Mary Poppins Returns (A- or 3.5/4 stars)
1964's Mary Poppins is, in my mind, an iconic Disney masterpiece for the ages. So when I heard that a sequel, 'Mary Poppins Returns' - made 54 yrs. later - was being produced by Disney, directed by Hollywood musical helmer Rob Marshall & starring Emily Blunt {who I love}, I felt conflicting emotions of both giddy joy & trepidation. How could this sequel equal or match the '64 classic? Well, it can't -- there still isn't one stretch of this film that can match that of the 1964 film. Still, the wonderful performances, song-&-dance numbers, old school animation & overall movie magic of this movie is wholly enjoyable and, I can't wait to re-visit it, already.
'Mary Poppins Returns' opens in the downtrodden 1930s, some 25 yrs. after events of the 1st film, and introduces us to amiable Jack (Lin-Manuel Miranda), a cockney lamplighter (or Leerie, as they often call themselves) bicycling through dreary London, as he cheekily sings "Underneath The Lovely London Sky". The camera then pans to Cherry Tree Lane, where grown-up Michael Banks (Ben Whishaw), now a widower, is struggling; the kitchen sink is leaking, the house is a wreck, his 3 adorable children, Annabelle, John & Georgie (Pixie Davis, Nathanael Saleh, Joel Dawson) need a bath, & he's just found out that his home will be repossessed by the Fidelity Fiduciary Bank (run by a slimy Colin Firth) unless he can pay his home-equity loan by Friday at midnight. His sister Jane (lovely Emily Mortimer), a labor organizer in the vein of her suffragette mother, helps out the best she can, but there's little she can do to alleviate their issues at hand.
With her impeccable sense of timing, our immortal nanny Mary Poppins (Blunt) descends from the clouds holding her parrot-headed umbrella & carpetbag full of surprises in an attempt to help the Banks children (young & old}. There to 'save the day', our strict, vain, yet warm & fun-loving heroine starts working her magic by drawing the children a bath, which quickly turns into a magical undersea adventure; replete with the ear-wormy "Can You Imagine That?". Later, while seeking to help save the Banks' from losing their home, Mary takes Jack & the children into the colorful cartoon world of a chipped Royal Doulton bowl which leads to the memorable Vaudevillian number, "A Cover is Not the Book".
My emotions were toyed with during Blunt's rendition of "The Place Where Lost Things Go", a beautiful, poignant lullaby of a song about losing a loved one. Though the Banks children have lost their mom, the lyrics explain how nothing is gone for forever ... only out of place. Later, we watch Jack & an entire troupe of lamplighters burst into the uproarious 8 min. long Step in Time-like "Trip a Little Light Fantastic". We knew Lin-Manuel Miranda could sing & rap {as he does here, too}, but so, too, can he dance! This movie is mostly a joyous cascade of one lavish musical sequence after the next; culminating in the glorious, Lets Go Fly a Kite-like "No Where to Go But Up" -- a grin was firmly planted on my face throughout that final number.
No one can top incandescent Julie Andrews, but Emily Blunt brings a whole new magic to Mary Poppins. With her crisp annunciation, playful sarcasm, no nonsense-ness & hankering for having a good time, Blunt commands the screen & I fell in love with her portrayal. She looks the part, acts the part, sings, dances, and yet, through all of that, adds her own melancholy twist. Sure, she's endearingly full of herself, but she's always on high alert in trying to mend the Banks family. Lin-Manuel Miranda is as charming a presence as Jack as Dick Van Dyke was as Burt back in '64; loved him, here. Ben Whishaw is heartbreaking as grown-up Michael whose family dilemma will hit home for many. I loved re-visiting the characters of Admiral Boom & Ellen the Maid (David Warner, Julie Walters). Meryl Streep croons "Turning Turtle" as Mary's wacky cousin, Topsy. And cameos by 92 yr. old Dick Van Dyke(!) & 93 yr. old Angela Lansbury may bring a tear to your eye, as well.
