Little Shop of Horrors

If you’re looking for a fun, kooky musical with a taste for blood, Little Shop of Horrors might be exactly what you need. Based off an off Broadway musical, the film stars Rick Moranis as the poor, nerdy Seymour, and Ellen Greene as Audrey his coworker-crush, this story of a strange plant at a flower shop on Skid Row quickly wormed its way into my heart and has become a staple for my family, especially during the Halloween season. 

When Seymour finds a unique plant and brings it back to the flower shop he works at, it begins to draw in new customers. But while the money flows, Seymour learns that the plant, he names Audrey II, needs something special to grow healthy and strong: blood. With a few drops from a pricked finger, Audrey II grows and grows, but soon the plant needs more, driving sweet Seymour to find fresh blood. But no one would miss that jerk sadistic dentist (Steve Martin) dating Audrey, right? 

The absolute best part of this movie is seeing Audrey II in action. Some of the designers and puppeteers who brought Audrey II to life were members of the Jim Henson company. The plant puppets range from small enough to fit in the actors’ hands to so gigantic they take up most of the room in the flower shop. And they amp up the personality with each growth. The huge Audrey II (voiced by Levi Stubbs) singing and scaring Seymour is one of the best treats of the film.

This film is toe tapping fun from start to finish. Boasting some comedic genius from Steve Martin and Bill Murray (their only film together), they make the most out of one unforgettable scene. The film earned 2 Oscar nominations, best visual effects and best original song for Mean Green Mother from Outer Space. Keep an eye out whether you’re watching the theatrical version or Frank Oz’s director’s cut, the endings are wildly different but both so fun and perfect in their own ways.

“I’m just a mean green mother from outer space and I’m bad!”

Rocketman

Rocketman follows the structure of a typical modern music man biopic: sad childhood, talent, quick rise, parties-drugs-sex, hitting rock bottom and then redemption. We’ve seen this before in Bohemian Rhapsody, which considering its success, I think this film would like to be compared to. Unlike the Freddie Mercury predecessor, this film focuses mainly on Elton’s rocky years struggling with addiction.

While I’d consider this film a musical and we are shown Elton John (Taron Egerton) and Bernie Taupin (Jamie Bell) writing songs together, this film is not all about the music. Instead, it is about Elton’s hard journey to accept and love himself. For so long, Elton hides behind his signature color, sparkle and flare. It can be heartbreaking seeing him try to find his happy stage face behind his huge glasses.

What really sets Rockman apart from other musicman biopics is hat the film often goes into a musical fantasy world. With the story being told by Elton, it makes sense. And at times it can this bit of fantasy can be a powerful tool. A magical moment where Elton and the crowd all seem to float is beautiful and uplifting as his career suddenly rises. Whereas, a low moment at the bottom of a pool singing with his childhood self is wonderfully surreal and helps move the story forward. What can I say, I was a sucker for it.

Just like Elton, this film is visually very entertaining. The fantasy aspect and colorful dance numbers are great and definitely feel like something out of Elton’s mind. But one of my favorite elements were the costumes. The credits highlights some of Elton’s iconic styles the movie recreated. Personally I’m a fan of that Jean jacket with all the patches in the Tiny Dancer scene.l I was also jealous of how Elton has a new pair of glasses in every scene. I stopped counting his glasses at 30.

Honestly, I mulled this film over in my head for a few days before I could honestly call it a great movie. It’s different, unabashedly. And in the end, that’s what makes it so wonderfully powerful. Watching Elton struggle with his addictions and with his sexuality and come out on the other side better than ever is joyful and can bring so much hope to others. Many have always admired his music and unique style and now, with that beautiful opening image of him opening those doors to a new life we have more to look up to. With pride month upon us, this film is a great way to celebrate.

“Where there is darkness, there is now you, and it’s going to be a wild ride.”

The Lion King

As the lights went dark in the theater last weekend, I watched my son’s face in anticipation. I’ll always remember how I felt at the start of The Lion King. The singing call and the sun rising startled and shook me inside. I remember being amazed, mystified and engrossed in the film, especially in that stunning beginning. I think The Lion King pushed me from a kid who liked movies to a young film fan. I was eight then, my son is only three now. As the opening number slammed shut with the title in red on the screen, my son asked in his movie-theater whisper, “Can I hold the drink?” I sighed with nostalgic tears in my eyes and handed over the drink. I hope one day he finds a movie the defines his childhood like The Lion King defined mine.

