The Prince of Egypt

Posted on December 13, 2002 at 5:16 am

Dreamworks SKG’s first animated feature is a respectful retelling of the story of Moses, from the time he was found in the bullrushes and adopted by the Pharoh to the time he led the Hebrews out of Egypt to freedom. Presided over by former Disney-ite Jeffrey Katzenberg (“The Lion King”) the movie has some astonishing visual effects, particularly a chariot race that rivals “Ben Hur” and the parting of the Red Sea. The movie takes some liberties with the story, with Moses (voice of Val Kilmer) and Ramses (voice of Ralph Feinnes) raised as brothers who love each other deeply. But Moses learns that he was born a slave. More important, he learns that the man he loves and respects as his father, the Pharoh Seti (voice of Patrick Stewart), once ordered the murder of the slave babies. Struggling with his new understanding, he impulsively pushes aside a guard who is beating a slave, and the guard falls to his death. Ramses promises to pardon him, but Moses runs away.

He lives peacefully with nomads, marrying the spirited Tzipporah (voice of Michelle Pfeiffer), until he receives a message from God, telling him that he must return to Egypt and free the slaves. Ramses, by now Pharoh, is at first happy to see him, but refuses to grant his plea to “let my people go.” Felled by plagues that include locusts, boils, frogs, and, finally, the death of the first-born children, he finally agrees. But just as Moses is leading the Hebrews through the parted Red Sea, Ramses arrives with his army. The Red Sea closes over them, and Moses and his people are free.

This story, central to three great world religions, should be familiar to most children. The film-makers have done a good job of making it exciting and vivid while still being careful not to offend anyone. The musical numbers are largely forgettable, but the characters and the story remain compelling. Ramses, loving Moses, but terrified of being responsible for the end of a dynasty, is, if not a sympathetic character, a flawed but understandable one. Miriam and Tzipporah are strong, intelligent female characters. The themes of taking responsibility and the importance of freedom are well worth discussing. Families may wish to take a look at the web site to download one of the study guides developed by representatives of different religions.

You’ve Got Mail

Posted on December 13, 2002 at 5:16 am

The classic story of two enemies who discover that they are really the “dear friends” who share a loving penpal relationship is deliciously updated for the era of email. Tom Hanks plays Joe Fox, scion of a family that owns a chain of enormous bookstores (think Barnes & Noble). Meg Ryan plays Katherine Kelly, owner of a beloved independent children’s book store called The Shop Around the Corner. When the new Fox store moves in around her corner, they take each other on, though it is clear from the first that they are strongly attracted to each other and would much rather be friends.

At first, both are in other relationships, she with a newspaper columnist who decries technology (Greg Kinnear), and he with a high-strung overly caffeinated book editor (Parker Posey). But as their online friendship becomes more important to them, they both realize that they cannot settle for the convenience of a relationship that should work. Knowing each other only as “Shopgirl” and “NY152,” and keeping to their resolve not to disclose personal details, they exchange emails about how they see the world around them. He is warmly supportive of her, advising her to fight her adversary, not knowing that he is the one she is writing about. The witty dialogue gets high gloss from two of the finest light romantic leads in Hollywood, whose chemistry was already proven in “Sleepless in Seattle.” It is clear to us from the beginning where it is all going, but it is also clear that they will make it a pleasure along the way, and they do.

Parents should know that the movie contains brief bad language, and that Joe’s father and grandfather become involved with a series of younger women, which is portrayed as humorous — including a comment by Joe’s father (Dabney Coleman) that he may marry the mother of his son. Sexual overtures to Joe by that woman seem inappropriate for a movie of this kind. A later reference to a woman who leaves a man for a woman is also intended as humor. Parents should also make sure that children know that they should not talk to strangers online, and should never accept an invitation to meet in person anyone they have corresponded with online.

Other good topics for discussion include how it can be easier to be yourself in email than in person and how you balance the need to stand up for yourself with the importance of not hurting others. Children who enjoy this movie may also like to see the original, like Katherine’s store called “The Shop Around the Corner” starring Jimmy Stewart and Margaret Sullavan, and the musical remake called “In the Good Old Summertime” with Judy Garland and Van Johnson. The story was also produced and as a different musical play called “She Loves Me.”

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Cats Don’t Dance

Posted on December 13, 2002 at 5:16 am

A singing, dancing cat named Danny goes to Hollywood to become a star in this colorful and energetic animated musical suitable for all but the very youngest toddlers. He finds, however, that no one in Hollywood thinks that animals can be stars. A Shirley Temple-style moppet named Darla Dimple pretends to help him audition with his friends, only to sabotage their big number by flooding the soundstage. Danny, humiliated, decides to go back home. But he can’t give up, and the rousing finish has all of the animals staging a spectacular musical number, with the inadvertent help of Ms. Dimple.