From Marc Shaiman's magisterial musical score, to the period production design, to the exquisite animation segments, to the special effect wizardry, to Sandy Powell's fantastical costumes ... the big screen is drenched in lush visuals, whimsy & uplift. You know, director Rob Marshall reveres 1964's Mary Poppins {the 1st film he ever saw as a child!}. As I said earlier, it's impossible to top that original classic. And cynics might point out that the plot for this film echoes the original's to a fault. But I praise Marshall for paying such homage & respect to the source material & for gathering such an amazingly talented crew & cast to give us nostalgic viewers, a well as a new generation of children, another wondrous Disney masterwork to enjoy.
'Mary Poppins Returns' opens in the downtrodden 1930s, some 25 yrs. after events of the 1st film, and introduces us to amiable Jack (Lin-Manuel Miranda), a cockney lamplighter (or Leerie, as they often call themselves) bicycling through dreary London, as he cheekily sings "Underneath The Lovely London Sky". The camera then pans to Cherry Tree Lane, where grown-up Michael Banks (Ben Whishaw), now a widower, is struggling; the kitchen sink is leaking, the house is a wreck, his 3 adorable children, Annabelle, John & Georgie (Pixie Davis, Nathanael Saleh, Joel Dawson) need a bath, & he's just found out that his home will be repossessed by the Fidelity Fiduciary Bank (run by a slimy Colin Firth) unless he can pay his home-equity loan by Friday at midnight. His sister Jane (lovely Emily Mortimer), a labor organizer in the vein of her suffragette mother, helps out the best she can, but there's little she can do to alleviate their issues at hand.
With her impeccable sense of timing, our immortal nanny Mary Poppins (Blunt) descends from the clouds holding her parrot-headed umbrella & carpetbag full of surprises in an attempt to help the Banks children (young & old}. There to 'save the day', our strict, vain, yet warm & fun-loving heroine starts working her magic by drawing the children a bath, which quickly turns into a magical undersea adventure; replete with the ear-wormy "Can You Imagine That?". Later, while seeking to help save the Banks' from losing their home, Mary takes Jack & the children into the colorful cartoon world of a chipped Royal Doulton bowl which leads to the memorable Vaudevillian number, "A Cover is Not the Book".
My emotions were toyed with during Blunt's rendition of "The Place Where Lost Things Go", a beautiful, poignant lullaby of a song about losing a loved one. Though the Banks children have lost their mom, the lyrics explain how nothing is gone for forever ... only out of place. Later, we watch Jack & an entire troupe of lamplighters burst into the uproarious 8 min. long Step in Time-like "Trip a Little Light Fantastic". We knew Lin-Manuel Miranda could sing & rap {as he does here, too}, but so, too, can he dance! This movie is mostly a joyous cascade of one lavish musical sequence after the next; culminating in the glorious, Lets Go Fly a Kite-like "No Where to Go But Up" -- a grin was firmly planted on my face throughout that final number.
No one can top incandescent Julie Andrews, but Emily Blunt brings a whole new magic to Mary Poppins. With her crisp annunciation, playful sarcasm, no nonsense-ness & hankering for having a good time, Blunt commands the screen & I fell in love with her portrayal. She looks the part, acts the part, sings, dances, and yet, through all of that, adds her own melancholy twist. Sure, she's endearingly full of herself, but she's always on high alert in trying to mend the Banks family. Lin-Manuel Miranda is as charming a presence as Jack as Dick Van Dyke was as Burt back in '64; loved him, here. Ben Whishaw is heartbreaking as grown-up Michael whose family dilemma will hit home for many. I loved re-visiting the characters of Admiral Boom & Ellen the Maid (David Warner, Julie Walters). Meryl Streep croons "Turning Turtle" as Mary's wacky cousin, Topsy. And cameos by 92 yr. old Dick Van Dyke(!) & 93 yr. old Angela Lansbury may bring a tear to your eye, as well.
From Marc Shaiman's magisterial musical score, to the period production design, to the exquisite animation segments, to the special effect wizardry, to Sandy Powell's fantastical costumes ... the big screen is drenched in lush visuals, whimsy & uplift. You know, director Rob Marshall reveres 1964's Mary Poppins {the 1st film he ever saw as a child!}. As I said earlier, it's impossible to top that original classic. And cynics might point out that the plot for this film echoes the original's to a fault. But I praise Marshall for paying such homage & respect to the source material & for gathering such an amazingly talented crew & cast to give us nostalgic viewers, a well as a new generation of children, another wondrous Disney masterwork to enjoy.