The Boy Who Talked to Badgers (1975)

The Boy Who Talked to Badgers (Dir: Gary Nelson, 1975).

A family drama first aired in two parts on NBC’s The Wonderful World of Disney television series. Difficult to obtain for many years it is now available to watch on the Disney+ streaming service.

Based on Allan W. Eckert’s 1971 novel Incident at Hawk's Hill, The Boy Who Talked to Badgers tells the story of  young farm boy Benjy MacDonald (Christian Jutter). Preferring the company of animals to humans Ben largely disconnects with others, notably his stern father Will (Carl Betz). When out playing in a nearby creek, Ben falls in and is carried downstream. Believing him drowned, his guilt-ridden father organises an extensive search of the surrounding area. Ben, meanwhile is aided by a badger who befriends him and keeps him supplied in raw fish while the boy's injured ankle heals. 

This kind of folksy frontier drama was standard fare for The Wonderful World of Disney, however what passed for family entertainment in 1975 will seem incredibly twee to kids today. Yet, it is not without merit, particularly in its depiction of a child who has difficulty connecting with others. Outsider Ben would probably be diagnosed with Autism today. While the movie draws no such conclusion, his social awkwardness is sensitively handled. Christian Juttner is sympathetic in the lead, but the standout performance come courtesy of Salome Jens, highly effective in her role as Ben’s anguished mother. 

Shot entirely on location in Alberta, Canada the movie features some stunning scenery. Gary Nelson would later direct Disney's big budget space yarn The Black Hole (G. Nelson, 1979) but is at home here with a more Earthly kind of 'space'. The wide-open plains and brilliant blue skies of Alberta look fabulous. Nelson imbues the film with a fresh air, outdoorsy atmosphere and an expansive scope unusual in a TV movie.

I lapped up these Disney animal dramas as a kid and although I cannot recall having previously seen The Boy Who Talked To Badgers, it has a cosy kind of familiarity which resonates with my inner 8 year old. It’s a lot of nonsense really, but is sweetly sentimental, tempered with a surprisingly sober finale. If, like me, you loved The Wonderful World of Disney as a child, you will almost certainly find yourself drawn in by the movie's innocent charm.

The Lion King 1 1/2 aka The Lion King 3: Hakuna Matata (2004)

The Lion King 1 1/2 aka The Lion King 3: Hakuna Matata (Dir: Bradley Raymond, 2004).

The third and final feature in Disney’s original Lion King trilogy; burdened with the clunky and less witty title The Lion King 3: Hakuna Matata internationally. 

Just as Tom Stoppard’s 1966 play Rosencrantz and Guidenstern Are Dead retold William Shakespeare’s Hamlet from the perspective of the comic supporting characters, so too The Lion King 1 1/2 relates the Hamlet inspired The Lion King (Roger Allers & Rob Minkoff, 1994) from the point of view of co-stars Timon and Pumbaa. A neat framing device of Timon and Pumbaa watching and commenting on the original movie introduces the fairly novel conceit and also provides us with their hitherto untold backstories.

Amazingly, this device works beautifully. Director Bradley Raymond interweaves scenes from the original movie with those of his own almost seamlessly. To achieve this, the standard of animation is of a markedly higher quality than one has come to expect from previous, modestly budgeted DisneyToon Studio sequels to Walt Disney Animation Studios features.  Nathan Lane and Ernie Sabella return as the voices of Timon and Pumbaa, respectively, as do most of the original cast. Original composers Tim Rice and Elton John also return with the new tune Meerkat Rhapsody. Tom Rogers screenplay is witty and fast-paced, with the story not seeming as over-familiar as it might. Overall, its concept is excellently executed and does not feel overly gimmicky.

Not particularly a fan of the Disney brand of straight-to-video sequels, The Lion King 1 1/2 came as a pleasant surprise. It is a vast improvement on the good-looking but dull Lion King II: Simba's Pride (Darrell Rooney) and is one of the few Disney sequels which does not does not disgrace the original. While much of DisneyToon Studios' product is aimed squarely at the youngest of audience members, Lion King fans of all ages should enjoy this movie. I would definitely recommend watching the original The Lion King first, but this follow-up holds its own against that movie. While The Lion King 1 1/2 is not as essential as its classic forebearer, it is a lot of fun; a clever and good looking addition to the previously tired franchise and easily the best of Disney's much maligned series of sequels.  

