E.T. The Extra-Terrestrial

Posted on December 13, 2002 at 5:17 am

A+
Lowest Recommended Age: Kindergarten - 3rd Grade
MPAA Rating: Rated PG for language and mild thematic elements
Profanity: Brief but very strong language for a PG
Alcohol/ Drugs: E.T. gets tipsy
Violence/ Scariness: Characters in peril, apparent death
Diversity Issues: All characters white
Date Released to Theaters: 1982
Date Released to DVD: October 8, 2012
Amazon.com ASIN: B003UESJLK

“E.T’s” 30th anniversary is being celebrated with a gorgeous new re-issue and I have one to give away.  To enter, send me an email at moviemom@moviemom.com with E.T in the subject line and tell me your favorite movie alien.  Don’t forget your address!  (US addresses only.)  I’ll pick one winner at random on October 14.  Good luck!

A young boy named Elliott (Henry Thomas) finds an extraterrestrial who has been left behind when his expedition of alien botanists had to depart quickly to avoid detection. He brings E.T. home, finding through their connection a way to begin to heal his sense of loss at his father’s absence.

E.T. loves Elliott, but begins to weaken in the Earth’s atmosphere and needs to go home. With the help of Elliott and the neighborhood children, he sends a message to his friends. But before they can come for him, he is captured by government scientists. E.T.’s connection with Elliott is so strong Elliott becomes very ill, too. But both recover, and the children return E.T. to the spaceship, after E.T. reminds Elliott that they will always be together in their hearts.

This is an outstanding family movie, with themes of loyalty, friendship, trust, and caring. One of the most purely magical scenes in the history of film is when Elliott’s bicycle lifts off up into the sky.

Parents should know that the movie has scenes of peril that may be too intense for younger children. An apparent death is also upsetting. There is brief very strong language for a PG movie. This film was justifiably criticized for its almost complete absence of non-white characters.

DVD extras: Making of documentary, cast reunion, archives, trailer, behind-the-scenes footage, etc. Families who see this movie should talk about the way that the adults and the kids see things differently, and have a hard time understanding each other’s perspective. One reason is that they don’t try to share their feelings with each other. Could Elliott have talked to his mother about E.T.?

Families who enjoy this movie will also enjoy “Close Encounters of the Third Kind,” and they should try some Reese’s Pieces! They might also want to check out the classic movie E.T. catches a glimpse of, “The Quiet Man.”

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Action/Adventure Classic Contests and Giveaways Drama DVD/Blu-Ray Pick of the Week Science-Fiction Stories About Kids

The Great Escape

Posted on December 13, 2002 at 5:17 am

A+
Lowest Recommended Age: Middle School
MPAA Rating: Not rated
Profanity: None
Alcohol/ Drugs: Some drinking, smoking
Violence/ Scariness: Very tense moments, characters in peril and many killed
Diversity Issues: People from a variety of backgrounds and countries work together toward a common goal
Date Released to Theaters: 1963
Date Released to DVD: May 7, 2013
Amazon.com ASIN: B00BN3DUVE

great escape

In honor of the Blu-Ray release of this classic film, it is the Pick of the Week – and I am delighted that I have one Blu-Ray to give away.  Send me an email at moviemom@moviemom.com with Escape in the subject line.  I will pick a winner at random on May 15.  Don’t forget your address!  (US addresses only.)

Towards the end of WWII, the Germans built a special high-security prison camp for Allied prisoners with a record of escape attempts. This is the true story of the extraordinary courage and ingenuity of the men imprisoned there, and of their plans for the greatest escape ever. As the British ranking officer explains, when the camp commandant urges him to relax and “sit out the war as comfortably as possible,” his duty is to escape, or, if escape is impossible, to force the enemy to use as many resources as possible to contain them.

