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Aladdin

Run This Town: A Question of Character and Consequences

April 21, 2020 by Steve Norton Leave a Comment

Written and directed by Ricky Tollman, Run This Town takes the viewer behind the scenes of Toronto’s political system under the leadership of Rob Ford (Damian Lewis). When Ashley (Nina Dobrev) begins her time on Ford’s staff, she is quickly taken under the wing of Kamal (Mena Massoud), right hand to the mayor and his chief spin doctor. However, as a scandal involving Ford’s private life begins to unfold at the hands of aspiring journalist, Bram Shriver (Ben Platt), Kamal, Ashley and the rest of their team must wrestle with the implications of allowing someone morally questionable to remain in leadership.

Popping off the screen with energy and style, Run This Town feels like a 70s political thriller had it been written by Aaron Sorkin. Opting to use muted colours, spliced editing and fast-paced dialogue, Tollman does a solid job of creating intrigue in a murky political battle for truth. Wisely, Tollman focuses his script on how Ford affected those around him, as opposed to Ford himself. In doing so, Town allows his young talents to show their own range as they wade through difficult social issues such as sexual assault, racism and the overall qualifications of leadership. As mayoral spin doctors, Massoud and Dobrev show great confidence in their roles while Platt plays his inexperienced journalist with courage and pluck. (Massoud, in particular, stands out as he continues to build his career after the success of the $1B success of Disney’s Aladdin.) Ironically, however, if there’s a limitation to the film’s cast, it may lie in Lewis’ performance as Rob Ford, which loses some of the nuance that made him such a complex character in the public eye.

Bound to be as divisive as Ford himself, Run This Town is an entertaining ride that feels more of a moral cousin to Reitman’s The Front Runner than Spielberg’s The Post in its willingness to blur the lines of morality when it comes to allowing people to govern. Interestingly, for much of the film, Kamal’s ability to spin Ford’s public image almost seems defensible in the face of Shriver’s inexperience. By pointing out the fact that Ford is able to ‘get things done’ around the city, Kamal—and many of the people of the city—justifies his after-hours discrepancies by arguing that everyone has the right to relax after a hard day. (After all, isn’t Ford the ‘man of the people’?) 

However, as Ford’s recklessness leads to the lines of sexual appropriateness becoming crossed, Town also points out the dangers of maintaining a culture of toxic masculinity and white privilege. With the subtlety of a wrecking ball, Ford charges through his administration with an air of superiority, failing to recognize boundaries with women on his team or the ethnicities of his own team members. In doing so, Ford’s lack of character calls into question the effectiveness of leadership when they remain out of touch with healthy diversity and the reality of the world around them. While he would have us believe that his actions for the people outweigh his mistakes, Town points out that there is a point when someone goes too far and must be held accountable for their actions. 

In this way, Run This Town speaks effectively into a culture grappling with arrogance at the hands of leadership. While willing to suggest that everyone in the public sector is broken, there still remains a certain level of accountability of character that must be maintained. While the film curiously opts to conclude with a speech about the challenges of Millennials in the job market that threatens the overall tone of the film, it is at its most effective when it wrestles with the moral murkiness of the political system. This is a film that shows well the tension between the brokenness of those who have become obsessed with maintaining the status quo and the passionate heart of justice of Millennials. In the midst of this conversation, there springs up a measure of hope that expunging the poison the past may birth something healthier in the future.

For full audio of our interview with writer/director Ricky Tollman, click here.

Run This Town tells the truth on VOD on Tuesday, April 21st, 2020.

Filed Under: Film, Interviews, Premieres, Reviews Tagged With: Aladdin, Damian Lewis, Mena Massoud, Nina Dobrev, Ricky Tollman, Rob Ford, Run This Town, Toronto

Aladdin – Making Way for Prince Ali (Again)

May 31, 2019 by Steve Norton Leave a Comment

No, he’s not like Robin Williams… and that’s okay.

Ever since Disney released the first trailer for Aladdin, their latest—and second of four this year(!)—live-action remake of their own animated property, the #1 issue on the Twitter-verse has been the questions surrounding Will Smith’s portrayal of the Genie. Originally made famous by the wildly frantic Robin Williams, few (if any) Disney characters remain so closely tied to their respective voice actors in terms of tradition. As a result, Twitter has not been kind to the prospect of a new suitor for the role, even someone with enduring star-power like Will Smith. What’s more, unfinished special effects or underwhelming song clips did little to excite audiences about Prince Ali’s mighty return. Thankfully, while not perfect, the film (and Smith’s performance) remains an endearing and entertaining family night out.

As in the original animated classic, Aladdin (Mena Massoud) is a lovable street urchin who meets Princess Jasmine (Naomi Scott), the beautiful daughter of the sultan of Agrabah. Enlisted by the villainous sorcerer Jafar (Marwan Kenzari) to find a mysterious lamp, Aladdin stumbles upon a magic oil lamp that unleashes a powerful, wisecracking, larger-than-life genie (Smith). As Aladdin pursues his dream of winning Jasmine’s hand, he also soon discovers a plot by Jafar to overthrow the Kingdom

Directed by Guy Ritchie, this depiction of Aladdin still manages to charm. Massoud and Scott have solid chemistry onscreen as the star-crossed lovers and Smith brings his trademark charm, humour and swagger to the role. (In fact, the very fact he took on the role is somewhat courageous and a no-win situation. Even if they had cast someone similar to Williams, Disney would be accused of the person of ‘trying too hard’ or being ‘too Williams-esque.’) As such, the casting works and the musical numbers are presented with the proper balance of nostalgia and fresh takes. Even the new Oscar-targeting ballad, “Speechless”, while feeling modern than the older songs, pops and shows actress Scott’s range and talent. (Although, it’s clear that Guy Ritchie seemed most uncomfortable shooting these scenes.)

