MARY POPPINS RETURNS

[KirbyCat2]

Good lord, these orchestrations are unbelievable. Color me impressed. World premiere is this week – painfully curious to hear reports if anybody knows someone attending.

"The Place Where Lost Things Go" (Emily Blunt)
https://youtu.be/6TFOZF0DokE

"Trip A Little Light Fantastic" (Lin-Manuel Miranda, Emily Blunt, Company)
https://youtu.be/04FyHOCA7ao

[Jmuep2]

I saw it on Thanksgiving Day and was really surprised at how much I enjoyed it.  I don't have a strong emotional connection to the first one, but this was just an adrenaline shot of joy. Most of the music isn't as strong as the original, but it works and the score/orchestrations are glorious. I enjoyed so much I'm going to see it again this week with a Q&A with the cast. 

[DAME]

I saw it last week and enjoyed it enough. Yes the orchestrations were spectacular. But the score is pretty generic. The movie is a big loud production. Not memorable. But fun enough.  I loved revisiting the old style animation.  

[KirbyCat2]

Wow, that's awesome to hear. Wouldn't expect the songs to match the originals, as I'm not sure that's even quite possible... but I figure that if the score/orchestrations are as glorious as you say, the new tunes will be supported sufficiently enough. (Did they at least surpass the quality of the new songs from the stage version?) Any standout moments? Do you think this will be a contender in the awards race?

[uncageg]

The first movie is a classic. I had no real desire to see this one until I watched the behind the scenes special last week. This looks like it is going to be good. My only quibble is Lin Manel Miranda. I love his work but am not a fan of his acting. He is just not the person I would like to see in this role. But I will still see it at some point. JMO

[DAME]

KirbyCat2 said: "Do you think this will be a contender in the awards race?"

 

I guess.  This certainly was produced and marketed with that intention.  I saw the movie at a very subdued screening at the Walt Disney Studio lot. I have never thought Disney does themselves any favors by hosting their pre award generating screenings there.  I also wasn't feeling very well that day.  That might' have  impacted my ability to retain any of the music.    I will say this.. I am not a big fan of LMM as a performer.  And while my opinion has not changed;  he did not annoy me as much in this.   

 

[IdinaBellFoster]

It's unfair to ever think the score would be as good as the original, but I really love these two songs. Thankfully we got the HAIRSPRAY/SMASH Shaiman/Wittman and not the CHARLIE AND THE CHOCOLATE FACTORY Shaiman/Wittman.

[Musical Master]

After listening to the two songs countless times, while it would be completely unfair to compare them to the first film's songs, these are some pretty dang FANTASTIC songs on their own terms. And while I didn't mind Marc Shaiman and Scott Wittman's songs for Charlie and the Chocolate Factory, this is a welcome return to form for them. I wonder that after this, they will begin work on that Some Like It Hot musical that was announced a few months back.

Plus those orchestrations are out of this world incredible! This movie might be HUGE in every sense of the word.

[Someone in a Tree2]

I made it to a screening this past Friday at the Directors Guild of America on Sunset. Unlike the screening Dame attended on the Disney lot, mine was packed and jubilantly responsive. In fact they cheered like crazy when Dick Van Dyke and Angela Lansbury appeared, so you know the crowd was packed with either a lot of theater fans or fans of the original movie or both.

No-one could have been a bigger fan of the original movie than myself though. I was 8 when the original premiered and for decades it was the masterpiece against which all others were measured. And let's face it-- how could any new movie really satisfy me with that high bar to meet?

The basic plot of the new one has at least 2 major flaws: Mary is back at Cherry Tree Lane ostensibly to repair whatever is wrong with the Banks children (the adult Jane and Michael), but obvious to us is that nothing at all is wrong with either sibling except a lack of money. Michael loves his kids just as much at the start of the film as at the end. Where's the lesson to be learned?

Secondly, Mary proves over and over that whatever needs fixing can be fixed with a nod of her head, once she decides to do so. Most of the film is a waiting game till Mary gives a harrumph and floats in to right whatever wrong needed righting with her infinite supply of magic-- where's the suspense in that?

The performances, the dancing, the design-- all are perfectly likable if a little generic. (There are some tastelessly cartoony costume choices in what should be a handpainted Royal Dalton fantasy sequence look, but only purists will care.)

It's the songs that I found the most disappointing. The memorable ones are all relentlessly upbeat major key music hall variations, something the original Sherman Brothers' score also featured aplenty. But where oh where are the minor key tunes, like "Chim Chim Cheree" or "Feed the Birds" that gave the original such a wistful richness? Where's the heart-tugging ballad that Mary sings that's so lovely it makes you weep to hear? I know Shaiman and Whitman can produce such works (Smash was full of them), but their absence here left a real hollow where the movie's heart should have been. And what's a Mary Poppins movie without a broken heart?

