Sunday, September 17, 2023

Snow White and Pinocchio [Disney 100]

 

There was a definite feeling of both anticipation and anxiety when Quinn and I sat down to begin this marathon. Neither of us really knew what to expect from a project like this, long and involved as it will probably prove to be. In my specific case, I knew that these movies were even more popular and beloved than the stuff I've tackled on this blog so far, and that correspondingly the pressure I'd place on myself to write about them with care would be far greater. Would it even be worth doing it when they've all been talked to death already? When challenged to say something original, it's best to speak from the heart, something that I find appropriate to do when considering the importance Disney's animated movies have had in my life.

Despite that, Snow White (1937) and Pinocchio (1940) were a bit of a blank spot for me. Like many movies that will feature later on this marathon, I had at the very least seen Pinocchio as a kid, but never again since. In fact, where Snow White is concerned, I had a much clearer memory of the trailer for the original 2001 DVD release that played before the feature on the home release we had of Dinosaur (2000) than the actual movie itself. That trailer made it seem very dark and mysterious, its ominous music and its shots of the Evil Queen's disguise causing that crone face to feature in a few of my early nightmares.

Of course, the movie didn't live up to my dark and frightening childhood imaginings. Although the movie isn't afraid to play with the grotesque (such as in the aforementioned disguise of the Queen or the scene where Snow White flees through the forest), it is decidedly light in its tone elsewhere, as well as its content. It is clear to see that the art of animated storytelling was still in its infancy, as the story mostly passes from incident to incident until the plot decides to happen in the last ten minutes. It seems that they cared a little more about comic relief with the dwarves than about Snow White as a character. But still, I don't mean to make this sound like too much of an indictment. Although it's nothing special as a story, it is undeniably something special as a work of art. The sophistication of the animation techniques used is doubly impressive considering the age of the movie, and the colors and composition of each shot were a treat.

Pinocchio is in a similar boat in some ways, showing its age in a lot of areas (and not just the culturally insensitive parts), but the progression from Snow White is clear. On a beat-by-beat basis it holds together as a story much better than its predecessor. It all serves to impart a pretty didactic "do the things you're supposed to do and don't be selfish" lesson for kids, but at least it's something. The lush forest setting of Snow White is replaced by an intricately decorated world which, between Geppetto's workshop, the town it inhabits, and the carnival, seems like a pretty full and well-realized setting. The scene where Pinocchio and Geppetto escape from Monstro's maw is also head and shoulders above any animation that Snow White had to offer.

All that being said, I find that I do slightly prefer Snow White, simply for its daring. Although it wasn't the first animated film per se, it certainly laid the foundation for all others to follow. Disney gambled with Snow White and it paid off in a big way; for that achievement, I salute it.

At the end of the day, Quinn and I agreed that both of these movies are solid and worth watching at least once. However, we're both much more excited for the next movie on the playlist, which went somewhere else entirely.

Wednesday, August 23, 2023

Inauguration - Disney 100 Marathon

 

An anniversary with a big, fat zero at the end is the sort of occasion that just demands you do something special. My favored object of study, Doctor Who, is having one this year too, and I'll have plenty to say about it when it comes back this fall. In the meantime, I've partnered up with my partner, Quinn, and we're going to be trawling our way through the entire corpus of Disney theatrical animated films. There are about sixty of them, so this will probably take us well into 2024, but that's all by the by.

Disney's movies have always captivated me and formed a great part of my childhood landscape. But when reflecting on the company's legacy, and its modern trajectory in the animation business, I was embarrassed to recognize that there are many of its movies that I've never seen, and many more that I haven't watched since I was a kid more than twenty years ago.

Misery is better with company, so Quinn, themself a big Disney fan, consented to join in on this exercise, and I'll include a little of their input as I review each movie, starting with Snow White and ending with whatever the most recent one happens to be when we're done. I hope that those stumbling upon this blog will enjoy going through these movies with us. Expect to hear more soon!

Saturday, August 19, 2023

Arc of Infinity [Doctor Who, Story 123]

Arc of Infinity by Johnny Byrne
3 - 12 January 1983​

We've arrived in Doctor Who's landmark 20th anniversary season. Last time we marked such an occasion, Season 10 delivered a series of stories that I considered some of the strongest the program had seen so far. The same might or might not prove to be the case for Season 20, but I'm determined to keep an open mind.

You can tell it's an anniversary because we have a deep cut throwback villain this week, who last appeared in The Three Doctors back in 1973. But oddly enough, I was more focused on future omens than past callbacks, as I was caught pointing and going "Ooh! Ooh! Ooh!" at my screen every time Colin Baker appeared as Maxil. It's always a bit funny seeing a Doctor before they're a Doctor. Hard to believe that I'm already just a short time away from his own tenure.