Each man contributes his expertise. There are “tunnel kings” to dig the three tunnels, a “forger king” (Donald Pleasence) to forge the papers the soldiers will need when they escape, a “scrounger” (James Garner) to beg, borrow, steal, or obtain through blackmail the materials they need, and others who work as tailors and manufacturers. An American who is something of a loner, Hilts (Steve McQueen) becomes the “cooler king” for his long stints in solitary confinement, as a result of his independent escape attempts. When “Big X” (Richard Attenborough), the British officer who supervises the escape, asks Hilts to go through the tunnel to get information about the area surrounding the camp, and then allow himself to be recaptured, so he can let them know what he has found, he refuses. But when his friend is killed trying to escape, his spirit broken by the camp, Hilts changes his mind.

Seventy-five of the prisoners are able to escape before the tunnel is discovered. The Germans track almost all of them down, and fifty are killed, including Big X. It is to “the fifty” that the film is dedicated.

As in “Stalag 17” and many other films about prison camp, the prisoners in this story must adapt to the direst of circumstances, and they choose differing approaches. Hilts adapts by working on his own, or with one partner, while others work on a massive group escape. Ives and Danny begin to unravel under the stress, not so much a “choice” as an involuntary response.

Unlike other prison camp movies, this one does not dwell on disputes between prisoners or on the deprivations of the prison camp, which seems almost comfortable. It is about the professionalism, courage, resourcefulness, teamwork, and loyalty of every one of the prisoners.

As in a traditional “heist” film, the story focuses on defining a problem and then solving it. They examine the restrictions imposed by their conditions, change the ones they can, and adapt to the ones they cannot. They must also adapt quickly and calmly when the plan does not go as they expected.

The story gives us an exceptional example of teamwork and loyalty. Note the way that the prisoners protect each other. When Danny (Charles Bronson) cannot take it any more and wants to escape on his own, his friend talks him out of it. When the Forger goes blind, Big X wants to leave him behind, for his own protection. But the Scrounger promises to take care of him.

Point out to kids what factors do — and do not — go into the prisoners’ calculations and strategy. Big X is cautioned not to allow his personal wish for revenge determine their strategy. But pride (in the sense of morale) is permitted to be considered. When asked “Have you thought of what it might cost?” he answers, “I’ve thought of the humiliation if we just tamely submit — knuckle under and crawl.” They also consider the risk of failure, to the extent they can. At the end, when the Scrounger asks whether the escape was worth the price, the best the British Commander can do is answer truthfully, “It depends on your point of view.”

Note: The  screenplay was co-written by blockbuster novelist James Clavell (Tai-Pei, Shogun). His own experiences as a prisoner of war in a Japanese prison camp are the subject of “King Rat.” The outstanding musical score is by Elmer Bernstein (“The Magnificent Seven” and “To Kill a Mockingbird”). Richard Attenborough, who played Big X, became a director in the late 1960s of films such as “Gandhi” and “Shadowlands.” He continues to appear as a performer, and played Dr. Hammond in “Jurassic Park” and Kris Kringle in the 1994 version of “Miracle on 34th Street.”

Family discussion: Why are the experts called “kings”?  What makes Hilts change his mind about getting the information they want? Who was right about taking the Forger out through the tunnel, Big X or the Scrounger? Given the results of their action in this story, should officers who have been taken prisoner feel duty-bound to try to escape?

If you like this, try: “Stalag 17” and “King Rat”

 

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Based on a true story Classic Drama DVD/Blu-Ray Pick of the Week War

Guys and Dolls

Posted on December 13, 2002 at 5:17 am

Plot: The story takes place among the small-time underworld characters of New York. Nathan Detroit (Frank Sinatra) runs a “floating crap game” (held in a different place each time) that provides entertainment and bankrolls for many members of the community. His problem is that he can’t find a place to have the next game. The only place available wants $1000 up front, and he does not have it. Furthermore, his (very) long- term fianceé, Adelaide (Vivian Blaine), a showgirl, is so distressed over his failure to marry her that she has developed a psychosomatic cold.