 

 

[LightsOut90]

Saw this a few weeks back, rather enjoyed it, was surprisingly emotionally overwhelmed watching it, a return to form for Rob after misfires such as Nine and Into The Woods 

[DAME]

Someone in a Tree2 said: "I made it to a screening this past Friday at the Directors Guild of America on Sunset. Unlike the screening Dame attended on the Disney lot, mine was packed and jubilantly responsive. In fact they cheered like crazy whenDick Van Dyke and Angela Lansbury appeared, so you know the crowd was packed witheither a lot of theater fans or fans ofthe original movie or both.

No-one could have been a bigger fan of the original movie than myself though. I was 8 when the original premiered and for decades it was the masterpiece against which all others weremeasured. And let's face it-- how could any new movie really satisfy me with that high bar to meet?

The basic plot of the new one has at least 2major flaws: Mary is back at Cherry Tree Lane ostensibly to repair whatever is wrong with the Banks children (the adult Jane and Michael), but obvious to us is that nothing at all is wrong with either sibling except a lack of money. Michael loves his kids just as much at the start of the film as at the end. Where's the lesson to be learned?

Secondly, Mary proves over and over that whatever needs fixing can be fixed with a nod of her head, once she decides to do so. Most of the film is a waiting game till Mary gives a harrumph and floats in to right whatever wrong needed rightingwith her infinite supply of magic-- where's the suspense in that?

The performances, the dancing, the design--all are perfectly likable if a little generic. (There are some tastelessly cartoony costume choices in what should be a handpainted Royal Dalton fantasy sequence look, but only purists will care.)

It's the songs that I found the most disappointing. The memorable ones are all relentlessly upbeat major keymusic hall variations, something the original Sherman Brothers' score also featured aplenty. But where oh where are the minor key tunes, like "Chim Chim Cheree" or "Feed the Birds" that gave the original such a wistful richness? Where's the heart-tugging ballad that Mary sings that's so lovely it makes you weep to hear? I know Shaiman and Whitman can produce such works (Smash was full of them), but their absence here left a real hollow where the movie's heart should have been. And what's a Mary Poppins movie without a broken heart?



"

I think your review is right on point. Just a question.. was your screening at the DGA a union screening?  I ask because I remember going to the union screenings at the DGA of Phantom Of The Opera and Nine.  The audiences at those screenings were creepily over enthusiastic.  And we all know how those two movies turned out to be received.  The industry screenings of these type of movies are never a good barometer.  I do think this movie will be a huge hit.  I can't wait to see it again.  i have a feeling it just wasn't a good day for me. 

[bk]

LightsOut90 said: "Saw this a few weeks back, rather enjoyed it, was surprisingly emotionally overwhelmed watching it, a return to form for Rob after misfires such as Nine and Into The Woods"

You know, when the initial pre-release screenings were going on for Into the Woods, it, just like this, was getting absolutely rapturous reactions.  NOW everyone says it was a misfire.  You didn't hear that during the screenings prior to its release.

[dramamama611]

I thought Into the Woods was pretty darn good, tbh.

[gregnyc2]

Shaiman/Wittman are more than capable of writing soaring earworm songs, but these first two songs don’t reflect it, at all. Hopefully the better are yet to come

The film will be a box office juggernaut come what may.

[123musicalfan]

Thank you for these early reviews which are exciting to read!
One of the main reasons to watch this film (for me) is the presence of Dick Van Dyke and Angela Lansbury. If I may ask, how long are they in the movie for and do they each get their own song?

[bryan2]

I cant wait for this film to be released. I don't understand the "misfire" for Into The Woods..I thought it was a great adaptation of the stage show...I did miss NO MORE but I get why it wasn't used. Marshall has had 1 misfire doing musicals NINE..to much music missing and nobody but Sophia looked Italian lol...

 

[bear88]

Someone in a Tree2 said: "I made it to a screening this past Friday at the Directors Guild of America on Sunset. Unlike the screening Dame attended on the Disney lot, mine was packed and jubilantly responsive. In fact they cheered like crazy whenDick Van Dyke and Angela Lansbury appeared, so you know the crowd was packed witheither a lot of theater fans or fans ofthe original movie or both.

No-one could have been a bigger fan of the original movie than myself though. I was 8 when the original premiered and for decades it was the masterpiece against which all others weremeasured. And let's face it-- how could any new movie really satisfy me with that high bar to meet?

The basic plot of the new one has at least 2major flaws: Mary is back at Cherry Tree Lane ostensibly to repair whatever is wrong with the Banks children (the adult Jane and Michael), but obvious to us is that nothing at all is wrong with either sibling except a lack of money. Michael loves his kids just as much at the start of the film as at the end. Where's the lesson to be learned?

