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Showing posts with label Walt Disney. Show all posts
Showing posts with label Walt Disney. Show all posts

Sunday, November 24, 2024

FANTASIA AND THE MANDELA EFFECT? RECALLING A PERPLEXING MOVIE MYSTERY FROM MY CHILDHOOD

 
The first of two publicity posters for Fantasia that remind me of the mystifying enie-containing example that I am certain I saw back in the late 1960s (© Walt Disney Productions/RKO Radio Pictures – reproduced here on a strictly non-commercial Fair Use basis for educational/review purposes only)

Just for a change, today's Shuker In MovieLand is not a movie (or TV show) review, but is instead a recollection of a movie mystery that has persistently perplexed me ever since I experienced it back in childhood during the late 1960s. So I've decided to document it here, in case any of my blog's readers can assist me in finally solving it.

Almost exactly five years ago to the day, on 22 November 2019, I experienced a potential Mandela Effect moment (click here for another, very famous/infamous movie-related example (Kazaam) featuring this mysterious phenomenon – and also featuring a genie!!) – i.e. discovering that I was totally unable to locate something that until now I had always been absolutely certain had definitely existed.

It concerns Walt Disney's 1940 movie masterpiece Fantasia, a multi-directorial fusion of classical music and classic animation.

Back in the late 1960s, when I was 8 or 9 years old, Fantasia was shown in my little English home town's exceedingly small one-screen cinema, but for one day only, and which, to my great frustration, just so happened to be a school day. Happily, however, knowing how much I (as a massive Disney animation fan) had always wanted to see this film and that this might well be my only chance to do so for some years (back in those far-distant pre-video/DVD/internet times, Disney movies were only viewable every so many years when they were periodically re-released by Disney to cinemas), Mom made sure that we went to see it that evening, and I thoroughly enjoyed it, especially as I'd read so much about it down through the years as a child.

 
My two official Walt Disney figurines of Hyacinth the Hippo, one of the incongruous ballet dancers featured in the hilarious Dance of the Hours segment (which also happens to be my favourite segment) from Fantasia; the left-hand figurine actually pirouettes when you wind her up! (figurines © Walt Disney Studios / photo (© Dr Karl Shuker)

All of this therefore made one aspect particularly puzzling for me. The cinema in question (now long gone) had a very large vertical display window looking out onto the street in which a publicity poster would always be placed in order to advertise to passers-by the movie being shown at that particular time. I can still well remember the official Disney-supplied publicity poster for Fantasia that had been placed there on that single day when this movie was being shown at this cinema.

It consisted of a dark background (a deep midnight blue, as I recall) edged by a collection of characters from this movie's several individual segments, including Mickey Mouse as the Sorcerer's Apprentice, various nature entities from The Nutcracker, some mythological creatures from Pastoral, assorted balletic animals from Dance of the Hours...and (about halfway down the poster's right-hand edge) a blue genie!

Needless to say, as a well-informed Disney fan I knew full well that no genie, blue or otherwise, featured anywhere in Fantasia, a fact amply reinforced by the unequivocal non-appearance of any such entity in this movie's screening that I watched at cinema that evening, so its inclusion in the poster always perplexed me – and even more so when, over 20 years later, I viewed the 1992 animated Disney movie Aladdin and realised to my great surprise that the Robin-Williams-voiced blue genie featuring in it bore more than a passing resemblance to that out-of-place version I'd always remembered so clearly from that late-1960s Fantasia cinema poster!

And so it was that on 22 November 2019, when for some unknown reason the memory of this curious movie poster from my young days long ago popped into my head once again, I decided to track it down online, as I would like to have a picture of it on file, if only as a fondly-recalled memento of my childhood. But could I find it? Not a chance!