The animation is well above average, if not quite up to the Disney standard, and the voice characterizations are excellent, with Scott Bakula and Jasmine Guy as the leads and Kathy Najimy, Don Knotts, and George Kennedy outstanding in supporting roles. Parents will appreciate some sly satire and the music, written by Randy Newman and performed by Natalie Cole.

Themes to discuss include judging others on their talent and character, rather than their appearance, and about working for your dreams, even when the obstacles seem insurmountable. Kids may also like to talk about Darla Dimple, why she was so threatened by the talented animals and the contrast between the way she behaved in private and when she was in the public eye.

Cradle Will Rock

Posted on December 13, 2002 at 5:16 am

How do you stay true to ideals when there is pressure to compromise in order to make a living? How can you sell without selling out? These questions are provocatively posed in “mostly true” intersecting stories surrounding a pro-union play funded — and then closed — by the U.S. government.

Today’s teens live in a world in which politicians squabble about whether an “elephant dung Madonna” should be hung in a government-funded museum exhibit and rap stars famous for being outrageous and outspoken issue bowdlerized versions of their recordings in order to meet the requirements of chain stores. Older teens, who try to grapple with the problem of holding onto integrity in a complicated world, will appreciate the way those issues are raised in this movie, thoughtfully constructed by writer/director Tim Robbins to show characters with a range of dilemmas and priorities.

We see artists who want to make political statements, artists who want to make money, and artists who are thrilled by art for its beauty. The director — 22-year-old Orson Welles, just before going to Hollywood to make “Citizen Kane” — simply says that his goal is ‘to all the right people.”

We see a young businessman (Nelson Rockefeller) who wants to use his fortune for art – as long as its message is one that does not make him too uncomfortable. An older businessman wants to use his fortune to buy Old Masters — and to buy the support of politicians, so he can make more money.

Teens should notice the irony and symbolism, like the rich people dressing as Marie Antoinette’s court for a costume party and the opening newsreel showing art being censored in Nazi Germany. Why does the movie show Welles objecting to a union-required break during rehearsal? Why does the ventriloquist leave his dummy on the stage? Why is the main character of the play a prostitute? Why does Diego Rivera refuse to paint the design he agreed to?

Be sure to ask teens what they think about the movie’s final image, an attempt to tie the story directly to the present day. See if they think that the movie has any heroes, and if so, how they can tell.

Parents should know that the movie has strong language, nudity, including an artist’s nude models, and sexual references, including references to homosexuality.

FAMILY PROJECT: Welles went on to annoy one of the most powerful men in the country, William Randolph Hearst, with his next project, “Citizen Kane,” number one on the American Film Institute’s list of the 100 greatest movies. Teens might want to read more about Nelson Rockefeller and check out Digeo Rivera’s surviving murals at http://www.diegorivera.com. For more on the Federal theater project, read Hallie Flanagan: A Life in the American Theatre, by Joanne Bentley or Flanagan’s own book, Arena: The Story of the Federal Theatre.

The Truman Show

Posted on December 13, 2002 at 5:16 am

Truman Burbank (Jim Carrey) is an insurance salesman who gradually realizes that everyone around him is part of an elaborate “show,” and that every aspect of his life has been orchestrated and broadcast throughout the world. Truman’s “ideal” suburban community is an elaborate set, his wife and best friend are actors. Sponsors pay for the show by having the participants praise their products. And all of it is presided over by Christof (Ed Harris), who leans into his microphone to give direction: “Cue the sun!”

A thought-provoking story and outstanding performances (including a sensitive and subtle portrayal by Carrey) make this is a very worthwhile movie for families to watch together. Teenagers will relate to Truman’s sense (correct in this case) that he is constantly being watched, and that the world is organized around him. While the satire may be above the heads of younger children, there is a still lot to discuss. They may enjoy the clever Free Truman! web site created by Paramount to further perpetuate the illusion.

Younger school-age children will be interested by the fascination that Truman’s “real” story has for a world-wide audience with an insatiable hunger for something to watch on television, at the same time rooting for him to find a way out and wanting him to stay so they can keep watching him. Families can talk about how Truman figures out that something is wrong and whether it was fair for Christof to raise Truman that way. They can also talk to children about why television is so interesting, whether they would want to watch someone who did not know he was on television, and what Truman will think of the messier reality he finds when he leaves the set.

Families who enjoy this movie may also like “Ed TV” (not for young children) the story of a man who agrees to have his entire life broadcast on television.

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