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    October 2, 2008
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Veggiechiliqueen's Reviews
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Customer Rating
4 out of 5
4
A kid's-eye view of the Great Depression
on November 16, 2008
Posted by: Veggiechiliqueen
Set in the Great Depression, Kit Kittredge follows the heroine of the American Girl Kit an American Girl books. Kit (Abigail Breslin, Little Miss Sunshine) is a 10-year-old aspiring reporter living in Cincinnati with her parents (Julia Ormond and Chris O'Donnell); her father Jack owns a car dealership, and her brother Charlie is away at college. As the movie opens, we see unfortunate neighbors with foreclosure signs in their yards, belongings being seized, and soup kitchens. Kit's situation goes from comfortable to pinched overnight; the bank seizes the dealership, her father moves to Chicago to look for work, and her mother must take in boarders to make ends meet. From there, it's only a short step to selling eggs, and then the poorhouse.
Kit's generally optimistic outlook is nearly crushed under this avalanche of adult responsibilities, but her father gently tells her not to let it beat her before he leaves to look for work. Kit throws herself into her writing, penning a kid's eye view of the Depression as she volunteers at soup kitchens and befriends two young hobos, Will and Countee (Max Thieriot, who played Nancy Drew's boyfriend in Nancy Drew, and Willow Smith). Kit's dreams of being a writer are nearly stamped out by the unpleasant editor Mr. Gibson (Wallace Shawn of The Princess Bride (20th Anniversary Edition) fame), but she keeps at it in an effort to make sense of the suddenly senseless world around her. The new boarders are the subject of many of her articles. There's magician Mr. Berk (Stanley Tucci), mobile librarian Ms. Bond (Joan Cusack), Mrs. Howard and her son Stirling, and the exotic dance instructor Miss Dooley.
But danger strikes as a series of robberies perpetrated by hobos sweeps the nation, and Will and Countee find themselves unwelcome, especially after Will is implicated in two robberies that hit close to home. Kit and her friends Ruthie and Stirling set out to solve the mystery of who would frame Will.
The film does a wonderful job at capturing 1930s atmosphere, particularly in the soundtrack department. Kit Kittredge: An American Girl - Original Motion Picture Soundtrack contains two fabulous tracks by the Puppini Sisters (retro 1940s-style vocal harmonies), Ain't We Got Fun by retro songbird Renee Olstead, and vintage tracks by Spike Jones, Billie Holiday, Cliff Edwards, and Xavier Cugat.
Kit Kittredge is that rare movie that the whole family can enjoy together. The story (and I haven't read the book series that it's based on) is a gently old-fashioned tale of respect, altruism, and optimism in the face of difficulty that will resonate with parents, and kids will enjoy the blend of magic shows, funny characters, and mystery. The solid acting from the big-name cast, headlined by Abigail, offers up a sanitized but effective overview of the atmosphere of the Great Depression, particularly salient as our nation once again finds itself in a sea of foreclosures, high unemployment, and the threat of recession if not depression.
I would recommend this to a friend!
+1point
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Part of the Studio Classics series, 20th Century Fox Home Entertainment releases the DVD debut of the classic romantic fantasy The Ghost and Mrs. Muir, directed by Joseph L. Mankiewicz and presented with a standard full-frame transfer in the original black-and-white. Dolby Digital Mono soundtracks are available in English, Spanish, and French. A remixed stereo track is offered in English. Subtitles and closed captions are also accessible. An audio commentary track is provided by film historian Greg Kimble and Christopher Husted, manager of the Bernard Herrmann estate. A second commentary track is with film professor Jeanine Bassinger and Mankiewicz biographer Kenneth Geist. The disc also includes a stills gallery, theatrical trailer, and the A&E Biography program Rex Harrison: The Man Who Would Be King. This is a fine disc for an Academy Award-nominated film.
