8) Make Mine Music (1946)

Make Mine Music attempts to follow in the footsteps of Fantasia by creating art inspired by pieces of music. There are some brilliant segments in this film such as “Peter and the Wolf” and “The Whale Who Wanted to Sing at the Met” but the film as a whole seems disjointed and has a tendency to drag. The pieces of music don’t flow as well as they do inFantasia, perhaps this is due to a lack of narration or explanation, meaning that one minute we watch a peaceful river in the moonlight in the classically inspired “Blue Bayou” which then follows in to “All the Cats Join In”, a jazz inspired mash of 1940s adolescence. It feels that this shouldn’t be put as a feature film as it doesn’t successfully thread together. This isn’t to say that I don’t enjoy the individual segments but as a film watching experience it is rather jarring.

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9) Fun and Fancy Free (1947)

Much like The Three Caballeros, Fun and Fancy Free feels like an improvement on its direct predecessor. Rather than featuring numerous sporadic segments in one film, Fun and Fancy Free only features two stories with sandwiched narration by Jiminy Cricket. The first segment, “Bongo”, is shorter and tells the story of the titular character, a circus bear who escapes into the wilderness and his struggle to adapt. It feels like a combination of Fantasia and Bambi and manages to tell a fulfilling story without overstaying its welcome. The second segment and the focus of the film is the epic “Mickey and the Beanstalk” which is, unsurprisingly inspired by the fairy-tale “Jack and the Beanstalk”. Following Mickey, Donald and Goofy during a time of famine after a magical harp fairy is kidnapped by a giant, the three set off to get her back. It’s a lovable piece that is accompanied by the real world story of a party with renowned ventriloquist, Edgar Bergen, who is recounting the story to child actress, Luana Patten, and his dummies, Charlie McCarthy and Mortimer Snerd, in attendance also. Charlie McCarthy is quite a cynical character and his little quips here and there will have you howling.

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10) Melody Time (1948)

Featuring a starry cast and seven musical segments, Melody Time was made with no expense spared on a $1.5m budget. The segment, “Blame is on the Samba” includes my favourite character, the elusive Aracuan bird who is his usual mischievous self. It’s a welcome return and a nice surprise that Disney decided to bring him back for an entire segment. With segments running as long as 22 minutes, this sees Disney allowing the artists to push themselves further. It definitely feels as though the Disney studio is beginning to recover from the effects of the war but Disney cleverly made sure to keep a focus on happiness and hope with lots of colours and joyful musical choices. Not to mention the favourite child duo at the time, Bobby Driscoll and Luana Patten making appearances. It doesn’t quiet hit the highs of Fun and Fancy Free but the narration between segments brings a thread that is missing in Make Mine Music and it seems to flow better as a film because of this. I love the “Little Toot” segment particularly because it is charming and heartbreaking at the same time.

So with that, it’s time for the ranking. I found this particularly difficult because I have tried to balance how I felt watching the films when I was younger with how I feel about them now.

Without further ado, here is my ranking:

1) Snow White and the Seven Dwarfs (1937)

2) Fantasia (1940)

3) Bambi (1942)

4) The Three Caballeros (1945)

5) Pinocchio (1940)

6) Dumbo (1941)

7) Fun and Fancy Free (1947)

8) Saludos Amigos (1943)

9) Melody Time (1948)

10) Make Mine Music (1946)

That’s it for this post! It’s been interesting looking at films made during and after the war because Disney clearly felt that the studio should focus on lighter entainment rather than anything with dark undertones such as Bambi. Films 11-15 see a return to well-loved classics such as Cinderella and Peter Pan which I promise will be up much sooner than this one.

As always, let me know in the comments below whether you agree or disagree with my rankings so far? What would be your number 1?

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The Cornetto Trilogy

Quality: Original. Film Title: Shaun Of The Dead. Photo Credit: Oliver Upton. Copyright: © 2004 Universal Studios. ALL RIGHTS RESERVED.

The Cornetto Trilogy consists of three films by writer/director Edgar Wright that are unconnected in plot but star Simon Pegg and Nick Frost in the lead roles and stars a different flavour Cornetto at some point in the film. The trilogy began with horror Shaun of the Dead (2004) followed by action Hot Fuzz (2007) and concludes with sci-fi The World’s End (2013). Each film was critically and commercially well-received and has a dedicated fan-base. As with any Edgar Wright film they all have strong language in abundance, brilliant soundtracks and a striking aesthetic. I go back to these films time and time again and find myself noticing things that I hadn’t seen before.

