The Wizard of Oz

Posted on September 29, 2009 at 8:00 am

The 70th anniversary of this all-time classic is being celebrated with a beautiful new DVD release, a great chance for the family to sit down and watch what is probably the all-time greatest family film again.
Dorothy Gale (Judy Garland) lives in Kansas with her aunt and uncle and her dog, Toto. Mean Miss Gulch (Margaret Hamilton) swears she will have Toto taken away. Auntie Em and Uncle Henry support Dorothy, but they are too distracted by the coming tornado to pay much attention to her. Dorothy dreams of a place “over the rainbow” where everything is beautiful, “troubles melt like lemon drops” and “the dreams that you dream really do come true.” She starts to run away to protect Toto, but is sent back home by the kindly Professor Marvel (Frank Morgan), a traveling fortune-teller.

When the tornado arrives, Dorothy is outside the shelter. She goes to her room, where she is hit on the head by a piece of wood torn loose by the wind. The whole house rises, and is carried away by the tornado.

The house lands with a crash, and when she opens the door, she finds she has landed in the colorful world of Oz (the movie, black and white until this point, becomes technicolor). Her house has landed on the Wicked Witch of the East, killing her, and the tiny Munchkins celebrate Dorothy as a great heroine. Their friend Glinda the good witch (Billie Burke) arrives and gives her the Wicked Witch’s magic ruby slippers, just as the Wicked Witch of the West (Margaret Hamilton) arrives to take them. The Wicked Witch of the East was her sister. Furious, she swears revenge. Dorothy wants to go home and is told to seek out the Wizard of Oz, who lives in the Emerald City, for help.

On the way to the Emerald City, she meets a talking Scarecrow (Ray Bolger) who wants a brain, a Tin Woodsman (Jack Haley) who longs for a heart, and a cowardly Lion (Bert Lahr) who wants courage. They all join her, to seek the help of the Wizard. At the Emerald City, the Wizard at first refuses to see them, then finally tells them they must earn their wishes by bringing him the broom of the Wicked Witch of the West. They are captured by the Witch’s flying monkeys, and just as she is about to kill them, Dorothy douses her with water, trying to protect the Scarecrow from fire, and the witch melts.

They return to the Emerald City only to find that the Wizard cannot help them. He is a fraud, just “the man behind the curtain” whose terrifying displays of smoke and light hid a “humbug” who had no magical powers at all. But he is able to show the Scarecrow, Tin Woodsman, and Lion that they really did have what they were seeking all the time, and he promises to take Dorothy back to Kansas in his hot air balloon.

Toto jumps out of the balloon’s basket. Dorothy runs after him and misses the balloon launch. But, just as Dorothy despairs of ever going home, Glinda arrives and shows Dorothy that she had the means of getting home all the time. Back in Kansas, Dorothy wakes up to find her aunt and uncle, the farmhands, and Professor Marvel (who strongly resemble the Scarecrow, Tin Woodman, Lion, and Wizard), and tells them that “there’s no place like home.”

This movie is an ideal family film, superb in every aspect, with outstanding art direction, music, and performances. It is still as fresh and engrossing as it was in 1939, and improves with every viewing. If you ever have a chance to see it in on a big screen, in a theater with a good sound system, you will enjoy it even more.

It is hard to imagine what it would have been like with the original intended cast, including Shirley Temple as Dorothy and Buddy Ebsen as the Tin Woodsman. But 20th Century Fox would not loan its top star, and Ebsen was hospitalized when he inhaled the aluminum dust in the Tin Woodsman’s make-up. Judy Garland is a perfect Dorothy — vulnerable, sensitive, completely believable. On the brink of leaving childhood, her dreams of a place “over the rainbow” are in part a yearning to escape the concerns of adulthood.

There is something especially satisfying about the way that the main characters find what they need within themselves. Talk with children about the way that the Scarecrow demonstrates his intelligence, the Tin Woodman demonstrates his heart, and the Lion demonstrates his courage. Even the humbug Wizard finds that he had the means to go home all the time. Dorothy, who in the first part of the movie runs away from home to try to solve her problems, spends the rest of the movie trying to get back. Even if the story is just a dream (in the book, it is a real adventure), this makes a great deal of emotional sense, a way of working through her inner conflicts.

It is also worth talking about the scene in which Dorothy and her friends disregard the Wizard’s plea to “pay no attention to the man behind the curtain” and discover that he is really just an ordinary man. This can be a touchstone or metaphor for many kinds of challenges children face. It can help them recognize that the overpowering figures in their lives (parents, teachers, adults, sports figures) are just imperfect human beings. And it can also help them recognize attempts, by themselves as well as others, to distract people in hopes of hiding our imperfection and vulnerability.

