FREAKY FRIDAY (Dir: Gary Nelson, 1976).

FREAKY FRIDAY (Dir: Gary Nelson, 1976).

Walt Disney Productions' Freaky Friday is an early example of the 'body swap' comedy.

It tells the story of frustrated housewife Ellen Andrews (Barbara Harris) and her daughter Annabel (Jodie Foster). Following an argument on the morning of Friday the 13th the pair wish to change places, both believing the other has the more desirable life. Magically their wish is granted. Mom has to try to make it through a school day, while daughter deals with the pressures of housework. Comedy high jinks ensue.


While its concept no longer seems original, Freaky Friday is still a fairly fresh and funny movie, largely due to the excellent performances from its leads. Jodie Foster is terrific as the 35 year old mind in the body of a 13 year old, but the real revelation is Barbara Harris. Playing baseball with a team of 8 year olds, flirting with a teenage neighbour, having a meltdown over household chores; Harris perfectly captures the manic mind of 13 year old let loose in the body of a grown woman, proving herself an adept comedy actress in a fairly demanding physical role. Solid support from John Astin as bemused husband/father Bill Andrews, Sparky Marcus as Annabel’s brother ‘Ape Face’, Marc McClure as neighbourhood crush Boris and Patsy Kelly as the Andrew’s boozy housekeeper round out an appealing principle cast.


For the most part director Gary Nelson avoids the formulaic, cookie-cutter approach associated with Disney comedy movies of the era, thanks to Mary Rodger's superior script which stays close to spirit of her book. The movie occasionally veers a little too far into slapstick but most of it works and there are more big laughs than not. The mother/daughter relationship at the movies core is completely believable, through the misunderstandings to the inevitable reconciliation. The denouncement is nicely handled, not too sentimental and quite touching.

Freaky Friday is a good natured romp, with plenty of big laughs and let's be honest, who among us hasn't wondered what it would be like to switch places with Jodie Foster?

Read a longer, more in-depth version of this review on my blog: jinglebonesmovietime.blogspot.com

RIP Richard Williams.

THE MAN IN THE WHITE SUIT (Dir: Alexander Mackendrick, 1951).

Ealing Studios were on fine form in 1951, producing two classic comedies. The Lavender Hill Mob (Charles Crichton) released in June, was followed two months later by possibly the greatest Ealing comedy of all, The Man in the White Suit.


Set in the textile mills of the north of England, The Man in the White Suit tells of Sidney Stratton (Alec Guinness), a research chemist who delivers a new wonder fabric. Indestructible and dirt repellent, the miracle fabric initially has Sidney lauded a genius. However, once the ramifications of such a product become clear, both mill owners and trade unions are keen to suppress Sidney and his invention.


In some repects, The Man in the White Suit in atypical of the Ealing Comedies. It shares with the others the broad theme of the individual vs the Establishment, but here seems to be taking a swipe at trade unions and the common man. In actuality its view of big business and commercialism is just as critical. Yet here, the 'little guy against the system' is a more ambiguous figure than usual. Although Sidney's noble ambition to clothe the world in indestructible fabric is a commendable one, ultimately the price of doing so would come at too great a cost. As his landlady remarks "What's to become of my bit of washing when there's no washing to do?" On the flipside of this is the wealthy mill owners whose greed sees them clamouring for Sidney's invention before attempting to suppress it, initially with bribes, then with more underhanded means. Business and labour eventually side with each other as poor Sidney is chased through the dark streets with his suit glowing luminous white! While the audience sympathy undoubtedly lies with Sidney, we are not too sorry at his inevitable downfall.


Thankfully, social commentary does not get in the way of this being a very funny film. The astute screenplay by John Dighton, Roger MacDougall and Alexander Mackendrick nicely balances the two opposing sides of industry with equal satirical bite. Mackendrick directs at brisk pace, creating a real feeling of suspense in the final moments.


Alec Guinness, arguably the greatest comic actor all time, is excellent here. His childlike optimism offsetting the cynical nature of the film. While Sidney’s blinkered belief in his invention is foolhardy, Guinness never portrays him as foolish, eliciting audience sympathy for a character who could have easily evoked derision. Reunited with Guinness is his Kind Hearts and Coronets (Robert Hamer, 1949) leading Joan Greenwood, equally effective here as his chaste love interest.

The Man in the White Suit walks a thin line between cynical satire and offbeat whimsy, but it does so with ease. I would argue it is the greatest of the Ealing comedies and an absolute comedy masterpiece. Highly recommended to anybody with the slightest semblance of a sense of humour.

Check out my blog JINGLE BONES MOVIE TIME for more reviews of classic Ealing Studios movies!

THE LITTLE MERMAID II: RETURN TO THE SEA (Dir: Jim Kammerud, 2000).

Released 11 years after the original, The Little Mermaid II: Return to the Sea is the first of two sequels to Walt Disney Pictures The Little Mermaid (Ron Clements & John Musker, 1989).

Flipping the events of the first movie, The Little Mermaid II is the story of Melody, the tweenage human daughter of Ariel and Prince Eric. Knowing nothing of her mother’s past and longing to explore the forbidden ocean, Melody strikes a deal with Morgana, the equally villainous sister of sea witch Ursula. With the safety of Melody and the merfolk kingdom of Atlantica at risk, Ariel must ‘return to the Sea’ in a bid to save them.

