Father Brown aka The Detective (1954)

Father Brown aka The Detective (Dir: Robert Hamer, 1954).

The second big screen outing for G K Chesterton's fictional detective Father Brown, adapted from his 1910 short story The Blue Cross.

Roman Catholic priest and amateur detective Father Brown (Alec Guinness) pits his wits against elusive master criminal Flambeau (Peter Finch), intent on stealing a priceless cross from the clergyman. 

Originally exhibited in the UK as Father Brown, the movie is now more widely available in prints bearing its US title The Detective. A glance at Father Brown’ s cast and crew and one would be forgiven for thinking this Columbia Pictures release was an Ealing Studios production. Director Hamer is reunited with his Kind Hearts and Coronets (1949) stars Alec Guinness and Joan Greenwood, whilst Ealing alumni Peter Finch, Bernard Lee, Sidney James and Cecil Parker all feature. However, any similarity between this lightly humorous detective story and an Ealing comedy ends here.

Languishing part way between comedy and mystery, the movie straddles both genres without a firm footing in either. Never reaching the witty heights of Kind Hearts and Coronets and not quite exciting enough to convince as a thriller. It ambles along nicely enough but lacks the narrative twists and turns that would have elevated the story above the mundane. Thelma Schnee and Hamer's screenplay never quite manages to over come the source material's inherent quaintness and at times threatens to become unbearably twee.

Following his outstanding work at Ealing, Father Brown is a surprisingly lightweight addition to Alec Guinness' resume. Yet he is excellent as ever here, once again immersing himself chameleon like in the role of Brown. He is matched by the equally impressive Finch in a rare comedic performance for the actor, albeit not one especially played for big laughs. The rest of cast are, unfortunately, somewhat underused in what is largely a two-hander between Guinness and Finch.

Father Brown is good movie, but can't help but feel a little bit of a disappointment considering the talent involved. With the potential to be a masterpiece it is merely a diversion, as entertaining a diversion as that may be. Everyone involved has made better movies, but Father Brown is still worth a watch, if only for the excellent performances from its leading men. Not quite a classic, but a high quality time passer nonetheless.

The Lavender Hill Mob (1951)

The Lavender Hill Mob (Dir: Charles Crichton, 1951).

A classic comedy from the golden age of the Ealing Studios.

Mild mannered bank clerk 'Dutch Holland' (Alec Guinness) concocts a daring gold bullion robbery. Engaging the help of souvenir maker Al Pendlebury (Stanley Holloway) they execute the crime and disguise the gold in the form of miniature Eiffel Towers. However, things do not go to plan when a casement of the souvenirs is accidentally opened and sold to group of British schoolgirls. 

1951 was a vintage year for Ealing comedies; with both this and The Man in the White Suit (Alexander Mackendrick) hitting UK cinemas in summer of that year. Like that film, The Lavender Hill Mob is a masterpiece. It is less satirical, but equally humorous as it gleefully sends up Ealing’s own popular crime dramas such as The Blue Lamp (Basil Dearden, 1951) and Pool of London (Basil Dearden, 1951). Director Charles Crichton effortlessly apes the quasi-documentary realist approach of those movies. The heist itself is as thrilling as it is humorous and makes excellent use of its real life London backstreets and warehouse locales. Crichton also manages to out Hitchcock Hitchcock with a vertigo inducing sequence which sees Guinness and Holloway make a dizzying descent down the steps of the Eiffel Tower. Reminiscent of the Statue of Liberty climax of Saboteur (Alfred Hitchcock, 1942) but a full seven years before a similar scene in Vertigo (A. Hitchcock, 1958).

Significantly for a British film of the era, it was rewarded by the American Academy with two Oscar nominations, winning Best Original Screenplay for TEB Clarke’s excellent script. Alec Guinness was unlucky not to win in the Best Actor category, losing to Gary Cooper for High Noon (Fred Zinnermann, 1951). As the criminal mastermind with the meek exterior he delivers another excellent performance; eliciting audience sympathy for a character which could have easily evoked apathy. Guinness would eventually win an Oscar for The Bridge on the River Kwai (David Lean, 1957), but it is detrimental to the Academy that they never rewarded him for one of his superlative comedy roles. Stanley Holloway is equally effective in the less showy role of co-conspirator. Surprisingly this was Guinness' and Holloway's only collaboration, although both appeared in numerous Ealing Studios productions. They make for a winning comedy team here, supported by Sidney James and Alfie Bass as fellow Mob members. Making a brief appearance in the opening sequence is future Hollywood legend Audrey Hepburn.

