Movie Number 30: Hans Brinker Or The Silver Skates (Norman Foster, 1962). Originally Shown In January

Movie number 30: Hans Brinker or the Silver Skates (Norman Foster, 1962). Originally shown in January 1962 in two parts on the television anthology series Walt Disney’s Wonderful World of Color, Hans Brinker was released to cinemas internationally in 1964. An adaptation of the popular children’s novel by Mary Mapes Dodge, the movie stars Rony Zeaner as the titular Hans, a struggling Dutch artist who enters a skating contest in hope of winning the prize money to pay for an operation for his father who is injured while attempting to repair local sea defences.

Despite its TV origins Hans Brinker is, like virtually all Disney releases of its era, a high quality product. While it’s narrative is divided neatly in two halves and the fades for commercial breaks are noticeable I can imagine watching this on original release, probably as the second half of a double bill, unaware of its made for TV status due to its high production values. Shot on location on the Zuider Zee and in Rembrandt’s Amsterdam home and featuring a largely Dutch cast and crew it is markedly different in tone from Disney’s American product. It is a slow moving drama punctuated by the excitement of the storm battled dam rescue, a kidnapping and the inevitable skating contest. Davy Crockett’s Norman Foster directs in a low-key yet professional manner as befits the story.

While I found much to enjoy in this movie I will admit it is probably something of an acquired taste and possibly of interest more to Disney historians than casual viewers. However, if you are in the mood for low-key family drama cum Netherlands travelogue you could do much worse than seek out Hans Brinker or the Silver Skates.

Movie number 28: Gus (Vincent McEveety, 1976).

By 1976, 10 years after the death of its founder, Walt Disney Productions were struggling for relevance in a changing film industry which had largely moved away from family entertainment to more adult fare. The fantasy comedies which were the company’s mainstay had been a Disney staple since The Shaggy Dog (Charles Barton) had hit big in 1959. However, nearly two decades later, what had once seemed fresh and inventive had become tired and formulaic. Budgets were kept low so the films made a small profit and Gus, with it stock footage and unconvincing back-projection was, indeed, a minor success. Its plot, as high concept as it is ludicrous, involves a Yugoslavian mule with a talent for 100 yard field goals who is hired by failing US football team The Atoms. The human cast is headed by Edward Asner doing his lovably gruff bit as The Atoms manager and he is supported by familiar 70s faces Don Knotts, Tim Conway and Tom Bosley. Considering the material the cast do a decent job and some genuine laughs are to be had from the visual gags involving The Atoms ageing cheerleaders and Gus the mule running amok in a supermarket! The movie Gus feels something of a cousin to Disney’s earlier The World’s Greatest Athlete (Robert Scheerer, 1973) and if you enjoyed that you will probably like this. To be fair, I lapped up this sort of thing as a child and taken for what it is Gus is entertaining, cheap and cheerful formulaic fun!

WRECK IT RALPH (Dir: Rich Moore, 2012).

Walt Disney Animation Studios first decade of the 21st Century was one of change and uncertainty. The practice of releasing cheaply made straight-to-video sequels to their most successful features was undoubtedly damaging to the Disney brand. The costly failure of ambitious efforts Atlantis: The Lost Empire (Gary Trousdale & Kirk Wise, 2001) and Treasure Planet (Ron Clements & Jon Musker, 2002) and a shift in public taste toward computer generated features saw Disney lose its position of industry leader to newer animation studios Pixar and DreamWorks.

Yet with the release of box office hits Bolt (Chris Williams & Byron Howard, 2008) and Tangled (Nathan Greno & Byron Howard) it appeared that Disney had finally regained their footing in the field of feature animation. Disney’s new-found winning streak continued in 2012 with Wreck It Ralph.

Ideally suited to CGI animation, Wreck it Ralph takes place entirely with the video games of Litwak’s Family Fun Center & Arcade. Titular Ralph is the bad guy from 1980s era 8-bit game Fix-It-Felix Jr. In a plot that somewhat recalls The Nightmare Before Christmas (Henry Selick, 1993), Ralph (John C Reilly), tired of his bad guy status travels from his own game to hyper-realistic shoot-‘em-up Hero’s Duty to candy cart racing game Sugar Rush in his attempt to earn a medal and prove himself the good guy. En route he befriends glitchy outcast racer Vanellope Von Schweetz (Sarah Silverman) whom he aides in her quest to become a champion racer.

The video game worlds are beautifully realised in director Rich Moore ‘s visually stunning movie. Every aspect of Wreck It Ralph is top notch from Phil Johnston and Jennifer Lee’s screenplay to Henry Jackman’s score to the superlative voice work of Riley and Silverman. Whether you are gamer or not there is much to enjoy in this genuinely inventive, surprisingly moving modern classic that I believe is one the best movies released by Disney in the post-Walt era, better even than the mighty Frozen (Chris Buck & Jennifer Lee, 2013). A sequel, Ralph Breaks the Internet, was released in 2018, my thoughts on which you can read soon...

