The Good, The Bad and The Critic

Established on March 19th, 2012 and pioneered by film fanatic Michael J. Carlisle. The Good, The Bad and The Critic will analyze classic and contemporary films from all corners of the globe. This title references Sergei Leone's influential spaghetti western The Good, The Bad and the Ugly.

Monday, November 7, 2016

Bedknobs and Broomsticks (1971) Review- By Michael J. Carlisle

Title: Bedknobs and Broomsticks
Year: 1971 
Director: Robert Stevenson
Country: US

Language: English

In the wake of Mary Poppins several less successful copycats were greenlit. United Artists tried their hand four years after Poppins, losing Andrews but retaining Dick Van Dyke, with Chitty Chitty Bang Bang. Disney was at a loss by the 1970s with how to capitalize on the financial and critical success of Poppins, especially considering P.L. Travers would refuse to sign away any more of her novels. Bedknobs and Broomsticks was an attempt to recreate the successful Poppins formula. 

In this film, an apprentice witch, three kids and a cynical conman search for the missing component to a magic spell useful to the defense of Britain. 

Bedknobs and Broomsticks was a surprisingly edgy (for Disney family fare, that is) fantasy that is rooted in a historically important chapter of World War II, as the Nazis seemingly unstoppable Blitz trudged forward into Great Britain. The finished product feels like Sound of Music mixed with Mary Poppins, albeit with worse acting and less memorable songs. Bedknobs and Broomsticks marks the end of an era for Disney live action films. It was the last film the Sherman brothers would create the music for; the last Disney film nominated for an Oscar until The Little Mermaid in 1989; and it was the final film overseen by Roy Disney, Walt’s brother.

Bedknobs is a fun, imaginative little movie that provides a consistent tone of pure wackiness throughout its run-time. It has issues with story, pacing and some frivolous waste of scenes, but I do enjoy the second act animation. The animated sequences involving an underwater world and a fast & furious football match have a charming old school quality, which is absolutely welcome for anyone weary of modern-day, digital "perfection".

Angela Lansbury is no Julie Andrews however. She is far less charismatic and her voice carries much less weight in terms of the film's few musical moments. Lansbury could have been substituted by many of 1970's beautiful actresses and the film would be drastically improved.  It's worth watching out of curiosity, but I personally haven't found any real reason to watch it more than once. 


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