The Lavender Hill Mob made more impact internationally than any other Ealing film. Its theme of longing to escape from day to day drudgery is clearly a universal one. Like the best of the Ealing comedies it has hardly dated, despite its obvious post-War trappings. I would argue that The Man in the White Suit is the greatest of Ealing comedies but this movie is almost its equal. Excelling in all areas: writing, directing and acting, The Lavender Hill Mob is another Ealing masterpiece. 

The Computer Wore Tennis Shoes (1969)

The Computer Wore Tennis Shoes (Dir: Robert Butler, 1969).

Kurt Russell stars in the first of Walt Disney Productions' Dexter Riley trilogy. 

Ordinary Medfield College student Dexter Riley (Russell) acquires extraordinary knowledge after an electric shock from the science lab computer. Now able to learn facts and figures at lightning speeds, he finds himself mingling with the world's top intellectuals and winning TV game shows. However, he also finds himself dealing with bent bookie A J Arno; details of his illegal gambling ring having also been stored on the machine.

From the groovy opening titles, with its colourful graphics and song lyrics describing the "uptight, but outta sight" Dexter as "turnin’ on every chick in town at a cosmothropic pace", it is painfully obvious we are in the late 1960s. 1969 to be exact. However, as this is 1969 as depicted by the Walt Disney Studios there is no mention of the Vietnam War, no student protests, no Woodstock and certainly no drug taking. The Medfield bunch are clean-cut college kids, the like you only find in the movies. The Computer Wore Tennis Shoes is pure fantasy, but none the worse for that. After all, where would we be without escapism. 

A decade after their first foray into live action fantasy comedy with The Shaggy Dog (Charles Barton, 1959) one might expect the formula to be wearing a little thin. But actually The Computer Wore Tennis Shoes finds it in pretty robust form. As the 1970s drew to a close the Disney brand of slapstick had become somewhat tired, but this and the same year's mega-hit The Love Bug (Robert Stevenson, 1969) proved that audiences still had an appetite for such wholesome high jinks. It's all innocent, inoffensive fun, with the attractive youths, inept crooks and car chases that fans of 60s/70s era Disney comedies had come to expect. Granted, to modern audiences this will seem hopelessly dated and even a little quaint, but vintage tech fans should get a kick out of the computer; a behemoth of a machine that takes up an entire wall! 

Much of the movies appeal comes from the game playing of its appealing cast. 18 year old Kurt Russell was always one of Disney's most likeable leading men and here proves himself adept at light comedy. He is supported by an accomplished cast, notably Joe Flynn as the long-suffering Dean Higgins and TV Batman's The Joker Cesar Romero as shady businessman A J Arno. Disney regular Richard Bakalyan played one of his many small-time hood characters; a role in which he seemed eternally typecast. 

The Computer Wore Tennis Shoes was a significant hit for Disney and spawned a valuable franchise. Two sequels followed Now You See Him, Now You Don't (Robert Butler, 1972) and The Strongest Man in the World (Vincent McEveety, 1975), while a remake would appear on US TV in 1995. Factor in that the earlier The Absent-Minded Professor (Robert Stevenson, 1961) and sequel Son of Flubber (Robert Stevenson, 1963) were also set at Medfield College and those movies' villain Alonzo Hawk would appear in Herbie Rides Again (Robert Stevenson, 1974), it would appear that Disney were establishing cinematic universes long before Marvel! 

Nobody would argue that The Computer Wore Tennis Shoes is a masterpiece. Yet, at the same time it would be churlish to be over critical of it. It is lightweight fun that sets out to entertain and in this it succeeds. Perhaps best enjoyed for nostalgia value today; a whimsical period piece but with enough easygoing charm to coast through its 90 odd minutes.

One Hundred and One Dalmatians (1961)

One Hundred and One Dalmatians (Dir: Wolfgang Reitherman, Hamilton S Luske & Clyde Geronimi, 1961).

Walt Disney's classic animated feature based upon Dodie Smith's novel The Hundred and One Dalmatians.

One Hundred and One Dalmatians tells the story of dalmatians Pongo (Rod Taylor) and Perdita (Cate Bauer), whose 15 puppies are stolen by the evil Cruella de Vil (Betty Lou Gerson). With the help of cohorts Horace and Jasper, Cruella intends to turn these and 84 additional pups into spotty dog skin coats. Utilising the ingenious Twilight Bark dog social network, Pongo and Perdita track their offspring to Cruella's abandoned Hell Hall country estate and embark on a daring rescue.