Here’s a quick summary of each installment in chronological order:

Shaun of the Dead (2004)

Part horror, part family drama, all comedy. Shaun of the Dead follows Simon Pegg as the titular character whose life seems to be going nowhere (except local pub, The Winchester that is). Accompanied by his lazy housemate, Ed (Nick Frost), Shaun navigates his way through a random zombie apocalypse that has befallen the country to get to his ex-girlfriend’s house in a bid to win her back. It’s a film that is filled with a lot of heart and even more guts that is both genius and revolutionary in the horror comedy genre. It’s one of those films that you can quote for hours on end. Horror comedy is not an easy genre to pull off well critically and in a sincere manner but Shaun of the Dead does this through its flawed protagonist who is as layered as the blood paving the streets.

Hot Fuzz (2007)

The second film in the trilogy is an action-packed story filmed in Edgar Wright’s hometown. Overachieving police officer, Nicholas Angel (Simon Pegg) is relocated to the tiny village of Sandford, aptly known as “the safest village in Britain”. As a series of gruesome deaths occur throughout the village, Nicholas believes that there is a murderer on the loose despite the townspeople constant protestations that the deaths are accidents. Alongside local police officer, Danny (Nick Frost), the pair attempt to track down the killer and bring them to justice. Although it does have strong points, it is my least favourite of the trilogy for a number of reasons. Unlike the other two films, it is plot heavy rather than a character study and I personally prefer the latter. Action isn’t my favourite genre but I do think it is a strong film that brings something different to the genre.

The World’s End (2013)

The final film in the trilogy is also my favourite. Simon Pegg plays Gary King, an alcoholic who hasn’t moved on from school days and longs to complete the Golden Mile in his hometown which he failed to finish as a teenager. The Golden Mile is a pub crawl that consists of 12 ending with the titular pub, The World’s End. He gathers up his childhood mates, including his former best friend, Andy (Nick Frost) and they attempt to conquer The Mile while fighting off an alien invasion that has turned the townspeople into androids (or Blanks as they are called in the film). Featuring a brilliant cast as always and a higher budget than the two previous films combined, Wright is tasked with giving this trilogy the grand finish it deserves and he succeeds with flying colours. Everything about this film emulates the previous installments with its attention to detail, layered characters and brilliant script. The writing in this film is what I enjoy most about this film as the timing and pacing is flawless.

The Cornetto Trilogy is a career-defining set of films that put Edgar Wright on the map. Not many directors can easily transition from low to high budget but Wright does this easily. He’s clearly a lover of a wide spectrum of films and isn’t afraid to pay tribute in an original way.

What is your favourite film in the Cornetto Trilogy? Let me know in the comments below!

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The Man Who Knew Too Much (1956)

On hearing the news that icon Doris Day had died yesterday, my mind immediately went to some of her greatest roles like Calamity Jane (1953) and Pillow Talk (1959); however, I always found myself most affected by her brilliant performance as the mother looking for her kidnapped son in Alfred Hitchcock’s The Man Who Knew Too Much. A remake of Hitchcock’s 1934 film of the same name, this Hollywood remake stars James Stewart and Doris Day as a husband and wife whose son, Hank, is kidnapped while they are holidaying in Morocco. It is revealed that their son is being used as a pawn while the kidnappers plan to assassinate an important ambassador during his visit to London. It’s a film that shows the importance of family in a time of politically turmoil that feels just as relevant in its post-war 1956 as it did in pre-war 1934.

The Man Who Knew Too Much is my favourite Hitchcock film and much of it is attributed to Doris Day in her role as Jo Conway McKenna. The role is clearly tailored for Day as she plays a professional singer. This may not seem like a stretch as we watch her beautifully sing the Oscar-winning song “Que Sera, Sera (Whatever Will Be, Will Be)” but this changes the moment Hank is kidnapped. Day effortlessly brings an emotional depth to her character that she hadn’t really displayed earlier in her career, showcasing her talents as a dramatic actress. In particular, her acting in the final act of the film shows an explosion of all these emotions and her distress and longing to see her son are brought to her heart-breaking final performance of “Que Sera, Sera” that seems worlds away from the performance at the beginning of the film.

