![]() Right from the get-go, this was one of those movies that got a bit controversial due to its fantastical retelling of a true story, altering details in numerous ways. I can understand history buffs having a tough time with this, but personally, I find certain aspects of this are just too fantastical to take seriously. On top of that, they provide an interesting "what if" story here in place of the real events that would have had her die before the title card. The film opens with Rasputin (Christopher Lloyd) crashing a party, celebrating the Romanov tricentennial. He hexes the Romanov family, and while the palace is being overrun, Anastasia (Kirsten Dunst/Meg Ryan) escapes and flees. Several years later, having lost a lot of her memory, "Anya" (Anastasia) comes back with her rusty memory, looking for her home. In the meantime, the Grand Duchess (Angela Lansbury) offers a reward for the return of her missing daughter, which triggers a couple of scammers, Dimitri and Vladimir (John Cusack and Kelsey Grammar, respectively) to hold auditions for an Anastasia look-alike who they can use to get paid. It's not long before Anastasia crosses paths with Dimitri and Vladimir, who fully intend on collecting their reward with someone who could very well be the real Anastasia, despite the fact that she remembers so little before the age she went missing. In the meantime, Rasputin learns Anastasia is alive, and with the help of his sidekick, Bartok (Hank Azaria) he makes plans to track her and kill her, as he missed the first time with his curse. So the big change here is that they have Anastasia survive an attack, playing on many rumors that she may have survived. It further plays with the idea of imposter Anastasias, which was also a reality. So my take is that the filmmakers wanted to have fun with something historical, and being 1997, you can't tell me this is a first. The thing about 'Anastasia' for me is, however, she's kind of uninteresting. Throughout the whole film, I was far less impressed with the blossoming apparent romance going on between Anastasia and Dimitri (it's fairly obvious from the get-go) and more impressed with... well, just about everything else. Character-wise, Rasputin and Bartok are actually a lot of fun to watch - a lot like a belated Don Bluth answer to Jafar and Iago. Rasputin has this sort of zombie curse going on, and his body parts keep falling off, making things grotesquely humorous. Bartok on the other hand is easily the comedy relief throughout the film, and although he's at times corny, he succeeds - just the right amount of cute, not at all annoying, and able to get a giggle or two. On top of some of the voice talent and characters, one thing I appreciated about this film that a lot of other Bluth films don't have as strong is the music. Make no mistake, this movie is loaded with music, so if you don't want a musical, stay clear. Having said that, however, the music in this is a lot more like a Broadway production than the regular "sing-song" music Bluth usually has in his films. There's a certain "epicness" to the songs and score here, both earning Oscar nominations that year, losing two awards to 'The Fully Monty' and 'Titanic'. I further enjoy the atmosphere all throughout this movie, with the animation being... well, mostly pretty amazing. This is another part CG, part old school animation adventures, so at times the CG can stick out like a sore thumb - but also, at times, it still holds up completely. Although it's not a title I could recommend to just anyone, I would still argue that it's one of Bluth's best works, alongside Gary Goldman, who hasn't really been mentioned yet, but he also deserves credit for co-directing 'All Dogs Go to Heaven', 'The Pebble and the Penguin', 'Titan AE', and honestly a whole slew of titles. Often going uncredited, he does give Bluth a big hand in his work. The latest - a movie based on the classic arcade game, 'Dragon Slayer', which would be cool, but this retro snowball really does just keep rolling, doesn't it? Back to the movie at hand, I think if you're at all curious you should check it out. A lot of it is pretty sappy, I admit, but a lot of it is pretty fun - especially in the darker areas of the film. Just bear in mind that it's pretty heavy with the music - but at least it's well done music.