Following the expensive failure of Walt Disney's previous animated feature, the elaborate Sleeping Beauty (Clyde Geronimi, 1959) it was clear that cost cutting measures were in order if the animation department was to continue. One such measure was the development, by former animator Ub Iwerks, of a Xerox process which copied the animator's art directly onto celluloid, effectively eliminating the time consuming procedure of hand inking drawings onto cell. In a film with one hundred and one spotted characters this was a significant time and money saver. 

The Xerox process resulted in a somewhat rougher style of animation, characterised by a sketchier look at odds with Disney's lush 1950s product. While some, Walt included, bemoaned the loss of a more lavish finish, it is fair to suggest that without Xeroxing a movie like One Hundred and One Dalmatians would have been impossible. However, what the movie lacks in polish, it more than makes up for in style. With it's impressionist background art and loose, stylistic approach to character design ...Dalmatians was Disney's most stylish and contemporary animation to date. Nearly sixty years after release it's highly graphic Mid-century modern stylings are as fresh and appealing as ever. In fact it's difficult to recall any other animated feature with such a dramatic and arresting visual style. In particular, praise must be given to beautiful rendering of early 1960s London; effortlessly capturing the spirit and atmosphere of the city and it's surrounding countryside.

Matching the impressive visuals is an exceptional well realised screenplay by Bill Peet. One Hundred and One Dalmatians is an expertly crafted thriller, tightly plotted and exciting while remaining lighthearted and extremely witty. It is populated by a fantastic cast of characters, not least Cruella de Vil, possibly the greatest of all Disney villains. Clean-cut canine leads Pongo and Perdita are both heroic and charming and audiences will have no trouble identifying with the parental pooches on their daring quest to rescue the stolen pups. Unusually for Disney, the movie was not a musical; especially ironic as Pongo's human pet Roger's occupation is songwriter. However, music plays important role; Mel Levin's jazz infused score complimenting the modernist animation perfectly. The one significant musical number named for baddie Cruella de Vil is a classic!

One Hundred and One Dalmatians easily ranks among the greatest of Walt Disney's many significant achievements. Its flawless storytelling, top notch vocal work and fantastic music combine to make ...Dalmatians a masterpiece of movie making. Best of all is its beautiful visual style; a bold departure for Disney, but one that certainly paid off in one of their most commercially and artistically successful features. 

The Shaggy Dog (1959)

The Shaggy Dog (Dir: Charles Barton, 1959).

Walt Disney's first live-action comedy movie, suggested by 'Bambi' author Felix Salten's novel 'The Hound of Florence'. 

Wilby Daniels (Tommy Kirk) discovers an ancient Borgian ring which magically transforms him into a shaggy Bratislavian sheepdog. Unfortunately for Wilby he has no control over when or where he will change. Also unfortunate is Wilby's father (Fred MacMurray) is a dog hating postman! As if this wasn't problem enough, Wilby is soon mixed up with Russian spies in what is undoubtedly one of the oddest concepts for a movie of all time!

Two years before the release of The Shaggy Dog, the Disney Studios scored a massive hit with Old Yeller (Robert Stevenson, 1957). This set the standard for a series of boy and dog movies such as Big Red (Norman Tokar, 1962) and The Biscuit Eater (Vincent McEveety, 1972). On the surface The Shaggy Dog might appear to be another boy and dog movie but the twist here is that the boy IS the dog. This weird set up was a welcome riposte to horror movie I Was a Teenage Werewolf (Gene Fowler Jr, 1957) and set the template for the seemingly endless steam of kooky comedies released by Disney for the next two decades. 

Originally intended for television, The Shaggy Dog has the feel of a homely 1950's sitcom. Star Fred MacMurray would soon be seen in long running TV comedy My Three Sons (1960-72) and much of the cast were familiar to TV audiences from Disney's Mickey Mouse Club (1955-59). Notably, it was the first feature film of Mousketeer and teen phenomenon Annette Funicello. 

Fresh from Old Yeller, Tommy Kirk was one of Disney's most appealing juvenile stars and here shows a knack for quirky comedy. MacMurray too, though a highly capable dramatic actor, had a flair for light comedy. Although at times he doesn't elicit much audience sympathy, chasing the dog with a shotgun, for example! Rasp voiced Kevin 'Moochie' Corcoran makes one of his many appearances as Kirk's younger brother. His turn as a youngster who desperately wants a dog stays just the right side of cute. 