Made with a large Hollywood budget, Hitchcock makes use of multiple locations across two continents and yet somehow, the murder scene that place in the open market of Marrakesh feels equally as claustrophobic as the climatic orchestral scene in the Royal Albert Hall. Hitchcock never allows the audience to let their mind wander in his films as we are quickly assured not to trust anyone. One of my favourite locations used is a small Taxidermist’s shop and the struggle James Stewart has escaping the workers is tense as he is almost stabbed by a swordfish. Another intense scene that is recreated in the remake is the chapel scene in which the protagonists discover that the kidnappers run a local church. As the mass is under way, they clear stand out in the congregation and it is only a matter of time before they have their confrontation with the criminals. Everything about this scene in both the original and remake is brilliantly done because Hitchcock ensures that everything is directed slowly. There isn’t much physical movement as the mass takes place, the hymns are slow and droll with the speaker calm and paced in his sermon. The suspense is driven up until the moment everyone has left and they are the last visitors in the church.

It would be a true crime not to talk about the music in depth. Aside from its Oscar-winning hit that became synonymous with Day throughout her life, music is also integral to its film because it is used for the climatic moment during the assassination attempt. As in the original, it is the clash of cymbals that signals the shot. The kidnappers play the piece on a record player beforehand so the audience knows the moment. This is a clever move on Hitchcock’s part because we then know the moment when the shot will occur. Opposed to the suspense of the chapel scene, the Albert Hall scene is faster paced as the music quickens and the camera shifts between the gunman, Day, the ambassador and the orchestra. I feel that Hitchcock improved on this scene from the original as he used the same musical piece but it feels that the suspense is really played out and the production feels bigger as a whole which I feel the original lacked.

It’s a shame that this film isn’t discussed as much as some of Hitchcock’s other films because although it’s not a horror in the traditional sense of the word (ie. Psycho and The Birds), it still contains elements of horror from the writing and directing. I think it is a film that shows Hitchcock not only pushing boundaries on filmmaking but also showing how he is willing to improve on his own work.

What is your favourite Hitchcock film? Let me know in the comments below!

Doris Day, 1922-2019

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Disney Animated Classics: Numbers 1-5 Ranking

For the next few blog posts, I will be ranking all of the Disney animated Classics from best to worst (in my opinion of course). I say worst really loosely because I honestly can’t think of a Disney animation that I truly hate . I will review 5 at a time before listing a ranking at the bottom of the post. The likelihood is that Snow White will probably come first as it is one of my favourite films overall but there are plenty of Disney films that get my love as well.

The definition of a ‘Disney Animated Classic’ is it must have had a theatrical release. Therefore, with the exception of The Rescuers Down Under (1992) and Ralph Breaks the Internet (2018), no sequels are included in this list as they were all direct to DVD releases.

As ever, feel free to comment with your own personal ranking. The best thing about blogging is being able to have discussions with people who also love film so I am really interested in hearing what you all have to say!

Nevertheless, here’s my reviews of Disney animations 1-5:

1) Snow White and the Seven Dwarfs (1937)

The one that started it all, I have already made my love for this film clear in a blog post that you can read here. An adaptation of the classic Grimms’ fairy tale, Disney fought all odds to prove initial critics wrong when they believed audiences wouldn’t have the attention span or interest in an animated feature and it paid off big time, giving Disney the revenue to build the iconic Disney Studio and start an empire that would become synonymous with the American Dream.

2) Pinocchio (1940)

Following the success of Snow White, Disney took on another classic tale, an adaptation of Carlo Collodi’s Pinocchio. The story of a wooden puppet brought to life is charming and contains the classic song “When You Wish Upon a Star”. Pinocchio must show that he can be a good boy in order to become a real boy but he struggles, despite strong effort from his sidekick, conscience Jiminy Cricket. I actually think that Pinocchio is one of the darker films in the collection. It is full of manipulative characters such as Honest John and the evil Coachman and with scenes such as Pleasure Island and the encounter with Monstro the whale, Pinocchio is a tale of morality and questions what it actually means to be a good person.

3) Fantasia (1940)

The brilliance of this film cannot be talked about enough. Proving that he is willing to push even more boundaries in filmmaking, Fantasia looks at the relationship between animation and music. With music composed by Leopold Stokowski, the audience is transported into worlds of abstraction to clear stories filled with memorable characters. It’s hard not to think about “The Sorcerer’s Apprentice” segment with Mickey’s iconic wizard hat and red cape. My personal favourite is the closing “Night on Bald Mountain” with it’s brilliant gothic colour palette, haunting beginning and middle as chaos ensues before evil becomes eclipsed by light giving the film a beautiful gently lit ending as “Ave Maria” is sung.