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![]() So, the thing with this title as that as a real, true "screening suggestion" from yours truly, I probably jumped the gun on this. I remembered enjoying this when I was a kid, but watching it now, I really didn't get much from it. So, allow me to try to salvage that because if you're at home with kids this could still be okay for certain reasons. But there's no way I'd recommend it any higher than anything else I have on this Don Bluth lineup. In New Orleans, 1939, we meet dogs Charlie B. Barkin (Burt Reynolds) and his friend, Itchy Itchiford (Dom DeLuise) who escape a pound and return to their casino riverboat. Not wanting to share the profits of the casino with Charlie, his partner, Carface Caruthers (Vic Tayback) makes it clear he wants Charlie out of the picture, so has him killed by a dog named Killer (Charles Nelson Reilly). Charlie finds himself in Heaven where he's taught by an angel (Melba Moore) that all dogs get into Heaven due to being inherently good and loyal. However, instead of sticking around, Charlie winds back a pocket watch that represents his life in order to come back to life. To this, the angel states that due to such a stunt, he can never come back. Charlie keeps the pocket watch close as he returns to his life, soon finding out that Carface has since obtained a little girl named Anne-Marie (Judith Barsi) who can talk to animals, and therefore rig betting. Charlie and Itchy save her only to use her for their own purposes, while promising to find her a family in return. Of course this eventually leads to certain moral dilemmas on Charlie's part. We see this very clearly in a somewhat disturbing dream he has of a potential "Doggy Hell", and knowing he can't get back into "Doggy Heaven" is even more disturbing. But perhaps Charlie cares more for little Anne-Marie than he lets on and in the end, it could save his soul. When it's all said and done it is a genuinely odd mishmash of material. It's very much on the cutesy side of things with Anne-Marie, but often opposes that with very grown-up themes like Hell and demons, and even getting into the lifestyle of these gambling, drinking, smoking dogs. It's hard to really say who this movie is actually for. As a Screening Suggestion, however, I feel I should at least give it more justification. After all, there was something I enjoyed about this as a kid. What could it have been? I suppose if I really dig deep, there are certain aspects of this that introduced me to very real life situations while maintaining an innocence about it. For one, I had a dog at the time, and I actually do think that the way this ends is a heart-string tugger for anyone who has ever had the pleasure of a dog's company. So I suppose it's a good way to dabble in the darker aspects of life without getting too scary for the kids watching. It's not the best movie in Bluth's list, and I'd recommend it as a way to teach your kids about death and what follows, along with the concepts of "good" and "bad" the film carries with it. As an adult, you won't get much from this other than perhaps a little bit of nostalgia. Even I barely felt that aspect of it, and in truth, it was almost like watching it for the first time all over again. For me, it was an odd combination of things that suggested it was a touch more aimed at adults than kids, but the cutesy side of it gave it that balance. It felt like the movie wanted to be Batman but its mom told it that it needed to be 1960's Batman because anything beyond that was too dark. Other than it being a good way to teach your children about death, it does seem to have a certain appeal for others that I didn't completely get. So if nothing else, it may be worth checking out just to see how much you enjoy it for yourself.... Just be forewarned that the songs are generally pretty bad, so you might want that fast-forward button handy. ![]() While I maintain that on the whole, 'Secret of NIMH' is probably my favorite Bluth film, it seems to go without saying that 'The Land Before Time' is the most popular. It has happened very under the radar, but this 1988 children's classic has spawned a grand total of 13 straight-to-video sequels; the last one coming out as recent as 2016. It's really cool to know that this has actually lasted so long, and that there's still an audience for it somewhere. I would suggest that this is the Bluth film I feel most nostalgic for, however. This is the one that takes me back to my childhood days, and it was somewhat surprising how much of the dialogue I remembered, as I quoted along while watching with a big grin my my face. I can't deny that this viewing was fun for me, as it had been quite some time since I saw it. But I remembered the love I had for it as a kid, watching it time and time again with friend after friend because, hell, we all liked it. For some reason, dinosaurs were a huge thing in my childhood - and I'm talking years before 'Jurassic Park' came along to perfect it for us. The film first introduces us to the likes of Littlefoot the "Long Neck" (Gabriel Damon) and Cera the "Three Horn" (Candace Hutson), who become separated from their families during a bad earthquake. In the process, Littlefoot also tragically loses his mother (Helen Shaver) who, beforehand, was leading him and his grandparents to The Great Valley; a lush land full of food and water, necessary for their survival. She reminds him how to get there, and the poor kid has to venture there alone. He does, however, eventually come across