jarobledo3
As a two-part miniseries with a length of about three hours, this adaptation of Lewis Carroll's beloved classics doesn't need to rush the story, allowing us to see pretty much every scene and character from the stories, including rarely seen ones like Pat, the Fawn, the Man in the Paper Suit, the Goat, the Gnat, Humpty Dumpty, the Horse, the Sheep, and the Owl. (Two of these characters, for some reason, swap the acts they appear in: the Owl is a character from the first book, but appears in the second act, and the Fawn is a character from the second book, but appears in the first.) Indeed, the only scene missing that I can think of is the Giant Puppy scene, which is somewhat disappointing, but excusable.But with that being said, the rest of this movie really gets my nerves, especially the first act: for one thing, very few of Carroll's poems appear, and all the songs in this musical are "Americanized" and modern. This wouldn't be so bad if the film was meant to be a modern riff on the stories, like the Hanna-Barbera T.V. film, BUT IT ISN'T. It is very clear that this, like the original books, is meant to take place in Victorian Age England. But here's the thing: ALMOST NO ONE IN THIS FILM IS British! The songs are all obnoxious, as well as "Americanized," and have very little to do with Carroll's text, and, again, with the exception of "You Are Old, Father William," and "Twinkle, Twinkle, Little Bat," none of the poems from the first book appear. The second act is just as guilty, but at least "The Walrus and the Carpenter" appears and is fairly enjoyable, and the ending tune is very sweet, and even a bit heartbreaking.The casting is all over the place: In the first act, the Mad Hatter is played by Anthony Newley, whose rude and grumpy performance hardly makes him laughable (especially odd since his song is titled "Laugh"), and he comes off rather unlikeable. Jayne Meadows as the Queen of Hearts, as well as Martha Raye's Duchess, aren't regal, or even stuck-up...they're just straight up sadists whose accents make them sound like the Marry Murderesses from "Chicago." Scott Baio as Pat especially bothers me: he speaks Carroll's text word for word, but doesn't bother at even attempting an accent, and his flat, highly-rehearsed tone almost makes it sound like he has a speech impediment. The second act isn't much better: Carol Channing as the White Queen is particularly atrocious, and Jonathan Winters is exceptionally dull as Humpty Dumpty.Now, there are some good performances: Robert Morley is my favorite King of Hearts, and Red Buttons and Roddy McDowall aren't half bad as the White Rabbit and the March Hare. Lloyd Bridges as the White Knight in the second act is bumbling and chivalrous at once, and there's a distinct lovability to him, and a twinkle in his eyes. Not bad at all. Ringo Starr's "storyteller" voice, which any fan of "Thomas the Tank Engine" is probably familiar with, works well in his performance as the Mock Turtle. And, of course, Natalie Gregory isn't terrible at all: she's very sweet, yet determined, and her age (nine years old) in this film makes her to closest actress, age wise, I believe, to play the coveted role of Alice.Even though the performances are sometimes okay, the costumes rarely are: most of the costumes worn in this film come off as cheap-looking and seem to have very little basis in Tenniel's praised illustrations. Bill the Lizard looks like something out of "Farscape," while the Jabberwock, played by Tom McLoughlin, is menacing, but somehow manages to look like a bad Godzilla costume at comic-con, with wings.With the mention of the Jabberwock, another problem comes to mind: the designs of the scenery, and the tone of the movie, which go hand in hand. The first act can't seem to make up its mind whether it's dark or light: the rabbit-hole is no longer the fanciful parachute ride from Carroll's story, masterfully captured in other stories, but a terrifying free fall, which ends in a dank tunnel that, for some reason, has lightning and thunder inside it. The Queen's sadism makes her especially horrific, Jayne Meadows' sick, twisted expressions of hate, rage, and insane glee making her moments particularly disturbing...the audience starts to wonder: is this a kid's film, or a prototype for "American McGee's Alice?" The second act seems to have made up its mind: it's a light take on "Alice," but with dark moments...namely, whenever the Jabberwocky appears. The film even involves death: even though the King still pardons people in the first act, as in the books, in the second act, Humpty Dumpty is pushed off the wall by the Jabberwock, and presumably never repaired, and the White Knight dies trying to defend Alice from the same frumnious beast. (Or seems to...he reappears at the very end of the movie, so I guess he was just knocked senseless.) My overall opinion: this miniseries is enjoyable for some, and one of the darkest takes on Carroll yet, despite occasional bouts of typical, childish whimsy, but it's not for me. Still, it does retain 99% of the characters/scenes from the books, so that's something, even if most of the songs and poems are omitted. A good try...but a bad execution.
Poseidon-3
Producer Allen was either the most amiable man in Hollywood or else paid the best salaries or else had major blackmail material on half the town in order to enable him to amass the incredible all-star casts that he put together in the 70's and early 80's. Here, taking a break from the fully exhausted disaster genre for which he was famous, he made this two-part telefilm based on the books of Lewis Carroll. Gregory plays a petulant little girl who dreams her way into the wacky and confounding world known as Wonderland, first through a rabbit hole and later through a mirror. While there, all the time striving to get home, she comes upon all manner of creature and a variety of royalty (based on cards and chess pieces) who make life difficult and/or confusing for her. Part one is the more familiar tale (immortalized on film many other times, but perhaps most notably in an animated Disney version) while part two has more characters and is darker in tone (thanks mostly to a dragon called The Jabberwock which, while creaky and obviously phony to sophisticated older viewers, may be quite terrifying to youngsters!) Though all mini-series of the era featured huge casts of name actors, Allen really outdid himself here with a roster of performers who range from legendary to popular to unjustly notable. Sadly, the nature of the material and the set up of this project meant that the majority of them would not be given a great deal to do. Winters, for example, barely appears at all and has no lines to speak of. O'Connor is basically the same, which is a heinous waste of talent. Meadows, however, whose husband (Steve) Allen wrote the songs for this, has a far more substantial role. While it's fun to play "Spot the Star" and see them all decked out in their often outrageous clothing and make-up, most of the time the film falls flat and the guest stars don't really shine so much as show up. Standouts in the production include Jillian and Channing who, fortunately, have very significant roles in the second half and who perform with gusto. Newley seems quite right for his blustery and veddy British character as well. It's nice to see Davis still going at it as well. Bridges injects some heart into his role. It doesn't get much campier than Lawrence and Gorme as Tweedle Dum and Tweedle Dee! Apart from the script simply devoting more time to some really unmemorable songs (as compared to the unforgettable ditties "I'm Late" and "The Unbirthday Song" from the animated version) than to the acting scenes, the primary liability is Gregory. The entire project hinges on having just the right person as Alice and this little girl is agonizing. She's a pretty decent singer and quite a capable little dancer, but her acting is atrocious and her whiny, sing-song speaking voice is like daggers to the ear. Besides this, she's charmless when she should be ingratiating and she's snotty when she ought to be sympathetic. She's just not a likable persona in this role. The script sets her up for failure by having her constantly recap to herself everything that is transpiring and this gets old very fast. The costumes for this production are fairly extravagant, as is the make-up, but the sets are almost all Astroturf and silk flowers with a fake sky backdrop. Incidentally, this film reunites at least five cast-mates from "The Poseidon Adventure" and three from "Beyond the Poseidon Adventure", though most of them do not interact with one another. It's colorful and worth a look, especially for star-gazers, but a lot of it is tiresome and uninspired.
