Time to feel very old. Disney’s The Lion King has turned thirty. Thirty. Apologies. The Lion King is the first cinema trip I remember. The Ritz cinema in Matlock. A really beautiful old fashioned cinema. The type which had curtains across the screen and an intermission with an ice cream trolley. Sadly, it is now an Indian restaurant. It couldn’t battle with Cineworld and the UCI with its comfy seats and fancy pick and mix. As with many things, the upgrade seems exciting at the time, but the ache for the simplicities of the past soon take over. Anyway, I was four years old and my little mind was blown from the first ‘Nants ingonyama bagithi Baba Sithi uhm ingonyama’ to the last ‘circle of life.’ We went to see it a handful of times after that. My Mum said she didn’t watch it properly until the second viewing. She spent the first just watching my spellbound face. My bedroom became a homage to the film. It looked like an advert for the Disney Store [RIP] Lion King curtains, bedsheets, pillow cases, a mirror which told me to ‘remember who you are’, cuddly Simba…you get the picture. We pre-ordered the VHS from Tesco [I proudly wore my ‘I’ve pre-ordered my copy of The Lion King from Tesco’ badge to school]. The playground at school became Pride Rock, creating our own stories and swapping stickers for our albums, only interrupted by those pesky lessons. The video played on repeat until I could recite the whole script. In fact, it’s one of those useless ‘skills’ I still have. From start to finish- it is embedded. If only I had been obsessed with the works of Albert Einstein. I'd be a genius. Although it’s a handy anxiety tool. If I’m struggling to sleep and my brain is on overdrive, I recite the film in my head until I fall asleep! It also introduced me to the huge talents of Elton John, Tim Rice, and Hans Zimmer [Fun fact- they would later collaborate on one of my other favourite animated films, ‘The Road to El Dorado.’ Criminally underrated but has now found a cult following. ] The songs are so good. You get the glorious, epic opening of The Circle of Life [that dramatic moment when the film title comes up at the end of the song still gives me shivers] to the catchy, fun comic relief capturing a term forever now in our conscience- ‘Hakuna Matata.’ It is a sweeping soundtrack, still beloved and as fresh today as when it was released. I wasn’t alone in my love for the film. It was also the highest grossing film of 1994 and the second-highest-grossing film of all time, behind Jurassic Park. Darn dinosaurs. Of course, nobody can forget that death. Weirdly, it didn’t traumatise me as a kid… but it does when I watch it now. It’s heartbreaking. I suppose as a child, I was lucky to put this scenario in the same likelihood of being adopted by a singing meerkat and warthog. Watching it now through adult eyes… that heart-wrenching way Simba whispers, ‘help.’ Deep stuff. I’m speaking, of course, about the death of Mufasa. No, I didn’t put a spoiler warning- it’s been thirty years, come on! I suppose the other reason the film has remained so beloved is that it never talks down to its target audience. For many, although they don’t realise it, it is their introduction to Shakespeare. The themes, the drama, it is all there. The Lion King is basically a retelling of Hamlet. It is showing young people that the world isn’t all fun and fairy tales. Yes, after the death there is the light relief of Hakuna Matata, giving that familiar trademark Disney hope that flows throughout its films. However, the darkness is still there, and despite worried parents apparently taking their crying children out of cinemas, it is a brave move which pays off. And look at the glorious voice cast! Worthy of a performance at The Globe! James Earl Jones whose voice had been synonymous with Darth Vader, took on the role of Mufasa. 80s heartthrob Matthew Broderick was chosen for the adult Simba, we got the silky evil voice of Jeremy Irons as Scar [whenever he appears on screen, my Mum can’t help saying ‘SImBA’s down thereeee’ We had light relief from the likes of Rowan Atkinson and Nathan Lane [joining the cast alongside his future theatre partner Matthew Broderick, who would set the stage alight in Mel Brooks’ The Producers]. The Lion King phenomena continued long after the initial theatrical release. The West End production has been running since 1999 at The Lyceum, alongside various nationwide tours. So how has this story continued to capture imaginations for so long? It was the little film that could. Despite it being a Disney film [therefore guaranteed to have a large amount of success] it was one that was very much looked down by a lot of the film makers colleagues. Many wanted to be on the other project at the time- Pocahontas. That was the film to be a part of- not the weird one about lions based on Shakespeare. Although Pocahontas is a credible Disney film, it certainly hasn’t had the timeless impact that The Lion King has had. I was walking through the village of Ashford-in-the-Water when I saw a well dressing celebrating the 30th anniversary of the film. I immediately felt a wave of comfort and nostalgia. Some films you just love, you know? I stopped and took a selfie- a nod and a smile to little girl Ellie, who perhaps had more hope and belief than the adult me. We can gain a lot from the past. The sheer power of The Lion King is what makes it not only a fantastic animation, but a great film. It has everything you expect when you go to the cinema. Drama, heartbreak, and ultimately, hope. Happy 30th The Lion King.
