Movie Number 30: Hans Brinker Or The Silver Skates (Norman Foster, 1962). Originally Shown In January

Movie number 30: Hans Brinker or the Silver Skates (Norman Foster, 1962). Originally shown in January 1962 in two parts on the television anthology series Walt Disney’s Wonderful World of Color, Hans Brinker was released to cinemas internationally in 1964. An adaptation of the popular children’s novel by Mary Mapes Dodge, the movie stars Rony Zeaner as the titular Hans, a struggling Dutch artist who enters a skating contest in hope of winning the prize money to pay for an operation for his father who is injured while attempting to repair local sea defences.

Despite its TV origins Hans Brinker is, like virtually all Disney releases of its era, a high quality product. While it’s narrative is divided neatly in two halves and the fades for commercial breaks are noticeable I can imagine watching this on original release, probably as the second half of a double bill, unaware of its made for TV status due to its high production values. Shot on location on the Zuider Zee and in Rembrandt’s Amsterdam home and featuring a largely Dutch cast and crew it is markedly different in tone from Disney’s American product. It is a slow moving drama punctuated by the excitement of the storm battled dam rescue, a kidnapping and the inevitable skating contest. Davy Crockett’s Norman Foster directs in a low-key yet professional manner as befits the story.

While I found much to enjoy in this movie I will admit it is probably something of an acquired taste and possibly of interest more to Disney historians than casual viewers. However, if you are in the mood for low-key family drama cum Netherlands travelogue you could do much worse than seek out Hans Brinker or the Silver Skates.

Movie number 22: The Kid Who Would Be King (Joe Cornish, 2019). Writer/director Joe Cornish’s post-Harry Potter fantasy stars Louis Ashbourne Serkis as otherwise unremarkable schoolboy Alex who stumbles upon King Arthur’s legendary sword Excalibur, launching himself and his friends on a quest to save the world from Arthur’s ancient foe Morgana and a personal quest to find Alex’s absent father. As with other recent medieval themed movies King Arthur: Legend of the Sword (Guy Ritchie, 2017) and Robin Hood (Otto Bathurst, 2018) The Kid Who Would Be King is underperforming at the box office. Do not, however, let its underwhelming commercial impact deter you from experiencing this fun Goonies-esq romp. With pleasing performances from its mostly juvenile cast and some stunningly realised fantasy sequences, The Kid Who Would Be King features an arguably more satisfying narrative than the most recent entry into the Potter franchise, The Crimes of Grindelwald. It also features an outstanding performance from relative unknown Angus Imrie, striking the right balance of austere reverence and sheer oddity as young Merlin the magician. A mix of Arthurian mythology and housing estate humdrum, The Kid Who Would Be King feels distinctly and refreshingly British and carries a welcome anti-Brexit message. It is a good-natured, solidly entertaining family adventure, perfect for the school holidays.

WRECK IT RALPH (Dir: Rich Moore, 2012).

Walt Disney Animation Studios first decade of the 21st Century was one of change and uncertainty. The practice of releasing cheaply made straight-to-video sequels to their most successful features was undoubtedly damaging to the Disney brand. The costly failure of ambitious efforts Atlantis: The Lost Empire (Gary Trousdale & Kirk Wise, 2001) and Treasure Planet (Ron Clements & Jon Musker, 2002) and a shift in public taste toward computer generated features saw Disney lose its position of industry leader to newer animation studios Pixar and DreamWorks.

Yet with the release of box office hits Bolt (Chris Williams & Byron Howard, 2008) and Tangled (Nathan Greno & Byron Howard) it appeared that Disney had finally regained their footing in the field of feature animation. Disney’s new-found winning streak continued in 2012 with Wreck It Ralph.

Ideally suited to CGI animation, Wreck it Ralph takes place entirely with the video games of Litwak’s Family Fun Center & Arcade. Titular Ralph is the bad guy from 1980s era 8-bit game Fix-It-Felix Jr. In a plot that somewhat recalls The Nightmare Before Christmas (Henry Selick, 1993), Ralph (John C Reilly), tired of his bad guy status travels from his own game to hyper-realistic shoot-‘em-up Hero’s Duty to candy cart racing game Sugar Rush in his attempt to earn a medal and prove himself the good guy. En route he befriends glitchy outcast racer Vanellope Von Schweetz (Sarah Silverman) whom he aides in her quest to become a champion racer.