a few friends who join in the perilous journey; apart from Cera, Ducky the "Big Mouth" (Judith Barsi), Petrie the "Flyer" (Will Ryan) and Spike the "Spiketail" (Frank Welker). Along the way, they must face many obstacles, including a vicious T-Rex named Sharptooth (also Frank Welker). One thing the film never seemed to lose for me was its overall sense of wonder. Composer James Horner along with the animators on this really do manage to take you away to this almost magical land of dinosaurs. Admittedly, the animation can certainly look dated here and there, but I'd urge you to pay closer attention to the backgrounds and environments than the characters, themselves. It does a fantastic job with scale, using very little. A solid reference point would be when Littlefoot's mother introduces him to "tree stars", and brings one down to him with her long Apatosaurus neck. In the meantime, Horner's score does a great job at setting the mood, whatever the case may be. 'The Land Before Time' was a great way to introduce dinosaurs that would speak to kids, and teach about love, death, teamwork, and even friendship among different races. There's a whole concept in here where dinosaurs stick to their kind because they're all different, but the journey includes five different breeds banding together to get to their common goal, as well as bring down a common enemy. And, get this, it does everything within the course of just over one hour. It's a very easy movie to sit down and watch at random, which is perhaps why I probably managed to wear out our VHS recording of it. Side note: recorded on the same tape was THIS half-hour claymation dinosaur musical special, starring 1980 Fred Savage. ![]() This is one I haven't actually seen in years - long enough that the last time I saw it, I was totally ignorant to what this was really about. It's essentially a history lesson wrapped up in an adventurous package, giving you some idea of what Jewish families had to go through back in the late 19th century. The film was directed by Don Bluth, but produced by Steven Spielberg, and based on Spielberg's passion for history, this almost comes across as more him than Bluth. The two would sadly eventually part ways with their creative differences. However, not before establishing the classic titles that are 'An American Tail' and 'The Land Before Time'; a couple of staples of 80s childhood. It's a shame, they seemingly made a pretty good team. Bluth's style of animation along with Spielberg's imagination made for some pretty awe-inspiring stuff. I'm wouldn't pretend to claim this as one of my favorites in the Bluth collection, really. But it does make my list of Screening Suggestions for the month just due to it being a little piece of cinematic history. If you as any 80's kid now (we're all in our late 30s/ early 40s) about 'An America Tail', I think most of us would look at it with fond memories... but we'd probably go on to say 'The Land Before Time' was better. And I say that while maintaining that I still think this is well done. As the film opens, in 1885, we are introduced to the Russian-Jewish Mousekewitz family as they celebrate Hanukkah. Papa (Nehemiah Persoff) tells his children, Fievel (Phillip Glasser) and Tanya (Amy Green) about the land of America; a land where the threat of cats apparently doesn't exist. Meanwhile, Mama (Erica Yohn) doesn't want Papa scaring the kids with a story about cats. Almost immediately after Papa's story, the human family they live with are the victims of an anti-Jewish attack from a group of Cossacks ("people of southern Russia and Ukraine, noted for their horsemanship and military skill"). To the mice, the threat is represented by cats. When all is destroyed, the Mousekwitz family decides to head to New York and away from the threat - or so Papa believes. While the family is on board a tramp steamer headed for America, a storm stirs up, and Fievel manages to lose the hat Papa handed down to him during the Hanukkah celebration. While chasing it down, however, Fievel becomes separated from his family and the steamer altogether. He manages to ride a bottle to Liberty Island and arrive safely, but the family is otherwise convinced he was killed in the storm. While on a mission to find his family, Fievel inadvertently finds himself teamed up with a group of mice, lead by Bridget (Cathianne Blore); an Irish mouse trying to rally a group in order to fight off the cats who everyone discovers are a part of America after all. The main thing I managed to remember from this movie was the song 'Somewhere Out There', which is by and large probably the most famous song to ever come from a Don Bluth film. It was nominated for an Oscar that year, but managed to lose to 'Take My Breath Away' from 'Top Gun' - both would eventually get a ton of radio play. Otherwise, I barely remembered the likes of the comedy relief characters; a bumbling cat named Tiger (Dom DeLouise), and