The plot is ludicrous, certainly, but it is very funny. Much of the humour comes from sight gags such as the dog putting on pyjamas and cleaning his teeth. Honestly, there is little I find funnier that a sheepdog driving a hot rod! The pre CGI effects that allow Wilby to turn canine are neat, low tech but effective. 

Turned down for TV by the ABC Network, The Shaggy Dog would eventually make over $12 million at the US box office, a massive return on an investment of around $1 million. It would prove to be a durable brand for Disney; two sequels followed The Shaggy DA (Robert Stevenson, 1976) and the TV movie The Return of the Shaggy Dog (Stuart Gillard, 1987). It was further twice remade, for TV (Dennis Dugan, 1995) and again for cinemas (Brian Robbins, 2006). As is often the case, the original is the best. 

60 years after its original release, The Shaggy Dog has lost little of its peculiar charm. Disney comedies were notorious for their reliance on formula. Here the formula still feels fresh. It may not be high art but it is highly entertaining. 

On a side note, the movie was computer colorized in 1986. While I highly recommend this enjoyable shaggy dog story I would implore you to watch it in its original beautiful black and white. 

The Man in the White Suit (1951)

The Man in the White Suit (Dir: Alexander Mackendrick, 1951).

Ealing Studios were on fine form in 1951, producing two classic comedies. The Lavender Hill Mob (Charles Crichton) released in June, was followed two months later by possibly the greatest Ealing comedy of all, The Man in the White Suit.

Set in the textile mills of the north of England, The Man in the White Suit tells of Sidney Stratton (Alec Guinness), a research chemist who delivers a new wonder fabric. Indestructible and dirt repellent, the miracle fabric initially has Sidney lauded a genius. However, once the ramifications of such a product become clear, both mill owners and trade unions are keen to suppress Sidney and his invention.

In some repects, The Man in the White Suit is atypical of the Ealing Comedies. It shares with the others the broad theme of the individual vs the Establishment, but here seems to be taking a swipe at trade unions and the common man. In actuality its view of big business and commercialism is just as critical. Yet here, the 'little guy against the system' is a more ambiguous figure than usual. Although Sidney's noble ambition to clothe the world in indestructible fabric is a commendable one, ultimately the price of doing so would come at too great a cost. As his landlady remarks "What's to become of my bit of washing when there's no washing to do?" On the flipside of this is the wealthy mill owners whose greed sees them clamouring for Sidney's invention before attempting to suppress it, initially with bribes, then with more underhanded means. Business and labour eventually side with each other as poor Sidney is chased through the dark streets with his suit glowing luminous white! While the audience sympathy undoubtedly lies with Sidney, we are not too sorry at his inevitable downfall.

Thankfully, social commentary does not get in the way of this being a very funny film. The astute screenplay by John Dighton, Roger MacDougall and Alexander Mackendrick nicely balances the two opposing sides of industry with equal satirical bite. Mackendrick directs at brisk pace, creating a real feeling of suspense in the final moments.

Alec Guinness, arguably the greatest comic actor all time, is excellent here. His childlike optimism offsetting the cynical nature of the film. While Sidney’s blinkered belief in his invention is foolhardy, Guinness never portrays him as foolish, eliciting audience sympathy for a character who could have easily evoked derision. Reunited with Guinness is his Kind Hearts and Coronets (Robert Hamer, 1949) leading lady Joan Greenwood, equally effective here as his chaste love interest.

The Man in the White Suit walks a thin line between cynical satire and offbeat whimsy, but it does so with ease. I would argue it is the greatest of the Ealing comedies and an absolute comedy masterpiece. Highly recommended to anybody with the slightest semblance of a sense of humour. 

Candleshoe (1977)

Candleshoe (Dir: Norman Tokar, 1977).

Walt Disney Poductions' Candleshoe is a comedy crime caper based upon Michael Innes' novel Christmas at Candleshoe.

