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However, one wonders about the tendency of Disney to reissue the animation of its animated catalog, Dumbo seems to be an ideal candidate for a modern update. The original film is hardly a complete narrative and contains particular ahem, dated elements that Disney would prefer not to badociate with the flying elephant, which remains eminently marketable. And given the film's circus setting and the fundamentals of body dysmorphism, Disney's former favorite, Tim Burton, seems to be the perfect solution for directing a modern movie. Anyone who has followed Burton's career over the past two decades knows that the author is incredibly popular these days, especially in his work on adaptations, and Dumbo is perhaps the most more conventionally dull of Burton.
The first act of Dumbo serves as a truncated version (… uh) of the original film, pbading through the formalities of Dumbo learning to fly because of the sequestration and the sale of his protective mother. . The dialogue between exhibitors is treated by human characters rather than adult animals in this version, although their personal roles in the story feel superficial and surprisingly underdeveloped. Colin Farrell plays a stuntman reduced to handling elephants after returning to the armless circus after a battle during World War I, but his character seems to exist so that his supposedly precocious children, Milly and Joe (Nico Parker and Finley Hobbins, respectively)) can announce Dumbo's thoughts to the public. These children have scarcely enough traits for one character, the only characteristics of Milly being an empty look and a vague love of science; Joe does not even have that much. What brings us closer to a character fleshed out in this act is Danny DeVito as ringmaster, but his inability to popularize in a movie of all ages really deflates his unique charms.
But then Act Two enters the scene, and Burton launches into the same kind of pseudo-series of shenanigans with which he plunged into Alice in Wonderland creating a strange mythology centered on the role of Michael Keaton as Thomas Edison pastiche who invents his own proto-Disneyland. The film goes through the general rhythm of the depraved industrialism's demonstration as a soulless counterpart to the purity of the nomadic hucksterism, which seems strange coming from Disney of all places, but also feels soulless given that it actually comes from Disney. The moral remains as superficial as the characters and, in the meantime, Dumbo only meanders in the background, learning to fly a little better in artificial increments until we have lost enough time to allow an escapee to escape. The project seems to have been the design of the fake Disneyland movie – here from the Dreamland brand – and the few moments when production design is at the center of the stage are those where the film is the most intriguing. Striped patterns and mechanized movements act like Burton staples in a park particularly inspired by Bioshock's drawing which is somewhat anachronistic to the 1919 film's décor, but visually appealing. Everything seems bright and new with a sinister wave of corporatized artificiality, and the real tragedy of this practical scenography is that it must be constantly juxtaposed with the unusual unrealism of Dumbo himself. The digital rendering of the baby elephant seems too smooth, too wet, too similar to the paint wrinkles, too separate from the authenticity of real animals seen elsewhere in the film. Other computer generated creations have the same meaning, but it is particularly obvious that the main character constantly present looks so unintentionally from another world.
Dumbo is, at best, a useful, functional film in his arcs of characters. while he moves at a sufficiently energetic pace, he is also remarkably detached from any feeling of genuine emotion. The only time I felt anything during its execution, it was at the conclusion of a camo gag so absurd that it was miserable. brings out of catatonia. But then, Burton returned to painting with the help of numbers, and even the earlier-inspired shadows deserve only the film worth a recommendation.
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