The Lion King is more grand than your average animated film. The story isn’t a fairy tale, but a story of power, family and destiny set within the animal kingdom on the African savanna. Simba (voiced by 90s teen star Jonathan Taylor Thomas and 80s teen star Matthew Broderick) is a young prince excited about his future as king. His wise father, Mufasa (voiced by the even more iconic James Earl Jones), tries to teach Simba what it means to be king while his uncle, Scar (voiced by Jeremy Irons), plots to worm his way onto the throne. After Scar murders Mufasa, in one of the most devastating scenes known to Disney, he convinces young Simba the death was his fault. Afraid, Simba leaves the Pride Lands and Scar rules with his band of hyenas. After years of Hakuna Matata, Simba learns that his kingdom is in ruins and he must face his uncle to reclaim it and fulfill his destiny. The story is basically Hamlet with animals, but most American 90s kids didn’t realize it.

Everyone loves the music from The Lion King.  Many kids grow up knowing all the songs by heart. And rightfully so, even the bouncy I Just Can’t Wait to be King has aged wonderfully. Three of the songs, Circle of Life, Can You Feel the Love Tonight and Hakuna Matata were Oscar nominated, with Can You Feel  the Love Tonight winning.

The score is also Oscar winning and perfectly reflects the movie. It’s heavy, yet whimsical, can be very serious and solemn and rooted in its African themes. I can easily listen to The Lion King’s score for hours. It’s such a beautiful soundtrack to envelop an equally visually beautiful film. The styles compliment each other perfectly and it feels like a beautiful celebration of life.

I personally believe The Lion King defines the height of the Disney Renaissance. Never before had Disney animation been so crisp, flawless and intense. And the level of storytelling was raised to a level that could fulfill the hearts and souls of all. I feel very lucky to have been at the perfect age to see this film in its original release and to grow up on its ideas of owning your past, fulfilling your destiny and stepping up to take charge of your own life. Now, sharing this film with my child is an amazing treat, and give the circle of life greater meaning. 

“You see? He lives in you.”

La La Land

When I first started this blog, seven years ago now, I didn’t like musicals. What a dumb thing to say, it’s like telling Ryan Gosling’s character in La La Land that you don’t like jazz. Sure, some musicals can let you down, just like bland jazz elevator music. But once you give jazz, or musicals, a chance you find that it is an art form with so much life, energy and no matter how nostalgic they can invigorate even the dreariest of dreamers.  La La Land is a toe-tapping, heart melting, visually spectacular spectacle of a musical film and I loved every minute of it.

The film opens with a familiar Los Angeles scene, cars stuck in traffic. As the camera moves, each car has their own sound and style of music. Suddenly, a song and dance breaks out and people get out of their cars to join in singing Another Day of Sun. It’s an amazingly choreographed piece that feels authentically spontaneous, complete with skateboards, BMX bikes and a band in the back of a truck. The amazing image of people of all shapes, colors and styles dancing together on top of their cars on a highway bridge is thrilling and beautiful. Most impressive of all is that the whole scene is one continuous longshot.

In Damien Chazelle’s La La Land, Emma Stone portrays Mia, a struggling actress and Ryan Gosling is Sebastian, a pianist who dreams of opening his own jazz club. Their story is not love at first sight, or even third sight. They learn love by learning from each other, confessing their dreams and daring each other to chase them. But success for one makes the other’s failure all the more painful. But in La La Land, failures are just stepping stones.

The film is a colorful love letter to the Golden Age of Hollywood. Gosling’s light moves bring to mind a modern interpretation of Fred Astaire. The direct nod to Rebel Without a Cause is appreciated by classic film fans. A scene where romance starts to nosedive looks inspired by Hitchcock’s Vertigo. And by the end, Sebastian and Mia’s story turns into a shadow of Casablanca’s Bogart and Bergman.

One thing I love to see in musicals is a blur between fantasy and reality. While dancing around the planetarium after hours, Mia and Seb can suddenly float and dance among the stars. I don’t care if it’s a bit silly or overly romantic, it works and lifts your spirit lighter than air. It perfectly captures the ideal of falling in love and makes the scenes end all the more satisfying.  