Leaving the mean streets of Los Angeles, Casey Brown (Jodie Foster) heads to England to hustle the elderly Lady St Edmund (Helen Hayes) out of her dilapidated stately home Candleshoe. Within Candleshoe lays the hidden treasure of pirate Captain St Edmund to which Casey holds the first clue. In cahoots are disgraced former Candleshoe employee Clara (Vivien Pickles) and her brother Bundage (Leo Mckern) who masterminds the misdemeanour. Welcomed into the Candleshoe family, Casey turns the tables on Bundage and sets about the treasure hunt with intent to save the debt racked estate from foreclosure.

A first rate cast was assembled for this production. 15 year old Jodie Foster was fresh from her Oscar nominated turn in Taxi Driver (Martin Scorsese, 1976). She does excellent work here too and it is to her credit that she is not overshadowed by the acting heavyweights in support. Most notably David Niven, donning multiple disguises as butler, gardener, chauffeur and a visiting Colonel, in what is perhaps his best late career role. As criminal mastermind Bundage, Leo Mckern strikes the right balance between comic and menace. While Helen Hayes, in her final feature film, impresses as the grandmotherly Lady St Edmund.

A neat premise also lifts the movie above the usual formulaic fluff the Disney Studios were producing in the late 70s. Rosemary Anne Sisson's and David Swift's screenplay mixes humour and excitement as the race is on to recover the spoils before the bad guys. Norman Tokar directs at a surprisingly steady pace, but one that allows the mystery to unfold and for characters to develop so that Casey's change of heart is completely believable.

The comedy does occasionally resort to the old Disney brand slapstick, especially in the final confrontation between kids and crooks where umbrellas, saucepans and a hostess trolley are weapons of choice. This is somewhat regrettable but doesn't undermine the movie's other obvious qualities and admittedly, does raise the odd cheap laugh.

There is something Ealing-esq about this old fashioned romp; its ragtag kids and bungling crooks recalling the likes of  Hue and Cry (Charles Chrichton, 1947) and The Ladykillers (Alexander MacKendrick, 1955). Indeed, it would be fair to say that this movie belongs to a bygone age. Its view of a genteel England of stately homes and steam trains must have seemed downright archaic in 1977. However, in 2019 it feels innocent and charming; nostalgic for an idealised period in British history which never really existed.  

With a superior story and a distinguished cast Candleshoe is easily a highlight of the Disney Studios' live-action catalogue. Quaint it may be, but it is also funny and thrilling with a lump in the throat finale. Equally entertaining for children and adults, this treasure hunt movie is a gem.

K-12 (2019)

K-12 (Dir: Melanie Martinez, 2019). 

The movie debut of singer Melanie Martinez, released to coincide with her album of the same name. 

Written, directed and starring Melanie Martinez as Cry Baby, student at authoritarian school K-12. With best friend Angelita (Emma Harvey) she plots to bring down the school and bring an end to the oppression. 

The plot of K-12 follows on from and elaborates on the themes of Martinez’s previous album Cry Baby. However, prior knowledge of Cry Baby is not essential, as the movie is best enjoyed for its music and stunning visuals in what is, essentially, a long form music video. Albeit one with an ambitious cinematic grandeur. 

With a distinctive colour palette utilising mostly pink and pastel shades, it has an arresting otherworldly quality, at times recalling the work of Terry Gilliam and the high kitsch of John Waters. 

There is a certain brutal beauty to Martinez’s music which she has matched perfectly to the visuals. The dystopian fantasy addresses issues such as bullying and acceptance, but always in tuneful fashion! 

As you might expect from Martinez the movie is sweary and creepy and not recommended for those of a sensitive nature. With its language, drug taking and no nips nudity, it is definitely not one to show the kids!

In truth, K-12 is a bit of an acquired taste and is probably limited largely to Melanie Martinez’s fan base. But it is artfully produced. Recommended especially to fans of Martinez but also to open minded movie lovers in the mood for an off kilter fantasy musical. 

K-12 is available to steam on Melanie Martinez’s official YouTube channel: https://youtu.be/2HtaIvb61Uk

A Billion for Boris (1984)

A Billion for Boris (Dir: Alex Grasshoff, 1984)

A Billion for Boris is the film adaptation of Mary Rodgers' sequel to her novel Freaky Friday. 

Repairing an old TV set, Ben ‘Apeface’ Andrews (Seth Green) fixes it to show the next day’s programmes. He duly shares this information with his sister Annabel (Mary Tanner) and friend Boris (Scott Tiler). Seeing the money making potential, Boris heads off to bookies, but his winning streak attracts the unwanted attention of gangsters. 

