Spit-Spot

As much as audience’s association with Walt Disney, and his famed studio of the same name, come from the colourful assortment of animations that have each respectively told distinctive and memorable stories, it’s easy to forget the aforesaid studio’s live-action features. From their inception into the producing live-action films starting with Treasure Island and The Story of Robin Hood and His Merrie Men, which took inspiration from East-German fairy-tales of the 40’s, to this day and age where the demand for live-action remakes of famed animated tales is ever-prominent, Disney have never been shy to act-on a story of realistic proportions and have always enthused musical magic into this specific formula. The most recognisable example of this seen is through Robert Stevenson’s Mary Poppins; a classical musical which rather battened-off Audrey Hepburn’s My Fair Lady at the time and  broke boundaries in its successful attempt in fusing animation and live-action into one song-filled whole. However, with its success, it’s a wonder nobody forced the famed fictional nanny to return earlier. While it’s comprehensible to deter Disney’s renewing of a classic, considering how it could be seen as a mere cash-grab by re-hashing the same story, Rob Marshall’s Mary Poppins Returns is a joyful sequel that proudly stands on its own; binding creativity and charm in a manner which is never begrudgingly familiar. Yet, with Emily Blunt filling-in to take central-actorial reigns of a boundless character, are the performances and songs enough to warrant acclaim?

In 1930’s London, decades since the last time their lives were transformed by the beguiling Mary Poppins, a now-grown Jane and Michael Banks, along with three of his children, learn that their house will be repossessed in five days unless he can pay bay the loan. Michael’s only hope of fixing this situation is to find a missing certificate that shows proof of his valuable shares that his father left him years earlier. Just as all seems lost, especially with unfortunate departure of Michael’s wife and the children’s mother, Michael and his sister receive the surprise of a lifetime when Mary Poppins – the beloved nanny of their childhood – arrives to help. Through her unique magical skills, and the aid of lamplighter Jack, Poppins helps re-discover the joy and wonder missing in their lives…

In naturally being a sequel to a well-acclaimed Disney classic that has rather stood the test of time, through its central enigmatic character and plethora of memorable songs that each respectively have their own fascination, what’s obviously palpable to take note of with Rob Marshall’s Mary Poppins Returns first and foremost was its contextual and structural approach. As much as this is a film that continues Poppins’ infatuation with the Banks family and helping new and familiar faces finding happiness and joy in moments of great grievance, it can’t be helped to question how much of Marshall’s film will mimic familiar sequences; which is where expected trepidation seeps into those who’ve become adhered by the aforesaid classics musical majesty. While there are clearly deliberate re-calls to Stevenson’s original, in the way in which the three children in this sequel hop-between different locations in similar circumstances, how the animation mimic’s Disney’s 60’s drawn style and how the structure overall echoes the preceding feature, it’s these specific referential aspects that never once become begrudging to watch as a few might warrant to expect. Indeed, rather than these scenes and cinematic-characteristics being just perceived as mere pastiche, it comes across as a rather grandiose homage that eludes to the films attemptive escapism for the younger audiences. Although there’s a subtle hint of recognition as mentioned, it’s these colourful and well-choreographed moments of underwater exploration, city dancing and music-hall tomfoolery that ensnare you to smile with comfort and appreciation. What helps these certain sequences become enjoyous is the new and original musical pieces. While there’s an argument to be made that these songs aren’t as memorable compared to the Stevenson’s beloved belfry of musical pieces, it’s admirable in any case that Marshall has opted for new songs for new set-pieces; rather than a re-hashed version of Supercalifragilisticexpialidocious which would have deterred adhered audiences away. It’s these well-constructed sequences that seamlessly provide energy and imagination to the point where you’re gleeful to the final musical number, where everyone floats above London park in clouds of coloured balloons. However, what’s even more bold from Disney themselves to delve into, is how these musical pieces provide a rather realistic dimension to such as fantastical story. Whether it’s Michael’s solo song, named ‘A Conversation’, that demonstrates the said characters longing for his recently deceased wife, or Mary Poppins’ ‘The Place Where Lost Things Go’ which teaches the youngest Banks children to not be worrisome of things and events that haven’t already happened, there’s a clear notion of realistic undertones that not only gestalts the sympathy for audiences watching, but it expands the world of Marry Poppins to be more than just a fantastical adventure.   

