Basil The Great Mouse Retrospective

 (Basil The Great Mouse Detective Review By Neamo)

There are times when, in feeling lethargic and generally infirm, a man or woman craves something beyond the usual comforts of their daily drudge. I myself am one such man. Wallowing in ailments that set a deep craving within me for bed linen and comfort, I returned once more to Disney and cartoons of my childhood. Please take note, as is usually the case whenever I fall ill, that while the review's schedule might be effected, I shall do my best to maintain standards. I'm a people person.

Set in Victorian London, the owner of a local toy shop, Mr Flaversham is abducted by a villainous and faintly racially suspect bat by the name of Fidget, leaving his young daughter Olivia alone and destitute in his wake. Distraught, she seeks out the aid of Basil of baker street with the well meaning but portly Dawson guiding her. Convincing the detective to take up the case after a cold lead on his arch nemesis, the nefarious Ratigan, Basil and crew secure the services of their trained beagle Toby and ride the lovable steed onward as the game is afoot. Tracking Fidget to a human toy store, they find quickly that gears have been stripped and soldiers disrobed, but in their efforts to track the peg legged thief, lose track of Olivia who is kidnapped in turn. Turning to Basil's scientific prowess, they discern that the likely location of schemes is in fact a waterfront pub, and disguise in tow make their way inside in an attempt to infiltrate. Things of course don't exactly go to plan as the bumbling Dawson, becoming drugged, starts a bar fight that leads to a hasty escape. Pursuing Fidget into a sewer pipe, it becomes clear they have been trapped, and Basil's spirit is broken as Ratigan lauds it over them both before securing them to a deviously fashioned device in a move that is both James Bond villain and mouse trap. Realizing the queen is in peril and that they too are soon to be extinguished by a heinous rube goldberg machine of death, Basil foils the machine, saves the queen and has one of the most memorable final showdowns of any cartoon, all atop the tower of Big Ben. All in a days work for our Homes inspired hero.

So, where to begin? The plot of this crime caper might seem a little tired at first glance with the child seeking help from the genius detective to find her missing pater, but in fact it acts more as a love letter to classic Conan Doyle, with many borrowed tropes translated directly within. Though names are changed and much is alluded to, what we are looking at is a watered down Sherlock for children, and that can't be a bad thing. Likewise the pragmatic and magnanimous villain Ratigan seems a far departure from the haphazard villains of Disney culture. Sophisticated and debonair, he portrays himself as an idol of vanity itself, forcing his henchmen to quite literally sing his praises, lauding it over the ailing detective whilst also dispatching of any who would bring into question his standing by calling him a rat. He is a rat of course, but that isn't important. Did you hear a bell? In any case, this megalomaniac reflects well the self centric qualities of Moriarty, in a more lovable package as must be the case, and it certainly helps the film to flow. I could put it down to the voice acting, which was simply superb with his voice provided by Vincent Price, but I'm almost certain that it was too about clever writing. That air of class. That's what I think this film has that allows it to be distinct from other Disney films. We aren't talking of magic and wonders, nor are we talking of emaciated fashionistas and their love of all things gaudy, this is a film about political conquest and keen minds. It shouldn't by rights be as entertaining as it is, but it manages beautifully.

The animation is beautiful, but that's to be expected of a Disney production. I have since learned that it was in fact the saving grace of the company in a time when the Black Cauldron, a then under appreciated classic, had sank the collective budget of the animation department. In this sense, it saved the company and heralded the age of the Disney Renaissance, so it certainly has that going for it. I won't say it's the most beautiful animation I've ever seen, as I've certainly enjoyed the style of other films more so than this, but it has it's own unique charm in that classically undefinable but inherent Disney style. The musical scores weren't the strongest. With most either acting as background or featuring none of the principle cast the music is understated and at times entirely unfocused. The pub scene with Watson though requiring dancers felt over played as the song itself and the singer had no relevance to the film itself, and while it seemed poignant at the time and much like it would build, ultimately it served as little more than a red herring. The dancers could easily have been dancing to the sound of the piano alone, it looked much like an executive had asked for there to be more music for the sake of the audience rather than the film's cohesion.

What gripes do I have to pick with a childhood favorite? It's certainly a struggle, but I'll do my best. While the plot itself seems clever, at times much like the Holmes that had inspired it, the non specific elements of chemistry that lead to the conclusion often feels rushed with little explanation. We hear of soot dust connecting to lamps, of gummed paper and cheap alcohol, and indeed of the paper's origin and dousing in salt water. We hear of this, and as an adult it might be possible to put it together logically or follow, but not as a child. I don't speak for all children when I say this, so pay heed and take note, but for the most part children are stupid. No child is going to follow the path of the deductions in the same way no child would, or should, understand the comparison of bullet rifling that caused Basil anguish earlier in the film. While I praise the idea of a watered down Holmes for children, I feel the film asks for a lot in terms of keeping interest, and it begs the question, who was their real target audience? I was satiated as a child with the humor and cute aesthetic, so while I can now laud the tributes between film and book, they seem a little hollow coming from retrospect. It seems as if at times it attempted more to be clever than it did to appeal to it's audience, and while that isn't specifically a bad thing, it doesn't seem like a clever marketing move.

