Dr Karl Shuker's Official Website - http://www.karlshuker.com/index.htm

IMPORTANT:
To view a complete, regularly-updated listing of my Shuker In MovieLand blog's articles (each one instantly clickable), please click HERE!

IMPORTANT:

To view a complete, regularly-updated listing of my ShukerNature blog's articles (each one instantly clickable), please click HERE!

IMPORTANT:
To view a complete, regularly-updated listing of my Shuker's Literary Likings blog's articles (each one instantly clickable), please click HERE!

IMPORTANT:
To view a complete, regularly-updated listing of my Starsteeds blog's poetry and other lyrical writings (each one instantly clickable), please click HERE!

IMPORTANT:
To view a complete, regularly-updated listing of my Eclectarium blog's articles (each one instantly clickable), please click HERE!


Search This Blog


Monday, January 31, 2022

CHICO AND RITA

 
Publicity poster for Chico and Rita (© Fernando Trueba/Javier Mariscal/Tono Errando/Fernando Trueba PC/Estudio Mariscal/Magic Light Pictures/Walt Disney Studios Motion Pictures Spain/Icon Film Distribution – reproduced here on a strictly non-commercial Fair Use basis for educational/review purposed only)

On 23 January 2022, I watched the Spanish adult animated movie Chico and Rita – the first Spanish animated film to receive an Academy Award nomination for Best Animated Feature.

Directed by Fernando Trueba, Javier Mariscal, and Tono Errando, and released in 2010 by Walt Disney Studios Motion Pictures Spain in Europe, Icon Film Distribution in the USA, Chico and Rita tells the all-too-familiar, bittersweet story of two young star-crossed lovers. However, it does so via a very novel, unusual, and extremely colourful style of animation, and is wonderfully accompanied throughout by the jazz and bebop music prevalent in Havana and New York from the mid-1940s to early 1960s.

Here the lovers are pianist Chico (voiced by Eman Xor Oña) and singer Rita (Limara Meneses), both very talented but living in the slums of Havana, Cuba, during the mid-1940s. Both have the chance to better themselves, but Chico strays, tempted by former girlfriend Juana, whereas Rita stays focused and after being let down so badly by Chico allows herself to be whisked off to New York by wealthy businessman Ron (Lenny Mandel), who turns her into a major success, first on stage as a musicals star and then in Hollywood as a movie star.

Chico, meanwhile, regrets his foolishness and never stops loving her, but she is now in a different league to him, though eventually he achieves success himself as a pianist for major jazz band leaders, such as Dizzy Gillespie. Finally they meet up again and plan to marry that same evening in Las Vegas, but Ron bribes Chico's less than wealthy friend Ramon to plant drugs on him. The cops are called, and Chico is deported back to Cuba, without Rita knowing why he never showed up in Las Vegas. Disillusioned with her life, she ends her own showbiz career and vanishes from public life.

Forty-seven years later, Chico is a near-penniless shoe-shiner back in the slums of Havana where he began – until, unexpectedly, his most famous song, one that he wrote all those years ago for Rita, is rediscovered by a young modern-day singer, who tracks him down, and records a modern version of it with him, which proves so popular that they both win a Grammy. Suddenly Chico is famous again, and with his new wealth he returns to the States, determined to track down Rita.

But is it too late for Chico even to find Rita now, let alone stand a chance of rekindling their love from almost half a century ago? Watch it and see.

Chico and Rita is an inordinately moving, engrossing movie, and plays out rather like an animated La La Land (which I also adored), although its ending is different. As a movie in which music plays such a major part, it features classic compositions by the likes of Thelonious Monk, Cole Porter, and Dizzy Gillespie, as well as an original soundtrack written by Cuban band leader/composer/pianist Bebo Valdés.

My one quibble is why a movie in which white jackets, suits, and tuxedos fill the screen so frequently also chooses to produce its on-screen English subtitles in white, the inevitable result being that it is often impossible to discern them fully before they vanish. Red or some other bright colour would have been so much better.

Still, Chico and Rita is unquestionably a great movie – and just in case you're wondering, it lost the Oscar for Best Animated Feature to Rango (which I've also reviewed on Shuker In MovieLand – click here to read it). Happily, however, it deservedly triumphed in the same category at the European Film Awards.

