| Review: Plain and simple, this is one of the best family films ever made. The fact that someone other than Disney made the movie seem to have blinded some experts (eg Disney scholar and film critic Leonard Maltin) and many other attractions. For Chitty, actually comes from the book of James Bond creator Ian Fleming and horror of horrors, is made outside Hollywood Albert Broccoli, the man behind the successful Bond film series. However, a closer look at the credits reveals the presence of the same music composers, many heralded Sherman Brothers and Irvine Kostal, who could not make a mistake when they wrote for Disney, but somehow left behind their talents when they signed with mr. broccoli. (Note Maltins comment in his 2007 movie guide that films result forgettable.) The same seems to have happened choreographer Dee Dee Wood and Mark Breaux, which are universally recognized for their work on Mary Poppins, but ignored, at least Maltin, for agile and often in complex combinations Chitty. In fact, songs, background music and dances here are as good or better than Disney and nothing in fact often made of a conspiracy than grinding to a standstill in more custom way. An example is Caractacus Old bamboo song and dance routine, which provides not only immediately memorable tune (and dance), but also funds to keep Chitty of discharge. The cast itself is nothing less than the highest, with American comic actor Dick Van Dyke wisely avoids any attempt at an English accent, something that many of us want him to do a few years earlier in Poppins. (In 1998 matching Rosie Odonnell show self repealing Mr. Van Dyke acknowledged limitation in the field of English accents.) Actors playing the children are really happy, charming and sincere without being cloying, while the supporting cast is filled with more wonderful British character actors can count, not the least of them are Lionel Jeffries (actually six months younger than Van Dyke, whose father played) and comedy legend Benny Hill in a rare straight role. And if that is not enough, theres always a scene where Goldfinger is (German actor Gert Frobe) sing and dance! Then, here is just incredible cinematography by Christopher Challis, gorgeous costumes by Joan Bridge and Elizabeth Haffenden and fantastic scenography Oscar designer Ken Adam, whose high ceilings and sloping walls immediately recognizable from such classics as Goldfinger and Dr.. Strangelove. And unlike Poppins, which is inexplicable praise for his apparent studio recreation of London streets, this film actually goes to space - and then some really beautiful settings exposed in the south of England, France and Germany (including the wonderful tale castle Neuschwanstein ). Maltin and others complain about the films special effects, calling them shoddiest ever. What to talk about blue screen traveling matte photos with magical optical car was located in front of individually-shot film of the sky background. And I agree that some of these pictures are obvious film students who know how they achieve. But, again, look at what is ignored. Inside the car, which is subjected to several conversions for air and sea travel is amazing mechanical special effects designed and built by John Stears. Stears, of course, won an Oscar for SFX of Thunderball and go on to win another one for a little movie called Star Wars. But never mind that she might know about special effects? Oh, did not I could be noted that the script was written jointly by Roal Dahl someone who might know a thing or two about children stories. But enough. This movie is really tasty from the first frame to the last, eternal delight for everyone, but Hollywood Film Critics. |
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