marcin_kukuczka
Joined Mar 2004
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MONARCH: THE BIG BEAR OF TALLAC penned by Ernest Thompson Seton inspired directors Fumio Kurokawa and Yoshio Kuroda to make this 1977 Nippon cartoon. I must admit that it has had a very special place in my heart since my early childhood. Back then I even remember collecting labels with the characters of the cartoon. Of course, there were not many cartoons in the 1980s in Poland, many people had black and white TV sets and yet, there was something special about everything new. That is why, I decided that such a personal experience will be entailed in my review. Recently, I decided to view it again and I was a bit afraid that all its charm would be gone. Luckily that is not the case. If I were to choose the very best cartoons ever, this one would surely be among them. It has become even more appealing at vast scale. Why?
In 1985 it was broadcast on Polish TV under the title JACKY AND NUKA - LITTLE INHABITANTS OF BIG MOUNTAINS. With the direction by Maria Piotrowska, the whole cartoon was dubbed into Polish except for the melodious song that remained in Spanish. Every Sunday, we were looking forward to seeing a new episode about the adventures of two little bear cubs, first under the protection of their mother and then orphaned and adapted by an Indian boy Senda, his father Kellyan, befriended by his uncle Dimas, a Civil War veteran and a girl from a rich American family, Olga, the daughter of wealthy Mr Forester who, unfortunately, is a passionate hunter. Even though, he is deep down a good man, he contacts a poacher, a real villain of the story Bonamy.
For a long time, I have been looking for it in its Polish dubbing but, unfortunately, I could not find it. Instead, after all these years, I came across a German version on DVD with a German song and the Polish voice-over (one man translates all the lines, both female and male and we hear the original dialogue in German dubbing - a method quite widespread in Poland, with films in particular). Here, we don't have Senda but Ran, not Olga but Alice, not Dimas but Rocky who still remembers his darling Clementine and has not got over the gold rush looking for gold anywhere. In my review, I will keep to the names in Polish version.
The 26 episode-cartoon (each episode with a seperate title) is a captivating tale, sometimes sad like their mother's death or the fire in the forest, sometimes amusing, like Jacky and Nuka who bring post from Senda to Alice and back or Jacky who plays with a powderbox of an elderly lady. You can laugh outloud when Jacky becomes white because a sack of sugar falls into him or how Senda teaches them signs for obedience. But the storyline is always full of tenderness and love to nature and the spirit of support towards the weaker ones. It changes the views of many people about wild animals and undermines the myth of 'good and bad animals.' All nature is good, is governed by its laws and must be protected. Bears have feelings and they can love, too.
Here, one must point out that Seton himself referred to the 'glamour of a remarkable Bear personality.' Native Americans understood that and so did the author, the naturalist and illustrator Ernest Thompson Seton (1860-1946). As a pioneer of woodcraft Indians, a forerunner of the Boy Scouts, his spirit filled with love to nature and respect to Native American Culture are noticeable throughout.
First episodes deal with Jacky, Nuka and their mother Pinto who teaches them to stay away from humans, to catch fish or climb trees in danger. She is a' protector, a kind of 'goddess' according to old Indian beliefs said to be the protector of much cherished Mount Tallac in Oklahoma - 'ten thousand feet above the sea' that 'rears its head to gaze out north to that vast and wonderful turquoise that men call Lake Tahoe, and northwest, across a piney sea, to its great white sister, Shasta of the Snows' (Ernest Thompson Seton). Unexpectedly, one day, an Indian boy Senda comes across the little Jacky, gives him sweets, plays with him and a true friendship begins, a friendship that nothing can ever overcome. The first episode is truly unforgettable because we come to like Jacky who 'had many odd ways of his own, and he was a lasting rebuke to those who say an animal has no sense of humor' (Seton). Soon, Senda tells his friend Olga about the encounter and both children meet Jacky and his little sister Nuka. Their mutual adventures begin. Soon, however, complications will appear and bad people will step in to hunt the bears and destroy the friendship that colonizers' 'established order' can never comprehend. Those cannot understand how much the Mother Bear Pinto 'the monarch' of the mount means in the area. Only old Indian wisemen may.... Here, we can clearly distinguish two dimensions of storytelling: two levels: the simple one on basic level addressed rather to younger viewers - the goodies and the baddies and the more profound one addressed more to older viewers where characters are more ambiguous. Mind you, for instance, the aspect of the river that is constantly present with us, the river that never reaches the sea...