A movie version of Freaky Friday (Gary Nelson) was released by Walt Disney Productions in 1976. Although popular, Disney chose not to film either of Rodgers’ published sequels. A Billion for Boris was brought to the screen almost a decade later courtesy of independent Comworld Pictures. 

As such, it is an adaptation of the sequel to the novel, rather than a sequel to the Disney feature. The setting, as in Rodgers’ books, is a New York apartment block, not the suburban Los Angeles of Disney’s Freaky Friday. The events of the earlier movie are not referenced, with the exception of the firing of the Andrews’ housekeeper for stealing liquor. 

As a low budget production, A Billion for Boris lacks the polish of Freaky Friday. Also missing is Rodgers’ prose; as screenwriter of the original movie she captured much of the spirit of her book, even though significant changes were made to the plot. 

Its largely unrecognisable cast doesn’t have the appeal of the previous movie. Of the adults, Lee Grant does a neat turn as Boris’ quirky mom. Future star Seth Green is standout among the kids as ‘Ape Face’. 

In spite of this, it is still an entertaining movie. Some might question the theme of underage gambling and while it would raise a few eyebrows today, I doubt it did in 1984. Use it as opportunity to discuss with your kids the morality of betting if you will, but I wouldn’t let it put you off. 

While A Billion for Boris doesn’t raise big laughs it does provides some chuckles. I am fairly certain I won’t revisit it as often as Freaky Friday, a childhood favourite that holds up as an adult. However, it does hold curiosity value to fans of that movie and is undemanding, lightweight fun. 

Student Excahange (1987)

Student Exchange (Dir: Mollie Miller, 1987)

A lightweight teen comedy from Walt Disney Television. Originally screened in two parts on ABC's The Disney Sunday Movie series. 

Greeley High School students Carole and Neil are top of the class academically but bottom of the heap socially. Passing themselves of as foreign exchange students in a bid to be noticed, they are a hit with fellow pupils, less so with the school principal. Predictably, things get a little out of hand and the pair are soon wishing they were their old selves again.

Inexplicably, identity switch movies were something of a Disney Sunday Movie staple in the 1980s. The previous season had presented Young Again (Steven Hilliard Stern, 1986), Double Switch (David Greenwalt, 1987) and Double Agent (Michael Vejar, 1987) while the current series also offered Rock 'n' Roll Mom (Michael Schultz, 1988) and 14 Going on 30 (Paul Schneider, 1988). Meanwhile The Disney Channel was churning out a seemingly endless series of sequels to Disney's original switcheroo comedy The Parent Trap (David Swift, 1961). 

There is little in Student Exchange that is particularly original and nothing that really makes it stand out among the plethora of teenage wish fulfillment movies. Mollie Miller's direction is solid and the performances are fine, although the production cannot quite shake the feeling of an extended TV episode.  

It also suffers from a message that is slightly muddled. While it is undoubtedly important to be yourself, Student Exchange makes it seem a lot more fun to be the popular kid and get the girl/boy of your dreams. However, lovers of the era will be happy that the old favorite 'shopping spree to 60's hit' montage is present and correct a full 2 years before Julia Roberts hit Rodeo Drive in Pretty Woman (Garry Marshall, 1990).

Viveka Davis and Todd Field are likeable leads, but perhaps of more interest to modern audiences is the supporting cast. A post-Bionic Woman Lindsay Wagner, pre-fame Heather Graham and pre-infamy O J Simpson all put in appearances. 

Student Exchange is little more than a 90 minute high school sitcom. But a pleasant enough nostalgia trip at that. Teens and tweens of the late 80s may get more out of it than anybody else. But i don't see why younger audiences wouldn't enjoy it too; essentially it is a modern day Disney Channel movie in 1980s clothing. It is predictable and formulaic but also good-natured fun. 

Black Arrow (1985)

Black Arrow (Dir: John Hough, 1985)

Made for The Disney Channel, Black Arrow is a swashbuckling adventure based upon the novel by Robert Louis Stevenson.

Set during the War of the Roses, corrupt Yorkist landowner Sir Daniel (Oliver Reed) is robbed by black clad vigilante Black Arrow (Stephan Chase). Seeking revenge, he sends his young nephew Richard (Benedict Taylor) on his trail. Sir Daniel is set to acquire more land with his marriage to the reluctant Lancastrian Lady Joanna (Georgia Slowe). Joanna does a runner, forms an alliance with Richard and together they determine to avenge Sir Daniel's wrongdoings.  