Of course, besides the story aspect of Mary Poppins Returns, the films central attraction is through it’s lustrous musical set-pieces which director Rob Marshall delightfully exhibits in a way that is simply fitting. As much as some aspects remain the same, in the forms of events taking place similarly to the original and how characters this time round fill-in for their former counterparts whether its Jane being the campaigning woman or Michael loosing touch with his sense of fun like his father, it’s the musical outbursts that come to delight and rather loving echo sequences of yesteryear. Whether it’s the underwater fantasia spectacle of Mary Poppins singing ‘Can You Imagine That?’ that subtly references Bedknobs and Broomsticks, or the inevitable animated segment that recalls Disney’s edgy cartoons of Fantasia and 101 Dalmatians, especially near the conclusion of the said scene, it’s these moments that provide the fun in what you would expect. However, it can’t be misplaces how much of the emphasis can be necessarily melancholic. This absolutely comes in the form of Blunt’s ‘The Place Where Lost Things Go’ which mirrors the pensive charm of ‘Feed The Birds’.  

Of all it’s musical grandeur in wonderfully emulating familiar aspects in a speculative light that never once wains in quality and enjoyment, what audiences wanted to see most of all in Mary Poppins Returns is well, the said enigmatic nanny herself and how Emily Blunt goes about playing a character that is recognisably synonymous with Julie Andrews’ portrayal in the original. Like the story, does Blunt ever find herself mimicking what has already been done? Or, is there an element of distinctiveness in her enactment? While the rather former expectedly creeps in through the accent, it’s clear enough and that Blunt, rather satisfyingly, doesn’t impersonate what Andrews has done before. Blunt here provides us with an impeccable version of Poppins that is far more looser and straight-to-the-point. Whereas in the more domestic scenes she seems more chipper and provides a keen comic-timing, knowingly when to interject the right amount of sarcasm in her eye-roll or chatting away to her anthropomorphic yet absorptive parrot umbrella, in the sequences of dancing and singing, it’s evident Blunt was perfect to envelop such a role with the way she seamlessly interjects infectious delight from the voice itself. As far fetched as this may sound, it’s as if Blunt was always meant to play an iconic role and make it seem refreshing. While much of the same can’t be said of Lin-Manuel Miranda’s performance as Jack. who rather occupies the Dick Van Dyke persona in the same and predictable fashion, it’s clear from the participation he had to do with the musical set-pieces that he had fun; especially when the known musical wiz interjects some of his Hamilton routine into the fantastical formula. It also can’t be forgotten what such good jobs both Emily Mortimer and Ben Whimshaw provide as Jane and Michael Banks receptively who convincingly occupy said roles with their own likeable flavour; whether it’s Mortimer’s naturally rich speaking-voice or Whimshaw’s complexity in being grumpy yet soft-spoken. 

Against the cynicism and trepidation from those who questioned the existence of such a continuation, Rob Marshall contrives a worthy prolongation in the form of Mary Poppins Returns which simply exhibits a musical that never once feels begrudgingly familiar. Yes, there are aspects in terms of its structure and characterisation roles that relatively echo Stevenson’s original, but it’s the films consistency in delivering sequences of musical grandeur and undertones of sorrow that makes Marhsall’s film a good watch. Even though my thoughts of this casting rung true in my head for a while, but Emily Blunts inclusion to play the central role was and remains pitch-perfect and it’s genuinely hard to think of another actress in this day and age who could equally do what she immaculately executes in speech and body’facial language. It’s a film that Disney themselves should be proud of, since it’s one of the only few films they’ve made in a while that honestly makes you grin with contentment…

And on that note, it’s time for me to end this week’s Film Review. Thank you for reading my latest Film Review of Rob Marshall’s Mary Poppins Returns and if you happen to have an opinion on either the review or the film itself, you’re more than welcome to comment your thoughts down below. For next week, I’ll either bring forward my anime review of Attack On Titan’s 3rd season or a retro review which will spark my new series for this year…😮 With that said, thank you once again for reading my latest Blog Post and I hope you’re all having a nice week! Adieu! 😃💃🎶☔

★★★★✩ – Alex Rabbitte