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Movie number 29: The Nutcracker and the Four Realms (Lasse Hallström & Joe Johnston, 2018). I could easily fill this review with superlatives about the amazing production design of this movie. It is exquisite, as are the beautiful costumes. The effects work is also top quality. The estimated $120-130 million budget is right up on the screen for all to see. The entire film is a truly sumptuous feast for the eyes and is easily one of the best looking movies I have ever seen, if not the best. The Nutcracker and the Four Realms is loosely based upon E T A Hoffman’s ‘The Nutcracker and the Mouse’ and the Tchaikovsky ballet which also serves in part as the basis for the James Newton Howard score. It concerns a young girl (Mackenzie Foy) who travels Narnia-style from Victorian London to the otherworldly Four Realms in search of the key to an egg gifted to her by her late mother. Here she must re-unite the warring realms aided by the titular nutcracker and a fantastic cast including Helen Mirren, Richard E Grant and Keira Knightley hamming it up to great effect as the Sugar Plum Fairy. In spite of the excellent cast and stunning production Nutcracker is not entirely without its problems. Extensive re-shoots resulted in the duel director credit for Hallström and Johnston and at only 99 minutes it could easily withstand being a little longer. Indeed, the ballet itself is less prominent than expected and the Four Realms of the title are barely visited save for the Land of Amusements where most of the action takes place, possibly a sign of some hasty editing. Yet, this aside, I found much to enjoy in this extravagant fantasy and am baffled by the poor reception it received upon released. It isn’t perfect but it is beautiful to behold. With its Yuletide setting and general Christmassy vibe it may well find its audience through future festive television screenings. It is certainly a movie that deserves to be seen.

Movie number 22: The Kid Who Would Be King (Joe Cornish, 2019). Writer/director Joe Cornish’s post-Harry Potter fantasy stars Louis Ashbourne Serkis as otherwise unremarkable schoolboy Alex who stumbles upon King Arthur’s legendary sword Excalibur, launching himself and his friends on a quest to save the world from Arthur’s ancient foe Morgana and a personal quest to find Alex’s absent father. As with other recent medieval themed movies King Arthur: Legend of the Sword (Guy Ritchie, 2017) and Robin Hood (Otto Bathurst, 2018) The Kid Who Would Be King is underperforming at the box office. Do not, however, let its underwhelming commercial impact deter you from experiencing this fun Goonies-esq romp. With pleasing performances from its mostly juvenile cast and some stunningly realised fantasy sequences, The Kid Who Would Be King features an arguably more satisfying narrative than the most recent entry into the Potter franchise, The Crimes of Grindelwald. It also features an outstanding performance from relative unknown Angus Imrie, striking the right balance of austere reverence and sheer oddity as young Merlin the magician. A mix of Arthurian mythology and housing estate humdrum, The Kid Who Would Be King feels distinctly and refreshingly British and carries a welcome anti-Brexit message. It is a good-natured, solidly entertaining family adventure, perfect for the school holidays.

THE GHOSTS OF BUXLEY HALL (Dir: Bruce Bilson, 1980).

Originally screened in two parts on the long running Disney anthology series, at this point in its history broadcast on NBC under the Disney’s Wonderful World banner; The Ghosts of Buxley Hall is a throwback to Disney fantasy comedies such as Blackbeard’s Ghost (Robert Stevenson, 1968) and Charley and the Angel (Vincent McEveety, 1973). Failing military academy Buxley Hall is forced to merge with a cash strapped girls school, enraging the ghosts of founder General Eulace C Buxton, cohort Sergeant Major Chester B Sweet and wife Betina Buxley (played by Dick O’Neill, Victor French and Louise Latham respectively). Their focus soon shifts to aiding new student Jeremy (Red Daly) whose scheming aunt and uncle threaten both the future of the school and more importantly the well being of their nephew.

Although very much a product of its time The Ghosts of Buxley Hall is undemanding formulaic fun. It has a welcome, albeit slight, feminist message, although some may find gags involving smoking and alcoholism and some mild risqué humour involving a sex education class a little out of place in a family movie. With regards to modern audiences, I imagine this film is more likely to appeal to grownup children of the 1970s/80s than by actual children.

Is The Ghosts of Buxley Hall a good movie? Not particularly. Did I enjoy it? Yes, I kinda did. It felt nostalgic, raised the odd smile and kept me out of mischief for 90 odd minutes.

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The Ghosts of Buxley Hall (1980)

The Ghosts of Buxley Hall  (Dir: Bruce Bilson, 1980).  O riginally screened in two parts on the long running Disney anthology series