 
Customer Rating
5 out of 5
5
A haunting tale of love and the sea
on November 15, 2008
Posted by: Veggiechiliqueen
The Ghost and Mrs. Muir, based on the novel by Josephine Leslie (as R.A. Dick) and screenplay by Philip Dunne, is the English Victorian tale of widowed Lucy Muir (Gene Tierney) and her young daughter Anna (Natalie Wood). Wood turns in a spirited performance as young Anna, although she is not given a great deal of screen time. Edna Best makes a charming companion for the isolated Lucy as her outspoken maid Martha. Lucy's meddling in-laws want to force Lucy and Anna to move to London, but Lucy is offended by their view that she is helpless and incapable of supporting herself and her daughter on her writing. Tierney brings a gravity to her role befitting the Victorian era, but tempers it with a playful, witty streak. Harrison is effective as the gruff sea captain with a heart of gold. The two strike up an amazing amount of chemistry despite the physical distance between the actors; instead, emotion is conveyed through glances and words.
The two move to a cottage by the sea that's curiously affordable considering the great view, but Lucy soon finds out why. It's haunted by the ghost of Captain Daniel Gregg (Rex Harrison), a cantankerous old salt who's overly fond of swearing and frightening off prospective buyers. Lucy, however, is very forward and independent for her era and refuses to be forced out of her new home in Gull Cottage, so the two reach a kind of truce.
Lucy and Daniel soon strike up a deep friendship bordering on romance, and Lucy, a writer, agrees to ghost write Capt Gregg's autobiography. During her meetings with the publisher, she is charmed by Miles Fairley (George Sanders), a famous children's author, and Daniel reluctantly lets Lucy pursue a flesh-and-blood suitor. The ending (much-copied) may be one of the most romantic on film, and clearly inspired later time-travel romance Somewhere in Time.
The film is marked by beautiful cinematography, particularly of the sea (filmed at Carmel-by-the-Sea, Monterey, and various other California coastal locations), and a lush, haunting score by Bernard Herrmann (The Ghost And Mrs. Muir: Original Motion Picture Soundtrack) that may be one of the most poetic film scores ever along with John Barry's Somewhere In Time (1998 Re-recording).
The DVD thankfully features many fine extras, such as commentaries by film historian Gregg Kimble and Bernard Herrmann expert Christopher Husted, commentary by chairman of film studies at Wesleyan University Jeanine Bassinger and Kenneth Geist (biographer of Joseph L. Mackiewicz), A&E Biography:"Rex Harrison: The Man Who Would Be King," the original theatrical trailer, and a still gallery. This is a fitting tribute to one of the most timeless screen romances, and fans of Somewhere in Time (Collector's Edition) will feel right at home.
What's great about it: Beautiful soundtrack, great cinematography, haunting love story and strong performances
What's not so great: None
I would recommend this to a friend!
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Customer Rating
4 out of 5
4
Family-friendly faithful adaptation
on November 14, 2008
Posted by: Veggiechiliqueen
As a child, I would go to Colonial Williamsburg nearly every year on school breaks. I adored anything having to do with colonial history, and fell in love with Johnny Tremain (book first, then movie) instantly. Esther Forbes' classic novel tells the rousing tale of a haughty Boston silversmith's apprentice, Johnny Tremain, who, when maimed in an accident with molten silver, gives up his apprenticeship, hits all new lows as he is turned down for jobs because of his deformed hand, and is accused of theft by one of Boston's elite. He matures from boy to man as he joins up with the Sons of Liberty and participates in the planning of the American Revolution (along with some of colonial Boston's most brilliant minds).
Disney's 1957 film adaptation starring Hal Stalmaster was made for TV but also shown in theaters. The costumes, music, and sets are fairly convincing at portraying colonial Boston. The film, at 81 minutes, cuts out a lot of backstory regarding Johnny's inner process of maturation and changes a crucial plot point near the end (presumably to make the film more child-friendly), but generally remains faithful to the spirit of the original book. The transfer is generally very clean and crisp, amazing for a movie of this age.
