list http://www.spout.com/ Recent community activity around Mary Poppins on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/Mary_Poppins/22009/default.aspx Title: Mary Poppins
Year: 1964
Director: Robert Stevenson
Plot: Long resistant to film adaptations of her Mary Poppins books, P.L. Travers finally succumbed to the entreaties of Walt Disney, and the result is often considered the finest of Disney's personally supervised films. The Travers stories are bundled together to tell the story of the Edwardian-era British Banks family: the banker father (David Tomlinson), suffragette mother (Glynis Johns), and the two "impossible" children (Karen Dotrice and Matthew Garber). The kids get the attention of their all-business father by bedevilling every new nanny in the Banks household. Whem Mr. Banks advertises conventionally for another nanny, the kids compose their own ad, asking for someone with a little kindness and imagination. Mary Poppins (Julie Andrews in her screen debut) answers the children's ad by arriving at the Banks home from the skies, parachuting downward with her umbrella. She immediately endears herself to the children. The next day they meet Mary's old chum Bert (Dick Van Dyke), currently employed as a sidewalk artist. Mary, Bert, and the children hop into one of Bert's chalk drawings and learn the nonsense song "Supercalifragilisticexpialidocious" in a cartoon countryside. Later, they pay a visit to Bert's Uncle Albert (Ed Wynn), who laughs so hard that he floats to the ceiling. Mr. Banks is pleased that his children are behaving better, but he's not happy with their fantastic stories. To show the children what the real world is like, he takes them to his bank. A series of disasters follow which result in his being fired from his job. Mary Poppins' role in all this leads to some moments when it is possible to fear that all her good work will be undone, but like the magical being she is, all her "mistakes" lead to a happy result by the end of the film. In 2001, Mary Poppins was rereleased in a special "sing-along" edition with subtitles added to the musical numbers so audiences could join in with the onscreen vocalists. ~ Hal Erickson, All Movie Guide
Times Tagged: 79
Number of Lists: 74
Number of blog posts: 6
Number of discussion threads: 11
SpoutRating: 3
]]>Mon, 27 Jul 2009 20:46:44 GMTMary Poppins1964Robert StevensonLong resistant to film adaptations of her Mary Poppins books, P.L. Travers finally succumbed to the entreaties of <a href="/players/P____87871/default.aspx" style='text-decoration:underline'>Walt Disney</a>, and the result is often considered the finest of Disney's personally supervised films. The Travers stories are bundled together to tell the story of the Edwardian-era British Banks family: the banker father (<a href="/players/P____71284/default.aspx" style='text-decoration:underline'>David Tomlinson</a>), suffragette mother (<a href="/players/P____96142/default.aspx" style='text-decoration:underline'>Glynis Johns</a>), and the two "impossible" children (<a href="/players/P____19806/default.aspx" style='text-decoration:underline'>Karen Dotrice</a> and Matthew Garber). The kids get the attention of their all-business father by bedevilling every new nanny in the Banks household. Whem Mr. Banks advertises conventionally for another nanny, the kids compose their own ad, asking for someone with a little kindness and imagination. Mary Poppins (<a href="/players/P_____1721/default.aspx" style='text-decoration:underline'>Julie Andrews</a> in her screen debut) answers the children's ad by arriving at the Banks home from the skies, parachuting downward with her umbrella. She immediately endears herself to the children. The next day they meet Mary's old chum Bert (<a href="/players/P____72745/default.aspx" style='text-decoration:underline'>Dick Van Dyke</a>), currently employed as a sidewalk artist. Mary, Bert, and the children hop into one of Bert's chalk drawings and learn the nonsense song "Supercalifragilisticexpialidocious" in a cartoon countryside. Later, they pay a visit to Bert's Uncle Albert (<a href="/players/P____77743/default.aspx" style='text-decoration:underline'>Ed Wynn</a>), who laughs so hard that he floats to the ceiling. Mr. Banks is pleased that his children are behaving better, but he's not happy with their fantastic stories. To show the children what the real world is like, he takes them to his bank. A series of disasters follow which result in his being fired from his job. Mary Poppins' role in all this leads to some moments when it is possible to fear that all her good work will be undone, but like the magical being she is, all her "mistakes" lead to a happy result by the end of the film. In 2001, Mary Poppins was rereleased in a special "sing-along" edition with subtitles added to the musical numbers so audiences could join in with the onscreen vocalists. ~ Hal Erickson, All Movie Guide79Tag Target (>10)746113http://www.spout.com/ProductImages/t49987j3a65.jpghttp://www.spout.com/films/Mary_Poppins/22009/default.aspxFilm http://www.spout.com/blogs/spoutblog/archive/2009/3/13/41014.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 3/13/2009 3:00:43 PM
Body: Even if you love the original Escape to Witch Mountain, you have to welcome a remake. The 1975 sci-fi Disney film has some very dated special effects — though the visible wires used to “levitate” a handgun and a harmonica give it a campy charm — and it’s not exactly the well-respected classic that The Black Hole or Old Yeller is, anyway. So, better a remake (or “modern re-imagining”) of a slightly beloved movie, which has already been redone once, to give The Rock another fulfillment of his Disney contract and utilize all the “perfect” digital effects now available. While it seems that eventually all Disney live-action classics will be remade, potentially rendering obsolete the careers of Dean Jones, Kevin Corcoran and those ugly kids from Mary Poppins, there are some that may, like Witch Mountain, deserve to be recycled. Disney has previously erred in reworking films like The Absent-Minded Professor (Robin Williams is no Fred