NOTE: There are a number of different scenes in this movie that may be scary for children. Many adults still remember the flying monkeys or Dorothy looking into the crystal ball and seeing her aunt turn into the witch. Parents should talk to children about the story before seeing the movie, and watch with them to gauge their reactions.

Bedknobs and Broomsticks

Posted on September 7, 2009 at 8:00 am

Based on the book by based on the book by Mary Norton (also the author of The Borrowers,” Bedknobs and Broomsticks is the story of three Cockney children evacuated from London during WWII, who are placed with Miss Eglantine Price (Angela Lansbury), though she is reluctant to take them and insists it can only be temporary.
Miss Price is completing a correspondence course in witchcraft and has reached the level of “apprentice witch,” permitting her to fly on a broomstick. When she takes it out for a spin, the children see her, and, threatening to expose her, persuade her to let them into the magic. She then enchants the bedknob so that when it is twisted, it will take them wherever they want to go. When she receives word that the correspondence course has been canceled, she and the children go off together in search of the teacher, Professor Brown (David Tomlinson). He joins them, as they travel on the bed, first undersea and then to an island in another dimension, where the inhabitants are talking animals. On the island, they find the necklace containing the secret magic words they need for a spell to make intimate objects behave as though they were alive. Home again, they use that spell to fight off Nazi invaders. Afterward, Miss Price retires from witchcraft and Professor Brown joins the army, but it is clear they have become a family.

Many of the people behind “Mary Poppins” worked on this movie. While it does not have the same magic as “Mary Poppins,” there are some delightful moments, especially as Miss Price struggles to master basic witchcraft skills. The animated scenes on the island are done with a great deal of verve and imagination, especially the fast-moving slapstick of a soccer game featuring animal athletes, including an ostrich who sticks his head into the field whenever trouble approaches. The movie is long and episodic, and so lends itself well to viewing in shorter segments for restless younger children.

Hannah Montana — The Movie

Posted on August 17, 2009 at 8:00 am

B+

Lowest Recommended Age:	All Ages
MPAA Rating:	G
Profanity:	None
Alcohol/ Drugs:	None
Violence/ Scariness:	Mild comic violence, pratfalls
Diversity Issues:	None
Date Released to Theaters:	April 9, 2009
Date Released to DVD:	August 18, 2009
Amazon.com ASIN:	B002BIULQ2

Think of it this way. Hannah Montana is to Miley Stewart what Superman is to Clark Kent. Audiences of all ages but especially children and teenagers are always taken by stories of secret identities and hidden sources of power and mastery. It is a way of organizing their thoughts about themselves as unsure but constantly developing citizens of a world run by adults who have a power and ability that they look forward to. It is also a world they can feel themselves getting closer to, so it gives them a way to calibrate and understand their own changes and their progress. And it gives them a chance to think about the kind of adults they want to be.
So when Miley Stewart (played by Miley Cyrus) said she wanted the “best of both worlds,” to be a singer and a “normal kid,” the way to do it was to create a separate identity. With the wig and sparkles she is Hannah Montana, superstar. Without it, she is just plain Miley, who knows that her friends like her for who she is and not because she is famous. And many of the television show’s episodes focus on the challenges of keeping these worlds separate.

But as this movie begins, it is not just the logistics that are colliding. Miley Stuart is becoming a bit of a diva. After an hilarious brawl with uber-diva Tyra Banks over a pair of expensive shoes, Miley’s father (real-life dad Billy Ray Cyrus of “Achy Breaky Heart” and mullet fame) decides it is time for Miley and Hannah to have a reality check. He takes her to their home in Tennessee and tells her that after two weeks he will let her know whether it is time for Hannah to retire.

Miley is not yet an actress. She is so relentlessly sunny that she can’t quite manage the brief scenes where she is supposed to be pensive or unhappy. But she has an immediately engaging presence on screen and is so clearly enjoying herself that it impossible not to enjoy her, too. The script wisely plays to her strengths, giving her lots of chances to sing both as Miley and as Hannah and lots of chances to show off her high spirits and gift for physical comedy.
She is ably supported by Emily Osment as her best friend, Margo Martindale as her warm but shrewd grandmother, and Lucas Till as a handsome young cowpoke. Taylor Swift and Rascal Flatts show up for some musical numbers. Cyrus has a sweet duet with her dad and a cute hoedown dance.
The story may not have many surprises, but it will help kids think a little bit about growing up and dream a little bit about all the possibilities before them. Best of all, the movie will satisfy Cyrus fans and give their families a sense of why they love her so much.

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Bandslam

Posted on August 13, 2009 at 5:58 pm

B+

Lowest Recommended Age:	4th - 6th Grades
MPAA Rating:	Rated PG for some thematic elements and mild language
Profanity:	Mild language
Alcohol/ Drugs:	None
Violence/ Scariness:	Sad deaths, tense confrontations, bullying
Diversity Issues:	Diverse characters
Date Released to Theaters:	August 14, 2009

A little edgier than the “High School Musical” series and a little smarter than the usual tween fare, “Bandslam” is a refreshing late-summer treat for tweens, teens, and their families from the always-welcome Walden Media, a top provider of quality family entertainment.

