ScreenFish

where faith and film are intertwined

Emma Thompson

7.20 Sympathy for CRUELLA De Vil

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In Cruella, Emma Stone brings the backstory of one of Disney’s most famous villains to life. Well before there were 101 Dalmatians, Cruella De Vil was an aspiring fashion designer. However, when she matches wits against the (even more) evil designer, The Baronness (Emma Thompson), Cruella and her friends Jasper and Horace must scheme to bring down London’s queen bee. This week, Allen Chabot, Mira Ibrahim and TeenFish’ Daniel Collins return to talk about having sympathy for our villains and walking the line between redemption and revenge.

You can stream the episode on podomatic, Alexa (via Stitcher), Spotify or Amazon Podcasts! Or, you can download the ep on Apple Podcasts!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

7.20 CruellaDownload

Cruella: When Black and White Turns Grey

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Bold. Complex. Mesmerizing.

And, by far, the best Disney live action yet.

Yes, I am talking about Cruella with Emma Stone and Emma Thompson. Not one who typically flocks to live action Disney features (call me too sentimental for my 90’s animated favorites), this movie blew every expectation out of the water. The tapestry of this story weaves together color, creativity, and character development in such a way that every moment kept me engaged. I’m still sitting here with my mouth agape as I play it all back in my head.

Set against the backdrop of 60’s and 70’s London, young Estella works to be the good girl that her mother encourages her to be. With her uncanny style, unfiltered opinions, and explosive personality, playing nice isn’t exactly second nature to her. But for the sake of the mother she loves, Estella (Emma Stone) navigates both trauma and genius to stay as she is, until Cruella fully emerges from the depths in retaliation of a painful truth. Consumed with taking out her former mentor and now-enemy the Baroness (Emma Thompson – absolutely perfect), Cruella subverts the Baroness’s grip on the London fashion scene with a rock star edge and in-your-face theatrics. With the help of long-time partners in crime, Jasper (Joel Fry) and Horace (Paul Walter Hauser) and a team of nonconforming designers including Artie (John MCrea), Cruella is on the precipice of being unstoppable. But will she survive her own ambition and vengeance?

As an origin story, the set up for the characters and storyline of 101 Dalmatians is well-placed and subtle. Anita and Roger fade in and out just enough to play key roles without overshadowing the heart of this story. We get to the root of Cruella’s obsession with dalmatians, and Jasper and Horace are elevated to relatable characters as opposed to bumbling second-rate thieves.

But this movie has its own heartbeat – one that loves and bleeds – and Stone’s performance is the soul of the film. Her transformation from Estella into Cruella kept me in a state of “is she or isn’t she” the unfeeling villain we’ve seen before now. Against the backdrop of the statement black and white color scheme, there was a grey in-between for me. Behind every villain there is a beginning, and that beginning isn’t always evil. And the other side of that coin is that behind every hero, that beginning isn’t always benign. Morality can get murky depending on a variety of factors and influences, and Cruella really hit that point home.

It’s an exceptional film with layers of development, visualization, ambition, and even heartbreak. And it’s a testament to both the writers and the cast that with every turn I was invested in characters that I’m supposed to define as “bad guys.” Did I close my laptop ready to absolve them of them crimes? No. But did it remind me that our stories are rarely as black and white as we think? Definitely.

Cruella opens in theaters and is available with Disney+ Premier Access on Friday May 28th, 2021.

Dolittle: A High-Seas Adventure that Never Fully Sails

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Dolittle re-introduces the world to Dr. John Dolittle (Robert Downey Jr.), a reclusive man who lives in solitude in his lush manor in 19th-century England. Dolittle’s gift is that he can understand the language of the animals, with whom he speaks to on a daily basis. However,  when young Queen Victoria becomes sick, the doctor and his furry friends are called back into action as they embark on an epic adventure in order to save her life..