Mutiny on the Bounty (1935)

Mutiny on the Bounty (Dir: Frank Lloyd, 1935).

A lavish Metro-Goldwyn-Mayer adaptation of the bestselling historic novel by Charles Nordhoff and James Norman Hall. 

Mutiny on the Bounty recounts the now famous events of the 1789 mutiny when, on a mission to Tahiti to collect breadfruit, the crew of the HMS Bounty, lead by First Officer Fletcher Christian (Clark Gable) revolt against the tyrannical Captain William Bligh (Charles Laughton). Putting him to sea in a rowboat, the crew pilot the ship to the lush paradise of the Pitcairn Islands. 

Clark Gable was, at the time, the biggest male star in Hollywood and it is easy to see why. Shorn of his trademark mustache, he gives a wonderfully charismatic performance as Fletcher, exuding masculinity and sensitivity. A markedly different, but equally successful approach is adopted by Charles Laughton in his intense depiction of Captain Bligh as a despotic psychopath, berating and punishing his crew for minor or unproven indiscretions. His display of arrogance and pompousness create a genuinely loathsome character. Bligh would rightly become a signature role for Laughton and remains arguably the best interpretation of the role. Franchot Tone also impresses as Midshipman Byam, torn between his loyalty to the Navy and his friendship with Fletcher.

Central to an exceptionally well crafted production, the Bounty itself is magnificent and thanks to extensive location shooting in Tahiti, the movie rarely feels studio bound. Occasional use of back-projection is evident, but for the most part the special effects hold up excellently. There is genuine excitement generated by the various storms and rough seas and in the thrillingly staged mutiny. The movie does not hold back in its depiction of the cruelties administered by Bligh upon his crew; creating a glaring contrast between shipboard life and island paradise. Director Frank Lloyd's movie is more character driven than most modern action films, yet the pace never wavers in its dramatic portrayal of the real life conflict. 

With its mix of action and romance, Mutiny on the Bounty is in many respects the archetypal Hollywood blockbuster.  A massive hit for MGM, the studio revisited the tale almost three decades later. This epic, three hour adaptation of Mutiny on the Bounty (Lewis Milestone, 1962) would not repeat the financial success of the original, although it is an impressive and enjoyable production.  

While this Bounty cannot compete with the Super Panavison 70mm Technicolor 1962 version for sheer spectacle, it is ultimately the better movie thanks to superb performances from it legendary cast. A rousing, old-fashioned adventure, Mutiny on the Bounty is a classic from the golden age of Hollywood.  

Stitch! The Movie (2003)

Stitch! The Movie (Dir: Toby Craig & Bobs Ganaway, 2003).

 

The first of three follow-ups to Walt Disney Animation Studios' hit movie Lilo & Stitch (Dean DeBlois & Chris Sanders, 2002).

This DisneyToon Studios production finds alien experiment Stitch (aka Experiment 626), along with his creator Jumba and sidekick Pleakley, adjusting to life on the Hawaian island of Kauai. Living in the home of Lilo and sister Nani, things are peaceful enough until the discovery that Jumba has smuggled previous genetic experiments 1 to 626 to Earth. Returning from the first movie, bad guy Gantu, is hired by evil alien scientist Dr Hamsterviel to retrieve the experiments, which Jumba created with Hamsterviel's financial assistance. Coming to the rescue, Lilo and Stitch hatch a plan to collect Stitch's new-found cousins and distribute them throughout the island.

Somewhat confusingly, this 2nd feature film in the Lilo & Stitch franchise is the third film canonically, set after but released a year earlier than Lilo & Stitch 2: Stitch has a Glitch (Michael LaBash & Tony Leondis). If you have read my previous reviews of Disney straight to video sequels then you will know that I am not a fan. But for the Lilo & Stitch franchise I make an exception. While not as essential as the original, this is a decent movie in its own right. Upping the sci-fi quotient, it is concerned more with alien activity than Hawaiian island life and acts as a pilot for TV's Lilo & Stitch: The Series (2003-2006). 

