YOUR WISH IS MY COMMAND! A FILM REVIEW ON ALADDIN 2019

A MAGICAL STORY OF COURAGE AND INTEGRITY FILM REVIEW ON ALADDIN

on: May 27, 2019

Meanne M. Mijares

“The integrity of the upright guides them, but the unfaithful are destroyed by their duplicity.”

 Proverbs 11:3 (NIV)

“Then you will know the truth, and the truth will set you free.”

John 8:32 (NIV)

Directed by      Guy Ritchie

Produced by    Dan Lin/Jonathan Eirich

Screenplay by   John August/Guy Ritchie

Based on Disney’s Aladdin by Ron Clements, John Musker, Ted Elliott, Terry Rossio

Aladdin and the Magic Lamp from One Thousand and One Nights

Starring           

Will Smith (Genie)

Mena Massoud (Aladdin)

Naomi Scott (Princess Jasmine)

Marwan Kenzari (Jafar)

Navid Negahban (The Sultan)

Nasim Pedrad (Dalia)

Billy Magnussen (Prince Anders)

Music by Alan Menken

Cinematography Alan Stewart

Edited by James Herbert

Production company Walt Disney Pictures

Distributed by Walt Disney Studios

Rating: PG

Aladdin is Disney’s live-action remake of the 1992 animated classic. As with previous adaptations like Dumbo, Jungle Book, and Beauty and the Beast, there are many computer-generated special effects, including the creepy Cave of Wonders and co-stars Will Smith as the huge, comedic, blue-ish magical Genie. The effects and the live-action factor comprise perilous scenes feel more more intense than ever than it was in the cartoon. There are chases, falls, and near death experiences, as well as one confirmed fatality when the villain Jafar pushes a man down to a dark well. The cave falls to pieces and vomits lava, a giant bird chases the characters, guards are armed with weapons, and there are references to dead parents. Language is very mild, with just a few insults along the lines of “street rat”; characters seduce and kiss, and Genie throws back a couple of martinis. What I like about the new stars Mena Massoud (Aladdin) and Naomi Scott (Jasmine) is that they were able to keep the spirit of the original animated feature and has a touch of female liberation and equality to sending appropriate messages about friendship, courage, integrity, and honesty.

THE STORY

ALADDIN is about the mischievous street rascal Aladdin (Mena Massoud) and his adventures or misadventures. On the busy streets of Agrabah, Aladdin meets a beautiful young woman who says she’s a royal dama but in truth the kingdom’s cloistered Princess Jasmine (Naomi Scott). Meanwhile, the sultan’s megalomaniac vizier, Jafar (Marwan Kenzari), finds someone worthy to enter the legendary Cave of Wonders to dig up a special lamp that’s hidden inside. When Aladdin and his companion monkey, Abu, snitch into the palace grounds to find their new friend, Jafar captures Aladdin, reveals that the “handmaiden” is none other than the princess, and orders the younger man to get the lamp. What Jafar doesn’t count on is Aladdin himself unbridling the lamp’s power: a big blue genie (Will Smith), who’s guaranteed to accord him three wishes. With the Genie’s aid, Aladdin becomes “Prince Ali of Ababwa” to pursue the lovely Princess Jasmine.

EDUCATIONAL VALUE

Kids acquainted with the animated version will learn about editions and the influence of live-action stories against the animated ones. They’ll also learn about the importance of being honest with themselves and of women’s worth as leaders and prime movers.

POSITIVE MESSAGES

The film is about looking beneath the surface (social class, rank, etc.) to truly know who people are inside. Other positive messages include the idea that women — not just men — can be great, formidable and inspiring leaders and that real connection and love exceeds shallow differences. Aladdin upholds the value of revealing the truth, valuing honor, friendship, putting others’ welfare above our own, and the ability to break free from obsolete traditions.

