The animated Sinbad: Legend of the Seven Seas has all the great adventure of the story wrapped up in a sappy little package for the kiddies. Taken from the ancient tales of the Arabian Nights Sinbad is a rogue who cares only about what is in his and his crew's best interest--and little else. As the film begins he unsuccessfully tries to steal the Book of Peace--which keeps order in the world--from his childhood best friend Proteus the Prince of Syracuse who is sailing to the city to return the sacred book. Although the two are estranged it's clear they still have a kinship. When the Book of Peace is actually stolen by Eris the goddess of chaos she frames Sinbad for the theft. Proteus stands up for his friend and makes the council give Sinbad one chance to find and return the precious book or Proteus will die on his behalf. Disbelieving the threat the pirate decides to blow the whole thing off but Proteus' beautiful betrothed Marina who has stowed away on Sinbad's ship has other plans. Marina has Sinbad's crew on her side and it could turn mutinous if the guy doesn't fulfill the mission. OK so he'll go get the book. Eris doesn't make it easy for our reluctant hero--dispatching both monstrous creatures and the elements to do battle along the way. But ultimately the brave Sinbad learns a few life lessons falls in love and wins out by following his heart. Aww!
See what a little success in the animated world can get you? These days an animated film can demand the attention of any A-list actor to provide the voices not just your occasional Robin Williams. We have Finding Nemo with the voices of Albert Brooks and Ellen DeGeneres and now Sinbad which attracted huge names such as Brad Pitt (Sinbad) Catherine Zeta-Jones (Marina) Michelle Pfeiffer (Eris) and Joseph Fiennes (Proteus). It could also be the fact DreamWorks' animation king Jeffrey Katzenberg has the clout to rope them all in. Pitt as Sinbad is roguishly clever infusing the pirate with the requisite amount mischievousness and rebellion while Zeta-Jones provides the adventurous Marina with the right amount of bravado and vulnerability. Fiennes as the stiff but honorable Proteus is fine but you can tell right away who has the most fun with her character; Pfeiffer's Eris is a pure delight in sound as well as sight. She is able to take her Catwoman persona from Batman Returns and elevate it to a well celestial level. In the supporting roles Dennis Haysbert does a nice job as Sinbad's right-hand man Kale as does Adriano Giannini the son of legendary actor Giancarlo Giannini as the ship's lookout Rat. Kudos all around for a job well done.
As a self-proclaimed fan of those cheesy 1970s Sinbad movies including The Golden Voyage of Sinbad and Sinbad and the Eye of the Tiger--where the stop-motion special effects of wizard Ray Harryhausen made it all worthwhile--the idea of an animated version of Sinbad seems perfectly fitted for the genre. Now the mythical creatures could be fully realized in vivid Technicolor where the DreamWorks' animators spare no expense in providing their own visions of things such as sirens sea monsters and giant birds of prey. The artwork for Eris is a particular stroke of genius with the flowing black hair and beautifully evil features; the film definitely comes alive when she is onscreen. As well the action sequences are as exciting as any car chase or gun battle you'll see in a live-action film. The drawback for the adults is the film's slightly schmaltzy story about friendship and of course true love. It's not entirely clear why computer-animated films such as Shrek and Finding Nemo are now becoming the only animated films that appeal to everyone adults and kids alike. It used to be traditional hand-drawn classics such as The Little Mermaid and The Lion King did the trick but now it seems animated films need only provide spectacular visuals--without a great story and snappy dialogue to back them up.
How To Write a Victorian Novel 101. First introduce a perfect family like the Nicklebys and place them in an idyllic country setting. Shortly thereafter the father/provider must lose the family fortune and swiftly die of grief leaving his family reliant on the charity of a cruel yet wealthy relative like Ralph Nickleby (Christopher Plummer) who should break up the happy family sending the eldest son--in the case of Nicholas Nickleby 19-year-old Nicholas (Charlie Hunnam)--to teach at a horrifying boys' school called Dotheboys while forcing his mother (Stella Gonet) and his sister (Romola Garai) to live in the dark miserable city of London. During this period of separation the title character should prove himself an upstanding and honorable gentleman rescue the unfortunate show mercy to his enemies fall in love and attempt to reunite his family and avenge the wrongs done to them. If the story is a comedy he will succeed and we will proceed--to the denouement in which loose ends are tied up a happy couple weds and the cast takes its bows.
Victorian Drama 201. A rule of thumb: the villains and the minor players are always more interesting characters than the ingénues and they will always receive the greatest ovation. Nicholas Nickleby is no exception to this rule. The soft-hearted good guys--Hunnam (Abandon) as Nicholas newcomer Garai as his sister Kate Anne Hathaway (The Princess Diaries) as Nicholas' love interest Madeline Bray and Jamie Bell (Billy Elliot) as the broken child Smike whom Nicholas rescues from the boys' school--humbly accept their plight and it's enough to make you want to shake their genteel little shoulders to force them into action. Mercifully Hunnam at least occasionally gets to fight back exchanging some heated words and even coming to blows with his enemies especially the utterly nasty Jim Broadbent (Iris) and Juliet Stevenson (Emma) as Mr. and Mrs. Squeers who run the ghastly boys' school with finely honed cruelty. Even Plummer (Ararat A Beautiful Mind) for all he's the big villain of the piece doesn't come off as evilly as these two. There are also notable performances on the comedic side particularly among the perfectly cast merry band of melodramatic theatrical players (Nathan Lane Dame Edna Everage and Alan Cumming) that Nicholas and Smike join on their journey home.
Making Victorian Movies 301. With its fairy-tale look fantastic sets and theatrical bent Nickleby hearkens back to the flamboyant dramas of the Victorian period (think Oscar Wilde)--its opening credits in fact are displayed on the stage of a Victorian toy theater. But stories based on novels like Dickens' Nicholas Nickleby obviously take a lot longer to tell than plays--and in their time they reached their audience in a different way. It often took weeks even months to read a full novel (or a serialized one) in Victorian Britain; families would gather 'round the fire for a few pages a night savoring the story making it last. Director/screenwriter Doug McGrath's (Emma) rendition of Nicholas Nickleby reconciles these two modes of entertainment admirably allowing modern moviegoers a chance to revel in the assured pace of the twists and turns Dickens chose to place in the narrative's path but abridging them in such a way as to make good theater. Despite the relative brevity of the narrative however McGrath doesn't rush us to the end; he seems to recognize that the best stories are all about the journey not about the resolution.