 
The blue genie from Disney's 1992 animated movie Aladdin (© John Musker/Ron Clements/Walt Disney Feature Animation/Buena Vista Pictures Distribition – reproduced here on a strictly non-commercial Fair Use basis for educational/review purposes only)

I did find two different Fantasia posters that both recalled to various extents the one that I had seen back in the 196os – one of them opens this current blog post of mine, and the other one closes it – except of course that neither of them contains the elusive blue genie.

So then, when viewing this poster on that fateful evening in the late 1960s when I watched the movie at the cinema, did I momentarily enter a parallel dimension in which such a poster truly existed? This is the dramatic explanation that the Mandela Effect proposes in cases like this.

The less radical alternative explanation is that I only thought I'd seen a genie on that poster. The problem with this notion, however, is that as a keen birdwatcher from the earliest of ages, my powers of accurate observation were already well-trained by then, so I would not have mistaken some other character on that poster for a genie, especially as I already knew all of them, being very familiar with this film from reading so much about it beforehand, as already noted here. Moreover, there is no other character in Fantasia that looks anything remotely like a genie anyway.

Consequently, my mystery of the seemingly non-existent yet tenaciously-remembered Fantasia genie remains unresolved. So, does anyone else who was a child of the 1960s recall seeing a genie-containing Fantasia poster? Or has anyone ever encountered a picture of such a poster online? If so, I'd love to see your comments below!

Finally: 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.

 
The second of two publicity posters for Fantasia that remind me of the mystifying enie-containing example that I am certain I saw back in the late 1960s (© Walt Disney Productions/RKO Radio Pictures – reproduced here on a strictly non-commercial Fair Use basis for educational/review purposes only)

 

Sunday, April 14, 2024

CABIN BOY

 
Official American DVD of Cabin Boy (© Adam Resnich/Tim Burton/Touchstone Pictures/Tim Burton Productioms/Skellington Productioms/Buena Vista Pictures Distribution – reproduced here on a strictly non-commercial Fair Use basis for educational/review purposes only)

It's not often that either a Disney movie or an offbeat fantasy movie entirely escapes my attention, which makes the film that I watched last night on the British retro TV channel Talking Pictures rather special, because it is both a Disney/Touchstone movie AND an offbear fantasy movie yet was previously wholly unknown to me.

Directed and written by Adam Resnick, co-produced by Tim Burton, and released in 1994 by Buena Vista Pictures, the movie in question was entitled Cabin Boy.

Its titular character begins the movie as a petulant, thoroughly-obnoxious spoiled brat named Nathanial Mayweather (played by Chris Elliott), son of a zillionaire and newly graduated from colleage, who is meant to board a luxurious ship to take him to his father's plush hotel in Hawaii. Instead, his insulting treatment of a village local (a pseudonymously-credited David Letterman) sees him deliberately guided onto the wrong vessel.

Namely, a sleazy fishing boat whose rough-and-ready crew, skippered by the grizzly-mannered (and looking!) Captain Greybar (Ritch Brinkley), are setting far out to sea for three months in order to catch fish and have no time for a horrified Nathanial's hysterical histrionics once he discovers this awful truth.

 
Nathanial (Chris Elliott) and Trina (Melora Walters) in Cabin Boy (© Adam Resnich/Tim Burton/Touchstone Pictures/Tim Burton Productioms/Skellington Productioms/Buena Vista Pictures Distribution – reproduced here on a strictly non-commercial Fair Use basis for educational/review purposes only)

Thanks to his desperate but disastrous attempt to redirect their boat towards Hawaii, however, they all find themselves heading instead to a mysterious ill-omened sea zone named Hell's Bucket, containing an equally-dreaded island.

In revenge, Greybar and his crew make Nathanial serve them as their cabin boy, albeit with predictably preposterous results. Both en route to the island and upon arrival there, Nathanial and the crew find themselves confronting all manner of outlandish outsiders.