POSITIVE ROLE MODELS & REPRESENTATIONS

Aladdin is like Robin Hood, a robber, but he also helps others who are even less fortunate and cares about the people – and most especially, the princess. He’s ingenious, brave, and kind. He is trapped between the advantages of wealth and power but eventually remains true to himself, establishing integrity. Jasmine is intelligent, thoughtful, and compassionate. She grows to love Aladdin for who he is and not his status. The Genie, despite being a slave to his master, is full of good advice for Aladdin, thinking of his welfare. He’s supportive and forthright and imparts to Aladdin about friendship. Jafar is manipulative truly a certified villain. I have observed that the Sultan is a little less clueless here than he was in the previous animated musical.

VIOLENCE & SCARINESS

The Cave of Wonders, I must say, is chilling; when Abu breaks the rules, it smashes and pukes lava, nearly killing Aladdin and Abu. There are falls and perilous climbs, pursues and flights. Jafar thrusts a man to his death in a dark, eerie, spine-chilling dungeon and later uses his powers to vanish people and torment the Sultan; he also tries to kill Aladdin by shoving him, bound, into the water (it’s a tense scene for a few moments while Aladdin is in critical danger of drowning). An enormous bird chases the heroes, causing damage. Jafar is frightening when he employs his jam-packed powers. The Sultan’s armed guards take hold of various people and chase and capture Aladdin. The Genie is forced to make even treacherous wishes come true. There are arguing scenes. There are references to both Jasmine’s mother and Aladdin’s parents being dead. The magic Carpet is broken during an action scene, which could upset some young children.

SEXY ELEMENTS

Flirting, hand-holding, dancing, and a few kisses, here and there. I was quite taken aback when the Genie makes a double-meaning comment about “feeling a little thirsty” after staring at Jasmine’s handmaiden, Dalia; Dalia calls the Genie “incredibly attractive.” I have sensed a possible reference to someone regarded as “hot” (hard to hear). In one song lyric, a woman calls Aladdin “tasty”, which signifies lust.

LANGUAGE

I have heard some insults like “street rat,” “riffraff,” “nothing,” “scoundrel,” “thief,” etc. Woman hater comments like Jasmine should “be seen and not heard,” “be silent,” “hurry up, woman,” etc. I am afraid that children might pick it up and use them to say bad things about their classmates or other people.

DRINKING, DRUGS & SMOKING

The Genie has martinis on a couple of occasions. Not good for the children to see.

CONCLUSION

Good thing, this film bolsters a strong line-up for its casting and a great soundtrack. I must say, Disney’s live-action remake is significantly better than expected, even if Smith’s Genie isn’t as outstanding as the late Robin Williams’ original role. With his curved smile and sober voice, Massoud is flawlessly cast as Aladdin. He has a lovely interaction with Scott’s Jasmine, who’s much more of a women’s libber here than in the animated musical. Naomi also proves to be a fine singer, although Jasmine’s new original song “Speechless” feels somewhat imposed. Aladdin and Jasmine’s duets are well executed, and “A Whole New World” still packs an emotional blow. Kenzari is credibly ruthless as the go-getting, evil Jafar, and Nasim Pedrad is quite good as Dalia, the real — and entertainingly dogmatic — royal handmaiden who captures the Genie’s eye.

As for Smith, whose role has been widely roasted on social media before the film was released in the theaters, let’s just say that he’s much easier to handle in disguise as Prince Ali’s human adviser, rather than as the somewhat repellent blue Genie. And Smith is surely funny, but his presentation of the genie’s signature song, “Friend Like Me,” can’t live up to Williams’ moving, fast-moving delivery. The movie’s got high production values. The action scenes are more of Guy Ritchie’s forte, and he even manages to comprise his special slow-motion shots in a few scenes. Despite the heavy focused promotion on Will Smith here as the Genie, Aladdin ultimately and rightfully so belongs to the new rising stars, Mena and Naomi.

Overall, I rate the film 3.5 out of 5 stars.

http://www.filcatholic.org/a-magical-story-of-courage-and-integrity-film-review-on-aladdin/

MARY POPPINS RETURNS A FILM REVIEW

Still A Sweet Spoonful of Sugar 

MARY POPPINS RETURNS 

A FILM REVIEW

on: January 14, 2019

Meanne M. Mijares

Jesus looked at them and said,

“With man this is impossible, but with God all things are possible.”