But as for the actual villain of the piece, I thought Omega was fine, albeit diminished from his original stature. In part because of the costume, which in my opinion doesn't have a patch on his last one. He still works as an ultimately tragic and self-destructive figure whose downfall is of his own devising, which always suits this show well. I enjoy it when the Doctor tries to help to save a villain, whether it works or not. His turn with Peter Davison's face was also quite interesting. The subtle emotion that Davison puts into those non-verbal moments of Omega exploring the city were quite affecting.

Following in the steps of The Deadly Assassin and The Invasion of Time, the Doctor's worst enemy is once again the blundering of his own people, who seem only too eager to set him up for the crime despite his past services. I confess that I find it a bit ungratifying that the Doctor does not tell them "I told you so" at the end of the story, but perhaps he just found it beneath him.

Also of note is Tegan's return, which comes fast enough to make us wonder why she was left behind in the first place. She does get to approach the TARDIS with a new attitude now, though, no longer the hijacked stewardess and now along for the trip more or less by choice. It is a refreshing change, but we shall see how it plays out.

It was also fun to be outside of Britain for once. I don't know that I'd ever have known what Amsterdam looked like in the Eighties otherwise. It certainly made for a nice break from the by now familiar brightly-lit space sets.

All in all, a decent but unremarkable story. Having liked Kinda so much, I'm eager to get on to Snakedance next. See you then.

(Modified from the original posted at Gallifrey Base on 18 August 2023.)

Spare Parts [Doctor Who, Diversion 31]

Spare Parts by Marc Platt
31 July 2002

 

There's a certain group among the early Big Finish stories that everyone has mutually agreed are absolute masterpieces. There was a vital energy in these days which seems to have gone out of Big Finish now, but this hasn't changed the fact that some of these audios stand among the very best Doctor Who stories of any medium.

Spare Parts is a magnificent idea, and slots into a very vital spot in the Fifth Doctor's life, between Seasons 19 and 20. When listened to fresh off the heels of Earthshock, its aura of grief and misery is amplified greatly. That atmosphere of cold darkness and inevitability hangs over the whole story like a pall, leaving the informed listener with no doubt about where the story is ending.

Until it ends somewhere you don't quite expect, with the Mondasians seemingly set to undo the worst of the Cyberman work and infuse some humanity into the project... only for that rug pull to come in at the last moment, like a kick in the balls. It's expertly done.

The Doctor and Nyssa both get some pretty meaty stuff in this story, and understandably the topic of Adric features prominently. Their conversation about him in the TARDIS is poignant, and feels like an after the fact sort of apology for the show brushing past the event so quickly. The guilt weighing on both of the characters for that incident is palpable, and makes their efforts to stop the Cybermen carry more gravitas.

Without Adric or Tegan around, Nyssa gets a lot more opportunities to do the companion thing, and has a lot of great character moments as a result. This is slowly cementing my opinion that she is my favorite out of this companion crop, but I will have to see more of her in the show to solidify that opinion.

Peter Davison makes the most of this weighty material too, and his version of the Doctor shines through, especially in the moments where he is being forced to aid in the creation of the Cybermen - a dramatic irony that really adds onto the desperate air of the whole story.

I'm gratified to get a story that once again plays on the post-modern Prometheus origins of the Cybermen, as you're probably already aware from my moaning over the fact that they did them better in the Sixties the last couple times the silver giants popped up. There are some great moments to that effect in this story, including the girl coming home from Christmas and the mental image of the Cyberman patrolling atop his Cyberhorse.

Fantastic stuff, and rewarding on a repeat listen, as this one was for me. Back to television again, finally, with Arc of Infinity next.

(Modified from the original posted at Gallifrey Base on 18 August 2023.)

Thursday, August 17, 2023

So, about the blog...

To the passing reader who's discovered this place from a link in my Gallifrey Base signature, or my Discord profile, or gods forbid Google, it might seem like this entire blog has nothing but Doctor Who reviews... and they'd be correct.

Since I inaugurated the blog in 2017, my only media review and discussion output here has been my (still somehow ongoing) Doctor Who marathon. Still, it can't have escaped one's notice that the linked post references more to come, an ambition which still hasn't quite gone away.

To this end, I'd like to announce that more is, indeed, on the way, including both a continuation of the Doctor Who marathon as well as new posts about TV shows, movies, and music. As well as an in-progress marathon of the Power Rangers series (and eventually Super Sentai), I've just started a project almost as forbidding: watching all the theatrical animated Disney movies with my partner on the occasion of the company's 100th anniversary.