The films soundtrack is one of the best I’ve heard in years. Personally, I haven’t been able to stop listening to it. Another Day of Sun is a bright, energetic opening welcoming all hopefuls to Los Angeles. City of Stars is a lovely duet that perfectly embodies the heart of the film. My favorite is A Lovely Night, that captures a more comedic than romantic encounter. The scene feels like it was plucked right out of Hollywood’s Golden Age and given a new pair of dancing shoes. Mia’s Audition song is so simple, yet powerful that it could be the tipping point earning Stone her first Oscar win. And all the instrumental pieces, especially at the end, intertwine these songs so they are perfectly part of the story.  

All together La La Land has earned fourteen Oscar nominations, tying it with Titanic and All About Eve for the most nominations ever. Emma Stone and Ryan Gosling are nominated for lead actress and lead actor.  Two songs are nominated for best song, City of Stars and Audition (The Fools Who Dream). The other nominations include Best Picture, director, cinematography, original screenplay, film editing, costume design, original score, sound mixing, sound editing and production design. I have a good feeling that Oscar night will go well for La La Land.

There is so much to love about La La Land and I really think the best way to experience it is in a theater. Let the lights dim, let your heart soar, tap your feet, laugh and shed a few tears among friends and strangers. Great films like La La Land may only come around once in a lifetime. If you love movies at all, don’t let this one pass you by.

“I guess I’ll see you in the movies.”

Frozen

In Disney’s latest animated masterpiece, Elsa (Idina Mezel) and Anna (Kristen Bell) are sister princesses in the kingdom of Arendelle.  As little children they are thick as thieves, especially when Anna gets big sister Elsa to use her ice powers to play and build a snowman.  But when one late night snow playtime goes wrong, Anna is seriously injured by Elsa’s power and saved by their parents visiting a clan of magical trolls.  Elsa realizes how powerful and dangerous her abilities are and feels guilty for what happened.  To protect both the girls, their parents decide that Elsa needs to hide her powers and Anna should have all memories of them erased.  For the remainder of their childhood the castle is closed to visitors and Elsa keeps to herself in her room while Anna does not understand why her sister suddenly shut her out.

When Elsa comes of age, she is to become queen and the whole kingdom is invited into their once secluded castle home.  While Anna is excited about the sudden rush of social interaction, Elsa is nervous that her powers, that have only gotten stronger despite trying to repress them, will show and scare her citizens.  Things seem to go well, until Anna asks for Elsa’s blessing in accepting a marriage proposal from Hans (Santino Fontana).  Elsa does not approve of such a rash decision, since Anna and Hans met only hours ago and in the conflict that arises, Elsa’s powers come out in the middle of her coronation ball.  As people start accusing her of sorcery and being a monster, Elsa runs away into the mountains, her ice powers going out of control and unleashing a harsh winter on the kingdom.  Anna takes it upon herself to bring her sister back so she can reverse the winter, but she needs to be careful about the friends she chooses along the way.

I don’t think I have enjoyed the music in an animated film this much since The Lion King.  Rather than a musical obstruction that feels forced in to sell a soundtrack, each song flows into the scenes and expands the plot.  Best of all, they are genuinely enjoyable songs.  Some have quirky and cute lyrics that flow well with the characters.  Do You Want To Build a Snowman is sweet with just enough sadness that grows along with the sisters, while In Summer is a pure hilarious delight of a delusional innocent snowman.  And Let It Go is a wonderful hit that feels like it could be on Broadway and sends our hearts soaring, a perfect contender for best original song.

Not to give away any spoilers, but I love, love, love how Disney has recently taken to showing the importance of love between family, rather than some token prince charming.  Frozen follows Brave’s wonderful example of showing a princess protagonist who takes matters into her own hands and is not saved by a suitor.  As a kid who grew up on the whole slew of Disney’s animated films, this recent trend is refreshing and something I grew up wishing to see.  Now with my own child on the way, I’m overjoyed at the strong young women and family values Frozen shares and plan on adding it to my personal blu-ray collection.