Secondly, Mary proves over and over that whatever needs fixing can be fixed with a nod of her head, once she decides to do so. Most of the film is a waiting game till Mary gives a harrumph and floats in to right whatever wrong needed rightingwith her infinite supply of magic-- where's the suspense in that?

The performances, the dancing, the design--all are perfectly likable if a little generic. (There are some tastelessly cartoony costume choices in what should be a handpainted Royal Dalton fantasy sequence look, but only purists will care.)

It's the songs that I found the most disappointing. The memorable ones are all relentlessly upbeat major keymusic hall variations, something the original Sherman Brothers' score also featured aplenty. But where oh where are the minor key tunes, like "Chim Chim Cheree" or "Feed the Birds" that gave the original such a wistful richness? Where's the heart-tugging ballad that Mary sings that's so lovely it makes you weep to hear? I know Shaiman and Whitman can produce such works (Smash was full of them), but their absence here left a real hollow where the movie's heart should have been. And what's a Mary Poppins movie without a broken heart?

I've kind of dreaded this film since it was announced, in part because I have such fond memories of the original. Everything I've seen in the trailers or heard in the two songs all indicates that they've made a movie that looks like Mary Poppins but is a pale imitation. No one will be embarrassed, even if the songs will suffer badly by comparison, and the movie will do boffo box office. This review almost is the sort of reaction, from someone else who loved the original as a kid, that I suspect I will have. But it could be worse. I was just hoping for something better.

[Someone in a Tree2]

Dame asked: was your screening at the DGA a union screening? 

Yep, it was, full of union members with many many children in tow (makes sense for a Disney movie smack in the middle of the Thanksgiving weekend). No question, I adored seeing Dick Van Dyke and Angela Lansbury onscreen too, all trotted out in quintessentially Dick- and Angela-appropriate roles with shtick that was a callback to their classic Disney movie musicals of the past. Each was onscreen for the length of a song, probably 2-3 minutes each. Without them, the last reel would have been a wan affair indeed.

[SmoothLover]

In the previews one actor has the same facial expressions in every sequence.

[Musical Master]

So the social media embargo has just dropped and the Twitter/Instagram notices have ranged from very positive to flat out love letters, with a fair few that have felt disappointed by it which is a big far cry from the outrage social media went over when Into The Woods came out.

I did hear that the review embargo will drop on the 12th so it's going to be pretty interesting, and I honestly adored the film adaption of Into The Woods for I consider that movie to be Rob Marshall's big comeback and Mary Poppins Returns looks like it will continue on Marshall's good-will.

[Gorlois]

The soundtrack is now streaming on Apple Music, Spotify, etc. I love it.

[kofler22]

I just heard the whole soundtrack. The songs are FANTASTIC!!! You can´t compare them with the originals, of course, and one shouldn´t because it´s a different piece, but this are beautiful!! Angela stilll can sing beautiful!! And her song has spinnets of Kite and Spoonful of sugar...ADORABLE!

[CATSNYrevival]

I adore Emily Blunt but I wish they’d found a true soprano to sing the score. I’m still not a huge fan of Shaiman and Wittman. “The Place Where Lost Things Go” sounds very similar to “A Letter From Charlie Bucket,” almost as if the tune has been intentionally recycled. Other songs sound vaguely similar to existing Sherman Brothers songs which seems to be Shaiman’s style, the way he shamelessly “borrowed” elements of songs from the 60s for Hairspray for example and calls it his own. I enjoyed “A Cover is Not the Book” but the long rumored rapping from Lin sounds like plain old fashioned patter to me, which is more appropriate, but not the rap promised.

[kofler22]

CATSNYrevival said: "I adore Emily Blunt but I wish they’d found a true soprano to sing the score. I’m still not a huge fan of Shaiman and Wittman. “The Place Where Lost Things Go” sounds very similar to “A Letter From Charlie Bucket,” almost as if the tune has been intentionally recycled. Other songs sound vaguely similar to existing Sherman Brothers songs which seems to be Shaiman’s style, the way he shamelessly “borrowed” elements of songs from the 60s for Hairspray for example and calls it his own. I enjoyed “A Cover is Not the Book” but the long rumored rapping from Lin sounds like plain old fashioned patter to me, which is more appropriate, but not the rap promised."

I´m really glad he didn´t rap! I much prefer the patter as it is much more in the style of a music hall song...

[Theatre Fan3]

It felt like "deja vu" when I was listening to the MARY POPPINS RETURNS soundtrack.

Anybody else notice any similarities here ...

Mary Poppins Returns - Overture

now listen to this ...

The Sound Of Music - Overture

Is it just me or is the opening of both of these practically "note-for-note"?