Disney's third adaptation of a Stevenson novel, following Treasure Island (Byron Haskin, 1950) and Kidnapped (Robert Stevenson, 1960), Black Arrow was what would now be labelled a Disney Channel Original Movie. Back in 1985, The Disney Channel had a remit to provide family entertainment, not just sitcoms for tweenagers. Its new content, like that of the Disney Studio’s past was designed to appeal to a broader demographic than that of the Channel today. While Black Arrow would seem out of place on today’s Disney Channel, it is exactly the kind of movie of which company founder Walt Disney would have approved. 

Having previously worked for Disney on the excellent Escape to Witch Mountain (1975) and its sequel Return from Witch Mountain (1978), the talented John Hough was engaged to direct. To Black Arrow, Hough brings a somewhat more cinematic vision than one would usually expect from a TV Movie. The quality production only belying its TV origins through the prevalent use of close ups and mid shots. 

The impressive cast of acting heavyweights Oliver Reed, Fernando Rey and Donald Pleasence also lend the film an air of prestige. 

The film is not entirely flawless. Admittedly, there are a few unlikely plot contrivances and one or two moments which stretch credibility. While Benedict Taylor cuts far too modern a figure; strolling around the 15th Century like the 5th member of EuroVision popsters Bucks Fizz! 

Overall though, Black Arrow is pretty solid entertainment. Old fashioned it may be but it does make me yearn for a time when The Disney Channel catered to more than just tweenage audiences.

White Fang 2: Myth of the White Wolf (1994)

White Fang 2: Myth of the White Wolf (Dir: Ken Olin, 1994).

Walt Disney Pictures’ action/adventure sequel to their 1991 hit White Fang (Randall Kleiser). 

White Fang told the story of Jack Conroy (Ethan Hawke) and his adventures during the Klondike Gold Rush with the wolfdog of the title. White Fang 2 picks up with Jack now in San Fransisco having left White Fang in the care of his friend Henry Casey (Scott Bairstow). Nearly drowning in a boating accident, Henry is rescued by Lily Joseph (Charmaine Craig) of the native Haida village. Lily Joseph believes Henry to be the human form of a mythical white wolf sent to help her starving tribe. Henry decides to help the Haida locate the caribou while also dealing with a corrupt mining organisation who are exploiting the Haida. 

Published in 1906 Jack London's White Fang was a partly autobiographical novel inspired by his experiences in the Klondike. The novel was already much filmed before reaching the screen via Walt Disney Pictures in 1991. An unexpected big hit for the studio, White Fang 2 was released three years later. A sequel to a film based on an iconic literary work is unusual. It also seems a little unnecessary, especially one that largely deals with a different set of characters. 

In many respects White Fang 2 is the latest of Disney's many 'boy and his dog' movies, a staple at the studio since Old Yeller (Robert Stevenson, 1957). It also dates from a period in filmmaking when Hollywood was seen to be apologising for its past portray of Native Americans as savages. Dances with Wolves (Kevin Costner, 1990) and Disney's animated Pocahontas (Mike Gabriel & Eric Goldberg, 1995) were among the movies that sort to readdress this. Perhaps because of this the movie is at its best when delving into Haida mythology. It is less engaging when dealing with the adventures of Henry Casey.

His uncredited appearance, limited to the prologue, suggests that Ethan Hawke declined a larger role in the film. As his replacement Scott Bairstow is a somewhat bland leading man and looks like he would be more comfortable in a 90s boy band than in the Klondike. In fairness, the role demands little of him, other than looking pretty while carrying out some mild heroics. Little more is expected of Craig as his reluctant love interest. Meatier roles are given to Alfred Molina and Geoffrey Lewis as the bad guys, but in general the movie suffers from too much focus on the humans and not enough of the magnificent White Fang; the beautiful half dog/half wolf reduced to supporting player in his own movie.

The plot of White Fang 2 is easy enough for the youngest of audiences to understand, but its a pity that every twist and turn of the story is so obviously signposted, as this leaves little to engage adults viewers. The beautiful landscape is some consolation but even this is not presented in the cinematic manner one would hope. The movie probably seems more at home on television than on cinema screens. Indeed, a look at director Ken Olin's entry on IMDB reveals that, White Fang 2 aside, his other work consists entirely of small screen productions, although his career in this medium is a distinguished one.