When things become very difficult for the little bears and the parting with their friend is long and tragic, we can tell about different 'enemies' - sometimes people, sometimes other animals; but the hardships they experience make them stronger. There is always a helping hand for them to survive - here, one can quote the author who says: "And still he lives, but pacing-pacing-pacing-you may see him, scanning not the crowds, but something beyond the crowds, breaking down at times into petulant rages, but recovering anon his ponderous dignity, looking-waiting-watching-held ever by that Hope, that unknown Hope, that came."
There is no violence just for itself but the one that makes us think about certain actions, certain situations, choices of people. Sometimes, it is educational, like Senda learning to read and write. Some plots are sometimes a bit exaggerated and too nervous. I admit that the episode in Sacramento is too tough and disturbing a bit. I also didn't like the circus sequence with the bull and the fights with dogs. The men in Sacramento give them beer and mock them. There are moments when you might really start to detest certain people: Pedro and Paco as stupidity in its fullness. However, as it is the case with every fairy tale, villains are punished, the good is rewarded and all is well that ends well...
I will not spoil much about the content but one thing, I will say: you can be certain that when the last episode comes and the reunion with their friends comes to pass, you will be moved to tears. It's hard not to be touched and it is worth these tears. Don't be ashamed of them... The monarch is now Jacky, for whom 'in newborn Hope began the chapter of his gloom' (Seton) but both have to go to the deep forest, far from people , to wilderness, 'seeking forever Freedom's Blue, seeking and raging-raging and seeking-back and forth, forever-in vain (E. T. Seton).
In 1985 it was broadcast on Polish TV under the title JACKY AND NUKA - LITTLE INHABITANTS OF BIG MOUNTAINS. With the direction by Maria Piotrowska, the whole cartoon was dubbed into Polish except for the melodious song that remained in Spanish. Every Sunday, we were looking forward to seeing a new episode about the adventures of two little bear cubs, first under the protection of their mother and then orphaned and adapted by an Indian boy Senda, his father Kellyan, befriended by his uncle Dimas, a Civil War veteran and a girl from a rich American family, Olga, the daughter of wealthy Mr Forester who, unfortunately, is a passionate hunter. Even though, he is deep down a good man, he contacts a poacher, a real villain of the story Bonamy.
For a long time, I have been looking for it in its Polish dubbing but, unfortunately, I could not find it. Instead, after all these years, I came across a German version on DVD with a German song and the Polish voice-over (one man translates all the lines, both female and male and we hear the original dialogue in German dubbing - a method quite widespread in Poland, with films in particular). Here, we don't have Senda but Ran, not Olga but Alice, not Dimas but Rocky who still remembers his darling Clementine and has not got over the gold rush looking for gold anywhere. In my review, I will keep to the names in Polish version.
The 26 episode-cartoon (each episode with a seperate title) is a captivating tale, sometimes sad like their mother's death or the fire in the forest, sometimes amusing, like Jacky and Nuka who bring post from Senda to Alice and back or Jacky who plays with a powderbox of an elderly lady. You can laugh outloud when Jacky becomes white because a sack of sugar falls into him or how Senda teaches them signs for obedience. But the storyline is always full of tenderness and love to nature and the spirit of support towards the weaker ones. It changes the views of many people about wild animals and undermines the myth of 'good and bad animals.' All nature is good, is governed by its laws and must be protected. Bears have feelings and they can love, too.
Here, one must point out that Seton himself referred to the 'glamour of a remarkable Bear personality.' Native Americans understood that and so did the author, the naturalist and illustrator Ernest Thompson Seton (1860-1946). As a pioneer of woodcraft Indians, a forerunner of the Boy Scouts, his spirit filled with love to nature and respect to Native American Culture are noticeable throughout.
First episodes deal with Jacky, Nuka and their mother Pinto who teaches them to stay away from humans, to catch fish or climb trees in danger. She is a' protector, a kind of 'goddess' according to old Indian beliefs said to be the protector of much cherished Mount Tallac in Oklahoma - 'ten thousand feet above the sea' that 'rears its head to gaze out north to that vast and wonderful turquoise that men call Lake Tahoe, and northwest, across a piney sea, to its great white sister, Shasta of the Snows' (Ernest Thompson Seton). Unexpectedly, one day, an Indian boy Senda comes across the little Jacky, gives him sweets, plays with him and a true friendship begins, a friendship that nothing can ever overcome. The first episode is truly unforgettable because we come to like Jacky who 'had many odd ways of his own, and he was a lasting rebuke to those who say an animal has no sense of humor' (Seton). Soon, Senda tells his friend Olga about the encounter and both children meet Jacky and his little sister Nuka. Their mutual adventures begin. Soon, however, complications will appear and bad people will step in to hunt the bears and destroy the friendship that colonizers' 'established order' can never comprehend. Those cannot understand how much the Mother Bear Pinto 'the monarch' of the mount means in the area. Only old Indian wisemen may.... Here, we can clearly distinguish two dimensions of storytelling: two levels: the simple one on basic level addressed rather to younger viewers - the goodies and the baddies and the more profound one addressed more to older viewers where characters are more ambiguous. Mind you, for instance, the aspect of the river that is constantly present with us, the river that never reaches the sea...
