At some point in the early years of the 21st century a bunch of Hollywood executives must have gotten together and decided that animated films should be made for all audiences. The goal was perhaps to make movies that are simultaneously accessible to the older and younger sets with colorful imagery that one expects from children’s films and two levels of humor: one that’s quite literal and harmless and another that’s somewhat subversive. The criteria has resulted in cross-generational hits like Wall-E and Madagascar and though it’s nice to be able to take my nephew to the movies and be as entertained by cartoon characters as he is I can’t help but wonder what happened to unabashedly innocent animated classics like A Goofy Movie and The Land Before Time?
Disney’s Winnie The Pooh is the answer to the Shrek’s and Hoodwinked!’s of the world: a short sweet simple and lighthearted tale of friendship that doesn’t need pop-culture references or snarky dialogue to put a smile on your face. Directors Stephen J. Anderson and Don Hall found some fresh ways to deliver adorable animation while keeping the carefree spirit of A.A. Milne’s source material in tact. Their story isn’t the most original; the first part of the film finds Pooh Piglet Tigger and Owl searching for Eeyore’s tail (a common plot point in the books and past Pooh films) and hits all the predictable notes but the second half mixes things up a bit as the crew searches for a missing Christopher Robin whom they believe has been kidnapped by a forest creature known as the “Backson” (it’s really just the result of the illiterate Owl or is it?).
The beauty of hand-drawn animation all but forgotten until recently is what makes Winnie the Pooh so incredibly magnetic. There’s an inexplicable crispness to the colors and characters that CG just can’t duplicate. It’s a more personal practice for the filmmakers and should provide a refreshing experience for audiences who have become jaded with the pristine presentation of computerized imagery. The film is bookended by brief live-action shots from inside Robin’s room an interesting dynamic that plays up the simplicity of youth ties it to these beloved characters and brings you right back to memories of your own childhood.
With a just-over-an-hour run time Winnie the Pooh is short enough to hold the attention of children but won’t bore the parents who will love the film mainly for nostalgic musings. Still it’s the young’uns who will most enjoy this breezy bright and enchanting film that proves old-school characters can appeal to new moviegoers.
In adapting a rather flimsy children’s book into a full-fledged feature film one has to take some liberties. We first meet the lovable little monkey in the wild where his curious habits wreck havoc. Meanwhile in the big city Ted (voiced by Will Ferrell)--aka The Man with the Yellow Hat--is a highly enthusiastic guide at the soon-to-be-closed Bloomsberry Museum. In order to save the museum (here’s where they pad it) he is sent on a mission to Africa to retrieve a lost shrine. But when he gets there the only thing he finds is a miniature version of it--and George of course. The lonely monkey decides to follow Ted all the way back to the city where his mischievous tendencies get him into even more trouble. George nearly ruins everything for Ted but somehow the little feller eventually grows on him. How could he not? If I can borrow a line from Madagascar little George is so cute I just like to dunk him in my coffee. When you’re reading Curious George out loud to your kids you don’t get the impression The Man with the Yellow Hat is a good-natured but geeky fellow gangly clumsy and clueless about women. Thank goodness the film has Will Ferrell to clear it up for us! You basically know what you’re in for once you recognize his voice and his natural comic timing shines through lending for some funnier moments (“OK I’m looking directly into the sun. Staring right at it. I’ve got to be honest with you it stings…”). The other voices in the film also do a fine job including Drew Barrymore as a schoolteacher who has a crush on Ted; Eugene Levy as the mad museum scientist; Dick Van Dyke as the museum’s old-time curator; and David Cross as his weasly greedy son. Based on the books and illustrations by Margret and H.A. Rey Curious George embraces the essence of the timeless stories created 65 years ago. The film apparently took awhile to find its voice. Producer Ron Howard originally conceived it as live-action film but quickly realized they could never get a real monkey as cute and fuzzy as George. Then CGI was considered but ultimately the filmmakers kept returning to the source: the late H.A. Rey’s original painstakingly beautiful illustrations. Thankfully they stuck with that idea. Curious George is lush and vibrant with all of Rey’s best efforts fully realized in Technicolor. And much like what the Piglet’s Big Movie did with Carly Simon and The Wild Thornberrys with Paul Simon Curious George is also sprinkled with original songs by hot pop singer Jack Johnson to give it a modern feel. So what if the story gets a little overblown in parts it will still introduce one of literature’s most enduring icons to the young-un’s--while allowing the adults to reminisce.