White Fang 2 is not without entertainment value. Its old fashioned adventure story is pleasant but unspectacular. Those young enough to forgive its simplistic storytelling will enjoy it but older audiences will be wishing this canine caper had a little more bite. Worth a look, especially if you enjoyed the original but, ultimately a bit of a disappointment.

The Black Cauldron (1985)

The Black Cauldron (Dir: Ted Berman & Richard Rich, 1985).

Walt Disney Pictures' The Black Cauldron is an ambitious animated fantasy based upon Lloyd Alexander's The Chronicles of Prydain, an acclaimed series of novels rooted in Welsh mythology with a medieval setting.

With dreams of becoming a great warrior, assistant pig keeper Taran embarks on a quest to rescue his missing porcine ward, Hen Wen. The evil Horned King kidnaps the pig to use her oracular powers to secure a magical black cauldron in order to resurrect a skeletal army. Joining him are Eilonwy (Disney's forgotten princess), minstrel Fflewddur Fflam and the eternally hungry Gurgi, a furry creature of undisclosed origin. The ragtag gang must locate the cauldron and destroy it before it falls into the Horned King's bony hands.

The Black Cauldron had a famously troubled production. 10 years in the making at a reported cost of $25 million*, it became the most expensive animated feature to date. It was subject to editing by a new studio regime who found the Tolkien-esq fantasy too dark for family audiences. Roughly 12 minutes were cut from the film, the first time finished animation had been removed from a Disney movie. It was a practise unheard of and a controversial move on the part of studio heads. With its release delayed from Christmas 1984, The Black Cauldron finally hit cinema screens in summer 1985. The response from critics was generally negative, while audiences were indifferent. The movie failed to recoup its massive costs and quietly slipped into obscurity.

Four years later the studio would release the widely acclaimed blockbuster The Little Mermaid (Ron Clements & John Musker, 1989). With the animation department's reputation back intact The Black Cauldron was little more than a distant memory. However, I would argue that in some respects The Black Cauldron is a more impressive film than The Little Mermaid.

Not to suggest the movie is perfect. It is, indeed, flawed and most of these flaws are in its storytelling. As might be expected from a film based on a five volume series of books, The Black Cauldron suffers from an episodic, rambling narrative. Worse is that the characters seemingly do little to advance the story. While it is not difficult for audiences to identify with Taran and to wish the group succeed in their quest, they have no real influence on the events at hand. Their own adventure becomes secondary to the mechanisms of the Horned King. 

The detrimental effect of editing is felt most in the sequence in which the Horned King unleashes his army of skeletal deathless warriors; impressive while it lasts, it is all too brief and feels anti-climatic. The overall pacing feels slightly off, languid at times. It also feels derivative of earlier Disney movies. Taran feels like a close relative to another would-be warrior, Wart in The Sword in the Stone (Wolfgang Reitherman, 1963); The Horned King visually recalls Maleficent the evil fairy from Sleeping Beauty (Clyde Geronimi, 1959); Gurgi is a cuter, more lovable version of Gollum from Tolkien's The Lord of the Rings.

At a time when big screen reissues of earlier Disney classics was still common practice, the movie's somber mood and lack of songs undoubtedly alienated audiences. However, kids like me who were lucky enough to see this on original release in all its 70mm glory were treated to the most visually stunning of all Disney movies in more than 25 years. The looser, sketchier art which chracterised Disney features of the 1960s and 70s is replaced by a fuller, bolder animation style, recalling the Disney product of earlier decades. The extensive use of the multi-plane camera and effects animation, particularly effective use of light and shadow, give the film a rich texture and lavish quality on a scale not seen from Disney since Sleeping Beauty. The Black Cauldron is fresh, experimental and edgy while retaining an old-school Disney feel. It is certainly more visually appealing than the similar The Lord of the Rings (Ralph Bakshi, 1978).

I am not going to pretend that The Black Cauldron is a better film than The Little Mermaid. It isn't. With its tighter grip on storytelling, excellent musical score and inventive use of the camera, The Little Mermaid is the superior feature; a well deserved hit with audiences and critics. However, I believe that its arresting visuals alone make The Black Cauldron worthy of far more recognition than it receives. Disney were striving for something really unique with this movie and for the most part I think they achieved it.

The Black Cauldron is an underrated movie from an overlooked period in Disney history. It is not their best film of the era, but it is my favourite and one that I believe is long overdue for reassessment.


*In his 2009 documentary Waking Sleeping Beauty, production manager Don Hahn suggested the budget was closer to $44 million.