4) Dumbo (1941)

There are plenty of scenes and aspects of Dumbo that I love. The tale of the big eared elephant has touched the hearts of many since its release. It’s important message on how differences shouldn’t matter is one that resonates with all people. With songs that range from the melodic “Baby Mine” to the trippy “Pink Elephants on Parade”, Dumbo is film that seamlessly switches tone in a matter of minutes. Its short running time actually feels longer because of this. However, with all this said, it is not a film that has entirely dated as well as other classics due to its racial profiling with the Jim Crow scene criticised for its use of stereotypes and the disturbing imagery given in the song “Song of the Roustabouts”. It definitely makes Dumbo an uncomfortable film to watch with this in mind.

5) Bambi (1942)

One of the most charming films in the Disney library, Bambi is the story of a deer who learns the way of nature and life in the forest. The animation in this film is second to none and I definitely find myself appreciating it more every time I watch it. The beauty is that there is no strict plot in Bambi, it shows life happening to him and how he is affected from learning how to walk, to talk, make friends to the unforgettable scene where his mother is killed by an unseen hunter. The music and inevitability of the death scene is such a poignant one in the Disney library and is often referred to as the most heartbreaking moment in a Disney film and it’s easy to see why. It is a film that is unafraid to show the realities of life and the evilness of mankind. Not to mention the adorable best friend Thumper who provided the iconic line “if you can’t say nothing nice, don’t say nothing at all”. This film will break even the hardest of hearts.

So that’s the first five films all done and dusted. Now for the important part. Where do they rank?

Here is my ranking:

1) Snow White and the Seven Dwarfs (1937)

2) Fantasia (1940)

3) Bambi (1942)

4) Pinocchio (1940)

5) Dumbo (1941)

All of these films are classics in their own right and this isn’t to say that those in the last couple of places aren’t bad because they’re not. I just personally prefer other ones over them. In my next blog, I will be looking at films 6-10 so keep an eye out for that.

What do you think? Do you agree? Disagree? Let me know where you would rank these films in the comments below!

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Studio Ghibli

Studio Ghibli is a film studio renowned for its creativity, passion and maturity. There are no limits to the imagination. From the iconic characters such as Totoro and the Catbus from My Neighbor Totoro (1988) to the architectural brilliance such as the bathhouse in Oscar winning Spirited Away (2001) or the castle in Howl’s Moving Castle (2004), it’s impossible to watch a Ghibli film and not be impressed by the scope and detail.

I wrote a top 5 Ghibli film list a couple of years ago on my previous blog and looking back, I wonder how I managed to pick 5 at all. Of course Castle in the Sky (1986) is my all time favourite but there isn’t a Ghibli film that I don’t think fondly of. The worlds created by studio icons Hayao Miyazaki and Isao Takahata (who sadly passed away last year) have become ingrained in the minds of people of all ages and backgrounds. The genius of Ghibli films lies in their ability to connect with anyone who watches them.

Miyazaki films are renowned for the large scope in world building. On the surface, the films are filled with such groundbreaking imagination that anything is possible such as Spirited Away and Howl’s Moving Castle. A trait of Miyazaki (particularly his earlier work in the 80s and 90s) is his underlying discussion on mankind’s treatment of nature. He incorporates this subject through various contexts whether that is through sci-fi/action (Castle in the Sky), dystopic (Nausicaa: Valley of the Wind) or a historical Japanese setting (Princess Mononoke).

Takahata’s film are formed by Japanese heritage and history. His worlds are usually formed by the real world with his most well-known film being Grave of the Fireflies (1988), a traumatic biopic about a teenage boy and his younger sister struggling to survive in World War II Japan. The opening alone is enough to break even the hardest of hearts. My favourite of Takahata’s is his swansong, The Tale of the Princess Kaguya (2013), a retelling of Japanese folklore about a baby who is found in a bamboo stalk. It is a beautiful piece about a woman’s place in society and is mixed with magic and tradition and yet seems so unique and groundbreaking at the same time.