Another traditional knock against Disney’s live-action remakes has been their ability to pad the narrative unnecessarily. Similar to previous examples, this version of Aladdinis a full forty minutes longer than the original, yet never really feels as though it’s dragging or taking away from the primary story. Whereas other live-action films such as Dumbo or Beauty and the Beast have added distracting side plots (A rival circus? The mystery of Belle’s mother’s death?), Aladdin keeps the film flowing for the most part by simply adding more humor or increased exposition. In short, the film still feelslike Aladdin… and that’s probably why you went in the first place.

One of the most significant changes to the film is Jasmine’s character who, in this incarnation, is much more assertive and proactive. Subtle changes to dialogue and a significant (but important) change to the film’s ending give Jasmine a voice in a culture of oppression. Unlike the original version, Jasmine is far more aware of the need for change within her kingdom, whether it stems from the value of the poor to the role of women. Thanks to the wisdom imparted by her deceased mother (who was ‘loved by the people’), Jasmine recognizes that true leadership involves knowing and respecting those under her care. Rather than content to stay in the palace, Scott’s Jasmine is one who sees vibrancy within the lives of others (and her own) and seeks to empower them. (Interestingly, a slightly more-fleshed out story for Jafar also suggests that his attempt to usurp the throne also stems from the abuse of a caste political system.) Unlike the original animated film which simply accepts its cultural oppression, this Aladdin(2019) recognizes that more work needs to be done to give voice to those who are ‘speechless’. 

While not necessarily perfect, Aladdin is certainly one of Disney’s best live-action properties thus far. Vibrant with color and filled with (mostly) well-crafted musical numbers, Aladdinsurprises with its ability to re-capture the heart of its audience. While it’s not entirely a ‘whole new world’, it is still worthwhile to ‘make way for Prince Ali’.

Aladdinis currently making his way in theatres.

Filed Under: Film, Reviews Tagged With: Aladdin, animation, Disney, Guy Ritchie, Marwan Kenzari, Mena Massoud, Naomi Scott, Will Smith

Aladdin – What Holds You Captive?

October 13, 2015 by Jacob Sahms Leave a Comment

CHARGES MAY APPLY Re: Photo #1 of 4 from the film Aladdin for en-scoop22 On 2013-01-22, at 3:06 PM, Richard Ouzounian wrote:

By now, if you haven’t seen either the 1992 Walt Disney animated feature film, the Broadway musical, or the children’s repertoire performance of Aladdin, you’ve probably been living in the Cave of Wonders. The truth is that this adaptation of One Hundred and One Nights is more magical, musical, and enchanting than anything else we could’ve imagined. Maximizing the vocal talents of Robin Williams, Frank Welker, Gilbert Gottfried, and Jim Cummings (among others), this is a shining example of how awesome a Disney film can be.

When the evil Grand Vizier Jafar decides he wants to get his hands on a magical lamp containing a genie, his plans are instantly thwarted because he’s not a “diamond in the rough.” However, Jafar tricks Princess Jasmine’s latest friend, a street urchin named Aladdin, into entering the cave and acquiring the lamp. This sets in motion a tug of war between Jafar and Aladdin for the lamp, the wishes the genie provides, and the attention of Jasmine. It’s exciting, romantic, and, yes, even musical.

aladdin2The parable of this one is multi-faceted. There’s a lesson about not wanting to be something you shouldn’t be (or faking it), not taking advantage of those less fortunate than you, and always keeping your word (especially to genies). No, this isn’t one of Jesus’ parables but there’s enough wrapped up in the story that it’s more than just ‘fun.’ Kids and adults can learn from this one.

The truth is that every major character is ‘boxed in,’ or held captive, by something. The genie is most obvious – imprisoned in the magic lamp in the cave but he’s not alone. Jafar is a prisoner of his aspirations (and evil). Aladdin is prisoner to his ideas about himself and what it means to be important. Even Jasmine is a prisoner to her father’s rules. The truth is that we’re all prisoners, too, aren’t we? Slaves to our problems, other peoples’ expectations, even our own sin.

Romans 8:1-2 states that “there is now no condemnation for those who are in Christ Jesus, because through Christ Jesus the law of the Spirit who gives life has set you free from the law of sin and death.” We have nothing that can free us – no wishes, no great feats, no better offers – except for Jesus. And once we’ve been set free, it’s up to us to seek out others who need the same freedom that we’ve found.

Aladdin shows how freedom is contagious – just like the grace of Jesus Christ in the lives of his followers.

The special features here include a look at the oversized role of Robin Williams, and the hidden secrets of the film (narrated by Joey Bragg of The Disney Channel). For those who dig the music, there are special features for singing along and understanding composer Alan Menken’s process. The Diamond Edition certainly makes it the way to go if you don’t own the film – and I’m personally a fan of the ability to use Disney Movie Anywhere and take the digital copy on the go!

Filed Under: DVD, Film, Reviews Tagged With: Aladdin, genie, Jafar, Robin Williams

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