MacMurray) and The Shaggy Dog (Tim Allen is no MacMurray, either, nor even is he Tommy Kirk), and it’s mistakenly producing new versions of Swiss Family Robinson and 20,000 Leauges Under the Sea. But there are so many other films, most forgotten, that would better lend themselves to remakes. Here we’ve selected 10 such classics, all but one live-action features, and we welcome you to suggest any others you may wish to see updated and/or re-imagined. The Apple Dumpling Gang (1975) With the western genre not quite dead anymore, it would be nice for Disney to bring back the comedy western. Of course, The Apple Dumpling Gang could be modernized, too. Either way, the story of three orphan children who enlist two bumbling bank robbers to steal their gold nugget would delight a new generation of kids who might not necessarily appreciate Don Knotts the way we did. Cast Jim Carrey in the Knotts role and Jack Black as his partner (originally played by Tim Conway), have them try to outdo each other’s slapstick performance, and you’ve got a huge family hit. The Black Cauldron (1985) This animated feature was so unpopular that it pretty much ruined the reputation of Walt Disney Pictures for a few years. Rated PG, and way too dark even for the studio that brought us Pinocchio, the adaptation of Lloyd Alexander’s fantasy novel had initially been threatened with a PG-13 or R rating. Nearly 25 years later, kids are a little tougher and could easily tolerate a live-action version that’s somewhere akin to Lord of the Rings, Pirates of the Caribbean and The Phantom Menace (a CGI “Gurgi” would be very similar to Jar-Jar Binks). Tim Burton should obviously direct the film, because he worked as an artist on the original, and he’s currently working for Disney anyway. The Cat from Outer Space (1978) Few people seem to hold this movie in high regards, despite audience’s apparent favor for talking animals and stupid sci-fi plots. But a modernized telling of a feline alien’s visit to Earth could be a blockbuster by being even worse than the original. Add more slapstick (in an LOLCats sort of way) and more special effects and this could make even more money than E.T., which seriously seemed derivative of The Cat from Outer Space anyway. And after this becomes a hit, Disney should continue digging in its catbox and remake the very strange and very obscure Three Lives of Thomasina. Darby O’Gill and the Little People (1959) If Hollywood can dare redo Willy Wonka and the Chocolate Factory, then Disney can surely remake Darby O’Gill and the Little People without too much protest. And like Charlie and the Chocolate Factory, this remake shall retain the source novel’s title. Of course, Darby O’Gill and the Good People does sound a little plain, so maybe getting right to the idea with Darby O’Gill and the Leprechauns as a title would be better. In any event, Sean Connery should come out of retirement to switch roles and play the titular old man who meets a bunch of Leprechauns. And perhaps Daniel Craig for Connery’s original role? Okay, new title: James Bond and the Other James Bond in Little People Are Forever (or Little People Never Die, or some other combo of 007 title referencing Leprechaun’s immortality). If this does well, Disney can also go ahead and redo the little-people-filled The Gnome-Mobile. In Search of the Castaways (1962) Here’s the genius idea Hollywood’s been seeking for almost 50 years: remake the Jules Verne adaptation In Search of the Castaways, a musical adventure with tons of disaster film elements and a perfect role for Miley Cyrus (isn’t she this generation’s Hayley Mills, in a way?), who could sing a new version of “Castaway.” The ice slide scene would be great in 3-D, by the way. Midnight Madness (1980) Remaking this cult classic might upset a few fans, but even those of us who love the original should be able to appreciate an updated version if it’s done right. There could always be more scavenger hunt movies, whether they’re fresh or recycled. And if Disney can find enough good, young character actors to fill the teams, nobody should even miss Eddie Deezen, David Naughton or Stephen Furst. Have Judd Apatow produce the thing and cast all his regulars, for instance. Paul Reubens (Pee-Wee Herman) should reprise his role, though. The Million Dollar Duck (1971) This family comedy about a duck that lays golden eggs is not very good, and it probably didn’t help its box office that a better film featuring golden-egg-laying fowl (Willy Wonka and the Chocolate Factory) opened on the very same day. But a good remake of bad movie isn’t a bad idea, and in this economy the story of a struggling family that gets a burst of financial luck (via strange science) might work as a relevant fantasy. Toby Tyler, or Ten Weeks with a Circus (1960) This forgotten Kevin Corcoran + monkey classic is kind of like Coraline, but there’s more circus stuff, the kid’s parents don’t suck (though he’s told they don’t love him), there’s a primate friend instead of a talking cat (though both animals are classic Disney devices) and it’s live-action and not 3-D. Do children still dream of running away to the circus? If not, then a remake of this movie could both reinstate that wish and present it as a terrible substitute for a real family all in the course of 90 minutes. The Ugly Dachshund (1966) Between the success of Marley and Me and news of an upcoming Marmaduke movie, it may just be the perfect time for a remake of a movie about a disastrous Great Dane who thinks he’s a little wiener dog. Put Brad Pitt and Anglina Jolie in the Dean Jones and Suzanne Pleshette roles and you’ll really, really piss off Team Jennifer by out-grossing last Christmas’ biggest hit. The World’s Greatest Athlete (1973) The story of an African who is brought to the U.S. to be a college track star may not seem like a big idea for a movie in the 21st century. But make that African a Tarzan-like white kid who can outrun a cheetah (and who isn’t The Flash) and you’ll have people laughing your film out of theaters. Or, you’ll somehow have a monster hit. Either way, we wish Disney would have the balls to remake this unrealistic movie, especially if they can get Usain Bolt to be the protagonist’s main competition. Originally posted on:SpoutBlog