The video game worlds are beautifully realised in director Rich Moore ‘s visually stunning movie. Every aspect of Wreck It Ralph is top notch from Phil Johnston and Jennifer Lee’s screenplay to Henry Jackman’s score to the superlative voice work of Riley and Silverman. Whether you are gamer or not there is much to enjoy in this genuinely inventive, surprisingly moving modern classic that I believe is one the best movies released by Disney in the post-Walt era, better even than the mighty Frozen (Chris Buck & Jennifer Lee, 2013). A sequel, Ralph Breaks the Internet, was released in 2018, my thoughts on which you can read soon...

Check out my blog jinglebonesmovietime.blogspot.com to read more reviews of classic Disney animated movies!

RIP Stanley Donen

OLIVER! (Dir: Carol Reed, 1968).

Carol Reed’s movie adaptation of Lionel Bart’s blockbuster stage musical is a universally acclaimed, multi-award winning masterpiece.

Based, of course, on Charles Dickens’ novel Oliver Twist, it is certainly a sanitised depiction of Victorian East End London; a film about child exploitation populated by thieves and murderers should probably not make for suitable family entertainment, and yet it does.

A top drawer cast includes unknown juveniles Mark Lester, winsomely appealing in the title role and Jack Wild gives a spirited and charismatic performance as Dodger. Of the adults, Ron Moody as Fagin, Oliver Reed as Bill Sykes and Harry Secombe as Mr Bumble are all impressive but perhaps the stand out is the previously little known Shani Wallis. As Nancy, Ms Wallis gives a genuinely moving, sympathetic performance. It’s staggering to think that Oliver! did not launch her to international movie stardom.

Bart’s outstanding score is easily one of the best to grace stage or screen; unusually for any musical all 13 songs taken from the show, from Food Glorious Food to Om Pah Pah have entered the public conscious and are all exquisitely staged, lavish production numbers.

In spite of the tremendous critical and commercial success of Oliver! by 1968 the big budget family musical was becoming a less commercially viable prospect for Hollywood. The previous year had seen the commercial failure of Disney’s The Happiest Millionaire and Fox’s Doctor Doolittle and in the half decade since its initial release few non-animated film musicals have had anywhere near its impact. Although the genre has undergone a successful revival, such recent examples as Mary Poppins Returns and the live-action Beauty and the Beast, as good as those movies may be, have not managed to match it for artistry or sheer entertainment.

It is easy to see why critics and audiences were so enamoured by Oliver! as 50 years on it remains a genuinely fantastic film that withstands many repeated viewings.

100+ movie reviews now available on my blog JINGLE BONES MOVIE TIME. Link below.

SANTA CLAUS aka SANTA CLAUS VS THE DEVIL (Dir: Rene Cardona, 1959).

Unraveling like one of my better fever dreams, the weird and wonderful Santa Claus is a 1959 Mexican production, re-cut and dubbed into English by schlock movie producer K Gordon Murray and released in the US in 1960.

José Elías Moreno stars as Santa as he is pitted against devil minion Pitch, portrayed by dancer José Luis Aguirre, in a bid to save the festive season from the clutches of Lucifer.

Seemingly made with an eye on the international market, Cardona’s film is a mishmash of Mexican, US and British cultural references (who knew Merlin the Magician was an ally of Santa?). Santa’s workshop (which is in space by the way) is filled with some frankly freaky gadgets. Everyone knows that “he sees you when you’re sleeping” but who ever thought it was through a re-purposed vacuum cleaner hose with a human eye on the end? Or that he listens to us by way of what looks like a severed human ear attached to a fan? All of this is relayed to Santa via a bulky bit of machinery complete with a massive pair of human lips!

It is true that much in this children’s film could terrify those of a sensitive disposition and no one would argue that it is a good film. In fact many would argue that it is a very bad film. It is certainly camp and kitschy and little of it makes much sense, but it does features some weirdly attractive mid-century style sets and it means well; I have to admit that part of me enjoyed it un-ironically.

With its copyright having long-ago lapsed, Santa Claus is easily to find on-line in varying states of decay. If you are inclined to watch it (and you really should be!) I suggest you find a decent print and settle yourself down for 95 minutes of incredulous festive fun!

100+ movie reviews now available on my blog JINGLE BONES MOVIE TIME! Link below.