For the newest addition to the Disney princess empire, Frozen is a fantastic film that the whole family can enjoy.  There is a good amount of snowy action and adventure, humor for all ages, male characters that add well to the plot, but aren’t always so charming, and romance that isn’t so mushy.  And it is the perfect film for young girls, especially sisters.  Frozen has been honored with two Oscar nominations: best animated feature and Let It Go for best original song.  But the greatest honor I can give this film, is saying that I have not enjoyed a Disney film (without the aid of Pixar) this much in nearly twenty years.

“The cold never bothered me anyway.”

Singin’ in the Rain

For the most part, I find musicals to be the goofy branch of film with flimsy plots interrupted by silly songs.  Yet, in my eyes, there has been one musical I could only love from the start: Singin’ in the Rain.  Now, what on earth made a sarcastic kid like me love Singin’ in the Rain?  It was the iconic musical numbers and catchy tunes.  It was Gene Kelly’s dance moves, Donald O’Connor’s one-liners, the sweet charm of Debbie Reynolds and how we love to hate Jean Hagen’s character.  It had to be the whimsical and slapstick comedy that gets me laughing every time.  And the depiction of the early film industry in transition captivated me and was my first introduction to film history.

After working his way up from the bottom with his friend Cosmo Brown (O’Connor), Don Lockwood (Kelly) is a big film star in Hollywood.  He and his co-star, Lina Lamont (Hagen) let the papers believe they’re an item, but Don can’t stand her.  While escaping his overly affectionate fans on the way to a party, Don meets Kathy (Reynolds), who scoffs that film acting is “making a bunch of dumb show” as she claims to be a real actress.  However, she’s just a chorus girl, popping out a cake and all, but Don could help her make it into film.

As movies are being pushed from silent to sound, Don and Lina’s current picture is about to change.  They and their director discover all the new challenges that come with bringing dialogue to a film, and it’s a great bit of comedy.  Only, their film isn’t supposed to be a comedy, and Lina’s voice is shrill and meant for silent film.  Don and his gang have to get inventive, turn the film into a musical and appease Lina along the way to save the film.

Though some of the musical numbers feel shoved in, I find them so enjoyable that I do not care.  Good Mornin’ is just a happy tune I love to have stuck in my head.  Moses is an oddly catchy way to make us appreciate the work of a diction coach.  Others have such elaborate dance numbers and well designed sets that my eyes can’t keep up with my ears.  And Singin’ in the Rain is the one scene and song that every musical film should strive to achieve.

Yes, I will talk about that unforgettable iconic scene.  Even if you haven’t seen the film, you have to be familiar with the scene.  After dropping Kathy off at home, and getting a great kiss at the door, Don decides to stroll home, despite the pouring rain.  As a kid, I saw this and thought he was just weird or nuts, or didn’t mind getting wet, but now I understand that he’s just so happy and in love that no matter how many gallons of water are pouring down on you, it can’t bring you down.  “Come on with the rain, I’ve a smile on my face!”  If the lyrics don’t convey his happiness enough, the way he dances down the street will.  It starts with just a casual stroll, swinging his umbrella and it gets bigger from there, clicking his heels in the middle of the street, swaying from the lamp post and splashing in big puddles like a nutty kid.  And in the end he gives his umbrella to a man who will use it.

The Make ‘Em Laugh sequence is one of my all time favorites in any musical.  O’Connor goes through a zany routine full of dancing, hilarious gags and some astoundingly physical comedy.  For the full number he doesn’t slow down, twists his face in knots and spins in circles on the floor like Curly in The Three Stooges.  But the kicker is his grand finale is when he runs up a wall and does a somersault, not once, but twice and then ends in a side splitting frenzy through a third wall.

At the Oscars, Singin in the Rain was not completely forgotten.  It was nominated for best scoring for a musical picture and Jean Hagen was nominated for best supporting actress in her role as Lina.  What I find funny is that in 1952 Singin’ in the Rain was counted out of the best picture race, but today considered one of the best films of all time, while The Greatest Show on Earth is often considered the most overrated best picture winner of all time.

When introducing kids to film history, Singin’ in the Rain is at the top of the list.  All of the challenges about turning silent films into talkies are brought out in hilarious and memorable ways.  There’s nothing like being able to have a fight while filming, as long as you can look happy and in love and then having a leading lady with the looks for film but a voice like a banshee.