When things become very difficult for the little bears and the parting with their friend is long and tragic, we can tell about different 'enemies' - sometimes people, sometimes other animals; but the hardships they experience make them stronger. There is always a helping hand for them to survive - here, one can quote the author who says: "And still he lives, but pacing-pacing-pacing-you may see him, scanning not the crowds, but something beyond the crowds, breaking down at times into petulant rages, but recovering anon his ponderous dignity, looking-waiting-watching-held ever by that Hope, that unknown Hope, that came."
There is no violence just for itself but the one that makes us think about certain actions, certain situations, choices of people. Sometimes, it is educational, like Senda learning to read and write. Some plots are sometimes a bit exaggerated and too nervous. I admit that the episode in Sacramento is too tough and disturbing a bit. I also didn't like the circus sequence with the bull and the fights with dogs. The men in Sacramento give them beer and mock them. There are moments when you might really start to detest certain people: Pedro and Paco as stupidity in its fullness. However, as it is the case with every fairy tale, villains are punished, the good is rewarded and all is well that ends well...
I will not spoil much about the content but one thing, I will say: you can be certain that when the last episode comes and the reunion with their friends comes to pass, you will be moved to tears. It's hard not to be touched and it is worth these tears. Don't be ashamed of them... The monarch is now Jacky, for whom 'in newborn Hope began the chapter of his gloom' (Seton) but both have to go to the deep forest, far from people , to wilderness, 'seeking forever Freedom's Blue, seeking and raging-raging and seeking-back and forth, forever-in vain (E. T. Seton).
The movie by Steve Previn THE WALTZ KING is not something I would consider one of the top notch films about the Strauss family (bearing in mind that I saw the wonderful TV productions STRAUSS DYNASTY (1991) and STRAUSS FAMILY (1972). Nevertheless, it seems that any film about the family of such distinguished composers who left an undeniable impact on classical music has something to offer. And this one is no exception that may turn out to be a nice discovery for a pleasant evening. Meanwhile, the waltzes, mainly Schani's BLUE DANUBE and ROSES FROM THE SOUTH, have become the symbol of Vienna.
Although this movie has not made a great impression on me due to its feeble cinematography by Guenther Andersand, quite theatrical locations and plenty of liberties taken with the biographical facts. Indeed, it is no biopic in the very meaning of the word but an interpretation of Fritz Eckhardt's story and Walt Disney style. Although there are some truthful presentation of some events from Strausses' lives, including Johann Strauss' discontent with Schani's musical career, there are such scenes as Johann Strauss' debut at Dommayer's where Schani conducts the orchestra and plays famous Radetzky March (for which Johann is most famous for and which, by the way, did not exist that year) and his father conducting Schani's waltz "Roses from the South" (which was composed by Schani years after his father's death). We all know it is not history whatsoever. The kind of movie fitted for its time cannot show serious conflicts... Yet, I think that this is worth viewing, anyway, mainly for two reasons: the music and two actresses.
There is no point in saying much about the former aspect as each film that develops the lives of the Strausses, no matter if it is made accurately or has its flaws, the music brings viewers to special atmophere and some almost 'unearthly' experience of those tunes. Here, as in many other films, Strauss waltzes dominate.
However, there are two unique actresses of the time for the sake of whom THE WALTZ KING might be memorable: Senta Berger as very young Yetti (Schani's wife) and Vilma Degischer as Anna Strauss. Paradoxically, these actresses are not leading cast. Yet, their performances are outstanding and each scene that they appear in turns out to be unforgettable. Vilma Degischer, a great Viennese actress of Josefstadt Theater in Vienna, most known for her role in SISSI Trilogy as Erzherzogin Sophie, came back to STRAUSS DYNASTY but for a minor role in one scene and her last role. Here, she is absolutely worth seeing delivering a performance of elegance and charm so characteristic of her. Senta Berger also delivers a charming, memorable performance as Yetti combining humour and genuine performance. In the scenes when she sings and Schani composes FLEDERMAUS, she remains in the memory of any viewer who decides to see the film.
