The Greatest Showman


Hugh Jackman knows this movie is a snow job.

(2017) Musical (20th Century Fox) Hugh Jackman, Michelle Williams, Zac Efron, Zendaya, Rebecca Ferguson, Austyn Johnson, Cameron Seely, Keala Settle, Sam Humphrey, Yahya Abdul-Mateen II, Eric Anderson, Ellis Rubin, Skylar Dunn, Daniel Everidge, Radu Spinghel, Yusaku Komori, Daniel Son, Paul Sparks, Will Swenson, Linda Marie Larsen, Byron Jennings, Betsy Aidem. Directed by Michael Gracey

 

Phineas Taylor Barnum once famously said “There’s a sucker born every minute” and that “Nobody ever went broke underestimating the intelligence of the American consumer.” The fact that this movie has done the kind of box office it has is proof of that.

Barnum (Jackman) is a penniless dreamer who has married a beautiful rich girl named Charity (Williams) whose family his father once worked for. Her father most assuredly does NOT approve of the match. Barnum has big plans to buy a specific mansion near where they grew up but no means to get there but after losing yet another low-paying job disappears on him, he decides to go into business for himself, using a little financial chicanery to secure a bank loan to open up his Museum of Oddities.

At first business is slow but his wife believes in him. It’s just when he begins to add human acts – bearded ladies, Siamese twins, General Tom Thumb a performing little person, trapeze artists and acrobats does his business begin to thrive. Upper class playwright Philip Carlyle (Efron) is taken by the show and by a trapeze artist name Anne (Zendaya) in particular but it still takes Barnum some fancy talking to get him to invest in the Museum as a partner.

While on an overseas trip he hears the Swedish Nightingale Jenny Lind (Ferguson),, then the most famous singer on Earth, perform at Buckingham Palace and is completely taken by her voice and her beauty. He offers to bankroll her tour of the United States as her manager for which she would get an unheard-of (at the time) guaranteed sum. The tour threatens to bankrupt P.T. but it also threatens his marriage as Lind tries to seduce him and leave his wife for her.

.A suspicious fire burns down the Museum and all of a sudden Barnum is left with nothing again; furthermore his family of unusual acts is no longer feeling the love, having seen him turn their backs on them and treat them like unwelcome guests. Can this dysfunctional family reunite and rebuild?

I had high hopes for this, particular given that Jackman is in the title role. It’s perfect casting and Jackman who cut his show biz teeth on musical theater in Australia is more than up to the task, being the big reason to see the movie. His natural charm and likability shine through and even when he’s acting like a jerk you still like the guy and like me were pretty sure he would come around to his senses.

Unfortunately after that it’s a very short list of reasons to see this. While I like the theme of inclusiveness (although they tend to bang the audience over the head with it), after that there are some key components to the film that simply aren’t up to snuff. First and most glaringly is the songs. They are absolutely dreadful; all of them sound pretty much the same and none of them really are the kind you’ll be humming after you leave the theater; as I write this I can’t remember the tune to a single one of them. That’s very bad news for a musical.

The writers for whatever reason seem to stick a song in even where one isn’t needed and in fact the musical number ends up disrupting the flow of the film. Personally I loved the idea of a musical about Barnum but it needed a capable songwriter to write the music and lyrics. This sounds like it was written by Broadway hacks which it certainly wasn’t; the folks involved wrote the music and lyrics to La La Land and did a much better job with that property. There is not one song here that is anywhere near as memorable as “City of Stars.”

The writers also play fast and loose with history (for example, there is no evidence whatsoever that the relationship between Barnum and Lind was anything but a business one) which isn’t an original Hollywood sin but there are so many characters here that were invented out of whole cloth – certainly Barnum had plenty of interesting people in his life that could have made appearances here. Poor Michelle Williams has so little to do that her smile begins to look awfully strained by the end of the movie. Even CGI couldn’t save it – except that the CGI that the movie does utilize is uniformly terrible.

I could go on and on. Barnum’s children here are essentially perfect movie kids whose presence is superfluous and disruptive. There are too many anachronisms in the dialogue to shake a stick at – but why kick a horse when it’s already down, except not only is this horse down it’s also been lit on fire, stabbed through the heart, shot, beaten with a crowbar and drowned in a vat of acid before being miraculously resurrected and buried alive. Actually, the horse has it better than those who must watch this movie. See it for Jackman if you must but see it at home so you can turn it off when you start to feel yourself beginning to need to do whatever it takes to stop the torture.