They include everything from a sex-starved six-armed woman named Calli (a sly nod to Ray Harryhausen's Sinbad antagonist Kali), a scowling scolding ginormous aerial cupcake (designed by Tim Burton and voiced by Jim Cummings), the fishing boat's female figurehead (Rikki Lake) who comes alive at the most unexpected moments, a belligerent iceberg monster (as in a belligerent monster actually composed of an iceberg!), and a half-man half-shark deepsea denizen named Chocki who takes pity upon hapless, hopeless Nathanial, rescuing him from assorted maritime perils, and played, incongruously, by none other than Hollywood's erstwhile song-and-dance musicals star Russ Tamblyn!

Nor is that all. Nathanial mistakenly 'rescues' from the waves what turns out to be a round-the-world swimming competitor in the shapely shape of Trina (Melora Walters), thereby disqualifying her. Unsurprisingly, Trina is initially resentful of Nathanial's well-meaning yet nonetheless calamitous action, but as the movie's romantic interest for him, she eventually falls for his goofy, bumbling charm.

 
Calli, played by Ann Magnusson (© Adam Resnich/Tim Burton/Touchstone Pictures/Tim Burton Productioms/Skellington Productioms/Buena Vista Pictures Distribution – reproduced here on a strictly non-commercial Fair Use basis for educational/review purposes only)

Needless to say, by the end of the movie Nathanial's experiences have transformed him into a sharing, caring kinda guy, and everyone lives happily ever after – except for a vengeful giant named Mulligan (Mike Starr), that is. Mulligan is the aggrieved husband of Calli, with whom Nathanial had lately travered his rite of passage into manhood.  Not surprisingly, Mulligan is hardly best pleased about this, but he finds himself belted in every sense of the word by the newly-invigorated Nathanial in a bold, unselfishly brave bid to save his fellow shipmates from Mulligan's ire.

Cabin Boy is every shade of zany imaginable (and then some!), with Elliott giving a riotously funny performance as Nathanial, amply augmented by countless sight gags and amusing asides – I loved it!

To experience a salty snippet of the maritime mayhem awaiting you in Cabin Boy, be sure to click here to watch an official trailer for this movie on YouTube.

Finally: 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.

 
Confronting the iceberg monster (© Adam Resnich/Tim Burton/Touchstone Pictures/Tim Burton Productioms/Skellington Productioms/Buena Vista Pictures Distribution – reproduced here on a strictly non-commercial Fair Use basis for educational/review purposes only)

 

 

Wednesday, November 29, 2023

THE NIGHTMARE BEFORE CHRISTMAS

 
Publicity poster for The Nightmare Before Christmas (© Henry Selick/Tim Burton/Touchstone Pictures/Skellington Productions/Buena Vista Pictures Distribution – reproduced here on a strictly non-commercial Fair Use basis for educational/review purposes only)

My movie watch on 11 October 2023 (I couldn't wait until 31 October, a more suitable date for watching a Halloween-relevant film like this one) was actually a rewatch – of one of my all-time favourite animated musical films. Namely, Tim Burton's supremely spooky stop-motion masterpiece The Nightmare Before Christmas (or Tim Burton's The Nightmare Before Christmas, to give it its full official title).

Directed by Henry Selick, conceived and co-produced by Tim Burton from his original 1980s story-poem, and released in 1993 by Walt Disney Studio's Buena Vista Pictures (followed by a 2006 re-release in 3D by Walt Disney Pictures), The Nightmare Before Christmas has as its central character the charismatic, enigmatic, Gothic-garbed, and eponymously-skeletal Jack Skellington (voiced when speaking by Chris Sarandon).

Jack is the Pumpkin King, the perennially popular Leader of the perpetually phantasmal, ghoulish realm of Halloween Town (cue this film musical's first song, 'This is Halloween'). Lately, however, he has become bored of his realm's annual Halloween festival (cue the poignant, melancholic song 'Jack's Lament'), and seeks something new, something different. So Fate duly if unexpectedly obliges him, when Jack accidentally enters the perpetually festive, joyful realm of Christmas Town and becomes enraptured by what he sees, hears, and senses there (cue the movie's most famous song, 'What's This?', sung in amazement by Jack when he encounters and explores the wonders of Christmas Town – click here to listen to and view it as it appears in the film).