Amazingly, we actually saw an old reel copy of Johnny Tremain in my fifth grade class ( this was in the early 1990s), and until now, the only copy I owned was a disintegrating VHS tape that'd I'd recorded from the Disney Channel. The DVD release features wonderful extras: Walt Disney talking about the making of the film, and the introductions that were played with each part (the original film was divided into two episodes), basically shameless marketing for other Disney films and a Liberty Square theme park experiment that never came to fruition, but fascinating nonetheless that these extras were saved and presented with the film. The only disappointment is that the excellent animated short "Ben and Me," about a mouse who shares a home with Benjamin Franklin, wasn't included (it's referenced in the two segments, but has never been released to DVD).
A great little family film for history buffs and a real treat those who grew up on classic 1950's Disney live-action fare (Swamp Fox, Spin and Marty, Davy Crockett). Given, this is a Disney movie, and some of the danger and sacrifice from the book have been removed to make it more family-friendly, but it's still worth seeing.
I would recommend this to a friend!
+2points
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Customer Rating
5 out of 5
5
A standout debut
on November 13, 2008
Posted by: Veggiechiliqueen
I first heard of Tiziano Ferro on Spanish radio and from MTV España; two of his videos (Alucinado and Perdona) were in near-constant rotation when I lived in Spain in 2002. I was instantly hooked on Xdono (Perdona in Spanish), a catchy tune that sounds suspiciously like the chorus to Craig David's "Can't Be Messing Around" off his debut album "Born To Do It." But Tiziano is no copycat--he wrote his own lyrics and music to every song, an impressive feat for a 22-year old. Tiziano joined a local gospel choir in his hometown of Latina, Italy when he was 16, which instilled in him a love for Afro-American music, which "Rojo Relativo" ("Rosso Relativo" in the original Italian) shows off very nicely, along with great mixing and slick production values.
The thirteen songs are a mix of R&B, soul, and gospel in Spanish, Italian and English. Some tend to be more uptempo ("Perdona" and "Xdono", "Las Cosas Que No Dices," "Primavera Nunca Fue,") with softer, slower ballads in between ("Alucinado," "Y Mas," "El Confin"). Tiziano really shines when he belts in a soulful, almost gospel voice on "Boom Boom and "Soul-dier"--indeed, his English diction is better than some native speakers. The rapidfire lyrics, catchy rhythms (the aural equivalent of breakdancing on some of the fast songs), and beautiful slow songs (including my personal favourite "Alucinado" ("Imbranato" in Italian). Fans of Craig David, R&B, and neo soul should enjoy this fine debut outing by a rising star.
This North American EMI release comes with three bonus tracks: "Imbranato" (Italian version of "Alucinado"), a radio edit of "Alucinado," and a killer salsa remix by D-Menace of "Alucinado."
What's great about it: Everything! (and the salsa remix rocks!)
I would recommend this to a friend!
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Customer Rating
4 out of 5
4
An eye-opening look at the Ellis Island experienc
on November 12, 2008
Posted by: Veggiechiliqueen
As the granddaughter of Polish immigrants (my grandmother immigrated to the US from Zamosc, Poland in 1917 when she was four years old), I grew up hearing stories about Ellis Island from my grandmother (who had quite a large collection of books on Ellis Island), and also read a number of novels and watched documentaries (Ellis Island) on the immigrant experience.
However, reading first-hand accounts of the events and seeing them brought to life on the big screen made quite a difference. Golden Door (released as New World in Italy) follows the Sicilian Mancuso family, headed by persnickety grandmother Fortunata, her son Salvatore, and his sons Angelo and Pietro. Salvatore is barely able to scratch a living from the rocky, unforgiving landscape (shown to perfection in haunting aerial shots), and after many false starts, begins to make arrangements to go to America. Fortunata has no desire to join them, and Pietro, a deaf-mute, identifies more closely with her. The first third of the film involves Salvatore's selling of his goods to finance the voyage, and the preparations that have to be made. Along the way, Salvatore meets the beautiful, mysterious Englishwoman Lucy, who is traveling in Sicily by herself and attempts to travel with the Mancusos.