It is kind of modest in its approach to animation and storytelling, but a low-key simplicity was central to the appeal of the first movie. The story is stronger than many sequels, being neither particularly derivative of the first, nor employing the over used role reversal theme common to Disney sequels. New addition to the cast Hamsterviel makes for an engaging villain and the plethora of experimental aliens are amusing, although none prove as endearing as experiment 626 himself. The stylistically cartoony approach of the original is better suited to TV's limited animation techniques than many Disney features and visually this is a notch or two above most lower budget efforts. While never reaching the emotional depths of the original movie, it does continue the 'ohana (or family) theme and the powerful message of acceptance. 

Lilo & Stitch endures as one of Disney’s best features of the 21st Century. Of course Stitch! The Movie is not as great a movie as the original, but neither does it do it a disservice. Far less of the quick buck cash-in I expected, this is a modest but warm-hearted treat and at 60 minutes long doesn't outstay its welcome. The youngest of Lilo and Stitch may enjoy it almost as much the original, while older kids and grownups won’t mind giving over an hour of their time to this unassuming, fun follow-up. 

The Lion King II: Simba's Pride (1998)

The Lion King II: Simba’s Pride (Dir: Darrell Rooney, 1998).

Walt Disney Pictures' The Lion King (Roger Allers & Rob Minkoff, 1994) would prove a massive hit for the studio. So much so that a sequel was inevitable. Whereas studio founder Walt Disney famously disliked sequels, the new studio regime had no such qualms. A straight-to-video follow-up was put into production almost immediately, eventually hitting Blockbuster shelves four years after the original. 

Much as the original movie was inspired by William Shakespeare's Hamlet, so The Lion King II takes its cue from the Bard; on this occasion Romeo and Juliet. Simba is now the over-protective father of cub Kiara, born at the end of the first film. When venturing into the forbidden Outlands, the curious cub encounters social outcast and heir to disgraced Uncle Scar's pride, Kovu. They strike a friendship which eventually turns to forbidden romance as Kovu's outcast family plan to use the pair to get to Simba and overthrow the king.

Before Disney hit upon the idea of remaking their animated classics in live-action (or photorealistic CGI) they had an industry churning out straight-to-video sequels. Beginning with Aladdin 2: The Return of Jafar (Toby Shelton, Tad Stones & Alan Zaslove, 1994) and finally being put to rest with The Little Mermaid 3: Ariel's Beginning (Peggy Holmes, 2008), the movies were produced by Walt Disney Television Animation (latterly DisneyToon Studios), rather than the more prestigious Walt Disney Animation Studios. While highly profitable, most of the movies were well below the standard of their theatrical counterparts and arguably had a direct influence on the dwindling profits experienced by the studio in the early 2000s. Once held as the standard bearer for quality family entertainment, the abundance of these low budget cash-ins meant many now regarded the studio's product as little more than a convenient babysitter for the youngest of kids. 

The Lion King II: Simba's Pride is by no means the worst Disney sequel. While not quite replicating the sheer visual spectacle of its predecessor it is surprisingly good looking production, considering its made for video origins. This suggests that Disney were not eager to cheapen the brand too much. However, points it gains for decent animation are lost for pedestrian storytelling. The role reversal plot, also utilised in The Little Mermaid II: Return to the Sea (Jim Kammerud, 2000) and Lady and the Tramp II: Scamp's Adventure (Darrell Rooney. 2000), offers little surprises. Many new characters are introduced at the expense of those familiar from the first movie. The newer are blandly generic while the older are rewritten beyond recognition. Worst affected is the king himself; in spite of the title, Simba is here relegated to supporting player in his own movie. This new, but not so improved Simba is a completely different lion. Parenthood has turned him into a worrying, overbearing bore, constantly berating Kiara and telling her what she can and can't do. It's no wonder she disobeys him. Not only does this make the once lovable character less sympathetic to audiences, it also adds to the muddy morals of the film, which seemingly endorses defying your parents and doing as you want with no regards on the effect it may have on others.  

 

With the exception of He Lives in You, the songs, by a variety of writers, are not a patch on the original movie's Tim Rice and Elton John compositions. One number entitled Upendi is a shameless attempt to recreate Hakuna Matata, while also borrowing visual elements of I Just Can't Wait to Be King. The other tunes are pleasant enough, but it is doubtful you will be humming them after watching the movie. 

