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It is better to leave certain stories as they are. This is a fairly inevitable dish of the useless remake of Disney's animated film by Tim Burton. Dumbo. Although not as harmful and loud as its 2010 version of Alice in WonderlandBurton has not solved the problem of finding a creative reason for the decent half of the existence of this film. An A-list distribution, a high budget and all the other attributes of a modern blockbuster can not make this thing take off.
Much of the first half of this story written by Ehren Kruger will be recognizable to anyone who will remember the 1941 film. There is a dilapidated circus in which an elephant gives birth to a baby with inexplicably large ears that allows him to fly, great pleasure of all. Now, however, a circus worker (Colin Farrell) and his two children are accused of dealing with the cruel nickname Dumbo. (This version of history is a painfully fragile reason for anyone to call the Dumbo elephant, not Jumbo Jr.) A world-renowned impresario (Michael Keaton) with a circus / park hybrid With theme gets the word of a flying elephant, it's up to Farrell's single father and his kids to help the eponymous flyer.
contrary to Alice, Dumbo often goes up to tolerable level. This is of course an extremely low bar to cross, but with the help of two strange and energetic performances as well as Rick Heinrichs' production design, Dumbo will never sink into the same wickedness as Disney's previous remake of Burton. But the essential of the story is poorly fleshed out. Once, Jumbo Jr. (AKA Dumbo) was the stoic leader, friendly and quiet. Here, it's a support player, rendered in CG that can never evoke an emotion as much as the hand-made iteration of the 1940s.
Instead, Dumbo is part of the drama of whether a lone veteran / widower can reconnect with his kids, including a science-obsessed girl. It should be noted here that Disney perhaps deserves some congratulations for using its latest live-action rate to promote portraits of young women who have more in mind than romances. But it would be nice if the scripts of these films were fully realized characters, instead of creating a checkbox impression. Here, the girl is a scientist in the making who carries a key that her mother, now deceased, gave her, which is essentially identical to that of the main character of last year. Nutcracker and the Four Kingdoms. The second time is not the charm in this case.
The human characters of the original film, for both budgetary and creative reasons, are mostly non-entities. With a larger scale and a much larger budget, the new film has not found a way to make them more interesting. Batman and Penguin, two old friends of Burton, stand out. Keaton and Danny DeVito, the latter as table mistress in a chintzy circus where Dumbo takes flight, make their mark on pork paradise here. Keaton delves into every line of dialogue as a four-course meal; it's hard not to find Keaton saying, "You're a hilarious handsome one-armed cowboy." And DeVito is unleashed very early in the composition of the ring, correcting as much as ever Keaton.
The rest of the cast, however, is struggling with a scenario that relies too much on molasses while putting in the background the elephant that should be at the peak of the emotion. Farrell does his best as a physically handicapped veteran who does not know how to talk to his kids, but the combination of character traits is all too familiar, in a story that feeds on strange things. Dumbo strikes part of the familiar rhythm of the original film, from a painful interpretation of "Baby Mine" to the hallucinatory "Pink Elephants on Parade", but does it in a way that simply reminds how much the animation film is better. (Burton's film, wisely and unsurprisingly, bypasses the racism of the original movie with a number like "When I see an elephant fly", but the way the new movie quotes this song is … puzzling.)
To date, the best remake of an older Disney movie is the reprise of David Lowery in 2016. Pete's Dragon. This film has a major advantage that none of the others boast: a lack of basic passionate fans. Few people hold the original Pete's Dragon This allowed Lowery and his team to take back the basic principle of the original 1977, namely a boy who has a dragon mate, and build a new story around it. Dumbo is one of Disney's shortest movies. It is therefore not surprising that a good part of the remake tells an entirely new story. But this new story is not inspired, and chained to enough original flourishes, that the overall result is strange without being uniform, offbeat while being slightly confusing.
That said, Dumbo has some decent qualities – the Keaton character's circus / theme park design is remarkable, though inexplicably unfolding in 1919 when such technology was impossible. So we can say that technically it's been Tim Burton's best film for at least a decade, which is more of a full-blown compliment than anything else. Burton's recent films include misbegotten Alice in Wonderland and Dark shadows, late stage stains on a filmography that started with such a promise. There are flashes of intrigue in Dumbobut also details and characters without interest and without interest. Throughout the long pieces of this film, I had the same lingering thought: if only they made a version that dealt only with the elephant and not humans. Good thing they have already done.
/ Movie Rating: 4 out of 10
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