The middle of the film chronicles the ocean steamship crossing, with its cramped, segregated male/female quarters, and a rough storm at sea. To be honest, the scenes of the living arrangements seemed too quiet from what I've read; when Lucy gets up at night, there's nary a peep (no young children on this ship, apparently). Also slightly disappointing was the fact that when they finally arrived in New York, there was no (standard) shot of the immigrants glimpsing the Statue of Liberty for the first time.
The final third deals with the Mancuso's fairly typical experience at Ellis Island, and this is where the film shines. Director Emanuele Crialese really did his homework on the battery of physical and psychological tests performed on prospective immigrants in order to determine their "fitness" for life in the United States, and it's slightly shocking by modern standards to see the humiliation that some were subjected to. The American Ellis Island staff in the film come off as cold and unconcerned, particularly with the heartbreaking situation of some of the "mail-order brides" forced into marriage after a dangerous ocean crossing. However, Crialese did include (brief) glimpses at other immigrants, including Eastern European Jewish, Middle Eastern, and other European countries. Small touches of wonder at their new situation are alternately funny and touching, such as immigrants scaling the frosted glass windows to look across the harbor, where they contemplate living in a skyscraper, or Salvatore's result of a block puzzle.
Crialese chose to shoot the film in Buenos Aires and personally chose all 700 extras, most of whom are descendants of Italian immigrants to Argentina. The scenery is effective, and the film was digitally colored to leach out bright hues, resulting in an appropriately washed-out, aged look (although not as garish as Tim Burton's use of digital coloring in Sweeny Todd). The Golden Door soundtrack includes folk songs, a hint of tango, and symphonic interludes, and works well with the visuals. An in-depth making-of features interviews in French and Italian (funny to hear the Italian lead Vincenzo Amato interviewing in French rather than his native Italian, but his French is quite good).
My only dislike of the film was the inserted "dream sequences" that featured hallucinations of giant vegetables and rivers of milk (the end sequence was downright creepy in an Andy Warhol kind of way). As Salvatore didn't strike me as lighthearted, these "hallucinations" come across as forced rather than a natural extension of his personality and took away from some of the gravity of the immigrant experience presented here.
Overall, this is a lushly realized look at the immigrant experience, including the many sacrifices and dangers along the way that are sometimes overlooked due to the romanticized view of the immigrant experience. Crialese has created a timeless tribute to the sacrifice of our grandparents who gave up everything (not just family living in the Old World, but often their language, culture, and customs) at the chance for a better life in America.
What's great about it: Story, acting, scenery
What's not so great: Some of the more bizarre dream sequences
I would recommend this to a friend!
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Customer Rating
2 out of 5
2
Highly stylized, but an empty shell
on November 11, 2008
Posted by: Veggiechiliqueen
As an adolescent, I loved Annette Curtis Klause's Blood and Chocolate, the gripping tale of a modern-day werewolf pack. In the film adaptation by Katja Von Garnier (screenplay by Christopher B. Landon and Ehren Kruger), Vivian (Agnes Bruckner) and her pack live in Bucharest, Romania after fleeing a massacre in the United States. The solitary Vivian jogs, works in a chocolate shop, and avoids the advances of her cousin Rafe and his slimy friends. At night, she sips absinthe in trendy basement clubs. One night she runs into graphic novelist Aiden (Hugh Dancy), who is working on a piece about the loup-garou (werewolves), and Aiden seems to speak her language, viewing werewolves as noble.
Vivian tries to shake Aiden's interest in her, as she is destined to become leader Gabriel's (Olivier Martinez) wife and future leader. However, the two eventually become involved, with tragic consequences for all involved. The so-called romance felt forced and unrealistic.
The film is very dark and violent, with several scenes of pack hunting, vigilante justice, and graphic murders. It seemed to be all style and no substance; sure, the location footage of Bucharest looked beautiful, but served no purpose to further the story. There was no integration with local culture, and the trendy clubs could have been in any major European city.