What drives me to watch a movie like The Little Mermaid II? Let’s say morbid curiosity. Plus the fact that Disney is no longer churning out these straight-to-video cash-ins means I am not supporting their production.

Is it any good? Well, considering its made for the home market origins, this is not a bad looking movie. Produced by Walt Disney Television Animation (latterly DisneyToon Studios), it’s not up to the high standards of a Walt Disney Animation Studios production but it is a step up from usual television fare. Also in its favour is the return of much of the original vocal cast including Jodi Benson as Ariel and Pat Carroll as Morgana.

The returning cast members and the above average visuals suggest that Disney was wary of damaging a popular franchise. However, whatever qualities the movie has are scuppered by some doggedly pedestrian storytelling.

To be fair, I found The Little Mermaid II to be passable entertainment and better than many Disney sequels. Very young viewers, especially those with a penchant for mermaids, should enjoy it. Older children and adults, meanwhile, would do better to stick with the superior original.

Visit my blog JINGLE BONES MOVIE TIME for more reviews of Disney classics and their sequels! Link below.

Movie number 81: FIGHTING WITH MY FAMILY (Dir: Stephen Merchant, 2019).

The world of WWE is pretty alien to me. As, indeed, is the word of sport in general. As a movie fan, as opposed to a sports fan, I spend a lot more time sitting on my butt than I do taking part in any physical activity whatsoever. (NOTE: This is not a lifestyle I recommend. After reading my blog go do something active. After reading my blog.)

Fighting with My Family is the true story of professional wrestler Paige. Following her journey from competing as an amateur in her Norwich hometown to being signed by the WWE and becoming the youngest Divas Champions winner in the competition's history.

Watching this as a non-wrestling fan I was surprised at how much I genuinely enjoyed this movie. Partly financed by WWE Studios and co-produced by Dwayne 'The Rock' Johnson, it is not the glossy, sanitised bio-pic that such official sanctioning might suggest. Brit director and writer Stephen Merchant doesn't shy from depicting the sometimes grim world of amateur wrestling or the negative effect Paige's career path has on her family, particularly her brother Zac who was unsuccessful in his WWE audition. Yet Merchant also delivers a movie of great warmth and humour with plenty of laugh out loud moments. Sentimental old fools like me should also watch out for the odd lump in the throat moment.


Standouts among the cast are Florence Pugh as Paige and Jack Lowden as Zac; impressive in both their acting and physical performance, convincing to these novice eyes as wrestlers proper. Nick Frost and Lena Headey are well cast as Paige's parents. Vince Vaughn has his best role in years as Paige's coach. Dwayne Johnson always seems an amiable chap and does here playing himself, rounding out a very appealing cast.

There is little of anything negative I can say about Fighting with My Family. It's not going to change the world, but it is solidly entertaining and wholly likeable. It is inspiring, uplifting, feelgood and any other cliche you wish to throw it at. It might also make you want to take up wrestling.

Visit my blog for more movie reviews: JINGLE BONES MOVIE TIME! Link below.

CANDLESHOE (Dir: Norman Tokar, 1977).


Walt Disney Poductions' Candleshoe is a comedy crime caper based upon Michael Innes' novel Christmas at Candleshoe.


Leaving the mean streets of Los Angeles, Casey Brown (Jodie Foster) heads to England to hustle the elderly Lady St Edmund (Helen Hayes) out of her dilapidated stately home Candleshoe. Within Candleshoe lays the hidden treasure of pirate Captain St Edmund to which Casey holds the first clue. In cahoots are disgraced former Candleshoe employee Clara (Vivien Pickles) and her brother Bundage (Leo Mckern) who masterminds the misdemeanour. Welcomed into the Candleshoe family, Casey turns the tables on Bundage and sets about the treasure hunt with intent to save the debt racked estate from foreclosure.


A first rate cast was assembled for this production. 15 year old Jodie Foster was fresh from her Oscar nominated turn in Taxi Driver (Martin Scorsese, 1976). She does excellent work here too and it is to her credit that she is not overshadowed by the acting heavyweights in support. Most notably David Niven, donning multiple disguises as butler, gardener, chauffeur and a visiting Colonel, in what is perhaps his best late career role.

A neat premise also lifts the movie above the usual formulaic fluff the Disney Studios were producing in the late 70s. Rosemary Anne Sisson's and David Swift's screenplay mixes humour and excitement as the race is on to recover the spoils before the bad guys. Norman Tokar directs at a surprisingly steady pace, but one that allows the mystery to unfold and for characters to develop so that Casey's change of heart is completely believable.


Candleshoe’s view of a genteel England of stately homes and steam trains must have seemed downright archaic in 1977. However, in 2019 it feels innocent and charming; nostalgic for an idealised period in British history which never really existed.


With a superior story and a distinguished cast Candleshoe is easily a highlight of the Disney Studios' live-action catalogue. Equally entertaining for children and adults, this treasure hunt movie is a gem.

Visit my blog JINGLE BONES MOVIE TIME for a longer, more in-depth review of Candleshoe!