search
date/time
Yorkshire Times
A Voice of the Free Press
frontpagebusinessartscarslifestylefamilytravelsportsscitechnaturefictionCartoons
Jack Bottomley
Media Correspondent
3:36 PM 19th May 2019
arts

Dumbo Flies!

 
It’s official folks, Disney Live Action remakes/follow-ups are the next superhero-level craze of blockbuster season. Beauty and the Beast and The Jungle Book soared at the box office and this year alone we have five (Jon Favreau’s The Lion King, Guy Ritchie’s Aladdin, Disney+ film Lady and the Tramp and sequel Maleficent: Mistress of Evil), as well as increasing announcements of new projects including Mulan, The Hunchback of Notre Dame and The Little Mermaid.

But where did all this all begin? Arguably it was back in 2010 with Tim Burton’s star-studded $1 billion grossing live-action take on Alice in Wonderland, and now the master of the macabre is back with another live action take, this time of 1941 Disney animated classic, Helen Aberson and Harold Pearl’s Dumbo.

An enchanting and emotional example of golden age Disney, Dumbo is much cherished but also a story that is perhaps a problematic fit for the live-action medium and indeed contemporary times (as has been much discussed) and as such Tim Burton’s film cannot capture quite that same visual magic and cinematic power but still delivers spectacle and much wonder. In fact I find it rather puzzling how reviews have painted Burton’s film as hollow because this is very much a film driven by heart.

The story has been altered to some degree but the core remains the same. It’s 1919 and struggling circus owner Max Medici (Danny DeVito) is desperately seeking his next hit and finds it most unexpectedly in the shape of a newborn baby elephant with enormous ears and an unexpected ability to fly. This unbelievable act unsurprisingly gains the attentions of many, including some rather influential but ethically dubious individuals.

This is very much Dumbo’s show as it should be but the human story mostly centres on Colin Farrell’s Holt, a WWI veteran and performer back from conflict and re-adjusting to life as he tries to connect with his children Milly and Joe (Nico Parker and Finley Hobbins) and cope with the loss of his wife.

Filled with nods to the original, Burton has done a great job here in telling an emotional story and while a number of sub-plots do overcomplicate matters a bit, the central story of Dumbo flying for a purpose close to him (as he hopes to be reunited with his mother) feels very well translated and often very moving.

Some scenes hit rather hard and select sequences of the mean circus crowd mocking Dumbo almost recall Disney’s Hunchback of Notre Dame in their impact but Burton knows when to unleash the grandeur and the sequences where Dumbo rousingly soars overhead are where Ehren Kruger’s screenplay - pun intended - flies high. Aided by a very graceful score by Burton regular Danny Elfman.

Indeed, this is modernised where possible and Dumbo has surprises in store as it brings some particularly bold themes to the screen. Of course there is a much welcome stance against animal captivity and using animals in circuses (something thankfully growing close to being all but obsolete nowadays...it’s taken long enough) but Burton also defiantly feels to hit closer to home with the film’s interesting presentation of a hard working and struggling artist finding success only to be bought by greedy corporate powers, who are consuming the industry. An in-joke swipe at Disney, possibly not but the message is still very clear.

To that point Michael Keaton’s villainous entertainment mogul V. A. Vandevere even could be passed off as a more wicked Walt Disney or a more supposedly true-to-life P. T. Barnum, as he sells dreams and smiles but behind the glitz lies a dark greedy corporate heart. Keaton devours scenery left and right in the part and is the human standout for sure and this little Batman Returns reunion with DeVito sees the two have fun swapping roles in their return to a Burton film, as Keaton becomes bad and DeVito becomes the troubled hero of sorts, as Max DeVito is also absolutely brilliant and wholly invested throughout.

Colin Farrell and Nico Parker also offer good performances with a quietly inspiring gender story being told through their journey. Sadly the spotlight doesn’t shine quite as bright on all of the large supporting acts, some of whom get less time to shine, especially Eva Green and Alan Arkin, but all around it is a jolly good show.

Before viewing, many told me that Dumbo’s special effects were jarring and wonky and not up to blockbuster standard but I ponder what film they saw, as I thought the CGI was mostly superb. Dumbo himself is especially a spectacular creation, seamlessly interacting with his live-action cohorts and brimming with adorable warmth and emotion. The character needs no words to communicate, you feel it and see it in his expression filled eyes and innocent mannerisms. It’s quite the technical feat.

Dumbo does have the odd story wrinkle but has been very unfairly criticised, as I really enjoyed Tim Burton’s film and felt it boasted sweeping scale, inspired ideas, great themes and standout performances from Keaton and DeVito, not to mention Dumbo himself. They even get the trippy pink elephants in, as well as a cool vehicular cameo from Keighley and Worth Valley locomotive no. 5820 for we Yorkshire folk to be proud of!

It’s a joy, it’s a ride and you’ll bet that by the end you’ll believe an elephant can fly!

Dumbo
PG
Director: Tim Burton
Starring: Colin Farrell, Danny Devito, Eva Green, Michael Keaton, Alan Arkin
Release Date: Out Now