Elsa Lanchester | Scott's Film Reviews-1,450 + Reviews posted!!! COMING SOON-MY NEW TOP 250 FILMS!!

Mary Poppins-1964

Director Robert Stevenson

Starring Julie Andrews, Dick Van Dyke

Scott’s Review #965

Reviewed December 9, 2019

Grade: A-

Mary Poppins (1964) is a lovely Walt Disney production that shines with zest and an ample supply of good, cheery tunes. A family affair, it will hardly disappoint, with sing-alongs and enchanting stories for miles.

It’s tough to knock a film that has it all, but it borders on sickeningly sweet wholesomeness at times with too much schmaltz mixed in.

This can easily be forgiven because of the robust music, dazzling visual effects, and perfect casting, making the film enjoyable entertainment for all to enjoy.

The Banks family resides in London, England, the foursome consists of George and Winifred Banks, along with children Jane and Michael. They live a comfortable and happy upper-middle-class existence.

When their nanny quits after the children run away to chase a kite, the panicked George requests a stern, no-nonsense nanny, while the children (now returned home) desire a kind, sweet one. Through magic, a young nanny (Julie Andrews) descends from the sky using her umbrella.

Mary Poppins teaches the children to enjoy chores through tunes with the help of a kindly chimney sweep, Bert (Dick Van Dyke).

Mary Poppins cheerily takes the children on several adventures teaching them valuable lessons along the way. The drama involves light situations such as the irritable George threatening to fire the nanny because she is too cheerful, or a mini-scandal at the bank where George works.

These side stories are trivial and non-threatening since the film is really about the antics of the magically odd nanny and her relationship with the children.

The film is unique because it combines live-action with animation and is magical and inventive. This is most evident during sequences that feature animals, especially the superb scene where Mary Poppins transports Bert, Jane, and Michael into a picture where they ride a carousel and stroll the day away.

The appearance of horses and a fox makes the scene beautifully crafted and filled with joy.

The casting could be no different and is flawless across the board. Standouts are Andrews and Van Dyke, the former appearing in her very first film role.

Not to be usurped by her most iconic role as Maria in the following year’s brilliant The Sound of Music (1965), Andrews possesses a benevolent and delightful spirit that works perfectly in the role, to say nothing of her powerful voice.

Van Dyke as the romantic interest is equally well-cast, and together the chemistry is easy and apparent.

Mary Poppins was met with critical acclaim when it was released when Disney ruled the roost and musicals were a dime a dozen.

It received a total of thirteen Academy Award nominations, including Best Picture – a record for any film released by Walt Disney Studios – and won five: Best Actress for Andrews, Best Film Editing, Best Original Music Score, Best Visual Effects, and Best Original Song for “Chim Chim Cher-ee”.

This was quite a feat as the film was up against My Fair Lady (1964), which won the biggest prize.

Rated G and box-office success, Mary Poppins (1964) is a legendary Walt Disney film that uses creative techniques and musical numbers to develop a finely finished product.

The song standouts are “A Spoonful of Sugar”, “Chim Chim Cher-ee”, and “Supercalifragilisticexpialidocious”, as each offers candy for the ears and immeasurable fun.

The classic songs and the cohesive sentimentality make this one easy to enjoy with repeated viewings.

Oscar Nominations: 5 wins-Best Picture, Best Director-Robert Stevenson, Best Actress-Julie Andrews (won), Best Screenplay Based on Material from Another Medium, Best Song-“Chim Chim Cher-ee” (won), Best Music Score-Substantially Original (won), Best Scoring of Music-Adaptation or Treatment, Best Sound, Best Art Direction, Color, Best Cinematography, Color, Best Costume Design, Color, Best Film Editing (won), Best Special Visual Effects (won)

Bride of Frankenstein-1935

Director James Whale

Starring Boris Karloff, Elsa Lanchester

Scott’s Review #825

Reviewed October 31, 2018

Grade: A-

After four long years director, James Whale finally agreed to follow up, and resurrect, his character of The Monster. Fortunately, Boris Karloff also returned to the role he made famous. In this installment, he meets a mate played by the gorgeous Elsa Manchester.

Critics argue that the sequel is superior to the original, but I am not so sure of that, slightly preferring Frankenstein. Still, the aptly titled Bride of Frankenstein (1935) is a fantastic effort and a memorable classic in and of itself.

The plot picks up where the original Frankenstein ended and includes a sub-plot from the 1818 Mary Shelley novel. Having learned his lesson about the drawbacks of creating life, Dr. Frankenstein (Colin Clive) is coerced into creating a female mate for the Monster.

Much of the action follows the Monster, who is on the run from hunters as he encounters both devious and kindly individuals. In clever form, Manchester plays both the “Bride” and Mary Shelley, who is heralded for her masterful writing.

The main difference between Frankenstein and Bride of Frankenstein is that the Monster is more developed from a character perspective. Even more empathetic and now uttering some dialogue, the pained character contains deeper moments and a damaged quality.

Karloff reportedly despised this aspect preferring that his character be more ambivalent, using grunts and facial expressions more than words, but to me, the development works well.

As the Monster traverses the forest looking for shelter while being pursued witch hunt style, a lovely sequence occurs between the Monster and a lonely blind man. Attracted by the gorgeous sounds of a violin playing “Ave Maria”, the blind hermit befriends the Monster and teaches him a few words like “friend”.

Harboring no ill will towards the creature, the old hermit instead feels blessed and thanks God for sending him a friend. The tender moment is then shattered when a fire burns down the cottage.

Continuing what Frankenstein did and more in line with Shelley’s novel is the constant theme of loneliness and despair. The Creature is a tortured soul, yearning for love and affection, yet suffering from a temper. He is childlike and struggles to know the difference between right and wrong.

Like Frankenstein, the sequel contains high-quality special effects and ambiance. With a storm raging (naturally), the thunder and lightning qualities add so much to a horror film such as this, filling it with suspense and a certain science fiction element.

When the Bride is hoisted to the sky and struck by lightning, the scene is both campy and terrifying.

How delicious a character is Manchester as The Monster’s Bride? With her statuesque seven-foot height (the actress used stilts), white-streaked hairdo, macabre white gown, and jerky, animal-like head movements, the character is forever recognizable in pop culture.

Timeless in characterization, the beautiful woman possesses a macabre yet humorous quality. When she becomes alert, sees the Monster, and shrieks, it is a memorable moment in film history.

Throughout cinematic history, few sequels ever live up to their predecessors, but Bride comes close.

Easily able to be watched in tandem with Frankenstein, and perfect for a bit of Saturday afternoon nostalgia, Bride of Frankenstein (1935) is a wonderful trip down memory lane to a time when horror was as thrilling in simple black and white as it is with all the frills added.

Thanks to Whale’s brilliant direction, both films are legendary in their inspiration and achievements.

Oscar Nominations: Best Sound Recording