What little plot there was focused on vengeance, with shamefully little devoted to the werewolf lore that was the center of the original novel. In the film, there are no special effects when the humans (rarely) change into werewolves; instead, we're shown a brief blur that dissolves into real wolves. Disappointing to say the least; given, it's not a human in a bad werewolf suit, but none of the mystery or romance from the original novel is there. The chase scenes were heavy handed and overused, as were the numerous club scenes. The violence was gratuitous and largely without merit, but not scary enough to make this a horror film.
Other than the names of several characters, little has been preserved from the original novel, and that's a shame. Klause penned beautiful descriptions of the change from human to werewolf, and of Vivian's delight in her dual sensual natures. In the original novel, Vivian is wrapped up in school and the pack hierarchy, and in many ways is a normal teenager interested in art and music. In the film version, Vivian feels empty; we never know what she enjoys, we never see her at school or with friends. Instead of the well-outlined pack hierarchy in the novel, Olivier Martinez's Gabriel is focused on protecting the pack through violence; there is none of the code of honor featured in the novel, and the werewolves' code is much more animalistic here. In the novel, Klause makes it possible to sympathize with the pack members who have all suffered personal loss and tragedy because of what they are; here, we never meet (or care about) the faceless pack members that exist only to kill humans.
The DVD offers several deleted scenes, a commentary from Olivier Martinez, and widescreen and fullscreen versions.
Final verdict: next time, stick closer to the source material. Some changes may have given the story a fresh new face, but the screenwriters basically rewrote the entire Blood and Chocolate story without any of the romance or wonder.
What's great about it: Location?
What's not so great: Everything else. Skip this and read the book instead.
No, I would not recommend this to a friend.
+1point
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Customer Rating
5 out of 5
5
A loving glance at a vanished world
on November 10, 2008
Posted by: Veggiechiliqueen
Yiddish, the Germanic language of Eastern European Jews that was imported to the US during waves of Jewish immigration, was once a thriving language that fueled vaudeville, newspapers such as the Forverts, Yiddish comedians, radio dramas, and a rich literary tradition. Sadly, few speakers or vestiges of Yiddish's cultural beacon survive in the US. Numerous Yiddish words such as bagel, chutzpah, glitch, klutz, maven, and schlep have made their way into American vocabularies (for an excellent discussion on Yiddish and its influence, read Born to Kvetch: Yiddish Language and Culture in All of Its Moods by Michael Wex).
Originally broadcast on NPR, the Yiddish Radio Project was the brainchild of musician/historian Henry Sapoznik. He discovered few dozen acetate-coated aluminum discs at a rummage sale, then spent the next 17 years rescuing surviving discs. Some had been melted down for WWII scrap metal drives, others tossed or disintegrated, but the rare surviving copies opened the door to a long-lost glimpse of Jewish immigrant culture in the mid-twentieth century. We hear bilingual advertisements for Barbasol, Manischewitz, and Hebrew National Meats among others, Yiddish swing, and fascinating Yiddish radio dramas (the soundtrack is available as a standalone CD, Music from the Yiddish Radio Project, featuring highlights of commercials and swing melodies).
Narration is by Scott Simon, and translations are provided by Carl Reiner and Eli Wallach. The two-CD tribute includes segments on Yiddish commercials, radio dramas, and rabbinical radio courts, filled out by snippets of tantalizing products long gone, such as Brillo Kosher Soap: "the Star of David is worked right through the soap, it never disappears"! This is a treasure of those of you who grew up in a Yiddish-speaking household, or who might want to reconnect with the culture of our immigrant grandparents.
What's great about it: Glimpse at a vanished Yiddish radio world: music, soap operas, and programming
What's not so great: More of the (untranslated) Yiddish originals would have been nice
I would recommend this to a friend!
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Customer Rating
4 out of 5
4
A delightful overview of the Jewish Diaspora
on November 8, 2008
Posted by: Veggiechiliqueen
Putumayo's A Jewish Odyssey collects music from several different continents and fine examples of the two major divisions of Judaism: Ashkenazim (Eastern European) and Sephardim (those in the Middle East, North Africa, Turkey, Morocco, etc. that are descendants of the Jews expelled from Spain in 1492).
