Tag Archives: Bette Midler

Oliver & Company-1988

Oliver & Company-1988

Director George Scribner

Voices Joey Lawrence, Billy Joel, Cheech Marin

Scott’s Review #818

Reviewed October 8, 2018

Grade: B

Oliver & Company (1988) is a darling animated film released by Walt Disney Pictures, the twenty-seventh Disney feature film to be produced.

The film is based on the Charles Dickens novel Oliver Twist, but Oliver is now a homeless kitten who joins a gang of dogs, and the setting moves from London to the dangerous streets of New York City- present times.

We meet Oliver (Joey Lawrence) as he huddles with other homeless kittens in a cardboard box, chilly from a driving New York rain. As all of the other kittens are snatched up by adoring animal lovers, Oliver is inexplicably left on his own.

He eventually meets up with Dodger (Billy Joel), a mongrel with street smarts, and the duo steals hot dogs from an abrasive food vendor.

When Dodger swindles Oliver out of his share, the kitten follows the dog to a barge, which turns out to be the hideout of Fagin (Dom DeLuise), a human pickpocket. Fagin houses a gang of assorted dogs as he is bullied by loan shark Sykes.

As Oliver bonds with the miscreants, his life suddenly takes a positive turn when he is rescued from the streets by a kindly, wealthy little girl named Jenny and her bumbling butler, Winston.

Jenny’s parents are on holiday in Europe, leaving her and Winston running the house. Along for the ride is Jenny’s sophisticated and spoiled pet poodle, Georgette (Bette Midler), who takes a dislike to Oliver.

By the 1980s Disney films were hardly the hot commodity they once were, and the small budget is evidence of that. Oliver & Company is not on par with classic, lovely offerings such as Pinocchio (1940), Fantasia (1940), or Dumbo (1941).

The film has a severe and decidedly “1980s quality”, mostly due to the upbeat soundtrack, which decades later makes the film feel rather dated.

Speaking of the soundtrack, the highlight is a treat entitled “Why Should I Worry?”, a tune sung by the ensemble cast and impossible not to hum along to.

The film features an array of famous voices that are perfectly cast. The filmmakers wisely cast plenty of native New Yorkers, which results in a huge measure of authenticity. Brazen voices like Midler’s, Joel’s, and Cheech Marin’s as feisty chihuahua Tito, give credibility to their characters.

The odd romantic pairing of Georgette and Tito, on the surface completely mismatched, gives a good dose of comic relief to the story.

The story written for Oliver & Company is the best part of the entire production.  Anyone familiar with the famous Dickens novel or Oliver! (1968), the most famous of the film incarnations knows how the story will end.

This did not hinder my enjoyment of the animated film though, a compelling and charming experience. Sykes makes a great villain, drawn with a long face and enormous chin, interesting, but not too scary to frighten young children.

One conspicuous omission is the elimination of the important character of Nancy. As fans know, Nancy played a vital role in the original story. Perplexing is the decision not to include her, but perhaps her ultimate death would have made the story too dark, so this can be overlooked.

Surely not the best in the Disney bunch, Oliver & Company (1988) is nonetheless a decent offering sadly overlooked by fans and critics alike.

The film is nearly forgotten and suffers from a dated quality if not for the widespread knowledge of the classic novel. The film is not one of the storied Disney treasures, nor should it be dismissed altogether.

The result is a darling, innocent experience meant for pure enjoyment.

Fantasia 2000-2000

Fantasia 2000-2000

Director James Algar, Various

Starring Steve Martin, Bette Midler

Scott’s Review #535

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Reviewed December 4, 2016

Grade: B+

Fantasia 2000 is a visually stunning remake of the 1940 Disney film. The modern version was produced by Roy Disney, nephew of the famous Walt Disney.

There are nine segments in total, each set to a classical music piece. Masterpieces such as Symphony No. 5 by Beethoven and Rhapsody in Blue by Gershwin are featured.

The Rhapsody piece is a gorgeous story of four individuals who dream of a better life in 1930s New York City. The four do not know each other, but their lives intersect uniquely.