]]>Fri, 13 Mar 2009 19:00:43 GMTSpoutBlogSpoutBlog on spout.com3/13/2009 3:00:43 PMEven if you love the original Escape to Witch Mountain, you have to welcome a remake. The 1975 sci-fi Disney film has some very dated special effects — though the visible wires used to “levitate” a handgun and a harmonica give it a campy charm — and it’s not exactly the well-respected classic that The Black Hole or Old Yeller is, anyway. So, better a remake (or “modern re-imagining”) of a slightly beloved movie, which has already been redone once, to give The Rock another fulfillment of his Disney contract and utilize all the “perfect” digital effects now available. While it seems that eventually all Disney live-action classics will be remade, potentially rendering obsolete the careers of Dean Jones, Kevin Corcoran and those ugly kids from Mary Poppins, there are some that may, like Witch Mountain, deserve to be recycled. Disney has previously erred in reworking films like The Absent-Minded Professor (Robin Williams is no Fred MacMurray) and The Shaggy Dog (Tim Allen is no MacMurray, either, nor even is he Tommy Kirk), and it’s mistakenly producing new versions of Swiss Family Robinson and 20,000 Leauges Under the Sea. But there are so many other films, most forgotten, that would better lend themselves to remakes. Here we’ve selected 10 such classics, all but one live-action features, and we welcome you to suggest any others you may wish to see updated and/or re-imagined. The Apple Dumpling Gang (1975) With the western genre not quite dead anymore, it would be nice for Disney to bring back the comedy western. Of course, The Apple Dumpling Gang could be modernized, too. Either way, the story of three orphan children who enlist two bumbling bank robbers to steal their gold nugget would delight a new generation of kids who might not necessarily appreciate Don Knotts the way we did. Cast Jim Carrey in the Knotts role and Jack Black as his partner (originally played by Tim Conway), have them try to outdo each other’s slapstick performance, and you’ve got a huge family hit. The Black Cauldron (1985) This animated feature was so unpopular that it pretty much ruined the reputation of Walt Disney Pictures for a few years. Rated PG, and way too dark even for the studio that brought us Pinocchio, the adaptation of Lloyd Alexander’s fantasy novel had initially been threatened with a PG-13 or R rating. Nearly 25 years later, kids are a little tougher and could easily tolerate a live-action version that’s somewhere akin to Lord of the Rings, Pirates of the Caribbean and The Phantom Menace (a CGI “Gurgi” would be very similar to Jar-Jar Binks). Tim Burton should obviously direct the film, because he worked as an artist on the original, and he’s currently working for Disney anyway. The Cat from Outer Space (1978) Few people seem to hold this movie in high regards, despite audience’s apparent favor for talking animals and stupid sci-fi plots. But a modernized telling of a feline alien’s visit to Earth could be a blockbuster by being even worse than the original. Add more slapstick (in an LOLCats sort of way) and more special effects and this could make even more money than E.T., which seriously seemed derivative of The Cat from Outer Space anyway. And after this becomes a hit, Disney should continue digging in its catbox and remake the very strange and very obscure Three Lives of Thomasina. Darby O’Gill and the Little People (1959) If Hollywood can dare redo Willy Wonka and the Chocolate Factory, then Disney can surely remake Darby O’Gill and the Little People without too much protest. And like Charlie and the Chocolate Factory, this remake shall retain the source novel’s title. Of course, Darby O’Gill and the Good People does sound a little plain, so maybe getting right to the idea with Darby O’Gill and the Leprechauns as a title would be better. In any event, Sean Connery should come out of retirement to switch roles and play the titular old man who meets a bunch of Leprechauns. And perhaps Daniel Craig for Connery’s original role? Okay, new title: James Bond and the Other James Bond in Little People Are Forever (or Little People Never Die, or some other combo of 007 title referencing Leprechaun’s immortality). If this does well, Disney can also go ahead and redo the little-people-filled The Gnome-Mobile. In Search of the Castaways (1962) Here’s the genius idea Hollywood’s been seeking for almost 50 years: remake the Jules Verne adaptation In Search of the Castaways, a musical adventure with tons of disaster film elements and a perfect role for Miley Cyrus (isn’t she this generation’s Hayley Mills, in a way?), who could sing a new version of “Castaway.” The ice slide scene would be great in 3-D, by the way. Midnight Madness (1980) Remaking this cult classic might upset a few fans, but even those of us who love the original should be able to appreciate an updated version if it’s done right. There could always be more scavenger hunt movies, whether they’re fresh or recycled. And if Disney can find enough good, young character actors to fill the teams, nobody should even miss Eddie Deezen, David Naughton or Stephen Furst. Have Judd Apatow produce the thing and cast all his regulars, for instance. Paul Reubens (Pee-Wee Herman) should reprise his role, though. The Million Dollar Duck (1971) This family comedy about a duck that lays golden eggs is not very good, and it probably didn’t help its box office that a better film featuring golden-egg-laying fowl (Willy Wonka and the Chocolate Factory) opened on the very same day. But a good remake of bad movie isn’t a bad idea, and in this economy the story of a struggling family that gets a burst of financial luck (via strange science) might work as a relevant fantasy. Toby Tyler, or Ten Weeks with a Circus (1960) This forgotten Kevin Corcoran + monkey classic is kind of like Coraline, but there’s more circus stuff, the kid’s parents don’t suck (though he’s told they don’t love him), there’s a primate