Matthew 19:26 New International Version (NIV)

Cast    

Emily Blunt                             as Mary Poppins

Lin-Manuel Miranda                as Jack

Ben Whishaw                          as Michael Banks

Emily Mortimer                       as Jane Banks

Pixie Davis                              as Annabel Banks

Nathanael Saleh                       as John Banks

Joel Dawson                            as Georgie Banks

Julie Walters                            as Ellen

Dick Van Dyke                        as Mr. Dawes, Jr.

Angela Lansbury                      as The Balloon Lady

Colin Firth                               as William “Weatherall” Wilkins

Meryl Streep                            as Topsy

Directed by      Rob Marshall

Produced by    Rob Marshall, John DeLuca and Marc Platt

Screenplay by   David Magee

Story by           David Magee, Rob Marshall, John DeLuca

Based on          Mary Poppins by P. L. Travers

Distributed by Walt Disney Studios Motion Pictures

Genre: Family and Children

Run time: 2 hours and 10 minutes

Rating: PG

First of all, I would like parents need to know that Mary Poppins Returns, starring Emily Blunt as everyone’s beloved magical nanny and Lin-Manuel Miranda as Jack, her Cockney lamplighter pal, is a sequel to Mary Poppins, the Oscar-winning 1964 classic movie. As she did before, the flying, singing, lesson-imparting Mary arrives to help the Banks children — this time around, the three kids of a now grown-up Michael, whose wife died a year before the movie begins (he and the children speak and sing about missing her) and whose family home is in threat of reclamation. The follow-up advances from the first by including a clear scoundrel and limited scenes of danger /suspense (including a mostly animated but still anxious pursuit through a dark wood), though nothing ever gets too creepy. But it follows in the previous ‘s footsteps with its beguiling songs and durable messages about imagination, gratitude, empathy, kindness, looking past the surface, and — of course — being close to your family and believing in yourself.

THE STORY

Disney’s MARY POPPINS RETURNS is a musical set in the 1930s, more than two decades after the events of the previous Mary Poppins. Banks siblings Michael (Ben Whishaw) and Jane (Emily Mortimer) are now adults, and Michael, a recent widower, lives in his childhood abode with his three children — John (Nathanel Saleh), Anabel (Pixie Davies), and Georgie (Joel Dawson) — and their overburdened housekeeper, Ellen (Julie Walters). But he’s having trouble making ends meet in Great Depression-era England. The new generation of Banks kids are in for a treat when Mary Poppins (Emily Blunt) returns to Cherry Tree Lane to care for them and teach the entire family valuable lessons … with a little help from Cockney lamplighter Jack (Lin-Manuel Miranda). When the bank, under the new management of William Weatherall Wilkins (Colin Firth), calls Michael and Jane’s loan in, everyone does their best to ensure that the Banks family doesn’t lose their beloved home.

Image courtesy of Disney Philippines 

Educational Value

Viewers will learn about the brunt and blow of the Great Depression in the U.K. and how tough and grim economic times can affect people, as well as a few things about why Aunt Jane supports the labor movement.

Image courtesy of Disney Philippines 

Positive Messages

Mary Poppins uses daily obstacles and circumstances to teach the Banks children lessons about not judging a book by its cover — whether it’s an actual book or a person. Like the original, it encourages empathy, gratitude, the value of imaginative play, fun, hard work. Mary Poppins underscores the importance of children being children, adults embracing their childlike qualities. The songs’ messages all have character-building content — e.g., embracing your imagination, looking at things from a different perspective, knowing that even in tough times, there’s nowhere to go but up. The film encourages strong family bonds and believing in your abilities.

Image Courtesy of Disney Philippines 

Positive Role Models & Images

Mary Poppins is a woman of mystery and magic. She’s loving, caring and kind but also firm, with a dry sense of humor. She reaches each child where that child is. She’s the very portrait of an independent woman. She shows compassion, communication skills and integrity. Jack is positive, helpful, and yes, resourceful. The Banks children are impulsive but want to help their embattled father. Michael is overwhelmed by circumstances of his life but loves his kids, tries hard. Main bad guy is greedy, selfish but does seem to partially see the error of his ways. What I like about this film is that it has a diverse supporting cast.