“I don’t go to the movies much.  If you’ve seen one you’ve seen them all.”

Les Misérables

Those who have been reading my blog for awhile may have noticed that my tolerance and appreciation for musicals has gotten better.  I am much less likely to roll my eyes or groan in pain whenever films break into an elaborate song and dance number.  In fact, apart from awkward singing conversations, the musical aspect was one of my favorite things about Tom Hooper’s Les Misérables.

The film is a musical form of Victor Hugo’s novel that has come from page, to stage and to screen.  Hugh Jackman plays Jean Valjean, who was harshly sentenced to years as a slave for stealing bread for his sister’s child.  He breaks parole and makes a new life for himself, but always fears his real identity will send him back to prison.  Russell Crowe plays Javert, the inspector who will uphold the law dutifully and chase Valjean to no end.  Along the way Valjean’s life is touched and changed by a kind bishop, Fantine (Anne Hathaway), her daughter Cosette (Isabelle Allen as a child, Amanda Seyfried as a young woman) and the young men pushing France into revolution.

The opening longshot, beginning under water and rising up to see a tipping ship being pulled by hundreds of slaves in a storm, absolutely astounded me.  I felt my jaw literally drop and my expectations for a beautifully shot film rise.  Unfortunately, that was the visual high of the film.  I kept seeing glimpses of beautiful sets, but they were all obscured by the large singing faces that dominated the screen.

I understand how close-ups are something you just won’t get if you see a stage production of Les Misérables, so why not enjoy them in a film production?  However, it’s too much and too often.  I’m the kind of person who prefers the back of a classroom so I can see all my setting and I can have plenty of space between myself and those facing me.  At one point during the film, I realized I had my feet on the seat in front of me, trying to push myself back from Jackman’s singing face on the screen.  It was too much and too close for comfort.  And for those who will defend that he’s not a bad face too look at, maybe so, but I never want to be so close that I can see snot glistening in his nostril.

Despite being in their faces too much, I enjoyed all the different actors, their characters and singing talent.  Jackman’s leads the film both musically and emotionally, fitting perfectly into Valjean at the different stages in his life.  Helena Bonham Carter and Sacha Baron Cohen are a fun swindling duo who add some much needed comic relief.  The child actors, mainly Isabelle Allen and Daniel Huttlestone, add vocal range and melt our hearts with their sad stories.  While Russell Crowe certainly isn’t the best singer in the film, he isn’t awful, as some sources led me to expect.  Besides, if any character is going to sound like he’s got a stick up his ass, it’s going to be Javert.

Anne Hathaway gives the strongest performance in the film.  Even before she is cast out into the street, she shows us what a vulnerable and fragile person Fantine is.  Her shining moment is singing I Dreamed a Dream.  The whole song is done in one continuous shot, always keeping Hathaway’s face toward us and in frame.  This moment, her singing, her face feels like an overwhelming wave of crushing despair and sorrow.  It was the one moment in the film that brought tears to my eyes and I heard a few sniffles around the theater.

Les Misérables is nominated for for eight Academy Awards.  Along with best picture, the film is competing for best sound mixing, original song, costume design, hair and makeup design and production design.  In the acting categories, Hugh Jackman is nominated for lead actor and Anne Hathaway is nominated for supporting actress.  I believe Hathaway will come home with the Oscar, but that may be the only one for Les Mis.

While Les Misérables is well done film with a beautiful soundtrack, I found the whole experience a little disappointing.  It was far too long.  I found myself checking the time only an hour into the film wondering how the last hour had lasted so long.  Unless you are really into checking out every last detail of someone’s face, the film is visually lacking.  Still, as far as epic musicals go, Les Mis is good, will draw you in emotionally, give you some engaging characters and leave you with a good tune in your head.

“Suddenly the world seems a different place, somehow full of grace and delight.”

Sweeney Todd: The Demon Barber of Fleet Street

I remember well the time Sweeney Todd came to theaters.  It was late 2007, my little brother was in the height of his everything Tim Butron phase and excited to see his latest film.  Naturally, I decided to take him to see it, our parents concerned about their youngest seeing his first rated R film.  I reassured them that it was R for “just a bunch of throats being sliced while singing” and we were off to the theater.  I can’t remember if afterward, my brother was still thrilled that his first rated R film was a Tim Burton musical, but I ended up liking it much more than I expected.