friend instead of a talking cat (though both animals are classic Disney devices) and it’s live-action and not 3-D. Do children still dream of running away to the circus? If not, then a remake of this movie could both reinstate that wish and present it as a terrible substitute for a real family all in the course of 90 minutes. The Ugly Dachshund (1966) Between the success of Marley and Me and news of an upcoming Marmaduke movie, it may just be the perfect time for a remake of a movie about a disastrous Great Dane who thinks he’s a little wiener dog. Put Brad Pitt and Anglina Jolie in the Dean Jones and Suzanne Pleshette roles and you’ll really, really piss off Team Jennifer by out-grossing last Christmas’ biggest hit. The World’s Greatest Athlete (1973) The story of an African who is brought to the U.S. to be a college track star may not seem like a big idea for a movie in the 21st century. But make that African a Tarzan-like white kid who can outrun a cheetah (and who isn’t The Flash) and you’ll have people laughing your film out of theaters. Or, you’ll somehow have a monster hit. Either way, we wish Disney would have the balls to remake this unrealistic movie, especially if they can get Usain Bolt to be the protagonist’s main competition. Originally posted on:SpoutBlog http://www.spout.com/groups/Movie_Polls/Re_What_is_your_favorite_movie_where_live_action_c/657/40172/1/ShowPost.aspx Post By: dj4our
Post To: Movie Polls
Post Date: 2/2/2009 6:07:31 PM
Body: I'm suprised The Three Caballeros doesn't get enough love. That movie is just bugnuts crazy! DAVID [quote user="Risselada"] Please reference this thread for the rules of this group. Please vote only once in each poll. Movies referenced in this poll:Bedknobs and BroomsticksCool WorldThe Incredible Mr. LimpetLooney Tunes: Back in ActionMary PoppinsPete's DragonSo Dear to My HeartSong of the SouthSpace JamThe Three CaballerosWho Framed Roger Rabbit [/quote]
]]>Mon, 02 Feb 2009 23:07:31 GMTdj4ourMovie Polls2/2/2009 6:07:31 PMI'm suprised The Three Caballeros doesn't get enough love. That movie is just bugnuts crazy! DAVID [quote user="Risselada"] Please reference this thread for the rules of this group. Please vote only once in each poll. Movies referenced in this poll:Bedknobs and BroomsticksCool WorldThe Incredible Mr. LimpetLooney Tunes: Back in ActionMary PoppinsPete's DragonSo Dear to My HeartSong of the SouthSpace JamThe Three CaballerosWho Framed Roger Rabbit [/quote] http://www.spout.com/groups/Movie_Polls/Re_What_is_your_favorite_movie_where_live_action_c/657/39993/1/ShowPost.aspx Post By: mercurial
Post To: Movie Polls
Post Date: 1/27/2009 6:16:55 PM
Body: This is a hard one. The first of these I remember watching is Song of the South and I loved it (being completely ignorant of the utterly racist undertones throughout the film). I still find myself sometimes whistling Zip-A-Dee-Doo-Dah. Mary Poppins was one of those staples in my childhood film diet that I could watch over and over and over. But I never really cared for the animated sequence part of the film. Who Framed Roger Rabbit was the first movie I remember being amazed at the combination of animated characters with real actors and it all being so flawless. But ultimately I have to choose Cool World. It was my first exposure to Brad Pitt and Kim Basinger and the first pseudo pornography I'd ever seen. It's just a batsh*t crazy movie that most parents at the time let their kids watch without taking the time to realize what an adult movie it actually is.
]]>Tue, 27 Jan 2009 23:16:55 GMTmercurialMovie Polls1/27/2009 6:16:55 PMThis is a hard one. The first of these I remember watching is Song of the South and I loved it (being completely ignorant of the utterly racist undertones throughout the film). I still find myself sometimes whistling Zip-A-Dee-Doo-Dah. Mary Poppins was one of those staples in my childhood film diet that I could watch over and over and over. But I never really cared for the animated sequence part of the film. Who Framed Roger Rabbit was the first movie I remember being amazed at the combination of animated characters with real actors and it all being so flawless. But ultimately I have to choose Cool World. It was my first exposure to Brad Pitt and Kim Basinger and the first pseudo pornography I'd ever seen. It's just a batsh*t crazy movie that most parents at the time let their kids watch without taking the time to realize what an adult movie it actually is. http://www.spout.com/groups/Movie_Polls/What_is_your_favorite_movie_where_live_action_char/657/39979/1/ShowPost.aspx Post By: Risselada
Post To: Movie Polls
Post Date: 1/27/2009 3:42:17 PM
Body: Please reference this thread for the rules of this group. Please vote only once in each poll. Movies referenced in this poll:Bedknobs and BroomsticksCool WorldThe Incredible Mr. LimpetLooney Tunes: Back in ActionMary PoppinsPete's DragonSo Dear to My HeartSong of the SouthSpace JamThe Three CaballerosWho Framed Roger Rabbit
]]>Tue, 27 Jan 2009 20:42:17 GMTRisseladaMovie Polls1/27/2009 3:42:17 PMPlease reference this thread for the rules of this group. Please vote only once in each poll. Movies referenced in this poll:Bedknobs and BroomsticksCool WorldThe Incredible Mr. LimpetLooney Tunes: Back in ActionMary PoppinsPete's DragonSo Dear to My HeartSong of the SouthSpace JamThe Three CaballerosWho Framed Roger Rabbit http://www.spout.com/groups/I_Love_Childrens_Movies/Re_Movies_we_loved_as_children/372/38262/1/ShowPost.aspx Post By: indieabby88
Post To: I Love Childrens Movies
Post Date: 12/11/2008 1:45:14 PM
Body: [quote user="rjsprague"] I loved Mary Poppins because she could jump into paintings and dance with penguins and ride horses from the merry-go-round. Plus there was the flying on the ceiling and the flying in general and the telekinesis! Holy crap Mary Poppins was soooo coooooool!!!!!!!!! (I'm surprised my mom let me watch this in hindsight.) [/quote] Mark Kermode did a really neat post on his blog about the top ten reasons to love Mary Poppins. It's pretty fun. I love that he mentions the Mary Poppins horror trailer. I get such a kick out of that video.