REASONS TO GO: Hugh Jackman is charismatic and charming. The “different is okay” theme still resonates.
REASONS TO STAY: The songs are generic and awful. There are too many historical liberties taken and the children are an unnecessary distraction. It feels like the writers were flailing around a bit.
FAMILY VALUES: There is some violence and some sexual innuendo.
TRIVIAL PURSUIT: Many of the costumes used in the film are the property of Ringling Brothers Barnum and Bailey Circus and have been actually worn by performers.
CRITICAL MASS: As of 2/518: Rotten Tomatoes: 55% positive reviews. Metacritic: 72/100.
COMPARISON SHOPPING: Chicago
FINAL RATING: 4/10 (all Jackman)
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Off the Menu

Billy Mize and the Bakersfield Sound


Cowboy elegance.

Cowboy elegance.

(2014) Music Documentary (Old City) Billy Mize, Merle Haggard, Willie Nelson, Dave Alvin, Ray Price, Buddy Neal, Maxine Crofford, Buddy Mize, Rose Vegas Waters, Gerald Haslam, Tommy Hays, Red Simpson, Cliff Crofford, Martha Mize, Karen Mize, Jimmy Phillips, Scott B. Bomar, Ray Urquhart, Bobby Durham, Monty Byrom, Dr. Diane Kendall, Dr. Jay Rosenbek, Dr. Ricardo Gonzalez, Leslie Gonzalez-Rothi. Directed by William J. Saunders

Florida Film Festival 2015

Even for country music fans, the name of Billy Mize isn’t necessarily a familiar one. One of the progenitors of the Bakersfield Sound, which came to rival that of Nashville on the country music scene in the 50s (and continues to be a huge influence on modern country music even today), he helped launch the careers of Merle Haggard and Buck Owens, both of whom made their television debuts on television shows in the Los Angeles-area that Mize hosted.

Mize had all the tools to be huge himself; good looks, a self-effacing downhome attitude, legitimate talent both in musicianship and songwriting and a silky smooth voice. However, he made a choice early on to forego touring and concentrate on television as a means of promotion in order to stay close to his family. It’s not easy to say whether Mize was aware of the cost of that decision, but certainly it did contribute to him not achieving the status he should have had.

His life wasn’t one of glamour and prestige although he lived comfortably enough; it was one that had a great deal of heartache. He performed until he was 59 years old, when a massive stroke robbed him of his voice. I can’t imagine a hell any more terrible for a singer than to be without a voice.

Yet he still manages today, performing on guitar at local clubs in the Bakersfield area where he continues to live. His ex-wife Martha remains a loyal friend, sitting next to him during interviews for this film in which he speaks haltingly but displays a great deal of humor.

Most of the film revolves around an impending tribute concert at Buck Owen’s theater in Bakersfield on the occasion of his 80th birthday. He had been continuing speech therapy in an effort to sing again and was hoping to sing for the first time onstage in more than 20 years at the concert as a kind of birthday present to himself, his fans and his colleagues.

It should be said that the music here is mostly Mize although we do get some performances of other artists performing Mize’s songs. This kind of country music may not be your cup of tea – it isn’t mine – but I found myself appreciating it more than I expected. Part of the attraction, I think, is knowing that this is some of the finest music of the Bakersfield variety that has ever been performed.

Buck Owens is, for many, the mainstay of the Bakersfield scene and he certainly brought the sound into the mainstream, but he isn’t as well-regarded within the community as either Mize or Merle Haggard. I found that interesting to say the least. It should also be said that there are plenty of performers outside of Bakersfield who appreciate and are influenced by Mize .

Mize is regarded with affection by many in the country music community, particularly those who are based on the West Coast. As an influence, the man looms large in Bakersfield and beyond. As they illustrate in the movie, the Bakersfield sound originated in honky-tonks more than in recording studios and the music was built for people to dance. While the movie relies a bit overly much on standard documentary format and too much on talking head interviews, it certainly will motivate even those (like myself) who aren’t particular fans of country music to get up and dance for a man whose story deserves celebration.

REASONS TO GO: Compelling story about a performer many have forgotten. Surprisingly relevant music.
REASONS TO STAY: Relies too much on talking heads. Those who hate country music will likely not find a reason to watch this.
FAMILY VALUES: Some adult themes.
TRIVIAL PURSUIT: Saunders is actually the grandson of Billy Mize.
CRITICAL MASS: As of 5/21/15: Rotten Tomatoes: No score yet. Metacritic: No score yet.
COMPARISON SHOPPING: Muscle Shoals
FINAL RATING: 6/10
NEXT: Mad Max: Fury Road