Will Burton (Gaelan Connell), an Ohio music-loving loner who knows his Thin Lizzie from his Velvet Underground and has mental conversations with David Bowie, is relieved and delighted when his single mother (Lisa Kudrow) tells him that they are moving to New Jersey. He is often picked on, with no friends, and he looks forward to starting over in a new school.

Though he fears it will be just like Ohio (“Different kids, same me”), the new school is different. A music group competition called Bandlam is “Texas high school football big.” A confident and popular senior named Charlotte (“Aly & AJ’s” Aly Michalka) invites him to help her take care of the day care kids, and they become friends. Once a part of the school’s champion band Glory Dogs, Charlotte and some other musicians are forming a new group. Before he knows it, Will is their manager, naming them for a line from “Waiting for Godot” — “I Can’t Go On, I’ll Go On.” Will is in “uncharted territory,” making friends, separating from his mother, and even developing feelings of more than friendship for the winsome Sa5m (“The 5 is silent”) (HSM’s Vanessa Hudgens).

There are heartaches, misunderstandings, and setbacks (this is high school, after all), but there is music and there is a public apology (this is a romance, after all), and triumph (it is a movie for kids after all).

Hudgens, unfortunately, is saddled with a character who speaks in monotones. It would be nice to see her in a role that gives her more of a chance to show her spirit. Newcomer Connell is able, especially in his scenes with Kudrow, who makes the most of her underwritten mom role. Michalka has the most challenging role and handles it very capably. The characters talk rock but sing pop. Only Michalka has a rocker’s attitude. But these characters have more depth and believability than most movies in this genre. Director Todd Graff, who made “Camp,” again shows his sympathetic understanding for kids who want to perform. And, most important, this movie has a strong foundation in its understanding of classic rock that does as much as any of the writing, directing, or performers to keep us rooting for Will’s group to go on.

Coraline

Posted on July 21, 2009 at 8:00 am

In the grand tradition of Alice, Dorothy, Milo, and the Pevensie children, Coraline enters a portal to a magical world that is both thrilling and terrifying, one that will both enchant her and demand her greatest resources of courage and integrity. And it will teach her that she does being given whatever she wants is not what she thought — that what she thinks she wants may not be what she wants after all.

Coraline (voice of Dakota Fanning) is bored and lonely. She and her parents have just moved into a new home and she does not know anyone. Her mother (voice of Teri Hatcher) and father (voice of John Hodgman, who plays the PC in the Mac commercials) are distracted and busy with work. While they type away furiously on their computers about gardening, they never actually go outside and plant anything. Coraline meets her neighbors, a pair of one-time performers (voices of Jennifer Saunders and Dawn French), a man training singing mice (voice of Ian McShane), and a boy her age named Wybie (voice of Robert Bailey Jr.), to whom she takes an immediate dislike.

She explores her surroundings and finds a mysterious locked door. Her mother tells her since the house was converted to make apartments it only opens onto a brick wall. But when she tries it herself, it opens into a tube-shaped corridor that leads to a place very like but also very unlike her own home and neighborhood. Everything is brighter and more colorful. The mother and father tell her that they are her Other parents. They sound just like her real parents and they look like them, too, except that they are utterly devoted and attentive and generous, and except for their eyes, which are sewn-on black buttons.

The Other world is enchanting for a while, with all kinds of diversions and performances. Many, like the Other parents, echo the places and characters from home. But then it begins to feel too synthetic and a little creepy. When the Other mother asks her sweetly to replace her eyes with buttons, Coraline goes home. But home is not the same. Something has happened and she will have to return to the Other place for an adventure that will require all of her courage, perseverance, and some growing up, too.

Coraline must follow the storyline and grow disenchanted with the Other place but we have the luxury of reveling in it. The creepier it gets, the more mesmerizing the visuals, ravishingly grotesque and dazzlingly inventive when the Other Mother suddenly elongates, her cheekbones sticking out like flying buttresses and her arms and legs getting spider-y. This is the first stereoscopic 3D film made in the painstakingly meticulous stop-motion system in which no more than 2-4 seconds can be completed each day because every frame requires as many as a thousand tiny adjustments. The 3D effect is all-encompassing and utterly entrancing as we feel as though we are inside the Other world as its uneasy false cheeriness slides away and we discover what is really going on. Like her parents, Coraline has been separated from authenticity of experience, in her case because she is a child. But the journey to the Other world shows her that she has what she needs to become more fully herself and to find a more vivid and vibrant life in the place she once thought of as drab and uninvolving.