]]>Thu, 11 Dec 2008 18:45:14 GMTindieabby88I Love Childrens Movies12/11/2008 1:45:14 PM[quote user="rjsprague"] I loved Mary Poppins because she could jump into paintings and dance with penguins and ride horses from the merry-go-round. Plus there was the flying on the ceiling and the flying in general and the telekinesis! Holy crap Mary Poppins was soooo coooooool!!!!!!!!! (I'm surprised my mom let me watch this in hindsight.) [/quote] Mark Kermode did a really neat post on his blog about the top ten reasons to love Mary Poppins. It's pretty fun. I love that he mentions the Mary Poppins horror trailer. I get such a kick out of that video. http://www.spout.com/blogs/spoutblog/archive/2008/12/8/38088.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 12/8/2008 5:00:35 PM
Body: It’s beginning to look a lot like 1991. A former Disney starlet is on track for a Best Actress nomination. One of cinema’s greatest villainous performances is a sure thing for an acting Oscar. And, due to a relatively disappointing crop of Academy Award contenders, an animated feature is being talked about for Best Picture. One major difference between now and 1991, however, is now there’s a separate Oscar category for Best Animated Feature. While that doesn’t mean Wall-E can’t be the first animated film nominated in the top category since Beauty and the Beast, it does potentially mean that it shouldn’t be. Historically, animated features have been marginalized by the Academy, though not unfairly. The first of its kind in the U.S., Walt Disney’s Snow White and the Seven Dwarves was not adequately recognized at the 1938 Oscars, so the Academy gave Disney a special Honorary Award (in the form of one normal-sized statuette and seven miniature statuettes) in 1939 to make up for it. The official credit given to Snow White was that it was a “significant screen innovation,” that “pioneered a great new entertainment field.” Basically, but not technically, this designated animated features as a new, separate art form from live-action motion pictures. Fantasia was similarly set apart a few years later with two Honorary Awards spotlighting the film’s achievements in sound and music, yet this time credit was given to the film for “widening the scope of the motion picture as entertainment and as an art form.” Still, for almost fifty years, the closest an animated feature came to being nominated inclusively in such a scope for Best Picture were live-action films incorporating animation, such as Anchors Aweigh and Mary Poppins. It should have officially been made clearer in the 1930s or 1940s that animated features are in a class of their own. Since 1932, the Academy has differentiated between animation and live-action with its short subject categories, but no corresponding distinction was ever made for features, possibly because there weren’t enough animated features to recognize with a separate award for many decades. Even today, the Best Animated Feature Oscar is only given if there are a certain number (eight) of animated features eligible in that year. Thanks to the Best Animated Feature Oscar, though, there is greater encouragement for the mainstream production of this kind of film and also a greater acknowledgement of foreign feature animation. Some critics might argue that it seems to lower the esteem of animated features, yet the creation of the category was in fact pushed for by animators, according to the AMPAS press release announcing its inception (the animators’ campaign, spearheaded mostly by Dreamworks Animation’s Jeffrey Katzenberg, was apparently fueled by the snub of Chicken Run as Best Picture in 2001). The Academy’s error, then, was in continuing to allow animated features to be eligible for Best Picture rather than renaming that “top” category Best Live-Action Picture. Now, if Wall-E or any other animated film is recognized in that category, the Best Animated Feature Oscar will indeed appear to be a lesser honor. An unsourced claim on Wikipedia says the existence of the Animated Feature category creates a sort of psychological effect, which blocks voters from considering an animated feature for Best Picture. However, with enough campaigning from Disney and plenty of prodding from the media (blogs especially), Wall-E may have sufficient placement in the consciousness of Academy members to allow such a nomination to happen. The call for a Best Picture nod for the film has been around and growing since New York magazine’s Vulture blog first championed the idea back in June, writing that it “would be the smartest thing the Academy’s done in years.” For ratings, perhaps, but individual members themselves do not think of nor are they encouraged to consider telecast viewership when marking their ballots. As a celebration of great filmmaking, though, it would be smarter for voters to acknowledge Wall-E’s place and prestige as a front-runner in the Best Animated Feature category and then pick another deserving film, which isn’t likely to be recognized elsewhere, to nominate as Best Picture. For example, how about a popular and critically acclaimed foreign film that hasn’t been submitted for consideration in the foreign-language category, such as Tell No One or Let the Right One In? In July, Time magazine, which referred to the separate Animated Feature category as “Oscar’s cartoon ghetto,” began sampling quotes from supporters like New York and went so far as to call the film an “Obamaesque trailblazer.” In some way, Wall-E could resonate with Academy voters with relation to Obama, but perhaps only because it is one of the few hopeful, feel-good movies contending at a time when Bush–inspired negativity is supposedly no longer welcome (New York writer Logan Hill also acknowledged Best Picture candidate Slumdog Millionaire as similarly fitting the optimism bill after Fox Searchlight’s COO referred to the film as “Obama-like”). And maybe the environmentalist theme of Wall-E will be heavily supported by liberal Academy members, but ultimately the film seems even more preachy and, at times, dystopic than even The Dark Knight, let alone An Inconvenient Truth (which, by the way, had to settle on Oscar’s documentary ghetto and wasn’t considered Best Picture material, either). One significant point against the likelihood Wall-E receiving a Best Picture nomination was noted by Anne Thompson at Variety: actors tend to vote for live-action films because they feature live actors. Surely actors, forever in fear of being replaced by computer-generated characters, look at an eerily realistically rendered computer-animated film like Wall-E and contemplate the worst for their profession. Still, on the other hand, actors could actually celebrate Pixar for making an animated film that incorporates live actors (a kind of reversal of Anchors Aweigh and Mary Poppins, no?). But if actors want to pay respect to this technique, they should completely surprise Oscar prognosticators (and pay them back for another 2001 snub) by nominating Fred Willard for Best Supporting Actor. Maybe Wall-E is one of the best films of 2008, but that doesn’t necessarily mean it should be recommended for a Best Picture nomination. The Oscars are never an exact or fair measure of a year’s best in cinema, and even Oscar bloggers should be aware of the politics and logic of the Academy. This is the same organization that, for its first awards, ruled The Jazz Singer ineligible for Best Picture (or “Best Production” as it was named then) because it had the unfair advantage of being a sound film. Instead, the landmark film received a Special Award (almost like Disney received in 1939). Perhaps it is best, then, to think of animated features as also having an unfair advantage. After all, particularly with computer animation, they allow for more ease in certain aspects of direction, cinematography and special effects. In that case, let us, if not the Academy, view the Best Animated Feature category as the actual “top” category and shake off this unnecessary desire for an animated film to win “Best Picture.” Now, can we re-channel our energy into campaigning for Wall-E to be nominated in other categories, like Best Director, Best Original Screenplay and Best Art Direction? Originally posted on:SpoutBlog