In spite of its shortcomings, The Lion King II: Simba's Pride was a roaring success, becoming one of the biggest selling VHS titles in the history of the format. Predictably, a further sequel followed; The Lion King 1 1/2 (Bradley Raymond, 2004) offers a clever spin on the first movie and is in itself an original and appealing work. Unfortunately the same cannot be said of The Lion King 2. With an 80 minutes running time, it is not an especially long movie. But pedestrian storytelling, stock characters and forgettable songs means Simba's Pride will hold little interest for all but the youngest of Lion King fans. 

The Lion King (2019)

The Lion King (Dir: Jon Favreau, 2019).

Disney’s reboot binge continues with yet another high tech adaptation of an animated classic, this time renaissance era blockbuster The Lion King (Roger Allers & Rob Minkoff, 1994). 

As I am certain you are aware, The Lion King tells the story of young lion and future king Simba (voiced by Donald Glover). Simba's father Mufasa (a returning James Earl Jones) is killed by his brother and Simba's uncle Scar (Chiwetel Ejiofor). Scar leads Simba to believe he is responsible for Mufasa's death and goes into hiding. Believing Simba has been killed by hyenas, Scar takes his place as king of the Pride Lands. However, Simba is rescued by comic relief duo meerkat Timon (Billy Eichner) and warthog Pumbaa (Seth Rogen). When Simba's hideout is discovered by cub-hood pal Nala (Beyoncé) she tells him of his uncle's despotic machinations. The two lions, with Timon and Pumbaa in tow, return to fight Scar and reclaim the crown.

Walt Disney Pictures have been in the lucrative remake business for some years. Inevitably it was only so long before they would turn their attention to their most profitable 2D animation The Lion King. With Jon Favreau announced as director and a distinguished vocal cast attached, it was clear that this 'Hamlet with lions' was in safe hands. Maybe a little too safe, however, as this admittedly highly impressive movie offers few surprises. Still, what worked before works again and there is certainly little to dislike about this retelling.

As you would expect with Beyoncé and Donald Glover in the cast, the soundtrack is excellent. Their duet on 'Can You Feel the Love Tonight' is a particular highlight. The new recordings of the Tim Rice & Elton John compositions are handled beautifully. Arrangements are much the same as before yet the quality of the performances mean they are at least a match for the originals. In many instances I think the more r'n'b infused take on the songs works better than the Broadway-pop of the original. Another musical highlight is the Jackson 5-esq 'I Just Can’t Wait to Be King', given new vigor by JD McCrary and Shahadi Wright Joseph as young Simba and Narla respectively, backed up by an astonishingly lifelike chorus of singing and dancing wildlife. 

There is, undoubtedly, a lot of fun to be had from watching elaborately staged musical numbers performed by ‘real’ animals. Yet while this is appealing it also can’t help but feel a little like a lavish experiment, rather than a movie experience proper. One drawback of the incredibly photorealistic CGI is it is so lifelike as to make the animals oddly less expressive, resulting in many scenes lacking the emotional weight of the original 2D animation. 

Director Jon Favreau was tasked with bringing the movie to 'life' after the blockbuster success of his previous Disney reboot The Jungle Book (J Favreau, 2016). While I am a fan of Favreau’s work as director, the movie so slavishly follows the original that he leaves little of his stamp upon it. Ultimately, the shadow of the original Lion King looms so large over this version that it is hard not to make constant comparisons between the two. 

A lot of talent was involved in the making of The Lion King and the result is a good movie. More than that, it is a very impressive movie. But with songs, dialogue and entire scenes lifted from the first film it feels patently unoriginal. Fundamentally, it is the same movie as before, but this time with real fake lions. As such, as great as the production is, this new King is unlikely to usurp the original as your favourite musical Shakespeare adaptation with Lions. 

Freaky Friday (2003)

Freaky Friday (Dir: Mark Waters, 2003). 

Walt Disney Pictures’ Freaky Friday is, to date, the studios’ third of four screen adaptations of Mary Rodgers’ popular 1972 comic novel. 