Now, back in 2007, I was years away from starting this project and had little respect for musicals.  I had agreed to see Sweeney Todd for two main reasons: to spend some time with my brother and I too enjoyed Tim Burton films.  Johnny Depp’s surprisingly beautiful singing, a richly dark setting, blood-spraying murder and a bit of cannibal-consumerism were just layers of delicious icing.

As Oscar nominations approached, I honestly thought Sweeney Todd had a good chance of being nominated for Best Picture.  It was like no other film that year, bold, daring, an odd sense of beauty and a musical.  Sadly, all it was only nominated for was art direction, costume design and Johnny Depp was up for lead actor.  How ironic that There Will Be Blood beat out a movie that used so much blood so beautifully.

Based off the Broadway musical, Sweeney Todd takes place in Victorian London.  Benjamin Barker, the barber, had a lovely wife and beautiful daughter, Johanna, but was sent away from them on false charges so that Judge Turpin (Alan Rickman) could be with the wife.  Fifteen years in hell later, the barber returns, only to find his wife poisoned herself and daughter has been raised by the Judge.  As a young sailor, Anthony (Jamie Campbell Bower), tries to save Johanna (Jayne Wisener) from the cage the judge keeps her in, the barber sets up shop above Mrs. Lovett’s (Helena Bonham Carter) meat pie shop.  He calls himself Sweeney Todd (Depp) and seeks revenge against the Judge.  When Todd’s plan fails and he’s sure he’s lost his chance of revenge, he turns to slicing nearly every throat that sits in his chair and supplying Miss Lovett with fresh meat for her pies.

Though this is a musical, I don’t watch the film for the songs.  In fact, I don’t find them to be the kind of songs that get stuck in your head easily; they’re not that catchy.  They’re the kind of songs in musicals that mostly expand plot slowly, add emphasis to a character’s feelings or motives or create a wonderful juxdeposition between music and inpending doom.  I love the suspense as Depp and Rickman sing “Pretty Women,” while we all wait on the edge of our seat, seeing if the next stroke of the razor will end the Judge.

What I find most engaging about Sweeney Todd is the atmosphere, the characters and the visualization of the blood.  Everything in this London is so gloomy and covered in soot.  It perfectly portrays one of my favorite lines: There’s a hole in the world like a great black pit. Most of the characters fit this description as well.  Everyone is so pale, like they haven’t seen the sun in years.  Their clothes are dark, gloomy (except for Sacha Baron Cohen’s Pirelli) and at the opposite end of festive.

The visual use of blood throughout the film is beautiful.  In the opening credits, it starts a machine, lubricates the gears with a glistening, gooey and nearly neon glowing effect and runs like a torrent through the sewer.  The red blood is the brightest color you will see in the entire film.  It appears like a phantom flash on Todd’s sleeve.  It sprays and flows multiple times like fireworks and gurgling waterfalls.  I honestly found it not disgusting, but brutally beautiful.  And I couldn’t help but thinking, this is worth an R rating?

I grew up with my father calling me into the living room in time to see the severed horse head in The Godfather.  With still beating hearts bursting into flames as Indiana Jones witnessed human sacrifice.  And a child back from the dead slicing an old man’s Achilles tendon.  A little throat slicing and blood spraying does not make me think an R rating is necessary.  But until I’m in charge of the MPAA, whole generations of Tim Burton fans may be missing out on the one musical they’ll really enjoy.

“No denying times is hard, sir.  Even harder than the worst pies in London.”

Oliver!

This may be my last musical to review here, and what a note to end on.  Oliver! is one of those rare musical films that carries enough whimsy and charm to make the songs a delightful interjection to the action.  And through this charm, the film becomes universally enjoyable.  Children will enjoy watching the kid characters have just as much at stake as the adults, and adults will enjoy the large scale quality and details of the film.

The plot is a musical interpretation of the Dickens classic, Oliver Twist.  Oliver (Mark Lester) is a charming, angel-faced boy who is simply a victim of his circumstances and the actions of the adults around him.  From the dreary work house, to the seedy streets of London, he seems tossed along the waves like a buoy.  Besides being the innocent kid whose well being is constantly put at risk, Oliver is not the most interesting character in the film.