]]>Mon, 08 Dec 2008 22:00:35 GMTSpoutBlogSpoutBlog on spout.com12/8/2008 5:00:35 PMIt’s beginning to look a lot like 1991. A former Disney starlet is on track for a Best Actress nomination. One of cinema’s greatest villainous performances is a sure thing for an acting Oscar. And, due to a relatively disappointing crop of Academy Award contenders, an animated feature is being talked about for Best Picture. One major difference between now and 1991, however, is now there’s a separate Oscar category for Best Animated Feature. While that doesn’t mean Wall-E can’t be the first animated film nominated in the top category since Beauty and the Beast, it does potentially mean that it shouldn’t be. Historically, animated features have been marginalized by the Academy, though not unfairly. The first of its kind in the U.S., Walt Disney’s Snow White and the Seven Dwarves was not adequately recognized at the 1938 Oscars, so the Academy gave Disney a special Honorary Award (in the form of one normal-sized statuette and seven miniature statuettes) in 1939 to make up for it. The official credit given to Snow White was that it was a “significant screen innovation,” that “pioneered a great new entertainment field.” Basically, but not technically, this designated animated features as a new, separate art form from live-action motion pictures. Fantasia was similarly set apart a few years later with two Honorary Awards spotlighting the film’s achievements in sound and music, yet this time credit was given to the film for “widening the scope of the motion picture as entertainment and as an art form.” Still, for almost fifty years, the closest an animated feature came to being nominated inclusively in such a scope for Best Picture were live-action films incorporating animation, such as Anchors Aweigh and Mary Poppins. It should have officially been made clearer in the 1930s or 1940s that animated features are in a class of their own. Since 1932, the Academy has differentiated between animation and live-action with its short subject categories, but no corresponding distinction was ever made for features, possibly because there weren’t enough animated features to recognize with a separate award for many decades. Even today, the Best Animated Feature Oscar is only given if there are a certain number (eight) of animated features eligible in that year. Thanks to the Best Animated Feature Oscar, though, there is greater encouragement for the mainstream production of this kind of film and also a greater acknowledgement of foreign feature animation. Some critics might argue that it seems to lower the esteem of animated features, yet the creation of the category was in fact pushed for by animators, according to the AMPAS press release announcing its inception (the animators’ campaign, spearheaded mostly by Dreamworks Animation’s Jeffrey Katzenberg, was apparently fueled by the snub of Chicken Run as Best Picture in 2001). The Academy’s error, then, was in continuing to allow animated features to be eligible for Best Picture rather than renaming that “top” category Best Live-Action Picture. Now, if Wall-E or any other animated film is recognized in that category, the Best Animated Feature Oscar will indeed appear to be a lesser honor. An unsourced claim on Wikipedia says the existence of the Animated Feature category creates a sort of psychological effect, which blocks voters from considering an animated feature for Best Picture. However, with enough campaigning from Disney and plenty of prodding from the media (blogs especially), Wall-E may have sufficient placement in the consciousness of Academy members to allow such a nomination to happen. The call for a Best Picture nod for the film has been around and growing since New York magazine’s Vulture blog first championed the idea back in June, writing that it “would be the smartest thing the Academy’s done in years.” For ratings, perhaps, but individual members themselves do not think of nor are they encouraged to consider telecast viewership when marking their ballots. As a celebration of great filmmaking, though, it would be smarter for voters to acknowledge Wall-E’s place and prestige as a front-runner in the Best Animated Feature category and then pick another deserving film, which isn’t likely to be recognized elsewhere, to nominate as Best Picture. For example, how about a popular and critically acclaimed foreign film that hasn’t been submitted for consideration in the foreign-language category, such as Tell No One or Let the Right One In? In July, Time magazine, which referred to the separate Animated Feature category as “Oscar’s cartoon ghetto,” began sampling quotes from supporters like New York and went so far as to call the film an “Obamaesque trailblazer.” In some way, Wall-E could resonate with Academy voters with relation to Obama, but perhaps only because it is one of the few hopeful, feel-good movies contending at a time when Bush–inspired negativity is supposedly no longer welcome (New York writer Logan Hill also acknowledged Best Picture candidate Slumdog Millionaire as similarly fitting the optimism bill after Fox Searchlight’s COO referred to the film as “Obama-like”). And maybe the environmentalist theme of Wall-E will be heavily supported by liberal Academy members, but ultimately the film seems even more preachy and, at times, dystopic than even The Dark Knight, let alone An Inconvenient Truth (which, by the way, had to settle on Oscar’s documentary ghetto and wasn’t considered Best Picture material, either). One significant point against the likelihood Wall-E receiving a Best Picture nomination was noted by Anne Thompson at Variety: actors tend to vote for live-action films because they feature live actors. Surely actors, forever in fear of being replaced by computer-generated characters, look at an eerily realistically rendered computer-animated film like Wall-E and contemplate the worst for their profession. Still, on the other hand, actors could actually celebrate Pixar for making an animated film that incorporates live actors (a kind of reversal of Anchors Aweigh and Mary Poppins, no?). But if actors want to pay respect to this technique, they should completely surprise Oscar prognosticators (and pay them back for another 2001 snub) by nominating Fred Willard for Best Supporting Actor. Maybe Wall-E is one of the best films of 2008, but that doesn’t necessarily mean it should be recommended for a Best Picture nomination. The Oscars are never an exact or fair measure of a year’s best in cinema, and even Oscar bloggers should be aware of the politics and logic of the Academy. This is the same organization that, for its first awards, ruled The Jazz Singer ineligible for Best Picture (or “Best Production” as it was named then) because it had the unfair advantage of being a sound film. Instead, the landmark film received a Special Award (almost like Disney received in 1939). Perhaps it is best, then, to think of animated features as also having an unfair advantage. After all, particularly with computer animation, they allow for more ease in certain aspects of direction, cinematography and special effects. In that case, let us, if not the Academy, view the Best Animated Feature category as the actual “top” category and shake off this unnecessary desire for an animated film to win “Best Picture.” Now, can we re-channel our energy into campaigning for Wall-E to be nominated in other categories, like Best Director, Best Original Screenplay and Best Art Direction? Originally posted on:SpoutBlog http://www.spout.com/groups/I_Love_Childrens_Movies/Re_Movies_we_loved_as_children/372/38074/1/ShowPost.aspx Post By: rjsprague
Post To: I Love Childrens Movies
Post Date: 12/8/2008 3:37:56 PM
Body: I loved Mary Poppins because she could jump into paintings and dance with penguins and ride horses from the merry-go-round. Plus there was the flying on the ceiling and the flying in general and the telekinesis! Holy crap Mary Poppins was soooo coooooool!!!!!!!!! (I'm surprised my mom let me watch this in hindsight.)