Several of the artists such as the Klezmer Conservatory Band, Chava Alberstein, and Ofra Haza may be familiar to savvy world music fans, but there are other bands such as Italy's KlezRoym that were equally impressive.
The album opens with the melancholy-sounding Yiddish waltz Der Goldener Pave. Burning Bush's Rad Halaila displays strong Arabic influence. The standout Fel Shara from Italy's KlezRoym was one of the disc's highlights for me. Strongly Sephardic, the string-driven melody brought to mind nights spent wandering Toledo's narrow streets (Spain, not Ohio!), old Jewish quarter and synagogues. Ofra Haza's riveting Rachamim displays her pure, sweet voice to perfection. Janet/ Jak Esim's haunting version of Ija Mia Mi Kerida (an old Sephardic ballad from medieval Jewish Spain) features a guitar flirting with Eastern modality and jazz.
Consuelo Luz delights on the mystical Las Estreyas, blending several genres. Finjan's Dancing On Water comes off as more of a Celtic lament, but the album closes with Fortuna's haunting Brazilian version of Shalom Aleichem, which leans towards the symphonic.
Overall, the album does a good job of showcasing various interpretations of Jewish song, although it heavily favors Sephardic over Ashenazic klezmer (more "old school" Yiddish klezmer would have been nice; for an expansion on the offerings here, check out NPR's excellent Yiddish Radio Project). Several up-and-coming Jewish bands are showcased, along with stars such as the late Ofra Haza and the captivating Chava Albertstein (her album Yiddish Songs is a treat).
What's great about it: Variety of international influences on Jewish Diaspora music
What's not so great: None
I would recommend this to a friend!
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Customer Rating
4 out of 5
4
A romantic world of candlelight and poetry
on November 5, 2008
Posted by: Veggiechiliqueen
This was one of the first "grownup" TV shows I remember taking an interest in back when it came out (I was seven). At the time, I was entranced by the visuals, but the more adult elements (romance, intimacy, and urban problems of poverty and discrimination) were lost on me. However, as soon as I heard that Beauty and the Beast had been released to DVD, I rushed out to buy a copy, and the stories and lush visuals don't disappoint.
In the TV series, the role of Beauty is Catherine Chandler (Linda Hamilton), a corporate lawyer who is nearly killed in a case of mistaken identity. Brutally beaten and disfigured in a razor attack, she is discovered by the reclusive Vincent (Ron Perlman), part man, part beast who lives in the tunnels below New York City. Vincent and his adopted father (Roy Dotrice) nurse Catherine back to health. Once she returns to the World Above, as Vincent calls it, she is a changed woman and decides to work for the District Attorney's Office in order to help other survivors of violent crimes. Catherine and Vincent share a strong platonic bond, and although there is definite romantic chemistry between them, they are unable to act on it. Vincent reads Catherine wonderfully romantic, evocative classic love poems; these are also available on the Beauty & the Beast CD.
First and foremost, the show is carried by Ron Perlman, who makes the lion/man Vincent a deeply sensitive, poetic, and yes, romantic figure aware of his limitations in Catherine's world. Linda Hamilton as Catherine Chandler is beautiful both inside and out; deeply concerned for the welfare of others, she has chosen her job from altruism, not for money (her father is rich). Catherine becomes familiar with Vincent's world, where those who are different have found a safe haven under Vincent's wing, so to speak, including Mouse (David Greenlee) and Pascal (Armin Shimerman from Star Trek: Deep Space Nine). Another notable name is Tony Jay as Paracelcus, a villain who threatens Vincent's world below.
The 22 first-season episodes range from mediocre ("Masques," with some of the worst Irish accents heard on screen), to captivating ("Fever," "An Impossible Silence," "Nor Iron Bars a Cage"). Given, the show's '80s values (especially production values) do date it quite a bit, but the interplay between characters (and the romantic tension between Catherine and her boss Joe) and Vincent's lush, mysterious world of damp tunnels tempered by candlelight carry the viewer's interest.
