‘Spellbound’ Review: Alan Menken Brings Vintage Disney Vibes to Skydance’s Second Animated Feature

As a seasoned film enthusiast who has seen more than a few Disney classics and fairy tales, I must admit that “Spellbound” is a breath of fresh air in the realm of computer-animated films. While it may not quite reach the heights of its Disney predecessors, it certainly comes close – especially with its catchy tunes by Alan Menken.

In the film “Spellbound”, although the child will be alright, it’s the parents who are struggling. This enchanting computer-animated fairy tale, featuring an intelligent premise (what happens when a girl’s home life falls apart?), has good intentions. Unfortunately, the movie keeps its main idea hidden for most of the story, only revealing it – as a twist with real-world relevance – close to the end.

The story unfolds in the magical realm of Lumbria, where the monarchy, King Solon (played by Javier Bardem) and Queen Ellsmere (Nicole Kidman), have been transformed under a wicked spell. Instead of being a wise leader, King Solon is now a silent, blue rhino-like creature with an adorable underbite, resembling a large dog in his distractibility. Similarly, the graceful Queen Ellsmere has morphed into a puffy green dragon, sporting flamingo-pink feathers, gold horns and minuscule wings.

Spellbound” showcases the journey of a teenage daughter, Princess Ellian (played by Rachel Zegler), as she grapples with the metamorphosis of her parents. Through her eyes, we witness their transformation, which she initially perceives as monstrous behavior. Right from the start, Ellian expresses this sentiment musically in the song “My Parents Are Monsters.” This creative narrative device sets up the predicament in an intriguing way: It may seem like a typical teenage struggle dealing with discipline or neglect from guardians, but Ellian’s parents’ actions are far more detrimental (“as if they were actual monsters”). For the past year, she has been shouldering an unjust load of explaining their absence and tidying up after them.

Currently, if you were to block your ears and concentrate on the vivid, bubbly images, they might resemble scenes from a Disney film. Moreover, should you close your eyes, the music by eight-time Oscar-winning composer Alan Menken would likely make you believe that you were listening to a genuine Disney movie soundtrack.

To clarify, “Spellbound” is the second production from Skydance Animation, a studio that continues to establish itself following John Lasseter’s departure from Pixar. Notably, “Spellbound” surpasses their initial 2022 feature release, “Luck,” in quality to such an extent that it appears as if it could have originated from Disney.

The appearance suggests a messy or disheveled state, the sensation is reminiscent of “Beauty and the Beast,” and it carries an eerie yet subtle hint of being overly refined, which unfortunately detracts from its overall effectiveness. Despite this, it’s evident that the creators aimed to produce a modern take on a princess story, one more relatable for today’s children. The music is exceptionally powerful, particularly the main track “The Way It Was Before,” and multiple viewings might help unveil the movie’s message, which isn’t clearly conveyed until quite late in the film.

The project’s vision is attributed to Vicky Jenson, renowned as one of the two directors from the original “Shrek.” In this work, she employs a more respectful yet contemporary style within the realm of animated storybook narratives, while acknowledging its origins or perhaps its renaissance during Disney’s second golden age of hand-drawn animated features, spanning from “The Little Mermaid” to “Hercules.” Notably, these “classics” (already considered old for this film’s intended audience) shared a common element: Menken, who introduced Broadway-style music into the mix.

The movies mentioned were all musicals, and “Spellbound” falls into that category as well. If it premiered on the big screen instead of streaming, it might have some catchy tunes to boast about, like how “Luck” was purchased by Apple TV+ but is exclusive to Netflix for this one. The storyline in “Spellbound,” as presented by Jenson, deviates from traditional structure; what would typically be the first act – setting up the curse – is instead scattered throughout the movie. The most impactful memories are highlighted in Menken’s latest song, titled “The Way Things Were Before,” with lyrics penned by Glenn Slater from “Tangled.

As I ventured about thirty minutes into the movie, a solitary droplet of rain trickled onto the shattered keys of a battered piano, a casualty of Solon and Ellsmere’s heated altercations. Five times, it struck the same key, and then, as Ellian ambled by, a symphony of drops resonated on six distinct notes – a delicate, almost Studio Ghibli-esque prelude to an emotionally charged melody. Zegler, who embodies both the acting and singing aspects of this demanding role (a rarity in Disney films where they often employ two voices), elevates the film during this enchanting scene, its most captivating moment. This spellbinding sequence, which seemed uncertain for much of the initial act, now commands our attention: I find myself comprehending why Ellian is willing to embark on a perilous journey to break the curse.

Tituss Burgess and Nathan Lane portray the Sun and Moon Oracles, a duo that blends mystical monks with affectionate uncles. They leave behind an enchanted key fob to aid Ellian in her journey. Ellian, accompanied by her cute pet Flink – a large-eyed, bug-loving creature resembling a hamster – finds herself chased by two Lumbrian ministers: Bolinar (John Lithgow), a fastidious castle advisor, and the more confrontational Nazara (Jenifer Lewis). These ministers have conceived a plot to overthrow the king and queen and place the princess on the throne instead.

Due to an unexpected error in a mystical equation, characters Bolinar and Flink find themselves inhabiting each other’s bodies. This blunder adds a good deal of humor to the movie, with a whimsical song called “I Could Get Used to This” featuring Lithgow contemplating the idea of consuming worms. (Could there possibly be a funnier rhyme in 2021 than this: “I’ve gotta say, it’s more than extraordinary. How did I live my life without this adventure?”?) Now, the movie must solve two problems: reversing the monsterification of Ellian’s parents and returning Bolinar to his original form.

Instead of a traditional antagonist, this movie uses a concept called “The Darkness,” which is portrayed as a whirling vortex of negative emotions that could potentially taint the optimistic Ellian. The movie doesn’t reveal the significance of it all immediately, but trust that the later explanation is intelligent and offers valuable insights about how children should manage when dealing with significant family upheavals. Ultimately, Jenson’s most innovative take on fairy tale conventions lies in the idea that a simple “happily ever after” isn’t nearly as beneficial as showing them how to deal with hardship.

2024-11-22 11:17

‘Spellbound’ Review: Alan Menken Brings Vintage Disney Vibes to Skydance’s Second Animated Feature

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