Here a trip to a Chinese restaurant and a mysterious fortune cookie is the catalyst for switching the mind and bodies of overbearing middle age mother Dr Tess Goldman (Jamie Lee Curtis) and her rebellious, rock chick teenage daughter Anna (Lindsay Lohan). Unfortunately the switch coincides with Tess' marriage rehearsal and Anna's band Pink Slip's chance to audition for a performance slot at House of Blues.

The original Freaky Friday (Gary Nelson, 1976) was met with positive reviews and a moderately successful box office on release. Gaining a larger audience through home video and TV screenings, it is now seen as a highlight of an era in which many of the studios' movies were meet with indifference. Even so, four film adaptations, not to mention a stage musical, in just over 40 years does seem a little excessive. Yet each new version has had its own merits, proving Freaky Friday is a pretty robust brand.

This one deviates from the book significantly. The original movie did too, but with a screenplay by author Mary Rodgers it did capture the spirit of the novel. Here, Heather Hatch and Leslie Dixon’s screenplay offers a fresh and funky update on Rodger's original. Rather than an otherwise ordinary Friday the 13th, this Freaky Friday takes place on the eve of mom's wedding - a conceit also used in the stage musical and subsequent Disney Channel Original Movie adaptation, likewise titled Freaky Friday (Steve Carr, 2019). Mom is now a successful psychiatrist with a bestselling self-help book as opposed to harassed housewife. While this is more reflective of modern times, it does rob the story of the mildly feminist tone of the original. The basic premise of the switch reversing only with mutual understanding is intact, however. Director Mark Waters brings a much needed light touch to the material, never letting it descend into the heavy-handed farce it may have.

Age 16, Lindsay Lohan was already a veteran of the Disney remake, having appeared as twin sisters in The Parent Trap (Nancy Myers, 1998). Evidently making the difficult transition from child star to teen with ease; after subsequent success in Mean Girls (Mark Waters, 2004) and Herbie: Fully Loaded (Angela Robinson, 2005) her career sadly faltered. Her performance here is a reminder of how promising a talent she was, particularly in comedy. Former scream queen Jamie Lee Curtis also proves her comedy chops in what is arguably her best role of the 2000s.

As a personal boyhood favourite, the original Freaky Friday holds a nostalgic resonance which this iteration could not possibly have. However, this movie is still a lot of fun, thanks largely to an appealing cast. A lightweight, funny family movie, this may appeal mostly to tweenage girls, but should be enjoyed by anybody who has ever wished to be someone else for a day.

Niagara (1953)

Niagara (Dir: Henry Hathaway, 1953).

Marilyn Monroe's breakthrough performance in an unusual film noir, distinguished by its use of eye-popping three strip Technicolor. 

Arriving at Niagara Falls for a delayed honeymoon, the affable Polly Cutler (Jean Peters) and her husband Ray (Max Showalter) encounter the altogether odder married couple Rose (Monroe) and George (Joseph Cotton) Loomis, visiting the Falls six years after their own honeymoon in an attempt to rekindle their relationship. Recently discharged from a mental institution, the troubled George is scarred by his experiences in the Korean War and seemingly an ill match for the voluptuous Rose. Darker motives are apparent as Polly spies Rose in the embrace of another man. When George mysteriously disappears Polly suspects murder, but has a hard time convincing her husband and the authorities until George reappears and the fatalities begin to mount. 

It is up for debate as to what is more spectacular: the natural splendour of Niagara Falls or the magnificent Marilyn! Both were exploited in the movie’s post art which featured a seductively posed Monroe draped across the falls in a tight dress, proclaiming "Marilyn Monroe and Niagara... a raging torrent of emotion that even nature can't hold!"

Indeed, Monroe is mesmerising! Receiving top billing for the first time in her career, she gives a fantastically charismatic performance, overflowing with sultry sexuality. It is easy to see why this was the movie that shot her to stardom. Cotton too offers an extraordinary performance as George, eliciting audience sympathy while simultaneously conveying a disturbing, cold menace.

The dangerous allure of Monroe and the damaged neurosis of Cotton is juxtaposed by the clean cut ‘normality’ of Jean Peters and Max Showalter (here billed as Casey Adams) as the Cutlers. Although a little bland by comparison both give strong performances, their all-American amiability offering a nice contrast to the melodramatics of the Loomises. 