Each segment is introduced by a celebrity: Steve Martin, Angela Lansbury, Bette Midler, and Quincy Jones appear, adding helpful thought and interpretation.

The final piece, in particular, is both moving and breathtaking. Firebird Suite-1919 version- by Stravinsky tells of a sprite (an ethereal entity), awoken by her companion, an elk, as a volcanic spirit has erupted in the peaceful forest, burning it down. The sprite must work to rebuild the peaceful land.

It is an earnest, heartbreaking piece.

Being somewhat of a film traditionalist, I prefer the original slightly, but this version is great.

Fantasia 2000 is wonderful to look at.

Beaches-1988

Beaches-1988

Director Garry Marshall

Starring Bette Midler, Barbara Hershey

Top 100 Films #93

Scott’s Review #352

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Reviewed January 9, 2016

Grade: A

Beaches (1988) is a film that can easily be described as sentimental, sappy, and a chick flick- all in a derogatory fashion- but that regardless, is a treasure to me. I fall for this tearjerker every single time that I watch it.

It is not necessarily a great film, not high art, nor particularly edgy, but a good, old-fashioned, conventional film about friendship.

Bette Midler and Barbara Hershey give the film believability whereas other similar films would appear contrived.

C.C. Bloom (Midler) and Hillary Whitney (Hershey) are lifelong friends from opposite backgrounds. Besides, they could not have more opposite personalities. C.C. is blue-collar, outrageous, and brash, Hillary, is demure, rich, and sophisticated.

We meet our friends as young girls on the boardwalk of Atlantic City, C.C. hiding from her overbearing stage Mom, and Hillary lost and wandering the boardwalk.

The two become fast friends despite their vastly different upbringings and stay connected through ups and downs and life’s trials and tribulations, for over thirty years.

The chemistry between Midler and Hershey is great. I completely buy them as best friends through the years, despite having little in common.

Throughout their tender, emotional scenes, and the knock-down-drag-out fight they have at the mall (a fantastic scene!), there is never doubt about what they have.

They compete over a man, which ordinarily is a lame plot device, but in Beaches, it works because the two stars make it work.

Each actress puts her mark on the individual role. Midler’s C.C. is arrogant, feisty, and interesting as she begins a “have not” and becomes a “have”.

She becomes spoiled and pampered- all of the things she envies about Hillary. She does not handle wealth as well as Hillary because she lacks education. Hillary, an attorney, is classy and graceful.

These characteristics are why it is believable that the women would be at odds.

The last act is a weepy one as one of the women dies, leaving the other to pick up the pieces and move on- alone. This is a sad moment in the film, but the women’s devotion and loyalty are admirable.

Beaches (1988) may not be high art, but boy will it get you reaching for the tissues.

Oscar Nominations: Best Art Direction

Outrageous Fortune-1987

Outrageous Fortune-1987

Director Arthur Hiller

Starring Bette Midler, Shelley Long

Scott’s Review #85

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Reviewed July 2, 2014

Grade: D

Outrageous Fortune (1987) is one of many silly plot-driven comedies to come out of the late 1980s.

It stars huge comedic actresses of the time (Bette Midler and Shelley Long) as opposites, Midler-brash, Long-refined, who are acting students and in love with the same man (Peter Coyote).

Of course, they meet and hate each other then become friends. This sets off a series of misunderstandings and standard comedy fare.

It’s a female buddy movie. I must say that I did enjoy the chemistry between Long and Midler as the on-screen chemistry is evident.

Besides the chemistry, the only other positive is the New York City location scenes and the acting/theater workshop setting.

Whose idea was it for Midler to use a horrible, phony New York accent??

It distracted throughout the entire film which is not very good, to begin with. Otherwise, this is a dud and is completely plot-driven and predictable.

It has a pure 1980s comedy feel to it (by that I mean overdone hairstyles, bad music, and a silly plot).

Shelley Long is the highlight of this film as she is great at comedic timing, but, unfortunately, her film-starring career was short-lived.