Directed by Stephen Gaghan (Syriana), Dolittle is a film with aspirations of classic childhood adventure films but, unfortunately, never quite lives up to its full potential. Derived by critics, there really is more to like about the film than some have given it credit for. On the one hand, Gaghan creates a world of whimsy that has echoes of the charm and heart of the original work, combining the childlike joy of colourful animals with an emotional journey for its lead. Distancing itself in style and tone from the successful Eddie Murphy films of the late 90s, Downey Jr. proves to be a good choice for the titular character of Dolittle himself. Always willing to play with child-like wonder, Downey brings his signature charisma to the role in such a way that he always makes you want to go on the journey into the unknown with him. 

On the other hand, however, the film struggles to maintain a consistent tone, dropping the more classic feel for bathroom humour that simply doesn’t work, especially in the awkward dragon finale. (Although not uncommon by any stretch, rumours of rewrites to include more ‘silliness’ into the film plagued it’s marketing upon its release.) Also, the film seems to lack an overall energy which seems odd, considering the pedigree of its cast.

Even so, what appeals to me about Dolittle is its interest in exploring what it means to deal with the pain of our past. Once known as a grand adventurer, the death of his wife has caused Dolittle to become a recluse from the human race, fearing any experience of loss of relationship in the future. Broken by his past, Dolittle has lost his passion for life and only agrees to the journey because he has been urged into action once again by the Queen herself. While this may seem heavy-handed on paper, the film does handle the topic of grief and loss at a level appropriate for children and may even provide some healthy questions for engaging the struggles in their own life. 

What’s more, Dolittle also points to the fact that healing best comes through community. Whereas some films simply point to healing as ‘moving on’, Dolittle acknowledges that the best healing comes when we realize that there are people holding us up along the way and share our burdens with them. (In fact, without any spoilers, Dolittle’s engagement with the dragon even highlights this idea of grieving together as a manner of healing. If only that scene hadn’t… sigh… if only…) As he processes his grief along his adventure, Dolittle’s journey helps him to appreciate the joys of the past and accept the grace required to move forward. 

Because of its interest in helping show what it means to process our feelings, Dolittle does have something positive to say to the children of this generation. With a heart of adventure, the film has so much potential yet it never comes to fruition. So, unfortunately, while there are some who will enjoy the ride, this may ultimately not be a trip worth taking.

Dolittle is available on VOD and Blu-ray now.

Missing Link – Finding Friendship

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It is important to have a place where you belong—people who journey with us. Or as Qoheleth put it: “Two are better than one, because they have a good reward for their toil. For if they fall, one will lift up the other; but woe to one who is alone and falls and does not have another to help.” (Ecclesiastes 4:9f, NRSV). In the animated film Missing Link the search for belonging leads to a discovery of a fuller life.

Adventure Sir Lionel Frost (voiced by Hugh Jackman) has explored the world investigating myths and monsters. But the prestigious society of adventures led by Lord Piggot-Dunceb (Stephen Fry) look down their noses at him and exclude him. When Sir Lionel gets a letter from someone who knows where Sasquatch can be found, he makes a deal with Piggot-Dunceb that if he finds him, he’ll be allowed in. So he sets off for the Pacific Northwest where he meets Mr. Link (Zach Galifianakis)—Sasquatch himself, who wrote to Frost.

Mr. Link voiced by Zach Galifianakis in director Chris Butler’s MISSING LINK, a Laika Studios Production and Annapurna Pictures release. Credit : Laika Studios / Annapurna Pictures

Mr. Link is lonely. He wants to find others like him and has heard that there are Yeti in the Himalayas. Frost concludes that the place to find Yetis would be in the mythical valley of Shangri-La. The two set off to find if this is the place that Mr. Link will find others like him and a place where he can belong. Along the way Lord Piggot-Dunceb tries to hinder them, but they are aided along the way by another adventurer, Adelina Fortnight (Zoe Saldana). Mr. Link, Sir Lionel, and Adelina each is looking for belonging and friendship. It isn’t so much the destination of the journey that brings them fulfilment as what they discover in each other along the way.