Niagara is a dark movie shot in richly evocative, almost dreamlike, colour. Director Henry Hathaway imbues his film with a deliciously off-kilter atmosphere, underlined by a sombre sense of impending doom. This is nicely offset by Joseph MacDonald's Technicolor photography; capturing the Falls in all its raging, breathtaking beauty and almost serving as a travelogue for the resort.

Niagara is, perhaps, not the most tightly plotted of thrillers: the conclusion seems inevitable fairly early on, slightly robbing an otherwise exciting climax of some of its impact. It could also be argued that it offers a dim view of female sexuality, both objectifying Monroe and  simultaneously castigating Rose and her overt sensuality. It is the gender politics which, more than anything, ties  the film to the era in which it was made. However, the movie is compulsive viewing, both for its performances and its spectacular scenery. Having not seen Niagara in a few years, I found it entertaining and impressive in equal measures. It holds up as Monroe's best early performance and offers a rare opportunity to see her in full-on femme fatale mode. A brightly coloured, darkly atmospheric classic. 

The Castle of Cagliostro (1979)

The Castle of Cagliostro (Dir: Hayao Miyazaki, 1979). 

Originally titled ルパン三世 カリオストロの城, The Castle of Cagliostro is an animated action adventure, the feature film debut for director Hayao Miyazaki. 

Master thief Arsene Lupin III and his cohort Jigen stumble upon an international counterfeit operation after a daring raid on a swanky Monte Carlo casino results in a haul of fake cash. Tracing the operation to the small country of Cagliostro, they come up against the crooked Count Cagliostro when attempting to rescue a damsel in distress, his intended bride Clarisse. Meanwhile Lupin's nemisis Inspector Zenigata is hot on his trail.

Six years before co-founding Japan’s legendary Studio Ghibli, director Hayao Miyazaki made his feature film debut with this exciting, fast moving action/adventure. In some respects it could be considered Proto-Ghibli, although in many regards it is an anomaly among the director’s movies. Unlike his later original creations, The Castle of Cagliostro is based on manga artist Monkey Punch’s Lupin III series, itself inspired by the work of French author Maurice Leblanc. Part of an existing franchise, the movie is a sequel of sorts to previous Lupin III animation The Mystery of Mamo ( Söji Yoshikawa, 1978), although no knowledge of that movie is needed to enjoy this. 

An all action movie with genuinely exciting set-pieces, including high speed car chases and elaborate shootouts; of all Hayao Miyazaki’s features, this feels most like a contemporary live-action caper movie and draws heavily on classical Hollywood, notably To Catch A Thief (Alfred Hitchcock, 1955). While, perhaps, not as polished as his later movies, the slightly rough and ready character animation matches the rough and ready charm of its anti-hero leading man. It is graced with the beautifully detailed backgrounds familiar to fans of Ghibli’s more elaborate fantasies while the wistful, almost melancholic romanticism of later movies is also present.  

With it’s themes of fraud, gambling, some mild bad language and scenes of smoking, The Castle Of Cagliostro is not as kid friendly as later Hayao Miyazaki titles such as My Neighbor Totoro (1988) or Ponyo (2008). However, older children and big kids like me will find it a funny and fast-moving, quirky alternative to Western animation.   

Scrooge aka A Christmas Carol (1951)

Scrooge aka A Christmas Carol (Dir: Brian Desmond Hurst, 1951).

Charles Dickens' 1843 novella A Christmas Carol is the second most famous Christmas story ever told. It must also rank as the most filmed piece of literature of all time, with countless movie and TV adaptations surfacing yearly. For many, me included, this 1951 adaptation is the best of the hundreds-odd versions. 

Scrooge (it retained its published title A Christmas Carol in the US) is, of course, the tale of the embittered miser who loathes his fellow man and mistreats his overworked, underpaid employee Bob Cratchit. The old curmudgeon is offered the chance of redemption on Christmas Eve when he is visited by four spirits who take him on a journey through his past, present and future to show him the error of his ways. 

Scrooge a is richly atmospheric movie which doesn’t dilute the novel’s darker moments. Director Brian Desmond Hurst presents us with a moody, almost Gothic version of Dickens, somewhat lacking in Christmas cheer, but all the more powerful for it. There are genuinely disturbing moments, courtesy, in particular, of the Ghost of Christmas Present and the Ghost of Christmas Yet to Come. Slushy sentiment is kept at bay, although lump in throat moments are plentiful! C M Pennington-Richard's stark monochromatic cinematography adds a deliciously grim ambiance to the London backstreets and Scrooge's over-sized, under-furnished abode.   