These and other stray reviews will come as time permits. I'm looking forward to writing more on these subjects and expressing my many, many thoughts and opinions about my favorite media. See you then!

"Multitasking is a beautiful thing - and like most beautiful things, dangerous, too." - 2017 Val

Doctor Who, Season Nineteen


The shape of Eighties Who has quickly become apparent over the course of this series. Following the blueprint left by Season 18, Season 19 has tried a lot of new things, although its success has been mixed. The overall quality of the episodes is good enough, but the standoffishness of this TARDIS crew has kept me from warming to them as I would have liked. With Adric now out of the picture, I wonder how the remaining leads are going to develop.

With that short dissection out of the way, here's the score breakdown:

Castrovalva - 7.50
Part One - 7.00
Part Two - 7.00
Part Three - 8.00
Part Four - 8.00

Four to Doomsday - 7.25
Part One - 8.00
Part Two - 7.00
Part Three - 7.00
Part Four - 7.00

Kinda - 10.00
Part One - 10.00
Part Two - 10.00
Part Three - 10.00
Part Four - 10.00

The Visitation - 8.50
Part One - 9.00
Part Two - 8.00
Part Three - 9.00
Part Four - 8.00

Black Orchid - 7.00
Part One - 8.00
Part Two - 6.00

Earthshock - 9.50
Part One - 10.00
Part Two - 9.00
Part Three - 9.00
Part Four - 10.00

Time-Flight - 4.50
Part One - 6.00
Part Two - 4.00
Part Three - 4.00
Part Four - 4.00


Best episode: Kinda, Part Four - 10.00
Runner-up: Earthshock, Part One - 10.00
Worst episode: Time-Flight, Part Three - 4.00

Season Nineteen average: 7.81

Best guest appearance: Simon Rouse as Hindle (Kinda)
Best special effect: The Doctor's spacewalk (Four to Doomsday)
Best musical score: Castrovalva (Paddy Kingsland)

Season 20 soon, but first, Spare Parts is next. 

(Modified from the original posted at Gallifrey Base on 13 October 2022.)

Time-Flight [Doctor Who, Story 122]

Time-Flight by Peter Grimwade
22 - 30 March 1982​

Oh dear.

From a production standpoint, I am totally understanding of the fact that Earthshock could not have been the finale of Season 19. But even in light of that, the decision to follow it up with this is so profoundly misjudged that it loops back around to hilarity again.

The show is still a bit uneasy with this "pathos" thing, so the second scene of this serial, with the remaining heroes in the TARDIS, rings a bit hollow.

DOCTOR: Now listen to me, both of you. There are some rules that cannot be broken even with the Tardis. Don't ever ask me to do anything like that again. You must accept that Adric is dead. His life wasn't wasted. He died trying to save others, just like his brother, Varsh. You know, Adric had a choice. This is the way he wanted it.
For my own part, I sort of think he would have wanted not to be blown to smithereens, but what would I know? The TARDIS crew certainly doesn't dwell, as they greet this with a stiff upper lip and immediately begin to consider a get-away to cheer themselves up.

The Heathrow setting is fun, although I think it's a mistake to not portray the Doctor as being at sea in this mundane environment. He introduces himself as a UNIT advisor and gets all the cooperation he could possibly want, which robs the story of a lot of tension to start out with. You would think this would also introduce a nice bit of tension where one wonders about Tegan's reaction - will she leave or won't she? - but the story ends with the decision being taken from her in a way that leaves a sour taste in my mouth.

I shouldn't have allowed myself to get excited by the word "Jurassic", since there are no prehistoric beasts to be seen, only a curiously barren heath once the characters are sent back in time. The Doctor's remark about the Pleistocene being close at hand made me bare my teeth like a frightened chimp, wishing Peter Grimwade had opened an encyclopedia.

The central plot itself has a lot of untapped promise - especially the appearance of Adric's "ghost", which is far too brief and underplayed. This is to say nothing of the unfathomable choice to have the Master made up in yellowface (or brownface, or both, somehow) long before he'd even have any need to be disguised. I thought we were past this crap already.

There are fun parts, like seeing the airplane pilots trying to make sense of the TARDIS console, or Tegan (finally!) getting to act as an air-stewardess - in the Jurassic period! This story is inept in a way that's almost cute. Except for the racism, for which there's no real excuse.

What a trip to end the season on. The Season 19 roundup will be coming next.

(Modified from the original posted at Gallifrey Base on 11 October 2022.)