Inspired immeasurably with unconscionable cheer, Jack decides to bring Christmas – and Santa Claus (voiced by Ed Ivory after first choice Vincent Price had to drop out through ill health) – to Halloween Town. Like so many good intentions, however, Jack's don't go according to plan, and although they don't lead to Hell, they do lead to Halloween Town's dreaded bogeyman, Oogie Boogie (voiced and sung by Ken Page) when this evil entity (an animate sack filled with hundreds of creepy-crawly bugs!) captures poor Santa and threatens to do bad things to him – very bad things!! Moreover, like so many of the most memorable Disney villains, Oogie Boogie has one of the best songs in the movie – namely, the self-explanatory 'Oogie Boogie's Song' (and here it is), staged in a dazzlingly psychedelic setting.

Meanwhile, it's up to Jack, assisted by Frankensteinian rag doll and love interest Sally (Catherine O'Hara), created from spare parts by the sinister, hyper-controlling mad scientist Doctor Finkelstein (William Hickey) to be his compliant daughter but who only has eyes for Jack (cue 'Sally's Song'), together with all of the other Halloween Town inhabitants (including Jack's ghostly but seriously cute glowing-nosed pet dog Zero), to rescue Santa Claus (or Sandy Claws, as Jack and co all mistakenly call him!) and restore him as well as everything else to how it all used to be and needs once more to be in both Towns – no easy task!

The Nightmare Before Christmas is painstakingly detailed, immensely inventive, and visually spectacular, but this incredible dark fantasy-themed movie is enhanced still further by the suitably eerie music and almost a dozen songs composed for it by Danny Elfman – who also provides the singing voice of Jack.

 
Wearing my Jack Skellington t-shirt, from The Nightmare Before Christmas (© Henry Selick/Tim Burton/Touchstone Pictures/Skellington Productions/Buena Vista Pictures Distribution / photo © Dr Karl Shuker – reproduced here on a strictly non-commercial Fair Use basis for educational/review purposes only)

I'm not a massive Burton fan – quite frankly, I find his obsessive pre-occupation with darkness and death somewhat morbid and not a little disturbing and depressing at times – but this movie is truly amazing to watch and listen to, a perfect example of the very special cinematic magic that no other medium can even begin to conjure forth.

Indeed, The Nightmare Before Christmas was actually nominated for an Academy Award for Best Visual Effects (losing out to Jurassic Park); and was accorded the coveted #1 position by voters for a 2008 listing by the film review website Rotten Tomatoes of the Top 25 Best Christmas Movies (click here to access the entire listing and check through its 25 ranked entries, film by film).

Although there have been thoughts by Disney ever since 2001 about producing a sequel to this movie, but in either CGI animation or live–action format rather than stop-motion again, nothing has materialized; ditto re a recently-expressed wish by its original director, Henry Selick, to produce a prequel, revealing how Jack became the Pumpkin King. Moreover, earlier this present month, November 2023, Burton was quoted in an Empire magazine interview article (click here to read it) as saying that he has no wish to revisit the movie, either via sequels or reboots.

So with the exception of its appearances in certain video games, it looks as if we shall have to content ourselves with re-experiencing the one and only visit to Halloween Town and Jack Skellington that is currently (and may well ever be) available – The Nightmare Before Christmas. But as this is such an eminently rewatchable movie, one that reveals new delights each and every time that we return to it, this is not so terrible a hardship as might otherwise be the case.

And if you would like to pay a visit to Halloween Town right now, be sure to click here to watch an official trailer on YouTube for The Nightmare Before Christmas.

Finally: 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.