If you'd like to experience a sultry, jazz-imbued introduction to the intoxicating rhythms, ever-changing moods, and raw emotions filling every animated frame of this superb, unforgettable film, be sure to click here to watch an official Chico and Rita trailer on YouTube.

To view a complete chronological listing of all of my Shuker In MovieLand blog's other film reviews and articles (each one instantly accessible via a direct clickable link), please click HERE, and please click HERE to view a complete fully-clickable alphabetical listing of them.

 

Thursday, January 13, 2022

POST #200 - MY SECOND, FULLY-UPDATED, ALL-TIME TOP TEN REVIEWS ON SHUKER IN MOVIELAND

My 100th Shuker In MovieLand blog post, uploaded back in December 2020 (click here to access it), had been my very first listing of what was currently this blog's all-time top ten movie reviews, i.e. the ten movie reviews that had received the most hits from readers.

Bearing in mind that this listing had attracted a lot of interest, I decided to produce a new, fully-updated top ten listing as my 200th blog post. So here it is, with each of its 10 movie reviews presented as a clickable link, together with its publication date on my blog, so that you can access it directly from this page to read in full if you so wish:

#1        The Lost Continent (4 April 2021)

#2       From Selkies To Space Vampires (14 April 2021)

#3       Shadow of Death (aka Destroyer) (1 May 2021)

#4       Carmen Jones (30 April 2021)

#5       The Man Who Killed Hitler And Then The Bigfoot (5 April 2021)

#6       Needle (10 April 2021)

#7        Malpertuis (aka The Legend of Doom House) (2 June 2021)

#8       Imaginaerum: The Other World (15 May 2021)

#9       Isle of Dogs (28 March 2021)

#10     The Hand of Night (8 April 2021)

This is an intriguing list because it does not contain a single movie review that was present in the previous list, which was posted only a little over a year ago, on 6 December 2020. This means that none of those reviews had staying power, continuing to attract readers during the past 12 months. However, no review posted since early June of this year has made the list either.

Instead, all of the top 10 reviews in this new, second list were posted within a surprisingly narrow time period, spanning little more than 2 months, from 28 March to 2 June inclusive. So what makes those particular reviews, and/or that particular time period, so special in terms of attracting high readership counts? I wish I knew!

As for the movies featured in those reviews: Review #2 in the list is actually a six-pack of mini-reviews rather than one single full-length review, which means that this Top Ten list actually includes 15 movies rather than 10. The movies respectively featured in these six mini-reviews are: The Happiest Days of Your Life, Mary and the Witch's Flower, The Secret of Roan Inish, Onward, Not Of This Earth (1995 version), and Hotel Transylvania.

Are there any patterns to be perceived in this list? Not as far as I can see, as the movies reviewed span a very diverse spectrum of genres, from fantasy, comedy, cryptozoology, and horror to animation, science fiction, thrillers, and musicals. However, as this is an accurate reflection of my own eclectic film favourites, I suppose I shouldn't be oo surprised.

Will any of them survive into the next Top Ten list, due to appear as my 300th post, or will they all sink without trace, replaced by newer movie reviews just as they in turn replaced all of those in my first Top Ten? Who can say? So you'll have to stick around for another 100 movie review posts here on Shuker In MovieLand if you want to find out!

To view a complete chronological listing of all of my Shuker In MovieLand blog's other film reviews and articles (each one instantly accessible via a direct clickable link), please click HERE, and please click HERE to view a complete fully-clickable alphabetical listing of them.

 

Thursday, January 6, 2022

PRINCESS MONONOKE

 
Publicity poster for Princess Mononoke (© Hayao Miyazaki/Studio Ghibli/Toho/Miramax International/Walt Disney Studios – reproduced here on a strictly non-commercial Fair Use basis for educational/review purposes only)

On 9 November 2021, I decided to pay another visit to the spectacular animation output of Japan's famous Studio Ghibli. The movie that I chose to watch this time was Princess Mononoke.

Princess Mononoke was directed (and written) by Ghibli's legendary Hayao Miyazaki, with English fantasy author Neil Gaiman providing the script's anglicized version after American film-maker/screenwriter Quentin Tarantino had turned down the opportunity to do so and had suggested Gaiman instead, and was released by Miramax International in 1997, with an official English dub version produced by Walt Disney Studios. It comes with a hefty running time (for an animated feature) of just over 2 hours (137 mins, to be precise), but sadly this felt even longer when I watched it. I even paused my DVD of it halfway through, to take a break for a while before returning to it (which I'm glad I did, as the second half was far more interesting and visually arresting than the first half).