Nearly all the other characters are unforgettable.  Mr. Bumble (Harry Secombe) steals the show from the start with his iconic bellowing, “More?”  The Artful Dodger (Jack Wild) embodies the perfect young rascal with a whimsical sense of style.  Bill Sikes (Oliver Reed) establishes a fearsome, brutish villain and Nancy (Shani Wallis) helps create balance with her feminine charm and sensitivity to Oliver.

Best of all the characters is Fagin (Ron Moody), the elderly man who mentors dozens of young boys and turns them into pick-pockets.  There’s a distinct flair of charm and energy Moody channels to bring out the best and worst qualities of Fagin all at the same time.  While he’s a scraggly-bearded scoundrel encouraging these poor boys to become petty thieves, he also seems to have an invested interest in seeing that the boys are safe and fed (even if they drink gin with their moldy sausages).

The large production value is what makes the film soar, especially during the musical numbers.  To match the array of characters, the sets have a wonderful sense of whimsy while still portraying the Victorian time period.  These visual elements make characters like the Dodger and Fagin much more realistic and the shifts into song less jarring.  There’s a lot of great timing, especially in the musical numbers, and creativity put in the sets and choreography (which won an honorary Oscar) that help put this film at the top for 1968.  This also seems like one of those films where you can find a new fun detail with every viewing.

“You’ve got to pick-a-pocket or two.”

Funny Girl

Loosely based on the life of Fanny Brice, Funny Girl tells the story of the young Jewish girl’s rise to becoming the star of Zeigfeld’s Follies through her comedic talent, not necessarily her looks.  When I say loosely, I mean the film takes a lot of liberties leaving out many events in Brice’s life and the character becomes more iconic Barbra Streisand than anything else.  I would not consider this a biopic, but rather a musical inspired from Brice’s life.

Fanny’s only aspiration is only to become a star, but everyone can see that her looks may hold her back.  She works hard trying out for any part out there, even if she has no idea how to roller skate, she’ll do it.  Through some blunders, she realizes that her main talents are singing and comedy.  However, when she is picked by the great Florenz Zeigfeld (Walter Pidgeon) to become one of his famed Follies, she sees that she might be a fish out of water.  With a daring and unconventional surprise, she propels herself forward into stardom.  Along her way to the top, she meets a handsome gentleman who makes his fortune by gambling, Nick Arstein (Omar Sharif).  He’s a dreamboat who wants to give Fanny everything she’s ever dreamed of, it seems too good to be true for this rising star.

This is the kind of musical that’s so wonderfully quirky and utterly full of Streisand, most are likely to either love it or hate it.  I was surprised how much I loved it, perhaps my closeted Glee fan status helps this out quite a bit.  If any Gleeks have not seen Funny Girl, it’s essential to many references throughout the show.

Streisand’s Fanny was a little annoying at first, but she really grew on me.  Even better, I always thought she was at her best while singing.  Best of all, many of the songs are wonderfully funny in a surprising way.  In the red private restaurant scene, the duet between Nick and Fanny had me cracking up with lines like, “Isn’t this the height of nonchalance, furnishing a bed in restaurants?”

What I loved about Fanny are her reasons for becoming a comedian.  Her legs are too thin to be a chorus girl and her nose doesn’t make her a typical beauty queen.  She knows this, and in that ornate, perfectly Zeigfeld bridal finale full of fair and practically perfect women, Fanny turns her lead role on its head at the last minute, knowing exactly how to win over the crowd.  Her comedic genius stems from a defense mechanism, and it works perfectly for her.  Over and over throughout the film, it’s intriguing to see how Fanny uses her funny girl talents to ease the pain in tough situations.

Now, when you look at the Oscar history records and see that Streisand tied for best actress with Katharine Hepburn, there is something to keep in mind.  Streisand was a voting member of the Academy that year and, of course, voted for herself.  I don’t blame her, who wouldn’t do that?  I drove over an hour just to hold the Oscar that later went to Jeff Bridges.  But to vote for yourself, and knowing that that one vote tied you once with the great 4 win, 12 nomination Hepburn, it feels like an awkward joke.  It’s like being a freshman who invited yourself to a senior party.  After all, this was Streisand’s very first film.

“Who told you you’re allowed to rain on my parade?”