As I said before, Castle in the Sky is my all-time favourite which I know is probably a very different choice from most people. When Sheeta, a young girl on the run from the authorities and pirates, falls from the sky and is found by young miner Pazu, they team up to find the floating Kingdom of Laputa, a castle in the sky. I remember the first time I watched it and was taken aback by how original it was and to me it was (and still is) a flawless film. The weird thing is that I am aware that it isn’t the “best” Ghibli film (I think that would probably go to either Whisper of the Heart or Spirited Away) but there’s a beauty in Castle in the Sky in how brilliantly huge the imagination is so early on in Ghibli’s career. There’s a fearlessness in how the film isn’t afraid to include flawed heroes and complex primary and secondary characters. Also, the music by Joe Hiasaishi (who is also a Ghibli icon) is nothing less than stellar.

What are your favourite Ghibli films? Let me know in the comments below!

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Fiddler on the Roof (1971)

When it comes to discussing musicals, there will be a few that spring to the minds of many such as West Side Story and The Sound of Music. One of the best and most iconic musicals ever is the 1971 film adaptation of Fiddler on the Roof. Following lovable milkman, Tevye (Topol) who lives in a small fictional town Anatevka that has a strong Jewish population. This community is in the midst of facing harassment from the current military regime and the film sees this harassment grow as tensions worsen. Directed by Norman Jewison from a script written by the stage production’s writer, Joseph Stein, Fiddler on the Roof remains a favourite among musical fans thanks to its array of songs and emotional storyline that still feels timeless today.

One of my favourite characters and performances, Topol is nothing short of exceptional throughout the film. Being the audience’s way into the world of Anatevka and often breaks the fourth wall by talking to the audience. He is an outsider to the wider society but it also seems that he is an outsider within his own community as well. In my mind, no one but Topol can pull the lead performance with such dedication and commitment to the character. It could be argued that Topol is synonymous with Tevye and vice versa but that is by no means an insult. Tevye is a deeply complex character, a man so ingrained in his religion and place in the community but there is also a struggle to fight against the ideals expected from him as he longs for more than what he has. who laments his life as a poor man as he tries to navigate the matches of his three eldest daughters. Tevye is a man who likes to talk and sing about the importance of tradition but the life he leads is anything but. He misquotes scripture, goes back on a promise to let the widowed butcher marry his eldest daughter, Tzeital, and allows a communist from Kiev to educate his younger daughters. Tevye is a man who wants to follow traditions but is inherently progressive which makes him an outsider amongst his own community at times.

Now I can’t write why I love Fiddler and not talk about the songs. From the lively intro “Tradition” to Tevye’s iconic soliloquy “If I Were a Rich Man” and of course the beautiful “Sunrise, Sunset”. There aren’t as many songs in Fiddler as there are in other musicals but each song makes use of the space and the cast onscreen. No two songs sound the same and yet they will be stuck in your head one way or other. With John Williamd adapting the music from stage to screen, the film doesn’t feel like a stage production at any point which can easily happen, especially when the locations are limited.

Another aspect that I appreciate is the colour palette for the film. Strong hues of orange glow against the rural backdrop of browns and greens. It brings a natural richness and peace to the film, particularly during the opening credits. Aside from the sunset glow, the candlelit setting for Tzeital’s wedding to Motel is another beautifully created scene and is directed flawlessly. Despite being set in an open space in the village with everyone in attendance, the reception after the ceremony feels claustrophobic as chaos ensues.

Overall, Fiddler on the Roof is a film that should be watched by all film fans not just musical fans. With a three hour running time, it’s easy to think that watching a musical for that long would be daunting and (dare I say) boring, especially if you’re not necessarily an avid musical fan but the pacing is fantastic and it doesn’t feel that long. With an intermission placed so you can easily take a break should you wish to, Fiddler on the Roof is an experience that should be enjoyed at least once. Featuring one of the best characters brought to the screen, it is sure to delight most people thanks to its fantastic music, captivating performances and beautiful landscapes.

What do you think of Fiddler on the Roof? Let me know in the comments below!

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Carol (2015)

One of the best films of the 21st century so far and a defining mark of LGBT+ cinema, Todd Haynes’ Carol is a film swimming in emotion as it explores the realities of a lesbian relationship in the 1950s. Adapted by Phyllis Nagy from Patricia Highsmith’s controversial novel The Price of Salt, Carol tells the story of Therese Bellevet (Rooney Mara), a young twenty-something trying to find her way in 1950s New York. Whilst working as a Christmas temp in a busy department store, Therese has a love at first sight encounter with Carol (Cate Blanchett), an older soon-to-be divorcee who is a darling to New York society. Much like the Christmas backdrop, the film is a present revealing more layers with every watch.