 
The front and back covers of my copy of the definitive book on this movie – Tim Burton's Nightmare Before Christmas: The Film – The Art – The Vision, written by Frank Thompson, with a foreword by Tim Burton, and packed throughout with countless beautiful full-colour illustrations as well as the film's complete song lyrics (© Frank Thompson/Roundtable Press Books/Disney Enterprises, Inc. – reproduced here on a strictly non-commercial Fair Use basis for educational/review purposes only)

Saturday, February 11, 2023

CRUELLA

 
Publicity poster for Cruella (© Craig Gillespie/Walt Disney Pictures/Mark Platt Productions/Gunn Films/Walt Disney Studios Motion Pictures – reproduced here on a strictly non-commercial Fair Use basis for educational/review purposes only)

On 20 October 2022, I watched two movies. One of them was The Adventures of Pluto Nash (reviewed by me here), which I'd fully expected to enjoy, but didn't. Far more to my taste, though I hadn't expected it to be, conversely, was my second, and very different, movie watch on that same day – the Disney live-action feature film Cruella, set in London's late-1970s punk-pervading fashion world.

Directed by Craig Gillespie, and released in 2021 by Walt Disney Studios Motion Pictures, Cruella presents a newly-construed back story for one of Disney's greatest villainesses – the 101 Dalmatians' fur-obsessed nemesis Cruella de Vil. The notoriously nefarious fanatic is played with smirking, diabolical delight by Emma Stone, her spellbinding performance earning her in 2022 a Golden Globe nomination for Best Actress.

Originally created by Dodie Smith in her delightful 1956 children's novel The Hundred and One Dalmatians, Cruella first appeared on screen as a Disney character in their classic 1961 animated feature film One Hundred and One Dalmatians (in which her distinctive appearance was apparently based upon flamboyant actress Tallulah Bankhead), as well as in a straight-to-video animated sequel movie, 101 Dalmatians II: Patch's London Adventure (2002). She also stole the show in two live-action Disney films – 101 Dalmatians (1996), which was a reworking of their 1961 cartoon movie; and 102 Dalmatians (2000), presenting an all-new, totally original story – due entirely to the wholly unrestrained, fittingly psychotic, rabid portrayal of her in two outstanding performances by Glenn Close (who also served as an executive producer for Cruella). So Disney certainly has excellent form when it comes to providing superb big-screen representations of everyone's favourite fur fetishist.

Even so, I still began watching this newest Disneyfied Cruella incarnation with great trepidation, because I feared that in devising an original back story for her the Disney studio would repeat the travesty that imho they had concocted for Sleeping Beauty's wicked fairy Maleficent in their eponymous 2014 live-action/CGI feature film starring Angelina Jolie in the title role. Namely, seeking to transform an unequivocally, irredeemably evil entity into a misconstrued, misunderstood waif who'd simply had some bad press after she'd been done wrong by her lover (all of which was conspicuous only by its absence in Disney's original 1959 Sleeping Beauty animated feature!). Click here for my review of Disney's movie Maleficent.

Happily, however, I was both delighted and heartily relieved to discover that my fears were entirely unwarranted, inasmuch as this take is not taken in Cruella. Instead, we are shown a character who, even as a child, is, shall we say, difficult – and feisty, insanely so at times – albeit with a huge, innate talent for fashion design, not to mention her unique black-and-white hair that she dyes red throughout her youth to avoid unwelcome, unpleasant comments from outsiders.

Cruella's birth name is actually Estella Miller, but after her mother is killed, for which Estella wrongly blames herself, she decides that a radical reinvention of her life is in order. So she inveigles an initial invitation but subsequent formal engagement to work as a junior designer at the highly prestigious London fashion house of a ruthlessly despicable, shamelessly unprincipled, autocratic, egotistical, and thoroughly narcissistic monster of a leading designer named The Baroness – played in absolutely scintillating OTT style by Emma Thompson (who won the role over the likes of Nicole Kidman, Demi Moore, Julianne Moore, and Charlize Theron). However, she also creates a secret identity to use for future fashion design purposes of her own, separate from her work for The Baroness's fashion house, naming it Cruella (a childhood nickname), later expanding it to Cruella de Vil.

