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If the new Disney Christmas tale only addresses young audiences in the same way as "The Ice Queen", the trade has already made arrangements: online, there are already prom dresses of the protagonists as that girl costumes to buy, plus crowns, tutu, cell phone cases for Nutcracker and a Barbies sugar fairy. "Nutcracker and the Four Kingdoms", a kind of continuation of the fairy tale of ETA Hoffmann and Tchaikovsky's subsequent ballet, is above all an opulent orgy of costumes and equipment – and thus constitutes an ideal base for Christmas toys, grandparents and grandchildren in the hope of being able to inspire them not only for a Disney movie, but also for fictional literature and clbadical performances Advent.
In reality, the ballet is nothing more than pretty props in the film: Misty Copeland, the ballerina of the American Ballet Theater, and Sergei Polunin, the terrible Ukrainian child of ballet, dance on a film music composed by James Howard and based on the themes of Tchaikovsky The conductor Gustavo Dudamel (whose silhouette one can guess in a kind of shadow drama sequence) recorded with the London Philharmonic Orchestra. The film takes some elements of the fairy tale, stacks a thick layer of sugar on it, but also mixes dark ingredients. Here, the focus is less on the childish fantasy or the miraculous link between dream and reality – in fact, the magical country and the animated toys are presented as a pseudo-scientific base of genius – but the question to know how to handle grief and loss.
Here the sugar fairy ruled
At Hoffmann, little Marie Stahlbaum was dragged into a fight between The Nutcracker and Mouse King on Christmas Eve and finally queen of the puppet kingdom. It's still Disney's, but Marie is dead, her daughter Clara (Mackenzie Foy) inherited her ingenuity – and a closed Faberge egg. The search for the key drives her from Victorian London to the world that has left her mother.
Here, meanwhile, an exalted trio under the direction of the sugar fairy (Keira Knightley), when she becomes nervous, puts the cotton candy of her head in her mouth. The fourth regent, "Mother Ginger" (Helen Mirren, a witch figure with a cracked face) exiled her. Now, there is a threat of war. And Clara, to accept her mother's inheritance, must not only find the key she wants, but also – of course! – save an entire empire from destruction.
There are intrigues, twists and turns, but the plot is offbeat, the dialogues are flat, the characters too. The images of the film are even more sumptuous: without the fear of kitsch, directors Lbade Hallström ("Chocolate") and Joe Johnston ("Jumanji" and many other heavyweight films) have combined all kinds of styles. In addition to a monumental monument of the Russian tower, houses made of gingerbread and lollipops, ice cubes are suspended from stone buildings, windmills planted with flowers turn on green meadows, water features, and water features. an abandoned amusement park creak in the thick fog – and an arsenal of colorful figurines scrolls throughout the scene.
Here, the creators raged right – how fun it must be to stage a toy battle! The king of Hoffmann's seven-headed mouse has become a digital monster swirling with thousands of mouse bodies, scary clowns unfold like matryoshka dolls, tin soldiers sinking into the ground. But computer-generated Gewurl can not charm. And the nutcracker itself? It is a minor character net but without soul. Then send the grandchildren to ballet.
("Die Presse", printed edition, 02.11.2018)
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