Trying to get the money he needs, Nathan makes a bet with Sky (as in willing to bet sky-high) Masterson (Marlon Brando). After Brando brags that he can get any “doll” to go out with him, Nathan challenges him to ask Sarah Brown (Jean Simmons), the local mission worker. Sky persuades Sarah to go to Havana for dinner, and, after he spikes her drink with liquor, they have a wonderful time, and she starts to fall in love with him.

When they get back, however, she finds that the crap game was held in the mission, and feels betrayed. In order to persuade her that his intentions are honorable, Sky rolls the dice in the crap game against the “souls” of the other players, and when he wins, they must all go to a meeting at the mission, the two couples get married, and everyone lives happily ever after.

Discussion: This musical classic, based on the stories of Damon Runyon, is a lot of fun, despite the fact that two of the leads are not singers and none of them can dance. But Brando and Simmons do surprisingly well, especially in the scenes set in Havana, and the movie is brash and splashy enough to be thoroughly entertaining.

Themes worth discussing include honesty in relationships and in competition (Harry the Horse cheats and threatens the other players) and how people decide whether to align themselves with (or between) the two extremes presented by the mission workers and the grifters and gamblers. Questions for Kids:

· Adelaide says she has developed a cold from waiting for Nathan to marry her.

· How do people get physically sick from unhappiness or worry?

· What is the meaning of Sky’s father’s advice about the deck of cards? Is that good advice?

· Who changes the most in this movie? How can you tell?

Connections: Other movies based on Runyon’s colorful characters include “Little Miss Marker” (three versions, one called “Sorrowful Jones,” but the best one has the original title and stars Shirley Temple), “Lady for a Day” (remade with Bette Davis as “Pocketful of Miracles”), “The Lemon Drop Kid” (also filmed twice, with the Bob Hope version the better one), and a very sad movie starring Lucille Ball and Henry Fonda called “The Big Street.”

Activities: Kids who like this movie may enjoy reading (or having read aloud to them) some of Damon Runyon’s stories, especially “Butch Minds the Baby.”

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Classic Drama Musical

The Little Mermaid

Posted on December 13, 2002 at 5:17 am

A+
Lowest Recommended Age: Kindergarten - 3rd Grade
Profanity: None
Alcohol/ Drugs: None
Violence/ Scariness: Some scary scenes, characters in peril
Diversity Issues: None
Date Released to Theaters: 1989
Date Released to DVD: September 30, 2013
Amazon.com ASIN: B0036TGT2A

little mermaid diamondAfter some lackluster years, Disney came back into the top rank of animated features with this superbly entertaining musical, based loosely on the fairy tale by Hans Christian Andersen (but with a happier ending).

Ariel was the first in a series of refreshingly plucky Disney heroines. Instead of dreaming about the day her prince will come, or waiting for a fairy godmother or a Prince’s kiss, Ariel is a spirited and curious mermaid who is willing to take action in order to meet Prince Eric, the man of her dreams, though she is gullible and impetuous in agreeing to the terms demanded by the seawitch in exchange for making it possible for her to go on land.

She goes to the seawitch (Pat Carroll, first rate as Ursula the octopus) to ask her to turn her tail into legs. But Ursula has two conditions. Ariel has to give up her voice. And if Eric does not kiss her within three days, Ariel will become Ursula’s slave forever. She agrees, and has to find a way to persuade Eric to fall in love with her without using her voice, despite Ursula’s crafty plans to prevent it.

NOTE: In addition to the “normal” scariness of the sea witch, some children may find the casual bloodthirstiness of the French chef upsetting, especially in the musical number in which he tries to turn Sebastian into crabmeat.

The wonderful voice characterizations in this film include Buddy Hackett (“The Music Man”) as Scuttle the scavanging seagull and Samuel E. Wright as Sebastian, the calypso-singing crab. The first-class musical score by Alan Menken and Howard Ashman (who worked together on the off-Broadway hit, “Little Shop of Horrors”) ranks with the best of Broadway and won Oscars for Best Score and Best Song (“Under the Sea”). Some viewers criticize the movie for providing yet another wasp-waisted Disney heroine whose whole world revolves around a man. But Ariel is adventuresome, rebellious, and brave. It is true that she makes the mistake of giving up her voice to the sea witch (a very strong female character, to say the least), which provides a good opportunity for family discussion.