(L to R) Sir Lionel Frost voiced by Hugh Jackman, Mr. Link voiced by Zach Galifianakis and Adelina Fortnight voiced by Zoe Saldana in director Chris Butler’s MISSING LINK, a Laika Studios Production and Annapurna Pictures release. Credit : Laika Studios / Annapurna Pictures

This is a story about those who are excluded by those who think themselves better than others. It is true of Lord Piggot-Dunceb, and also of The Elder (Emma Thompson) of the Yeti society. They are very much classists (which can easily stand in for racism or other forms of exclusion) who feel justified in maintaining a purity of their little group. In so doing, they refuse to recognize gifts that others may have.

Sir Lionel and Mr. Link discover that they share a sense of loneliness and being seen as different. As they journey together they discover that what they are looking for may not be inclusion by those who reject them, but rather a bond that grows through their common endeavor. They each find that “two are better than one.” Therein, is their fulfillment.

Sir Lionel Frost (left) voiced by Hugh Jackman and Mr. Link (right) voiced by Zach Galifianakis in director Chris Butler’s MISSING LINK, a Laika Studios Production and Annapurna Pictures release. Credit : Laika Studios / Annapurna Pictures

The Meyerowitz Stories (New and Selected)

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The Meyerowitz family has spent their lives talking past each other. How can they find ways to say the important things that must be said? Noah Baumbach’s The Meyerowitz Stories (New and Selected) is a comic, yet painful look at a family that must struggle to get past a lifetime of the barriers they have built between each other.

The film is an ensemble piece with a strong cast. Family patriarch Harold (Dustin Hoffman) is a little-known sculptor and retired art teacher. He is defined by his outsized sense of importance. His son Danny (Adam Sadler) is moving in with him after Danny’s daughter heads off to college and Danny and his wife separate. Danny’s sister Jean (Elizabeth Marvel) leads a peaceful suburban life. Danny’s half-brother Matthew (Ben Stiller) is a well-off West Coast money manager. (Others rounding out the cast are Emma Thompson, Judd Hirsch, Grace Van Patten, and Candace Bergen)

All three of the children have issues with Harold. They also have issues with each other. As the film progresses these issues become apparent, but when Harold’s health fails, they must learn to bridge the emotional chasms that have grown through the years. Many of the problems involve Harold’s self-absorption. His ego seems to believe that all the world should revolve around him. He notices almost nothing about those around him. Because of this, conversations are often two people talking about different topics, never hearing what the other person is saying.

These scenes are comic, but they make for a painful comedy, because they grow out of the suffering that each person has buried for so long. Hoffman, Sadler, and Stiller are all accomplished in comedy, and it serves the film well to have them in these roles, even though it is much more somber than we are used to seeing them.

This focus on lack of the ability to communicate with each other is the foundation for the most powerful section of the film in the last third, after Harold’s health suddenly becomes a serious concern. The siblings, each in their own way, must find their paths to say goodbye to the father that has been such an aggravation to them. As it so often the case, the animosity is interwoven with the love they each feel for their father. That complexity creates a struggle far more difficult to deal with than the frustrations they felt when Harold was healthy. The struggle with impending grief adds yet another layer of pain to the dynamic. As the closing credits roll, Randy Newman’s song “Old Man” plays, which provides an excellent coda to this tragi-comedy.

The film is showing in select theaters and also streaming on Netflix

Photos courtesy of Netflix

 

Beauty and the Beast: A Mixed Transformation

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Unless you’ve been on a remote island for the last year or so, you know Disney has been working on a live-action version of its beloved, animated hit Beauty and the Beast.  After much teasing and considerable hype, the finished product has finally been released to theaters around the world.  People are flocking to theaters in droves, along with their kids (at least two girls were dressed in Belle’s signature yellow dress at the screening I attended). What they will see on the screen is a good film that doesn’t quite reach the bar set by its predecessor.