]]>Mon, 08 Dec 2008 20:37:56 GMTrjspragueI Love Childrens Movies12/8/2008 3:37:56 PMI loved Mary Poppins because she could jump into paintings and dance with penguins and ride horses from the merry-go-round. Plus there was the flying on the ceiling and the flying in general and the telekinesis! Holy crap Mary Poppins was soooo coooooool!!!!!!!!! (I'm surprised my mom let me watch this in hindsight.) http://www.spout.com/groups/I_Love_Childrens_Movies/Re_Movies_we_loved_as_children/372/37622/1/ShowPost.aspx Post By: csprague
Post To: I Love Childrens Movies
Post Date: 11/25/2008 1:14:28 PM
Body: [quote user="umibee"] I think that I just loved red heads it was intriguing for me when I as little! They seemed so happy all of the time they were just fun to watch! 1.Annie 2.The New Adventures of Pippi Longstocking [/quote] I was a big fan of Mary Poppins, I always wanted to have a tea party on the ceiling or have my room magically clean itself up.
]]>Tue, 25 Nov 2008 18:14:28 GMTcspragueI Love Childrens Movies11/25/2008 1:14:28 PM[quote user="umibee"] I think that I just loved red heads it was intriguing for me when I as little! They seemed so happy all of the time they were just fun to watch! 1.Annie 2.The New Adventures of Pippi Longstocking [/quote] I was a big fan of Mary Poppins, I always wanted to have a tea party on the ceiling or have my room magically clean itself up. http://www.spout.com/blogs/em2/archive/2008/5/27/30051.aspx Post By: EM2
Post To: EM2 Blog
Post Date: 5/27/2008 9:13:32 PM
Body: CLICKED ON "I WANT TO SEE IT",,,,,,,,,,,,,BUT NOTHING SEEMED TO HAPPEN..I DON'T KNOW HOW ELSE TO PLAY THE FILM>
]]>Wed, 28 May 2008 01:13:32 GMTEM2EM2 Blog5/27/2008 9:13:32 PMCLICKED ON "I WANT TO SEE IT",,,,,,,,,,,,,BUT NOTHING SEEMED TO HAPPEN..I DON'T KNOW HOW ELSE TO PLAY THE FILM&gt; http://www.spout.com/blogs/pippin06/archive/2008/5/27/30049.aspx Post By: pippin06
Post To: Reel Thoughts
Post Date: 5/27/2008 8:34:53 PM
Body: What's the AFI Project, you ask? For more information, or if you just enjoy my bemused ramblings, read here: http://www.spout.com/blogs/pippin06/archive/2008/3/1/25756.aspx Mary Poppins is on the following AFI lists: 100 Greatest Film Songs (#36 - "Supercalifragilisticexpialidocious")25 Greatest Movie Musicals (#6) What can I say about Mary Poppins? The biased part of me thinks the film should have made the all-time greatest lists rather than just the greatest musicals list, but that is truly bias speaking because the film is not perfect. Still, Mary Poppins is my all-time favorite Disney film and a truly great musical film, and I think it definitely deserves to be #6 on that musicals list if nothing else. (PS, If you're wondering, I copied and pasted Supercalifragilisticexpialidocious here and above. No sense in straining my brain that long and hard on that one). I think it gets points first for story: even though it's an amalgamation of several stories by P. L. Travers, I still think the fantasy of jumping into chalk pavement pictures and having tea parties on the ceiling is a winning one. I mean, wouldn't Mary Poppins (Julie Andrews) be the most fun babysitter ever? She answers the torn up advertisement of the two "impossible" Banks children, Jane and Michael, who get the attention of their no-nonsense, career-driven father George by terrorizing every other nanny they have ever had. When he advertises for a nanny by conventional means, Mary Poppins floats from the clouds using her umbrella with the taped-together version composed by the children in her magically bottomless carpetbag. She is practically perfect in every way; has a singable answer for all of life's little quirks, trials, and tribulations; and finagles the circumstances so that Mr. Banks (David Tomlinson) realizes that time with his children is short, precious, and to make the most of it. She makes a few mistakes herself along the way and after all, in part thanks to her weakness for friend and man-about-town Bert (Dick Van Dyke), but it all works out in the end. And the children get no help from their mother Winnifred (Glynis Johns), since she's out fighting the cause of votes for women while simultaneously playing the doting wife of conservative Mr. Banks. Mary Poppins works because it's, in many ways, the ultimate children's fantasy, balancing the ordinary with the extraordinary and philosophizing the mundane through unusual adventures and excitement. The songs are also fantastic and easily recognizable, and the movie is quotable in its own right. ("I know a man with a wooden leg Smith...Really? What's the name of his other leg?") It's one of those Disney films and films in general that have permutated the pop culture lexicon, and the very word supercalifragilisticexpialidocious has been debated ad nauseum regarding spelling, forward and backward. In terms of its well-knownness, it has its place as an American great. My favorite song, and probably one of my top five musical songs, is "Feed the Birds," and it was reportedly Walt Disney's favorite song too. In fact, this is the last movie he personally oversaw, and it shows. This film has all of his warmth and heart, which is helped in no small part by the unparalleled Julie Andrews and the affable Dick Van Dyke. I also like the film because it's set in London and has some of those decidedly English characteristics, even if they're set turn of the century, and even if the film was produced by an American company. Mary