A straight to video sequel about Ariel’s daughter called The Little Mermaid II: Return to the Sea is exceptionally good, with first-class animation and a lot of heart and humor.

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Animation Based on a book Classic DVD/Blu-Ray Pick of the Week Fantasy For the Whole Family Musical Romance Talking animals

High Noon

Posted on December 13, 2002 at 5:17 am

Plot: Marshal Will Kane (Gary Cooper) marries Amy (Grace Kelly) and turns in his badge. She is a Quaker, and he has promised her to hang up his gun and become a shopkeeper. But they get word that Frank Miller is coming to town on the noon train. Kane arrested Miller and sent him to jail, and Miller swore he would come back and kill him.

Will and Amy leave town quickly. But he cannot run away, and he turns around. He knows that they will never be safe; wherever they go, Miller will follow them. And he has a duty to the town. Their new marshal does not arrive until the next day.

Will seeks help from everyone, finally going to church, where services are in session. But he is turned down, over and over again. Amy says she will leave on the noon train. Will’s former deputy, Harvey (Lloyd Bridges) refuses to help, because he is resentful that Will did not recommend him as the new marshal. Will’s former girlfriend, Helen Ramirez (Katy Jurado), now Harvey’s girlfriend, will not help him, either. She sells her business and leaves town. Others say that it is not their problem, or tell him to run, for the town’s good as well as his own. The previous marshal, Will’s mentor, says he can’t use a gun any more. The one man who promised to help backs out when he finds out that no one else will join them. The only others who offer to help are a disabled man and a young boy. Will must face Miller and his three henchmen alone.

At noon, Frank Miller gets off the train. The four men come into town. Will is able to defeat them, with Amy’s unexpected help. As the townsfolk gather, Will throws his badge in the dust, and they drive away.

Discussion: This outstanding drama ticks by in real time, only 84 tense minutes long. Will gets the message about Frank Miller at 10:40, and we feel the same time pressure he does, as he tries to find someone to help him. We see and hear clocks throughout the movie, and as noon approaches, the clock looms larger and larger, the pendulum swinging like an executioner’s axe. In the brilliant score by Dimitri Tiomkin (sung by Tex Ritter) the sound of the beat suggests both the train’s approach and the passage of time.

This is like a grown-up “Little Red Hen” story. Will cannot find anyone to help him protect the town. Everyone seems to think it is someone else’s problem (or fault). Teenagers may be interested to know that many people consider this film an analogy for the political problems of the McCarthy era. It was written during the height of the Hollywood “red scare.” After completing this screenplay, the writer, an “unfriendly witness” before the House Un-American Activities Committee, was blacklisted. But this unforgettable drama of a man who will not run from his enemy, or his own fears, transcends all times and circumstances.

Questions for Kids:

· Everyone seems to have a different reason for not helping Will. How many can you identify? Which reasons seem the best to you? Which seem the worst? What makes Amy change her mind?

· Why does Will throw his badge in the dirt?

· Do you think the screenwriter chose the name “Will” for any special reason?

· How do you decide when to stay and fight and when to run? How do you evaluate the risks? What should the law be?

Connections: This movie was the first attempt at an “adult” Western, its stark black and white images a contrast to the gorgeous vistas in the Westerns of John Ford and Howard Hawks. It was included in the first list named to the National Film Registry, established by the Library of Congress to identify films that are “culturally, historically, or esthetically important.” It has had tremendous influence, and has inspired many imitations and variations. “Outland,” starring Sean Connery (and rated R) is a not-very-good attempt to transfer this plot to outer space. “Three O’Clock High” moves it to a high school, with a new student challenged by the school bully. Despite some directoral pyrotechnics, it is not very good, either. “The Principal” has another “High Noon”-style confrontation in a school, but this time it is the title character who must show his mettle. “The Baltimore Bullet” moves the confrontation to a pool hall.

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Classic Drama Western
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