Others give fine performances, including Peter Wehle as Offenbach (for some time, a rival to Strauss); Brian Aherne as Johann Strauss Sr emhasizes his 'rather neurotic' nature; Kerwin Matthews is convincing as Schani and Peter Krauss appears to be quite appealing as Josef Strauss. And, of course, Fritz Eckhard as Haslinger, a role that combines two historical 'impresarios' - Hirsch and Levi. A strength of the movie are the costumes by Leo Bei where he manages to grasp the feel of the period.
On a cold autumn evening when we celebrate Schani's yet another birthday, such an important 200th anniversary, it is still pleasure to sit down in front of the TV and see this forgotten production from the 1960s which also highlights the amazing talents that left this treasure of their musical imagination to so many generations to come.
Although this movie has not made a great impression on me due to its feeble cinematography by Guenther Andersand, quite theatrical locations and plenty of liberties taken with the biographical facts. Indeed, it is no biopic in the very meaning of the word but an interpretation of Fritz Eckhardt's story and Walt Disney style. Although there are some truthful presentation of some events from Strausses' lives, including Johann Strauss' discontent with Schani's musical career, there are such scenes as Johann Strauss' debut at Dommayer's where Schani conducts the orchestra and plays famous Radetzky March (for which Johann is most famous for and which, by the way, did not exist that year) and his father conducting Schani's waltz "Roses from the South" (which was composed by Schani years after his father's death). We all know it is not history whatsoever. The kind of movie fitted for its time cannot show serious conflicts... Yet, I think that this is worth viewing, anyway, mainly for two reasons: the music and two actresses.
There is no point in saying much about the former aspect as each film that develops the lives of the Strausses, no matter if it is made accurately or has its flaws, the music brings viewers to special atmophere and some almost 'unearthly' experience of those tunes. Here, as in many other films, Strauss waltzes dominate.
However, there are two unique actresses of the time for the sake of whom THE WALTZ KING might be memorable: Senta Berger as very young Yetti (Schani's wife) and Vilma Degischer as Anna Strauss. Paradoxically, these actresses are not leading cast. Yet, their performances are outstanding and each scene that they appear in turns out to be unforgettable. Vilma Degischer, a great Viennese actress of Josefstadt Theater in Vienna, most known for her role in SISSI Trilogy as Erzherzogin Sophie, came back to STRAUSS DYNASTY but for a minor role in one scene and her last role. Here, she is absolutely worth seeing delivering a performance of elegance and charm so characteristic of her. Senta Berger also delivers a charming, memorable performance as Yetti combining humour and genuine performance. In the scenes when she sings and Schani composes FLEDERMAUS, she remains in the memory of any viewer who decides to see the film.
Others give fine performances, including Peter Wehle as Offenbach (for some time, a rival to Strauss); Brian Aherne as Johann Strauss Sr emhasizes his 'rather neurotic' nature; Kerwin Matthews is convincing as Schani and Peter Krauss appears to be quite appealing as Josef Strauss. And, of course, Fritz Eckhard as Haslinger, a role that combines two historical 'impresarios' - Hirsch and Levi. A strength of the movie are the costumes by Leo Bei where he manages to grasp the feel of the period.
On a cold autumn evening when we celebrate Schani's yet another birthday, such an important 200th anniversary, it is still pleasure to sit down in front of the TV and see this forgotten production from the 1960s which also highlights the amazing talents that left this treasure of their musical imagination to so many generations to come.
Right from the beginning of the movie HEARTS IN ATLANTIS, we seem to be supplied with moments of mystery and the supernatural. Therefore, I would totally agree with Roger Ebert's words that this movie "weaves a strange spell, made of nostalgia and fear." Yes, these counterfeit emotions seem to be intertwined and it is not so thanks to Stephen King's memorable story, though it seems to be the main driving power behind the script. It is thanks to well-handled direction and acting. Let me analyse some strenghts of the movie as a viewer who does not look at that from the perspective of the literary source but as a viewer who sees it solely as a film.
The flashback that we have at the beginning of the film when Bobby, the main character filled with memories, comes to a place where he experienced incredible friendship with Ted enhances curiosity and mystery in the audiences. We easily identify with him since some good memories are something we like to cherish and we come back to. And indeed, he has something unusual to return to. So we are with Bobby as an adult and Bobby as an 11 year- old boy who longs for understanding and companion in this early teenage years.