The film's transfer is grainy and blurry, with scratches particularly noticeable on the pilot. The overall video transfer is inconsistent, and that's a shame. Audio quality is decent. The lack of extras is deplorable, particularly given the show's fierce cult following. The packaging is both space-saving and well thought out, although it's hard to read the synopses when the discs are on top of them. Overall, fans of the series will want to snap this up. If you're looking to collect all three seasons, it might be better to hold out for the complete series set Beauty and the Beast: The Complete Series, with new extras.
What's great about it: Nostalgia, good character makeup, Ron Perlman in a romantic, theatrical role
What's not so great: Picture quality, lack of extras, dated
I would recommend this to a friend!
+1point
1of 1voted this as helpful.
 
Veteran animator Hayao Miyazaki directs this buoyant children's adventure yarn about a young witch striking out on her own. At her mother's behest, 13-year-old Kiki sets out on a year-long apprenticeship with her black cat in tow. With a shaky command of her broom, she ends up in a charming little coastal town that looks like a cross between the French provincial and San Francisco. Unfortunately, the local hotels have a strict "no witches" policy and the police have taken a dim view of her recent aerial mischief making. She's saved from the street by a kindly baker's wife who offers her room and board in exchange for her delivering by broom the baker's wares. Soon she befriends a college-aged artist, an old women who fusses over her, and a boy her same age who is nursing a massive crush. All is well until she wakes up one day and realizes that she can't make her broom levitate nor can she talk to her cat. What will Kiki do?
 
Customer Rating
5 out of 5
5
This film is an absolute charmer!
on November 4, 2008
Posted by: Veggiechiliqueen
Hayao Miyazaki's "Kiki's Delivery Service" is based on a series of children's stories by Eiko Kadono. Kiki is a thirteen-year-old witch, and must go out into the world to begin her training. Her mother is also a witch, a vanishing breed. Kiki (Kirsten Dunst) and her black cat Jiji (voiced by Phil Hartman) set out to find a town to call their very own. After a disheartening evening of meeting up with a snooty witch-in-training and getting caught flying in a thunderstorm, the pair wakes up to a sunny day and new adventures.
Kiki finds herself in Koriko, a beautiful seaside city modeled after Europe's genteel capitals, and in the capable, grateful hands of Osono, a pregnant baker. Her new talent seems to be delivering items on her broomstick, and "Kiki's Delivery Service" is born. Kiki and Jiji take up lodgings at the bakery and soon are delivering every sort of item imaginable, from fish pies to stuffed cats to heavy boxes, and naturally, get into scrapes along the way. Young Jeff is fascinated by Kiki and her ability to fly (he is in a young pilots' club), and the two begin a bashful courtship of sorts. But one day, Kiki finds that her magical powers are fading--she can no longer fly or talk to Jiji....
Many of Miyazaki's films feature strong female heroines, and Kiki is no exception. From Kiki's mother mixing potions, to Osono's successful bakery, to Ursula's career as a female artist and Kiki's own quest for independence, "Kiki's Delivery Service" promotes a message of "girl power" and believing in oneself that makes it a good role model for young girls. Part of Kiki's charm is her awkwardness at becoming a teenager, and her magical troubles stem from self-doubt that, when corrected, finds her in flying form once again.
Beautiful artwork, an old world musical score full of Parisian accordion and European charm, and a timeless story are enhanced by Disney's choice of A-list actors for the English dub (Kirsten Dunst, Phil Hartman, Janeane Garofalo). DVD comes in English, Spanish, and the original Japanese dub (with two choices of subtitles: the literal translation and the captions used in the English version), along with several extras (original Japanese trailers, "Behind the Microphone" with John Lasseter).
What's great about it: Beautiful hand-drawn animation, setting, music, plot
What's not so great: None
I would recommend this to a friend!
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