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The Kite Runner Sheffield Lyceum 8th June 2024 'There is a way to be good again…' Back in 2008, I opened a book that, I think I can say without being flowery or exaggerating, changed my life. There are exceptional books, then there are the ones that, when you finish, you just sit and stare into space for a while. Khaled Hosseini’s The Kite Runner was one of those books for me. If I am ever brave enough to get a tattoo, I would no question have ‘For you a thousand times over’. It changed the way I read, wrote, and even viewed the world around me. Back in 2013, I walked into the Nottingham Theatre Royal, to see one of the first performances of the theatrical adaptation by Matthew Spangler. I was excited but also nervous. As stated, this book is very special to me. I was relieved, therefore, to see a stunning piece of theatre. Superbly acted, I found myself captivated in a story I knew so well. It was, thankfully, so much better than the Dreamworks 2007 film adaptation, which although had its moments, was tame and safe, presumably to secure a 12 certificate. The play has no such concerns, and tells the story as it should be told- after all, although a work of fiction, Hosseini is tapping into the truths of so many. The truth is often ugly, and doesn’t fit into a 12 certificate barrier. I also saw the play again when I moved to Liverpool in 2014; my first week as a student, I found comfort in the familiar story I knew so well. So, this was my third viewing, with a fair few years and experiences in between! The Kite Runner tells the story of Amir and Hassan, best friends growing up in 1970s Afghanistan. Their lives are torn apart by political unrest and the upcoming war. A story of love, class and ultimately forgiveness and redemption. The play has now been on various tours and stints on the West End and Broadway. It was warming to see the Lyceum almost full on a Saturday matinee. Times are tough, and the theatre is a luxury. Touring shows are commonly filled with family favourites and well known musicals, guaranteed to sell out. The Kite Runner is the opposite of any huge musical production. Its genius is in its simplicity. A sparse stage, a carpet and very few props. The power of this play is the story, and thank goodness for that. The cast are solid, as they need to be. It is a difficult story to bring to life and very word heavy. There are scenes that didn’t hit me as powerfully as they did with the previous cast, and there are moments of misplaced humour which are jarring, but I still cried and got once again swept along with the story. I have to highlight Bhavin Bhratt who plays the villain Assef, performs the character superbly. He skillfully goes from manic to a sinister menacing presence, making him truly frightening. Yazdan Qafouri was the star of the show for me. His heartbreakingly innocent portrayal of Hassan, and later Sohrab, was heartbreaking and utterly believable. There is a moment towards the end of the show that absolutely made me sob. A stunning performance. Another special nod to Hanif Khan, the only returning cast member from the original run, whose superb tabla playing sets the atmosphere for the production before even the first line is spoken. The Kite Runner is why we go to the theatre. To learn, feel and to leave somewhat changed. Even on a repeat visit, I feel I experienced something very special. The Kite Runner continues its UK tour until July 2024 2024 U Wri/Dir- John Krasinski I live in a somewhat quiet town. The biggest news at the moment is the fate of the town paddling pool. I say paddling pool, but it in fact now resembles a dirty puddle in the middle of the playground. Luckily, the council has come up with a solution. A choice of two new all-singing, all-dancing splash pads. Of course, this news has been greeted with furious anger, usually reserved for, ‘What do you mean Sainsbury’s closes on Christmas Day?’ or, ‘Why is market day cancelled due to 20 inches of snow? We used to just walk straight through it!’ Petitions, daily Facebook posts, demand that the puddle, sorry, paddling pool stay exactly how it is because, ‘the kids love it.’ The thing is, nobody appears to have asked the kids what they want. All these people commenting are way over the age it is acceptable [at least in polite company] to be paddling in any kind of pool, puddle or not. This long winded story leads me to my point… when we review family films, what perspective should we choose? IF is the latest offering. Is it a good family film? This is where it gets a bit complicated. Watching the trailer, IF looks just the job to entertain the little ones on a rainy day… Fun CGI characters, a bouncy soundtrack, and the compulsory fart joke. With Ryan Reynolds in the lead, and a ‘I know that voice!’ cast [including Brad Pitt, George Clooney, Matt Damon, Emily Blunt, Steve Carrell etc..] it also looked decent enough to keep long-suffering adults entertained too [my Mum understandably attempted to read a paper during Pokemon the Third Movie]. The problem is, all those bouncy, happy, farty moments? They are pretty much shown in the trailer. There isn’t more light, figuratively or literally, in IF. IF tells the story of Bea [ an impressive, understated performance by Cailey Fleming ], a twelve-year-old girl who is getting over the death of her mother, whilst dealing with the fact that her father [John Krasinski- also writer and director of the film] is about to undergo heart surgery, whilst also having to move to a new building. Phew. By this point, you begin to wish that a minion or two would appear. Warning; the first half-an-hour is dark. Bea is whisked off to stay with her kindly but inept grandmother [Fiona Shaw] in a dark, creepy apartment building. The mise-en-scene throughout the film is a similar theme, a brave if not bemusing choice for a family film. My Mum and I took my eight-year-old niece, and we kept giving worried sidelong glances at her. Bea brushes off any kind of offers of help repeatedly saying ‘I’m not a kid anymore.’ Your target audience is though! I kept wishfully thinking. Thank goodness, my niece’s overpriced Pick and Mix and Pepsi kept her entertained enough to get her through a frankly odd, bizarrely paced beginning- until, thankfully, the promised CGI characters appeared. ‘IF’s [or Imaginary Friend's] are running riot in the apartment building, missing the children who imagined them, but had gone on to grow up and forget them. Bea joins Cal [a solid performance by Ryan Reynolds] to try and find them new owners, for reasons never really explained. Without spoiling an admittedly sweet twist; the themes of memory and embracing our past and the ‘safe’ places in our mind, did have me fighting back tears more than once. Still… is this really family fun? I hadn’t even laughed yet. It just all felt a bit… unbalanced. The film doesn’t really know what it wants to be. It’s almost as though Krasinski wanted to make two films. A serious drama film dealing with grief, abandonment and the fear of growing up. The other, a lighthearted child-friendly comedy [which would admittedly be a short film, the jokes aren’t aplenty here…] the two together results in a messy, plodding mess. You don’t feel like you are under the capable hands of Pixar or Disney here Leaving the cinema, my Mum and I discussed in hushed tones our issues with the film. The slow build, the darkness, the lack of jokes… ‘maybe a 6/10?’ I suggested. My niece shook her head. ‘10/10!’ she said firmly. ‘Really?’ I replied in surprise. ‘Were you ever bored?’ ‘At the start I was a bit… but once the IF’s appeared, it was so good, don’t you think?’ She skipped happily to the car, and proceeded to write up the story of the film all the way home- the dark moments as well as the light. Which leads me back to the paddling pool. Without my niece’s input, chances are I would have moaned away about the plot holes [there are a fair few], the unoriginal concept [basically a rip-off of a Supernatural episode, with some Coco mixed in], and the lack of colour and light to keep younger children entertained [despite its U certificate and misleading trailer.] … but the film wasn’t made for me. It was made for my niece, who was captivated, who remembered every part of the film to write down, who asked important questions afterwards. How patronising of me to think she wouldn’t take in the deeper points, alongside the CGI characters and fart jokes. After all, classics such as The Secret Garden, The Land Before Time, and even The Lion King, weren’t afraid to delve into darker areas. Children are capable of taking the light with the dark. Children, it seems, are more willing to give new experiences a chance. Perhaps we critics who think we know it all, should take a step back and listen to the real voice of reason. Let them have the new pool. IF is in cinemas now. A rose-tinted look at the life of Amy Winehouse
Director: Sam Taylor-Johnson Writer: Matt Greenhalgh 15 122 mins Do you remember in woodwork at school, when you finished a project and then you were told to smooth the rough edges? I don't think I need to finish the analogy for you to see where I'm going with this... Back in 2015, I sat in a cinema with other Winehouse fans, absorbed in the Asif Kapadia documentary, 'Amy', which unashamedly showed the various stages of Winehouse's frantic, soulful, and ultimately tragically short life, using archive footage from home videos, performance footage and audio from friends and family. It is difficult to watch at times. An incoherent Winehouse walking on stage looking bewildered and out-of-control as she is heckled and booed... it's heartbreaking, disturbing, and infuriating that the people she should have relied on the most, are nowhere to be seen. Now we have Back to Black, a biopic by Sam Taylor-Johnson exploring the same turbulent years of Amy Winehouse. My main issue with the film... those rough edges I mentioned before? They needed to be explored. If you are choosing to do an honest, raw portrayal of an icon, you either turn it up to eleven, or you do a Greatest Showman and fabricate the whole story. Back to Black fits somewhere between the two. Every character comes out of the film looking like pretty decent, uncomplicated human beings. I applaud not demonising