The film, for the most part, tells the story known the world over—a prince isn’t very nice to an old lady stopping by his opulent castle for shelter.  She puts a spell on him and his servants, transforming him into a horned beast (Dan Stevens) and them into various household objects.  The castle becomes frozen in a perpetual winter to boot. If the Beast finds true love before the magical rose in his room loses its petals, he can become human again. If not, he remains a beast forever and his servants become permanently inanimate.

In a nearby village, Belle (Emma Watson) is groaning about wanting more from life, all while helping her father Maurice (Kevin Kline) and avoiding the romantic passes of certifiable egomaniac and Narcissus wannabe Gaston (Luke Evans). When Maurice takes a wrong turn one day and lands at the castle, he picks a rose for Belle and is imprisoned by the Beast for it. Belle eventually comes to take her father’s punishment, but the Beast’s gaggle of talking appliances, led by Cogsworth (Ian McKellen) and Lumière (Ewan McGregor), keep her around—for a while.  When she escapes, wolves surround her, but the Beast saves the day, suffering injury in the process. That’s when Stockholm Syndrome befalls Belle.  Gaston learns of this and eventually leads a charge to kill the Beast (but fails), and the ending is all fairytale happiness.

In this adaptation, Beauty and the Beast succeeds in many areas–yet falls short in a few.  The sets and costumes are exquisitely designed—there could be an Oscar nomination coming Disney’s way next year. There were some issues with the CGI—especially with the wolves and a few of the backgrounds. As for the cast, Stevens’ Beast doesn’t seem quite as angry as his animated counterpart, coming across as more of a tortured soul (he also has a solo that is fantastic). Watson does admirably as Belle, but you can tell from the first song that she can’t quite hit the high notes. To her credit, she does get stronger in her singing as the film progresses. McKellen, McGregor, and Emma Thompson (as Mrs. Potts) are fabulous; Thompson is probably the only person that could give Angela Lansbury a run with her rendition of the theme song. I didn’t quite find Evans’ Gaston to be as convincing–his change from vain leader to exactor of vengeance was too abrupt. There are a few new additions to the film, including the rose Maurice picks at the Beast’s castle, a magic book that acts as a corollary to the magic mirror, a look at Belle’s childhood, and Agathe (I won’t say any more about her).  This adds almost forty-five minutes to director Bill Congdon’s film (it runs 2:09), but I didn’t find myself checking the time as a result.

There’s been a ton of discussion on the Internet and in real life about Josh Gad’s portrayal of LeFou as gay.  As with many other things, speculation is just that—speculation.  In the film, LeFou wants to be on Gaston’s good side, but does act a bit odd at times.  It’s only at the ending battle where anything resembling gay comes into play, thanks to Madame Garderobe (Audra McDonald).  This comes into play (if you want to call it that) as LeFou, in the final dance, spins off from his female partner to a guy.  It’s a blink-and-you-miss-it sequence and really has nothing to do with the overall story.

The themes of sacrifice, love, and restoration come into play quite prominently. However, one early sequence is worth mentioning. Belle asks Maurice about her mom, who describes her as “fearless.” To a large extent, that’s exactly what Belle becomes—both in her determination to protect her father and her belief that something good exists in a hideous horned creature.  In our lives, fear is an attribute that can render the strongest person powerless.  But true love can vanquish fear—the Bible notes this when it says, “There is no fear in love. But perfect love drives out fear, because fear has to do with punishment. The one who fears is not made perfect in love (1 John 4:18 NIV).”  Obviously, Belle grew up a lot by the time the credits rolled.

Beauty and the Beast has its ups and downs and is definitely worth a visit to the theater with kids in tow. Just don’t expect to have it replace the animated version sitting on your shelf at home.