Haynes pulls out all of the stops for this production, playing all of his cards as a visionary. He managed to take the words on the page and create a universe that seems to belong to Carol and Therese. From the costumes by Sandy Powell to the music by Carter Burwell, the film is orchestrated by a beauty that stays throughout the film. What made the novel so controversial on release was its happy ending which was unheard of for stories regarding homosexuality and Haynes wanted to keep that. He wants the audience to know that this is their world and it is a beautiful one. The film appears traditional on the surface and yet groundbreaking in subtext. I think it is a huge mark in LGBT filmmaking.

The script by Phyllis Nagy is nothing short of phenomenal and is brilliantly faithful to the book. The changes that are made from the book are minimal but also crucial as I think the right choices were made to tell this story onscreen. My favourite scene in the film is when Therese agrees to go to lunch with Carol and the two get to know each other. It is natural and intimate with the sexual tension cutting through the undertones. Nagy makes every word linger and makes sure that no line is wasted. The film is fantastically paced, feeling like a slow train chugging forwards towards the inevitable climax that causes their bubble to burst. The sharp focus on the women themselves makes their love appear literally timeless, as if the world around them doesn’t matter. When the outside world does interfere and threaten them, it is done so that the audience is jolted back into reality from the dream that the women’s relationship had given.

Cate Blanchett’s performance as the titular character is glamorous to look at but tinged with the pain that has fallen on her and her family as her relationship with her husband, Harge (Kyle Chandler) has broken down. Carol has been known for her relationships with women, namely her best friend Abby (Sarah Paulson), who has remained a constant in her life after their romance ended. Blanchett takes control of the screen and is so captivating with every glance and word. There is an inevitable sadness that surrounds Carol even as she embarks on her love affair with Therese as she knows that the chances of their relationship surviving against the 1950s society isn’t likely. Her maturity and knowledge of the world allows her to be a mentor of sorts towards Therese as she knows how she is feeling.

Rooney Mara’s performance as Therese is the audience’s way into the events of the film as hers is the primary perspective throughout the film save for one or two scenes regarding the custody of Carol’s young daughter. Mara won the Best Actress Award at Cannes Film Festival and it’s easy to see where. Therese is at a very conflicting time in her life. Where Carol is assured and secure in her own sexuality, Therese doesn’t quite know what she wants or even understand her feelings at first. As the film unfolds, Therese becomes more confident and independent, breaking off her relationship with partner, Richard and focuses on her career and blossoming relationship with Carol.

Overall, I really recommend you check Carol out if you haven’t seen it. I can’t count how many times I have watched it despite it only being a few years old but I always found something new to focus on whether that is the score or set design. A film that was sorely overlooked by the Academy when it came to the Oscars, Carol will no doubt be a film that critics and film buffs will be looking back on fondly.

What did you think of Carol? Let me know what you think in the comments below!

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91st Academy Awards – Technical Awards

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My last blog on this year’s Oscars concludes with the Technical awards. This year has seen a huge number of large scale blockbusters that heavily use CGI to achieve their vision as well as smaller films that rely on using what they have. Both methods take imagination and it’s great to see films recognised across this spectrum.
Just in case you want to read my other blogs on this year’s Oscars, I’ll put the links below here:
Acting Awards
Creative Awards – Part 1
Creative Awards – Part 2
Creative Awards – Part 3
Here is my roundup of this year’s technology award winners!

Best Visual Effects
It seemed that Black Panther was the favourite to take this award home but the team for Neil Armstrong biopic First Man won. I feel that this film was deeply overlooked in various categories, particularly sound editing and this one throughout awards season but to see it recognised for its terrifically executed effects was deserved. I don’t think I have ever felt so claustrophobic watching a film before but this film managed to accomplish this from the first scene. Although the cast was the main talking point for this film on its release, I think that the visual effects were the standout feature of this film.

Best Sound Editing
I was happy to see First Man nominated in this category but given that it was up against box office smash Bohemian Rhapsody, I knew that it would lose. Personally, I feel that First Man should have taken this home but Bohemian Rhapsody is a film that relies heavily on its sound editing. I think that First Man used sound in a way that I hadn’t expected or seen before.


Best Sound Mixing
Again, Bohemian Rhapsody was the expected winner here and didn’t disappoint. I was happy with the win considering how they utilised mixing the Rami Malek’s vocals with Freddie’s so it wasn’t simply a case of Malek lip syncing his way through the film. It helped enhance Malek’s amazing performance and I think the win in this category was thoroughly deserved.