Poppins is one of those enjoyable movies from beginning to end, though it has its flaws. For example, the trip to the bank and the song the bankers sing about tuppence and the bank is slow and awkward, though it sets the scene for Mr. Banks' termination from his job after Michael's ensuing demand for his money back appropriately. Pacing is a problem, and some of the visual effects are awkward (it was made in 1964 after all), but it's still an enjoyable film in every way. I own Mary Poppins, naturally, and pull it out every so often, usually at holidays, though I find the need to watch it other times too. It reminds me of childhood and those times when I let my imagination run as free as Mary Poppins would allow and make come to life. I think Mary Poppins can be rated a 9 for being perfectly entertaining. I adore it, and I am glad the AFI gave it a nod or two in the end.
]]>Wed, 28 May 2008 00:34:53 GMTpippin06Reel Thoughts5/27/2008 8:34:53 PMWhat's the AFI Project, you ask? For more information, or if you just enjoy my bemused ramblings, read here: http://www.spout.com/blogs/pippin06/archive/2008/3/1/25756.aspx Mary Poppins is on the following AFI lists: 100 Greatest Film Songs (#36 - "Supercalifragilisticexpialidocious")25 Greatest Movie Musicals (#6) What can I say about Mary Poppins? The biased part of me thinks the film should have made the all-time greatest lists rather than just the greatest musicals list, but that is truly bias speaking because the film is not perfect. Still, Mary Poppins is my all-time favorite Disney film and a truly great musical film, and I think it definitely deserves to be #6 on that musicals list if nothing else. (PS, If you're wondering, I copied and pasted Supercalifragilisticexpialidocious here and above. No sense in straining my brain that long and hard on that one). I think it gets points first for story: even though it's an amalgamation of several stories by P. L. Travers, I still think the fantasy of jumping into chalk pavement pictures and having tea parties on the ceiling is a winning one. I mean, wouldn't Mary Poppins (Julie Andrews) be the most fun babysitter ever? She answers the torn up advertisement of the two "impossible" Banks children, Jane and Michael, who get the attention of their no-nonsense, career-driven father George by terrorizing every other nanny they have ever had. When he advertises for a nanny by conventional means, Mary Poppins floats from the clouds using her umbrella with the taped-together version composed by the children in her magically bottomless carpetbag. She is practically perfect in every way; has a singable answer for all of life's little quirks, trials, and tribulations; and finagles the circumstances so that Mr. Banks (David Tomlinson) realizes that time with his children is short, precious, and to make the most of it. She makes a few mistakes herself along the way and after all, in part thanks to her weakness for friend and man-about-town Bert (Dick Van Dyke), but it all works out in the end. And the children get no help from their mother Winnifred (Glynis Johns), since she's out fighting the cause of votes for women while simultaneously playing the doting wife of conservative Mr. Banks. Mary Poppins works because it's, in many ways, the ultimate children's fantasy, balancing the ordinary with the extraordinary and philosophizing the mundane through unusual adventures and excitement. The songs are also fantastic and easily recognizable, and the movie is quotable in its own right. ("I know a man with a wooden leg Smith...Really? What's the name of his other leg?") It's one of those Disney films and films in general that have permutated the pop culture lexicon, and the very word supercalifragilisticexpialidocious has been debated ad nauseum regarding spelling, forward and backward. In terms of its well-knownness, it has its place as an American great. My favorite song, and probably one of my top five musical songs, is "Feed the Birds," and it was reportedly Walt Disney's favorite song too. In fact, this is the last movie he personally oversaw, and it shows. This film has all of his warmth and heart, which is helped in no small part by the unparalleled Julie Andrews and the affable Dick Van Dyke. I also like the film because it's set in London and has some of those decidedly English characteristics, even if they're set turn of the century, and even if the film was produced by an American company. Mary Poppins is one of those enjoyable movies from beginning to end, though it has its flaws. For example, the trip to the bank and the song the bankers sing about tuppence and the bank is slow and awkward, though it sets the scene for Mr. Banks' termination from his job after Michael's ensuing demand for his money back appropriately. Pacing is a problem, and some of the visual effects are awkward (it was made in 1964 after all), but it's still an enjoyable film in every way. I own Mary Poppins, naturally, and pull it out every so often, usually at holidays, though I find the need to watch it other times too. It reminds me of childhood and those times when I let my imagination run as free as Mary Poppins would allow and make come to life. I think Mary Poppins can be rated a 9 for being perfectly entertaining. I adore it, and I am glad the AFI gave it a nod or two in the end. http://www.spout.com/members/0/tags/love/MemberTagFilms.aspxlove
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