Image Courtesy of Disney Philippines 

Violent Content

The children’s mother passes on; it happened a year before the movie begins, but they (and Michael) talk and sing about missing her. Potentially frightening scene in which young Georgie is taken captive by some ill-meaning animated animal creatures; there’s a tense carriage chase through a dark, creepy wood as his siblings try to rescue him. The kids go flying off “the edge of the bowl” and have to be saved. The suspense scene is when Jack climbs up the Big Ben tower and briefly sways high above the ground. A greedy man is mean to children and threatens them. There are some yelling and exchange of harsh words between Michael and his kids. The Banks’ neighbor regularly fires a canon.

Sexy Stuff

I have watched a couple of wink-wink double-meaning jokes/lyrics in a Vaudeville-like song-and-dance number (“she only wore a smile — plus two feathers and a leaf”) and a little hip-thrust dance move by Mary. There are some clear flirting exchanges between Jack and Jane.

Language

There were a few insults like “pea brain,” “fool,” and “buffoon,” plus British slang such as “bloody” and “blasted.”

Drinking, Drugs & Smoking

A song jokes about an uncle being “on the sauce.”

CONCLUSION

Blunt unquestionably owned Mary Poppins while also keeping nostalgic viewers happy with tributes to the original film in this whimsical, playful sequel. Director Rob Marshall loves making big-budget Hollywood musicals, and in Mary Poppins Returns, he ambitiously creates a delightful world that families with kids of all ages will be eager to dive into and enjoy. Everything from the amazing production design to the colorful costumes to the catchy, upbeat songs has still that Disney magic. The performances are all good, with Blunt paving the way. Miranda’s Cockney accent is a little subtler than Dick van Dyke’s was (British folks notoriously panned the lovable actor for his over-the-top attempt), and, refreshingly, there is hardly a hint of romance between his Jack and Mary. Instead, they’re old friends who show the three Banks siblings how to be imaginative and helpful. Whishaw and Mortimer are well cast as the grown-up Michael and Jane, and Meryl Streep memorably joins the proceedings as Poppins’ unconventional cousin, Topsy.

If there’s a comparatively frail spot in the film, it’s the plot, which is justly thin and foreseeable (many moviegoers will discover exactly where those missing bank documents are placed), but you don’t watch a Disney musical expecting Tinker Tailor Soldier Spy-style twists. The musical numbers are superb, and it’s a delight to see Blunt and Miranda sing and dance together. Hamilton fans are rewarded with the big, Miranda-led lamplighters’ song “Trip a Little Light Fantastic” (a clear successor to the original’s “Step in Time”), and his and Blunt’s stirring vaudeville duet “A Cover Is Not the Book” is also quite memorable. The lullaby “The Place Where Lost Things Go” is splendid, and “Nowhere to Go But Up” will make spectators reminisce the joy of “Let’s Go Fly a Kite.”

Summing up this throw-back film, Emily Blunt achieves a fruitful embodiment of the iconic nanny, Mary Poppins. The film, heavy laden with nostalgia and positive emotion, is overall well done. However, several elements stick out as sore thumbs among the art. In addition, the producers of Mary Poppins Returns create new songs which brilliantly imitate the spirit of each musical number in the original musical. The cantata which attempts to personify “Supercalifragilisticexpialidocious” is titled “The Cover is Not the Book” and presents a saloon-clad Mary replacing proper English for cockney. I’m sorry to say that the array of adult jokes through the number is a major turn-off. Honestly, this number is distracting, out-of-character and risque. Other elements in this film are just as falling short of the “practically perfect” film we, as a culture, have come to expect. But at the end of the day, Mary Poppins Returns will make us cry, bring a smile to our faces, kindle a sensation flying, and help us to recall what it is like to be a child again.

Will this sequel replace the original in moviegoers’ hearts? I doubt it. Because I must say, there is only one.

I rate the film 4 out of 5 stars.

http://www.filcatholic.org/still-a-sweet-spoonful-of-sugar-mary-poppins-returns-a-film-review/