Overall, I love the film. It has something for everyone, and while children may not understand all it has to offer, it remains special for the reasons listed above.

Praising Mr. Banks

 

 (Saving Mr. Banks Review By Neamo)

Looking back over my recent articles, namely the only articles I have in fact written, I would feel remiss if I didn't try to impress upon you that I'm not the pedantic asshole I'm portraying myself as. I do in fact garner an enormous amount of enjoyment from movies, television and the entertainment industry at large, and while the soul of an angst riddled pessimist lurks deep in the hollow edifice of my chest, there are things I actually do enjoy. I'll be the first to admit I'm overtly critical of flaws, and part of the enjoyment in of a film for me is the ability to find fault, which is easy as perfection is rare to non existent and movies are numerous. I enjoy critiquing good movies and in a similar although far more venomous facet, ripping meaty chunks from things I detest. It's a nice way to while away my evening hours, and if nothing else it provides me with an outlet for the building toxins and bile that would otherwise take a team of trained Swiss physicians years to drain from my various bloated orifices. I'll be the first to admit, it's easier to criticize than glorify and in many ways it's more fun to write, which is handy as perpetual fawning is the mark of a fanboy, and no one likes a fanboy. In light of that, I thought I would review something I enjoyed to change pace, and perhaps so that I can sleep easier tonight knowing that I'm picky, not pretentious.

Saving Mr. Banks is the true story of how P.L.Travers, a haughty relic of the prim and proper days before modern indulgence, falls upon hard times financially and agrees to sell a characteristically charismatic Walt Disney the rights to her book Mary Poppins, with a set of otherwise impossible proviso's that ultimately aren't adhered to. That's one way to look at the film's story, and it isn't an incorrect one, the events surmised are the events that take place and ultimately as a premise for a film in of itself, it isn't the most captivating plot. There are no grand chase scenes, no great sweeping romances or life altering events, so if that is what you are looking for, this Disney film is not for you. Instead through flash backs during her time with Disney we see the fairly traumatic back history of a woman subdued and embittered by a deeply rooted father complex that has dictated much of her life today. A gambler, a drunk, a dreamer and an idol, his fall from grace into the depths of alcoholism destroyed much of her family and left a road map of emotional scars in her otherwise damaged psyche. In her interactions with Walt and her driver, we see the dreamer suppressed rise once more, and while the change is gradual it renders heart and soul in her development and bloom. That being said, take this all with an oceanic pinch of salt as, being a Disney true story, the emotional story and change of perception within are conjecture to ease the film into the realm of the sentimental. My prior assessment is truer to the actual events as they transpired in life.

The acting of the film is pretty phenomenal. Whilst I could rightly say it's driven by sentiment and implicitly sickly sweet in portion, which it is I'll grant you as this is a Disney movie, the character portrayals stand far and above the shallow portrayal I had dubiously expected when embarking upon it. I'm not casting aspersions on the actors or indeed the company at large, but the trailer footage and general air of promotion around this film suggested a heart warming family tale, and that often leads down a slippery slope greased with Hollywood butter and sweetener. It wasn't that. With a performance of clear and honed conviction as P.L.Travers, Emma Thompson reminded me quickly of her acting credentials which had been forgotten prior in a slew of film for paycheck releases that had left little to flatter. She is an incredible actress, as evident by works I shall no doubt review at another time, and she acted much as a supporting pillar for this film with her sharp candor and depth of dry wit. It was a true performance, and it made the development though gradual of her emotional journey all the more poignant in an ending scene that gave a genuine tug at the heart strings. Tom Hanks in the same breath provided a perfect foil as the faintly sardonic but irrepressibly charming Walt Disney. There is something innately likeable about Tom Hanks that I'm frankly perplexed by, an innate charm to his on screen performances that is difficult to emulate and impossible to describe, and he brings the same undeniable presence to Disney that attracted audiences to the lovable thespian in many of his other roles. While as a critic I find it irritating to settle with the description charming, it is the best suited word for his performance. Paul Giamatti will go down in the annuls of history as being one of the most underrated actors of this generation, and his performance likewise was warm and heartening without giving an air of falsehood, and the supporting cast including the talented B.J. Novak, Jason Schwartzman and the sobering Colin Farrell all play their part in a fantastic way.

The setting was certainly fine, though to say more of it would be a little facetious as it was set almost entirely within an office or in the flash backs of Travers Australian home. Fine is the appropriate word, as I didn't feel myself awed by the setting or scenery, and I don't believe I should have. It was intended to be real to life, and the majestic realm of Disney theatrics would have only distracted from the main cast. The musical score was a joy to behold as, although it consists of songs that are essentially the clones of those from Mary Poppins, they are used to aid in the dynamics of the story itself which is no mean feat. Giving a sense of lyrical exploration, each word takes meaning beyond the childhood jingles of old, and we are left with a sense of deep rediscovery that both warms and heartens.

It's difficult to critique, and it's possible I'm avoiding it for the sheer pleasure the film brought me. While there are hairline faults if examined closely, I shall on this occasion leave them without highlight as I am pleased if nothing else to talk of it's merits without hindrance. A special film, with a special place in my heart. I would advise watching it.