Tag Archives: Karen Dotrice

1963 Films, Disney, Fantasy, Kids

The Three Lives of Thomasina-1963

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The Three Lives of Thomasina-1963

Director Don Chaffey

Starring Patrick McGoohan, Susan Hampshire

Scott’s Review #1,367

Reviewed June 7, 2023

Grade: B

The Three Lives of Thomasina (1963) is a film in which the animal, in this case, a sleek orange tabby cat, steals the show from the humans. It’s not as if the acting by the actors is terrible, but who doesn’t love a cute feline clad in a bonnet?

The film is a Disney production but not one of the top tier nor mainly well remembered and was unknown to me before I watched it.

It’s similar to Mary Poppins (1963) in its cheery tone, and the two child stars were signed to play the Banks children after The Three Lives of Thomasina.

There are enough tender and sentimental moments to satisfy fans who may crave a more profound or darker veneer, but there is some fluff and predictability to wrestle with.

With high hopes of entertaining our cats Zeus and Thora with this film, the furry felines essentially slept through the experience and rendered it uninteresting.

Schoolgirl Mary McDhui (Karen Dotrice) lives in a small village in Scotland with her stoic veterinarian father, Andrew (Patrick McGoohan), and her cherished cat, Thomasina.

When Thomasina is injured, Andrew has the animal euthanized, which infuriates Mary, who vows never to forgive her father. Unbeknownst to everyone, Thomasina’s still-living body is rescued by Lori (Susan Hampshire), a kind animal healer who nurses the cat back to health.

The romantic intention of uniting Andrew and Lori is evident from the start, and the pair have decent chemistry. Lori is a Snow White-type character, whistling, prancing through her grade, and befriending any animal who languishes near her.

Terrified by her healing power, neighborhood kids deem her a witch, but she doesn’t look the part. With golden hair and attractive features, she is more Rapunzel than the Wicked Witch of the West.

Andrew is a masculine character we’ve seen in stories. Widowed, he has lost faith in humanity and god alike, living a sad existence with his housekeeper and kids.

To nobody’s surprise, Andrew, Lori, the kids, Thomasina, and the housekeeper ride off into the sunset as happy as clams.

Though the story is generic, other aspects of The Three Lives of Thomasina spruce things up brighter than the Scottish flowers. The landscape is magical, with lush countryside sequences and cute side streets and cottages.

A fabulous sequence occurs at the midpoint when a ‘dead’ Thomasina soul goes to a feline afterlife and meets the Egyptian cat goddess Bastet. Since Thomasina still has eight lives left, Bastet returns her to her body.

The sparkling and twinkling lights and the myriad of other felines are beautiful and filled with emotion.

Hopefully, the real-life animals were treated kindly, but in 1963, I’m not sure how much could be faked. Still, fantastic work mimicking a wounded badger is impressive.

The thrilling finale involves a tribe of gypsies setting up camp in town and opening their traveling circus. Laden, with apparent stereotypes which seem clear in 2023 but were unnoticed in 1963, the gypsies abuse their animals, causing a stir among the townspeople.

A fight, fire, and justice prevail, and all animals are spared.

A 1960s Disney film with family-friendly themes and compassion, The Three Lives of Thomasina (1963) will satisfy cat lovers or anyone fond of animals. The real-life Thomasina is worth the price of admission for her gorgeous good looks alone.

1964 Films, Comedy, Disney, Fantasy, Kids, Musical, Musical Comedy

Mary Poppins-1964

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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 sometimes borders on sickeningly sweet wholesomeness with too much schmaltz mixed in.

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

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. 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 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 a 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)

Golden Globe Nominations: 1 win-Best Motion Picture-Musical or Comedy, Best Performance by an Actor in a Leading Role-Musical or Comedy-Dick Van Dyke, Best Performance by an Actress in a Leading Role-Musical or Comedy-Julie Andrews (won), Best Original Score-Motion Picture

2018 Films, Disney, Fantasy, Kids, Musical

Mary Poppins Returns-2018

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Mary Poppins Returns-2018

Director Rob Marshall

Starring Emily Blunt, Lin-Manuel Miranda

Scott’s Review #848

Reviewed December 29, 2018

Grade: A-

Mary Poppins Returns is a charming mixture of reboots and sequels to the immeasurably glorious original, Mary Poppins (1964).

Although it is impossible to live up to the magic of that film, the 2018 version comes quite close with a delightful turn by Emily Blunt, numerous Hollywood stalwarts in small roles, and gleeful musical numbers sure to leave audiences humming upon their exit from theaters.

Events begin to percolate twenty-five years after the original story, and the setting is 1935 London amid the Great Depression. His recently deceased wife, Michael Banks (Ben Wishaw), lives in the house he grew up in with his three children and housekeeper (Julie Walters) in tow.

His sister Jane lives and works nearby as a labor organizer.

Faced with the dreary reality that the historic Banks house may be foreclosed, Mary Poppins (Blunt) arrives elegantly on her umbrella to restore order and save the day.

Though her character does not overtake the film, Emily Blunt is dynamic in the title role. Her prim and proper good British charm and sensibilities crackle with wit and poise. It is tough to imagine anyone but Blunt in the role, as she puts her stamp on it so well.

With a smirk and a quick, matter-of-fact tone, the character is no-nonsense and utterly kind. The casting of Blunt is spot-on as she becomes Mary Poppins.

The London setting is adorable and fraught with good culture and sophisticated manners. Including the storied Big Ben is meaningful to the tale in a significant way and a teachable moment for children unfamiliar with London.

Furthermore, including a negative period in history—the Great Depression—is immeasurably positive.

The supporting characters are rapturous and a treat for elders familiar with the original Mary Poppins film. Meryl Streep plays Topsy, Mary Poppins’s eccentric eastern European cousin to the hilt, but never teeters over the top.

Colin Firth adds snarky charm as the villainous bank president, and Angela Lansbury gives grandmotherly zest as The Balloon Lady, an ode to the original novel.

Finally, Dick Van Dyke is a delight as the heroic Mr. Dawes Jr. who comes to the rescue at the last hour.

The real winners, though, are the enchanting musical numbers. With the lovely London landscape in full view, Mary Poppins Returns gets off to a spectacular groove with “(Underneath The) Lovely London Sky”.

Performed by the charming Lin-Manuel Miranda in the role of Jack the Lamplighter, Mary Poppins’ sidekick, the star has what it takes to keep up with Blunt. This is evident as the duo mesmerizes and entertains with a colorful number, “A Cover is Not the Book”, alongside an animated music hall.

Finally, fans will revel in the naughty and clever “Turning Turtle”, performed by Streep.

The costumes and lighting are both big hits. As Jack lights and defuses the street lights, we see the luminous dawn and sunsets, which give the film a nice touch.

During the film’s conclusion and subsequent race against the stroke of midnight, moonlight is featured, giving the film a warm glow.

The period piece costumes are lush, but not garish, adding flavor and capturing the period perfectly.

Although it lacks the oomph of the original Mary Poppins (but really, who expected that?), Mary Poppins Returns (2018) is nonetheless enchanting and inspiring in every way that a remake or sequel should be.

Given the mixing of humans and animations, the film is polite, polished, and filled with authentic zest: a fine creation and splendid entertainment.

Oscar Nominations: Best Original Score, Best Original Song-“The Place Where Lost Things Go”, Best Production Design, Best Costume Design