people; after all, these are real people, and none of us can really know the truth about events [it's the pass most bio-pics are given] but certain events are so glossed over that I was fully expecting certain family members to be listed as executive producers in the closing credits. Amy's father is seen as nothing but supportive and concerned, [his decision to follow Amy with a film crew to make a documentary whilst his daughter was recovering is not mentioned, nor his insistence that she go on tour whilst clearly struggling] ; Blake is portrayed as an impish rogue who helps Amy find her sound and isn't even present when she first takes Class A drugs [He's just a confused soul who is worried Amy is going to run off with a celebrity. Hmm.] Amy's mother barely has two lines. Her friends, so vital to her [as seen in the Amy documentary] are reduced to clapping hands in the audience. Sam Taylor-Johnson has tackled icons before. Nowhere Boy, a film about the early life of John Lennon, also received mixed reviews. I have sympathy in that there are so many Beatles experts who will spot inaccuracies or an OOC moment a mile off, but here she tackles another problem in that the life of Amy Winehouse is still so fresh in the target audiences mind. I couldn't help but think this would have faired better on stage, where audiences are more forgiving of exposition and monologues. On film it is jarring and at times uncomfortable to view. The film isn't terrible by any means. It is fast-paced, funny and poignant at times, with a clear love for its subject matter. The performance by Marisa Abela [as Winehouse] is certainly one to be admired. I was surprised to learn before watching that she, like Taron Edgerton before her in Rocketman, had chosen to sing the vocals herself, which she does with impressive gusto. Giles Martin has done a fine job with the music, and it immediately wants you to listen to Amy's back catalogue. On occasion, I thought the impersonation a bit exaggerated, but overall, she leads the film skillfully and well. What would Amy have made of this? I wouldn't even dare try and imagine. I suppose we all wonder how we want to be perceived by future generations.... I suspect, to find the real Amy, we need only listen to the songs she has left behind. The parts in between should maybe be left alone...which is the difficulty of the biopic. Back to Black is showing in cinemas from today. Come From Away UK tour Liverpool Empire- 20th March 2024 Book, Music and Lyrics by Irene Sankoff and David Hein I have wanted to see the multi-award winning, ‘Come From Away’, since its initial release in 2017. It has since, alongside Hamilton, become the new darling of the theatre community. After its final performance in the West End last year, it has now hit the road on its first UK tour. Its subject matter does not scream musical material; the grounding of planes in Newfoundland following the 9/11 terrorist attack, leaving nearly 7000 stranded and bewildered. I guarantee to you though, that you will leave with your faith in human nature restored- and that’s no easy feat in this mess of a world we are currently living in. Based on true stories of both the ‘plane people’ and the inhabitants of Newfoundland, Come From Away manages to skillfully tackle its source material with the sensitivity and truth that it deserves, whilst still entertaining the audience throughout with its clever narrative, as any good show should. The show is one act and at a relatively short running time of 110 minutes, it is fast-paced. The music is used to tell the story, rather than ‘filler’ songs that could be tied to any show. I suspect the soundtrack is not particularly popular in the musical theatre community, purely because it is an experience which only really works when every element is present. A fantastic live band remains on stage throughout, and are truly the heart of the show. There is no weak link in this cast, which is vital, as it is a small company of twelve, all playing multiple parts. Special mentions have to go to Sara Poyzer and Amanda Henderson, who bring such emotion to their parts. The staging is sparse but highly effective; the main props being chairs which change from aeroplane seats to pub stools in the blink of an eye. Laughs and tears are guaranteed aplenty- a particularly moving scene which features different people of different religions trying to pray and find answers in response to the tragedy, seemed to have a real effect on the audience. It was very hard not to reflect and compare the words with current affairs today, and the cast seemed to know this too. Come From Away is the show the world needs right now. It reminded me of the Fred Rogers quote, which ironically became universally used post 9/11- ‘When I was a boy and I would see scary things in the news, my mother would say to me, Look for the helpers. You will always find people who are helping.’ It might not be a solution, but kindness and love is something we are all thirsty for. Come From Away offers it, unapologetically, tenfold. Come From Away continues its UK tour until January 2025
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