a cockroach named Digit (Will Ryan) who was basically second fiddle to the film's primary antagonist, Warren T. Rat (John Finnegan); a character I forgot about altogether. I remembered the basics of Fievel being separated from his family, and trying to get back to them. All of the other material was something I forgot about, probably because I didn't entirely understand it at the time. Having said that, I think one would probably actually get a little more out of this as a teenager or adult. It seems to be aimed at impressionable children, but some of them might not be able to grasp some of what's going on. Personally speaking, I definitely got more out of the story now than I did as a kid. In a way, however, that's a bonus, as the film does nothing to talk down to kids. This one is a little more based in history and reality and has a bit more of a serious tone than the wonderful fantasy worlds Bluth otherwise tends to present us with. Personally, I still get more out of 'The Secret of NIMH' and 'The Land Before Time', but I'd still consider this a classic in it's own right. ![]() For the month of March, I thought I'd take a look at the material of classic animator, Don Bluth, and some of his best and highest recommended material from yours truly. With that said, I have to be honest when I say this is also a re-watch for me with a lot of these titles, after spending at least a good decade in the back of my mind. We start this all off with a true classic; 1982's 'The Secret of NIMH'. If I'm going to be talkign about Don Bluth's best material this month, this is for sure a great place to start, as it's arguably one of his best titles. Most people I know would argue 'The Land Before Time', but for my money, this is Bluth Golden Standard. It's everything you could possibly want from a Bluth movie. It's the perfect combination of fun, dramatic, and fantastic, and even kind of dark. Although it's not without its dashes of goofy comedy, most of this is a testament to how Bluth never wanted to talk down to kids. The fact of the matter is, story-wise, this could give your average Pixar film a run for its money today. In a small world that takes place on the Fitzgibbons' farm, we meet the likes of a widowed field mouse named Mrs. Brisby (Elizabeth Hartman, in her final role) and her family of four children; Theresa (Shannen Doherty), Martin (Wil Wheaton), Cynthia (Jodi Hicks) and the ill-fallen Timothy (Ian Fried). Without understanding Timothy's illness, Mrs. Brisby seeks out the help of Mr. Ages (Arthur Malet); an old friend of her late husband, Jonathan's. Mr. Ages diagnoses Timothy with pneumonia, and warns not to move him and allow him proper rest and medicine for about three weeks. In the meantime, the farmer intends to plow the field where they reside, which means the family must find a way to move without forcing Timothy out of bed, or he risks death. Mrs. Brisby then sets out on a journey, seeking help from the Great Owl (John Carradine), a bumbling crow named Jeremy (Dom DeLuise), and a clan of rats, lead by the seemingly ancient and wise Nicodemus (Derek Jacobi) who holds an intriguing secret based on the rats' friendly relationship with the late Jonathan Brisby. This all creates a more intense and interesting subplot to the film as well, throwing us all a bit of a curveball. Being that this one is from the early 80s, one can appreciate the fact that animation was much tougher to do back then, and Bluth proves to be extremely successful with it here. I absolutely love the dream-like atmosphere that this movie provides, and it's an odd case where I wouldn't actually want to see it cleaned up with CG. There's something about the oldschool animation here that gives this movie so much of its charm, and we'll learn Bluth pulls this off in his early days. Back in the 80s and early 90s, I'd say Bluth movies were to Disney what Dreamworks is to Pixar now - it's a bit of a "lesser" brand in theory, but in reality, sometimes the stories are just as good, if not better. It was an honest to God coin-flip for us kids. I didn't really pick up on this title until much later in my life, but I'm very glad I did, and in my own way, I regret not giving it a proper chance in my early days. I was born the same year this came out, so I've been familiar with the title as far back as I can remember. Nevertheless, this totally holds up, and it's actually a great example of a family film with a strong female lead, if you're looking for one. In its own way, it provided that nostalgic factor, regardless of the fact that I saw it for the first time well into my twenties. That all comes from the style, and the memory that Don Bluth had a way of providing that escape from reality very easily. It's one of the best examples of his more dream-like stuff, and it really does take you away into a whole other world. It's Bluth fantasy at its peak. |
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