Set approximately seven centuries ago, during Japan's Muromachi period of feudal history, this movie tells the story of warring between a variety of  Japanese human factions and the forest creatures, the latter of which are presided over by various giant animal deities and above all by the human-faced deer-like Forest Spirit.

The three principal human protagonists are as follows: Prince Ashitakia (voiced in the English dub by Billy Crudup after Leonardo DiCaprio had initially been considered), badly wounded in one arm by a demonic wild boar deity when attempting to save his Emishi village from its raging onslaught, who sets out to seek a cure for his now-cursed arm in the great western forest where the Forest Spirit reigns before the wound's infection spreads and kills him. The enchantress-like Lady Eboshi (Minnie Driver), whose avowed intent is to raze the forest and kill the Forest Spirit so that the area can then be mined for iron to be used in manufacturing weapons. San (Claire Danes), nicknamed Princess Mononoke, who was raised in the forest by wolves and the giant wolf deity Moro (Gillian Anderson) after being abandoned there as a young child, and who swears to protect the forest and all of its animals and supernatural entities against humanity (whom she hates) by whatever means are necessary. 'Mononoke' is a Japanese word referring to vengeful supernatural beings, and used as a description of San, due both to her upbringing by the forest's lupine deity and to her rage against her fellow humans for desecrating and devastating the forest.

Eventually, Ashitaka and San encounter one another and, following a few fiery initial confrontations, forge an uneasy alliance against Eboshi. However, there is such a profundity of detail and battles along the way (not to mention a surprising amount of blood, gore, and horror for a PG-rated animated movie – not for children, that's for sure!) that my interest gradually waned.

I can't fault the gorgeous animation, especially the stunning verdant vistas of woodland, mountain, and forest, at which Ghibli excels, nor the ethereal dream-like music accompanying it. Yet, surprisingly and disappointingly, when the Forest Spirit finally appears on the scene it actually proves somewhat underwhelming (its impressive multi-tined antlers notwithstanding), except when it transforms each evening into the gigantic and much more awe-inspiring Night Walker.

I won't give away the remainder of the plot, but if you can stay with it through the laboured first half, the much more exciting second half will definitely retain your interest. Ideally, much could – indeed, should – have been trimmed from the movie's early portions, which would have speeded up the proceedings considerably, and at the cost of losing only various peripheral, unimportant segments.

In short, Princess Mononoke is one of those movies that works better for me as a memory rather than as a movie, because my mind automatically edits out all of the dull sections and lingers instead upon the highlights, of which there are a fair few. Overall, however, I have to confess that this is a film I endured more than enjoyed.

If you'd like to see excerpts from some of its most spectacular scenes, be sure to click here to watch an official Princess Mononoke trailer on YouTube.

Finally, here's an interesting tit-bit for fellow cryptozoologists: Yakul, the striking ungulate (hoofed mammal) ridden as a steed by Prince Ashitaka, is referred to in the movie as a red elk, but no such creature exists in reality (it was created specially for this movie), and instead of bearing antlers like elk and other real deer do, it sports a very impressive pair of long serrated horns, like antelopes. I've read some online attempts to liken Yakul to an African antelope known as the lechwe. In my opinion, conversely, apart from being burlier he bears a much closer overall resemblance to the enigmatic chiru or Tibetan antelope Panthalops hodgsonii. True, this species is not indigenous to Japan (it is confined principally to China, with small numbers in Bhutan and Himalayan India), but it does at least inhabit the same continent, Asia – unlike the African lechwe!

Anyway, compare the following still from a scene depicting Ashitaka and his 'red elk' steed Yakul (together with San and some of her white wolf companions) with two illustrations of the chiru and its horns, and see what you think:

 
(Above) Prince Ashitaka astride his steed Yakul, a fictitious red elk; (Below) two public domain illustrations of the chiru (© Hayao Miyazaki/Studio Ghibli/Toho/Miramax International/Walt Disney Studios – reproduced here on a strictly non-commercial Fair Use basis for educational/review purposes only)

To view a complete chronological listing of all of my Shuker In MovieLand blog's other film reviews and articles (each one instantly accessible via a direct clickable link), please click HERE, and please click HERE to view a complete fully-clickable alphabetical listing of them.