Bobby (Anton Yelchin) is rather a boy like any other - an outdoor kid who strives for adventures and is keen on some unexpected events around him. He lacks a father because his father died when he was 5 and his mother (Hope Davis) seems to be keen on everything else but him. For her naivety, there seem to be a lot of additions to life: fashion, strange risky relationships, desire to be noticed. She appears to fail to solve her own problems not to mention Bobby. To that reality comes Ted (Anthony Hopkins) a presence of a personality that may truly replace a father and a companion in Bobby's life. No wonder the boy comes to like him right from the start. Ted weaves this 'spell of nostalgia' comfort and 'unease' at the same time. Right from the start, we as viewer also sense something supernatural about him. Is he a clairvoyant? A unique yet unreal personality that comes and disappears?
Hopkins delivers a wonderful performance as Ted combining this ordinary with extraordinary. His scenes with Bobby shine as quintessential source for psychological analysis of the storyline. Mind you that he is present in the boy's life, yet he does not interfere in anything, including Bobby's first sympathy Carol Gerber (Mika Boorem). He carves his way to the boy's mind, also with the piece of advice that he gives to him about the first kiss. Ted appears when his beloved Carol is in danger, Ted is there to help her injured arm. Everything is this peaceful mysterious presence. Therefore, Ted and Bobby's scenes are unique in themselves in the movie and are highly worth seeing at least twice. You always notice something, some moves, some facial expressions that you have not noticed before. Incredible.
Bobby and Carol's scenes are also something that may define a valuable coming of age drama where first sympathies and innocent love are depicted with dignity and respect to youthful feelings. Bobby learns to care because he finds a teacher of life in Ted. Everything seems to appear for the first time. The first impressions of the first kiss make him judge all the others....
The locations as well as camerawork nicely contribute to the film's visual effect and memorable sensations that a viewer might experience while watching it.
HEARTS IN ATLANTIS is a highly recommended movie about a mysterious book that life occurs to be: strange, unpredictable but worth living for thanks to such moments as Bobby experiences. Let me refer once again to the words by Rober Ebert who accurately pointed out: "Rarely does a movie make you feel so warm and so uneasy at the same time." Isn't that something we can all experience with not a single moment to be missed?
The flashback that we have at the beginning of the film when Bobby, the main character filled with memories, comes to a place where he experienced incredible friendship with Ted enhances curiosity and mystery in the audiences. We easily identify with him since some good memories are something we like to cherish and we come back to. And indeed, he has something unusual to return to. So we are with Bobby as an adult and Bobby as an 11 year- old boy who longs for understanding and companion in this early teenage years.
Bobby (Anton Yelchin) is rather a boy like any other - an outdoor kid who strives for adventures and is keen on some unexpected events around him. He lacks a father because his father died when he was 5 and his mother (Hope Davis) seems to be keen on everything else but him. For her naivety, there seem to be a lot of additions to life: fashion, strange risky relationships, desire to be noticed. She appears to fail to solve her own problems not to mention Bobby. To that reality comes Ted (Anthony Hopkins) a presence of a personality that may truly replace a father and a companion in Bobby's life. No wonder the boy comes to like him right from the start. Ted weaves this 'spell of nostalgia' comfort and 'unease' at the same time. Right from the start, we as viewer also sense something supernatural about him. Is he a clairvoyant? A unique yet unreal personality that comes and disappears?
Hopkins delivers a wonderful performance as Ted combining this ordinary with extraordinary. His scenes with Bobby shine as quintessential source for psychological analysis of the storyline. Mind you that he is present in the boy's life, yet he does not interfere in anything, including Bobby's first sympathy Carol Gerber (Mika Boorem). He carves his way to the boy's mind, also with the piece of advice that he gives to him about the first kiss. Ted appears when his beloved Carol is in danger, Ted is there to help her injured arm. Everything is this peaceful mysterious presence. Therefore, Ted and Bobby's scenes are unique in themselves in the movie and are highly worth seeing at least twice. You always notice something, some moves, some facial expressions that you have not noticed before. Incredible.
Bobby and Carol's scenes are also something that may define a valuable coming of age drama where first sympathies and innocent love are depicted with dignity and respect to youthful feelings. Bobby learns to care because he finds a teacher of life in Ted. Everything seems to appear for the first time. The first impressions of the first kiss make him judge all the others....
The locations as well as camerawork nicely contribute to the film's visual effect and memorable sensations that a viewer might experience while watching it.
HEARTS IN ATLANTIS is a highly recommended movie about a mysterious book that life occurs to be: strange, unpredictable but worth living for thanks to such moments as Bobby experiences. Let me refer once again to the words by Rober Ebert who accurately pointed out: "Rarely does a movie make you feel so warm and so uneasy at the same time." Isn't that something we can all experience with not a single moment to be missed?