But when Estella discovers that it was The Baroness, not herself, who was responsible for her mother's death, she loses it big time, becoming thoroughly unhinged and determining to avenge her mother at all cost – by unleashing her still-cryptic yet coruscating fashion designer alter ego Cruella de Vil upon the unsuspecting fashion world in general, and the Baroness in particular.

Except, as it turns out, Estella's mother, so kind and demure (and hence entirely unlike Estella/Cruella), was not her real mother after all, Guess which ruthlessly despicable, shamelessly unprincipled, autocratic, egotistical, and thoroughly narcissistic monster of a leading designer (and therefore a wholly Cruella-comparable character) was – and still is??

 
My newly-purchased official Disney Store resin figurine of Cruella De Vil (© Wolfgang Reitherman/Clyde Geronimi/Hamilton Luske/Walt Disney Productions/Buena Vista Distribution – reproduced here on a strictly non-commercial Fair Use basis for educational/review purposes only)

Dastardly diva designer is promptly pitted against dastardly diva designer, daggers – and much else too! – are drawn, but there can only be one winner, one cut-throat cut above all others, when competing for the highest of stakes in the high-risk, hubristic, hedonistic fashion world. So who will it be?

Visually, Cruella the movie is a spectacular sight to behold, with extravagant costumes that make even the most flamboyant catwalk creations of late look positively bland and impoverished in comparison. Those in black and white are especially effective, like gothic versions of the iconic Cecil Beaton haute couture on show in the unforgettable Ascot Gavotte scene from the timeless 1960s movie musical My Fair Lady. Deservedly, therefore, in 2022 Cruella duly won both an Oscar and a BAFTA award for Best Costume Design.

Incidentally, if you've already watched this film and are wondering why Cruella is never seen with her trademark long-stemmed cigarette holder, smoking a cheroot, which was always so visible in Disney's earlier dalmatian movies, this is because since 2007 the Disney Studio has banned the showing of characters smoking in its films.

As for this movie's soundtrack – it samples snatches of an extraordinarily eclectic selection of popular songs – just about everything by everyone, in fact, from Doris Day, Judy Garland, Nina Simone, Nancy Sinatra, and Ken Dodd to Black Sabbath, The Rolling Stones, Ike & Tina Turner, David Bowie, and The Clash!

It may be over 2 hours long, but Cruella is – to steal the title of a popular TV comedy show – absolutely fabulous, with all manner of tantalising twists and turns unveiling themselves throughout the storyline. My attention never sagged, and its teasing ending left the door wide open for a sequel. Sure enough, Disney subsequently announced that a sequel is now being developed – I can't wait!!

If you'd like to venture briefly into the mad, bad, but bedazzling world of fashion à la Cruella, be sure to click here and here to watch on YouTube a couple of  devilishly delightful Cruella trailers, darling!

Finally: 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.

 
Disney's original cartoon version of Cruella de Vil (albeit sans cigarette holder) from their 1961 animated movie One Hundred and One Dalmatians (© Wolfgang Reitherman/Clyde Geronimi/Hamilton Luske/Walt Disney Productions/Buena Vista Distribution – reproduced here on a strictly non-commercial Fair Use basis for educational/review purposes only)

 

Sunday, February 5, 2023

ENCANTO

 
Publicity poster for Encanto (© Jared Bush/Byron Howard/Walt Disney Pictures/Walt Disney Animation Studios/Walt Disney Studios Motion Pictures – reproduced here on a strictly non-commercial Fair Use basis for educational/review purposes only)

On 24 October 2022, I watched the Disney animated musical Encanto (officially this studio's 60th animated feature, discounting collaborations, Pixars, etc), and it certainly lived up to its title – thoroughly enchanting!

Directed by Jared Bush and Byron Howard, and released in 2021 by Walt Disney Studios Motion Pictures, Encanto is all about a community inhabiting an enchanted Colombian town, Encanto, having been saved from attackers 50 years ago by a miraculous candle that continues to burn there and emanate magic.

