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#2 Mary Poppins Returns Trailer

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Who's been to see it already?

‘Mary Poppins Returns’ Review: A Truck Full of Sugar Can’t Make This Uplift Go Down

From left, Lin-Manuel Miranda, Pixie Davies, Joel Dawson, Nathanael Saleh and Emily Blunt in “Mary Poppins Returns.”CreditCreditJay Maidment/Disney Pictures
Mary Poppins Returns
Directed by Rob Marshall
Comedy, Family, Fantasy, Musical
PG
2h 10m
  • Dec. 18, 2018

During a show-pausing turn in “Mary Poppins Returns,” Lin-Manuel Miranda takes center stage to sing and syncopate, and the movie flickers to life. Suddenly, it becomes clear that the people who made this largely charmless venture with its hard-smiling nanny might have created something memorable, even good and hummable if they had turned it over to Miranda. Horizons open up when you consider what might have happened if Disney had let him give Mary Poppins a meaningful do-over similar to his revisionist take on American history in the musical “Hamilton.”

Bathed in nostalgia, “Mary Poppins Returns” is being framed as a homage, and there’s clearly some love here. Mostly, it is a modest update, one that has brushed off the story, making it louder, harsher, more aggressively smiley. It picks up several decades after the 1964 film “Mary Poppins” — starring the sublimely synced Julie Andrews and Dick Van Dyke — concluded. Michael and Jane, the two Banks children at the center of the original tale, have grown up to become a grieving widower (Ben Whishaw) and an ebullient union organizer (Emily Mortimer). Michael has three children (the peewees Pixie Davies, Nathanael Saleh and Joel Dawson).

The strangest thing about the new movie isn’t that Mary Poppins (Emily Blunt) appears from parts unknown with a talking umbrella and capacious carpetbag. Even if you have never seen the 1964 film or read one of P.L. Travers’s books, the image of this floating woman — a deus ex machina who mysteriously, magically arrives in the most delightful way — still resonates in the Disney-nurtured cultural imagination. As the stern but loving parental substitute, she embodies the kind of secular savior Disney excels in. No, what’s odd here is how closely the new movie follows the original’s arc without ever capturing its bliss or tapping into its touching delicacy of feeling.

So, once again, Mary Poppins glides in to save the day and, more specifically, to take care of some gently neglected if unquestionably loved Banks children. Michael adores his sons and daughter, but — in classic Disney matricidal fashion — his wife has recently died, and he’s in mourning. Notably, in the 1964 movie, the mother is a distracted parent but also an attractively vibrant suffragette who opens the film warbling about equality — “We’re fighting for our rights, militantly!” — in the cheeky, rousing “Sister Suffragette.” (Travers, who died in 1996, didn’t write her that way and did not approve of this improvement to the character.)

The addition of profound loss fits the Disney dead-mother template, but it invests the movie with a heaviness it can’t persuasively navigate, eventually drowning it in treacle. Set during the Great Depression, also known in Britain as the Great Slump, of the 1930s, the story returns Mary Poppins to the same multistoried house at 17 Cherry Tree Lane. Decades earlier, she had to persuade Mr. Banks to pay attention to his children; now, she has to pull Michael out of his own catastrophic depression so he can tend to his children and save their home from the bank. (They have a housekeeper, played by Julie Waters; Colin Firth all but twirls his mustache as a banker.)

Written by David Magee and directed by Rob Marshall, the movie ratchets up more than the family’s existential stakes. Most everything in “Mary Poppins Returns” looks, feels and sounds like a sales pitch, with the exception of Whishaw’s emotional rawness, which creates jagged little holes in the manufactured uplift. Much seems the same storywise, though, just amped up, including a neighbor with a booming cannon and the big smiles that at times turn characters, including Mary, into avatars for emotions that the movie rarely manages to tap. Blunt is versatile and a fine singer, but like most of the other actors, she’s giving a broad performance rather than a convincingly felt one.

It’s perhaps unsurprising that the songs by Marc Shaiman and Scott Wittman — who have done memorable work elsewhere — are the gravest disappointment. It may be unfair to compare the new movie’s songs to the originals, which were written by the brothers Richard M. Sherman and Robert B. Sherman, whose words and music for “Mary Poppins” are among the greatest in the Hollywood songbook. “A Spoonful of Sugar,” “Jolly Holiday,” “Chim Chim Cher-ee,” “Let’s Go Fly a Kite” and of course “Supercalifragilisticexpialidocious” — these are songs that get in your head, body, memory, and there’s nothing here with comparable melodic or lyrical staying power.

There are some fine moments, as well as consistently eye-stroking costumes from Sandy Powell. There’s also “Trip a Little Light Fantastic,” a complexly staged number (Marshall is one of the movie’s choreographers) that features Miranda and an army of his fellow lamplighters, known as leeries. This is the contemporary version of the original movie’s rooftop number “Step in Time.” Now, the leeries are massing together and are more earthbound even while jumping in buoyant synchronicity. Some are also riding on BMX bicycles, anachronisms that give the movie a whiff of contemporary desperation that signals an endeavor reaching for honest nostalgia and trapped by bloodless marketing.

Mary Poppins Returns
Rated PG. Running time: 2 hours 10 minutes.

 

 

The Sweet Way the Original Jane Banks Makes a Cameo in Mary Poppins Returns

Image Source: Everett Collection
Warning: light spoilers for Mary Poppins Returns ahead.Mary Poppins Returns is full of hidden references to the original film, but some of the sweetest nods to Mary Poppins are appearances from the original cast. While Dick Van Dyke makes a memorable cameo as Mr. Dawes Jr., the son of bank director Mr. Dawes from the original film, there is also a very quick cameo from the original Jane Banks, played by actress Karen Dotrice.

Lin-Manuel Miranda

@Lin_Manuel

On set with the original Jane Banks, Karen Dotrice, watch for her surprise cameo...

The cameo happens about halfway through the film, when Jane (Emily Mortimer) and Jack (Lin-Manuel Miranda) are chatting outside the Banks home. As they awkwardly flirt with each other, a woman (Dotrice) approaches them and asks for directions to 19 Cherry Tree Lane. When they simultaneously tell her it's two doors down, she politely replies, "Many thanks, sincerely," giving a nod to the song "The Perfect Nanny" from the first film where Jane and Michael sign off their letter for a new nanny with, "Many thanks, sincerely, Jane and Michael Banks."

Image Source: Getty / Alberto E. RodriguezDotrice was only 9 years old when she played Jane in Mary Poppins in 1964. Though she went on to star in other films and movies, she has mostly retired from acting. However, she has attended a few Mary Poppins-related events over the years. In 2004, she was inducted as a Disney Legend, and in 2013, she attended the premiere of Saving Mr. Banks alongside Dick Van Dyke and Julie Andrews. Most recently she attended the premiere of Mary Poppins Returns.

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