Yet, as impressively mounted as the movie is, it is the superb cast of actors who really elevate it to classic status. Primarily known for comedic roles, Alastair Sim brings a certain gleeful malevolence to the role of Scrooge. From rotter to reparation, his Ebenezer Scrooge is a joy and arguably the Scrooge against which all other Scrooges must be judged. He is surrounded by an equally impressive cast of British acting legends, notably Mervyn Johns and Hermione Baddeley as a sympathetic Mr and Mrs Cratchit, Jack Warner as Scrooge's ex-employer Mr Jorkins and Michael Hordern as a morose Jacob Marley. It also provided a excellent early role for Sim's real life ward and acting protege George Cole as the young Ebenezer. 

As familiar as the tale is, this is a movie that deserves multiple repeat viewings. 70 years after release it remains, perhaps, the greatest festive feature of all time. The definitive film adaptation of A Christmas Carol, Scrooge is a classic of British cinema and a genuine cinematic masterpiece!

Note: Steer clear of the computer colorized version; Scrooge is best enjoyed in the glorious black and white in which it was made. 

Hacksaw (1971)

Hacksaw (Dir: Larry Lansburgh, 1971).

Originally screened in two parts on NBC's The Wonderful World of Disney in September 1971. Hacksaw is a handsome outdoor adventure with a leading role for former teen heartthrob Tab Hunter. Rarely seen since its original broadcast, it has recently been made available to view on the Disney+ streaming service. 

Hacksaw, a wild stallion is captured by Canadian cowboy Tim Andrews (Hunter) and friend Susan (Sue Curtis). Hacksaw's speed and strength see the stallion and Tim engaged by an aging rancher (Ray Teal) to ride on his behalf at a championship chuck wagon pull at the famed Calgary Stampeed.

Shot on location in the Canadian province of Alberta and the Rocky Mountains, Hacksaw boasts some spectacular scenery. The beautiful photography belies the movie's made for TV origins, although it does fall neatly into two distinct haves as Wonderful World of Disney features often do.

Tab Hunter and character actor Ray Teal both make appealing late career appearances and add a little weight to a cast of largely unfamiliar faces. Director Larry Lansburgh was an old hand at this type of animal action. He elicits naturalistic performances from both humans and horses which lends the film an atmosphere of a docudrama. The climactic chuck wagon race conveys as much gentle excitement as you would expect from a chuck wagon race. 

If there is any particular criticism of Hacksaw it is that there is little narrative thrust. It is not the most densely plotted of movies, but its easygoing nature accounts for much of the picture's charm.  

Hacksaw will undoubtedly appeal most to horse lovers. Kids raised on flashy franchises such as Star Wars and The Avengers alone may find it a little underwhelming. But many will find it easy to warm to this laidback, goodnatured drama. With its rugged locales and beautiful horses, this Disney obscurity is lightweight but likeable entertainment. 

Swiss Family Robinson (1940)

Swiss Family Robinson (Dir: Edward Ludwig, 1940).  

A little seen RKO adaptation of the classic Johann Wyss novel. When Walt Disney produced his own feature film of Swiss Family Robinson (Ken Annakin, 1960) he also purchased the rights to this earlier version. Since then it has remained largely unseen but has recently surfaced on the Disney+ streaming service. 

It tells the well known tale of a family fleeing the Napoleonic Wars who end up shipwrecked on a tropical isle. Learning to cope with island life, they build an elaborate treehouse and have various run-ins with the local wildlife.

Those familiar with the later movie may be surprised to see an extra family member; son Jack is absent from the Disney adaptation. Fans of that movie will definitely be surprised to find no pirates and no Captain’s daughter disguised as a boy! While this is truer to the novel, it feels like half a movie, with little development between the family arriving on the island and their inevitable rescue. 