Every member of Encanto's founder family, the Madrigals, has a magical gift (talking to animals, shape-shifting, sprouting flowers everywhere, immense physical strength, incredibly sharp hearing, etc), and even their house is sentient. But then along comes Mirabel Madrigal (voiced by Stephanie Beatriz), their loveable, goofy, always-ready-to-help teenage daughter, who turns out to everyone's great surprise to be seemingly bereft of magic.

Added to that is the frightening realisation that their house is beginning to crack up – literally! – their magic is failing inexplicably, and even the light from the miraculous candle is flickering. And then there is denigrated Uncle Bruno (John Leguizamo) – "We don't talk about Bruno", to quote the title of this movie's worldwide smash hit song (click here to view its official music video on YouTube) – who is shunned by the rest of the Madrigal family and the community for his disturbing visions of the future.

But can Bruno the outcast and Mirabel the unmagical successfully pool what abilities they do possess in order to discover why the magic is waning and save their realm from destruction?

Along the way there are some superb songs by Hamilton composer Lin-Manuel Miranda, a rich diversity of zoogeographically-correct animals accurately depicted, and not so much a feast as a full-blown fiesta for the eyes. If I had to describe Encanto in a single word, that word would unquestionably be 'colourful'. Wow, is it COLOURFUL!!!!

Hues and tints and shades of every possible wavelength, plus a fair few impossible ones too, I wager, hit the screen in a polychromatic explosion – a vibrant palette of unimaginable, spellbinding beauty, ranging from pastel to psychedelic and beyond any spectrum of visible light known to science!! Absolutely dazzling but in a good way, the way that all animated movies should be, if only they would stop lazily apeing live-action and go off instead in dramatic, unrestrained directions that only animation can attain, and which is surely therefore the whole purpose of animated productions anyway.

Staying with the subject of colour: in a particularly memorable scene near the end of the film, Mirabel and her grandmother Alma are standing in a multicoloured river. When I watched that scene, I assumed that this was merely a magical way of portraying it, but I later learned that there really is a multicoloured river in Colombia. Named the Caño Cristales, and commonly dubbed the Liquid Rainbow, during a brief spell between the wet and dry seasons it exhibits a multitude of hues, including bright yellow and green from its sand, and blue from its water, but especially brilliant reds, these latter deriving from Macarenia clavigera, a colourful species of riverweed present on the riverbed. Interestingly, the Caño Cristales's very existence was only made known as recently as 1969, when some cattle farmers chanced upon it, and it is officially protected from disturbance, with only a limited number of sightseers being permitted to visit this beautiful river in a year.

My one and only quibble with Encanto is that, perhaps being a Brit, I had trouble understanding some of the predominantly Latin American heritage voice cast here and there, but otherwise I totally loved this film! Indeed, along with Strange World (reviewed by me here) and Luca, Encanto is one of my favourite modern-day Disney animated movies. And guess what, none of these is a live-action/CGI remake of one of its earlier classic animated films. There's something to be said for originality over facsimile.

Moreover, in March 2022 Encanto won an Academy Award for Best Animated Feature of 2021, beating not only two fellow Disney movies, Raya and the Last Dragon (reviewed by me here) and Luca, but also The Mitchells Vs The Machines (reviewed by me here) and Flee, as well as winning a BAFTA that same year for Best Animated Film, plus a raft of more than 40 other awards too.

If you have a pair of sunglasses to hand in order to shield your eyes from the glare, be sure to click here to watch a thrilling, rainbow-resplendent official trailer for Encanto 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.

 
A second publicity poster for Encanto (© Jared Bush/Byron Howard/Walt Disney Pictures/Walt Disney Animation Studios/Walt Disney Studios Motion Pictures – reproduced here on a strictly non-commercial Fair Use basis for educational/review purposes only)