Best Editing
A lot of wins for Bohemian Rhapsody in the categories in this blog and this is the one of the film’s wins that I strongly disagreed with personally. I think that my main problem with the film as a whole was its editing. There were scenes that consisted of numerous cuts that made the film jittery. The film on the whole doesn’t flow well because it is badly paced and the editing is one of the main contributors to this problem. I thought that Hank Corwin should have won this category for his brilliant editing in Vice. It was innovative and unexpected, keeping the audience in a state of discomfort as we didn’t know what would happen next. The editing in Vice reflected the erratic nature of its subject and I think it conveys this fantastically.

Best Cinematography
Without a shadow of a doubt, this was Alfonso Cuaron’s for the taking and he won it completely deservedly for Roma. He manages to convey the problems of a Mexican classist society by keeping the focus solely on protagonist Cleo. Cleo becomes an embodiment of the working class female and the struggles of living a life that seems to be against her. Her story is told in black and white but the film is anything but. It teeters on a spectrum of emotions as we see Cleo in her darkest moments as well as her happier times as she navigates a pregnancy. Cleo’s friendship with her employer is beautifully conveyed as well as the two women bond over their mutual struggles.

That’s it for my Oscars roundup! What did you think of this year’s ceremony? Leave your comments below!

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91st Academy Awards – Creative Awards (Part 3)

Now I’m well into my roundup of this year’s Academy Awards and the more I write about it, the more I realise just how many surprises there actually were. In my first blog I spoke about the acting awards (here) and the following posts looked at the creative awards with the first batch here and the second lot here.

In this post, I will discuss the last batch of”creative awards”: Best Original Score, Best Song, Best Costume Design, Best Makeup and Best Production Design.

Best Original Score

This year’s win in this category was surprising, going to Ludwig Gorranson for his score for blockbuster Black Panther. Up to this point, Black Panther had been sweeping the technical categories and minor creative categories with multiple wins so this wasn’t as much of a shock on the night. However, I personally preferred Nicholas Brittell’s spectacular work for Barry Jenkins’s If Beale Street Could Talk and hoped that he would grab the win. I hope that there are many Jenkins/Brittell collaborations in the future and I am sure that he will win his Oscar one day.

Best Song

This is the one category where they may as well not have even had any other nominees. Smash it “Shallow” from A Star is Born is instantly recognisable even to those who haven’t seen the film. It is a brilliant track and definitely the highlight of the film. Personally, the film overall was a little underwhelming for my taste but this win was beyond deserving. Not to mention the undeniable chemistry between the film’s leads, Bradley Cooper (who directed the film) and Lady Gaga (who won the Oscar for her songwriting), which was one of the major talking points of the night. I think the song’s place in the film is the perfect starting point for the relationship of the two characters. I’d honestly be surprised if anyone voted otherwise just because it was pretty much a given as soon as the film was released.

Best Costume Design

Another category won by Black Panther and I can see why. One of the standout features of the film, the costumes were perfectly balanced between vibrant and muted costumes that had an eclectic mix between traditional tribal costume and a futuristic feel. I loved the hand-knitted pieces especially. Ruth E. Carter’s speech was one of my favourites of the night. I was sad that Sandy Powell didn’t win for The Favourite but the costumes in Black Panther are unique and haven’t been done before whereas I think The Favourite was enhanced by the makeup (badger) than the costumes themselves.

Best Makeup

Seeing as The Favourite was weirdly snubbed in this category, I am happy to see Vice recognised for the amazing transformation of its leading cast. The makeup allowed Christian Bale in particular to be completely lost in the role of vice president Dick Cheney. I personally enjoyed Vice a lot more than other people did so to see it win at all is welcome news.

Best Production Design

Another gong that went to Black Panther, I do think that this one should have gone to The Favourite. I understand that I am very biased to The Favourite but I do think it lost in categories that it shouldn’t have necessarily lost in. But also, these two films have great production design in their own way. Black Panther is a film that travels which gives the production team a chance to show of an array of various designs whereas The Favourite is mainly set in the one palace and is brilliantly designed to feel claustrophobic despite being an enormous estate.

That’s it for the creative awards. My next Oscars roundup will look at the technical awards.

What do you think of the winners? Do you agree with my thoughts? Let me know in the comments below!