If Walt Disney was concerned that his movie would suffer in comparison with this, he shouldn't have been. This Swiss Family Robinson is hopelessly stiff with stilted dialogue and characters who are a little hard to warm to. Thomas Mitchell gives a solid performance as the head of the family, but to be honest, I missed the warmer portrayal by John Mills in the remake. Likewise, the one-dimensional characterisations of his sons as variously warmongering, bookish and a dandy lack the necessary appeal to be truly sympathetic. 

While there is no scene quite as joyous as that of the family gathered around the organ singing O Christmas Tree as in the Disney movie, there are compensations. The effects are good; the shipwreck and the storms are particularly impressive. Plus, as one of golden age Hollywood's most appealing character actors, Mr Mitchell is never less than watchable. Ultimately, The more robust Disney movie is more exciting, more colourful and essentially much more fun than its starchy forebearer. Nonetheless, it is an entertaining enough 90 odd minutes and makes for fascinating viewing for fans of the later movie.

Lilo & Stitch (2002)

Lilo & Stitch (Dir: Dean DeBlois & Chris Sanders, 2002). 

A heartwarming family drama/sci-fi hybrid from Walt Disney Animation Studios. 

On the Hawaiian island of Kauai, misfit Lilo adopts an unwanted stray dog. Unfortunately, said dog, named Stitch by Lilo, is actually escaped extra-terrestrial genetic experiment #626, an invention of would be evil scientist Jumba. With Stitch causing havoc on the island, Jumba is dispatched to Earth with Terra-expert Pleakley to recapture the alien, but Lilo is not so eager to relinquish her pal. 

Science fiction had played a key part in the Disney parks since the opening of Disneyland in 1955. It was also a staple of Walt Disney Pictures live action releases. Yet there had never been a sci-fi feature from Walt Disney Animation Studios before the 2001 release of Atlantis: The Lost Empire (Gary Trousdale & Kirk Wise) and, the following year, Lilo & Stitch. Unlike Atlantis, which was a hi-tech, all action fantasy epic, Lilo & Stitch was a lowkey family drama with believable characters drawn from real life (+ some aliens!). Also unlike Atlantis, Lilo & Stitch would provide the studio with a much needed hit after the commercial failure of the ambitious and expensive former movie.

At the heart of Lilo & Stitch is a touchingly believe tale of sisterly bonding. This sense of realism is somewhat at odds with the sci fi scenes which bookend the movie. By contrast, although they are a lot of fun, these high tech scenes are less impressive than the beautiful watercolours and simple message of the Hawaii scenes. The sci-fi sequences are more action packed and flashily animated, but it is the Hawaiian scenes, that are the more affecting and most memorable segments of the movie.

Stitch is as enduring a character as any to come from Disney’s rich animation history; while Jumba and Pleakley provide ample comic relief as the fish out of water aliens. Yet what really makes the movie special is the realistic portrayal of Lilo and sister Nani. Credit to co-writers  /directors Dean DeBlois and Chris Sanders for creating a convincing relationship, familiar to anyone who has ever loved and loathed a sibling in equal measure. 

There is a faint melancholic undercurrent which run though Lilo & Stitch. The sensitive manner in which the movie deals with issues such as loss and the importance of family is refreshingly frank and free from false sentiment. This lends the movie a distinctly different flavour from any other Disney feature. Likewise its use of traditional Hawaiian folk music and a half dozen Elvis tracks feels fresh and slightly edgy in comparison to the studio's recent tradition of elaborate Broadway-style musicals such as Beauty and the Beast (Gary Trousdale & Kirk Wise, 1991) and Pocahontas (Mike Gabriel & Eric Goldberg, 1995). It is also thankfully free from the glib, self-referential humour which had crept into recent Disney features such as Hercules (Ron Clements & Jon Musker, 1997) and The Emperor's New Groove (Mark Dindal, 2000). 

Lilo & Stitch stands out in an era when the Disney studio was struggling in the face of competition from rival animation studios Pixar and DreamWorks. It feels both markedly original and traditionally Disney and foreshadows the studios more recent success with familial bonding tales such as Frozen (Chris Buck & Jennifer Lee, 2013) and Big Hero 6 (Don Hall & Chris Williams, 2014). 

As enjoyable for grownups as for kids and full of references to classic monster and sci-fi movies for geeks like me. Lilo and Stitch is the most unassuming and charming of Walt Disney Animation Studios output. It is also stands as one of their best feature films of the 21st Century.