When the fire fly starts to speak Creole, you knows its going to be a good time.
The Princess and the Frog
starring Anika Noni Rose, Bruno Campos, Keith David, Jennifer Lewis, Oprah Winfrey, Terrence Howard, John Goodman
directed by Ron Clements and John Musker
With Disney focusing on the Pixar powerhouse and Hannah Montana, it had appeared that the age of the hand drawn Disney classic had come to a close. The last attempt was Home on the Range, the flop of 2004. But let’s face it; even before that, the Disney multiple generations had grown up watching was fading. The computer animation of Pixar has stolen the heart of the nation, and that is what young people have grown up watching as ‘Disney classics.’ Pixar deserves its place in the spot light, sure, but let us not forget what made the Disney corporation famous. We grew up on their animated films; our parents grew up on those same films, and some of their parents, too. I honestly thought that the viewing public would never see another 2-D hand drawn Disney flick. Gladly, they proved me wrong.
The Princess and the Frog is set in the Jazz Age in New Orleans sometime in the 1920s. Tiana (Rose) works two waitressing jobs and focuses on nothing but work and saving cash. She so badly wants to realize the dream of her passed father and open up a successful resturant. Naveen (Campos), a young prince from across the sea, comes to visit New Orleans and find a rich wife because his royal parents have cut him off. He is used to a life of comfort, and only wishes to continue it. But, lurking in the shadows, Dr. Facilier (David) has other plans. The voodoo witch doctor turns Naveen into a frog and replaces him with a double. Once the double marries the daughter of the most influential man in town, he plans to swoop in and take over the city. Meanwhile, the now amphibian Naveen runs into Tiana, mistaking her for a princess. Recalling the Brothers Grimm fairy tale, he asks Tiana to kiss him to turn him into human again. She does so, but the unexpected happens; she too, becomes a frog. With the help of Louis the Alligator, Ray the fire fly, and Mama Odie (Lewis), Naveen and Tiana must race across the bayou and New Orleans to not find what they want, but in Mama Odie’s words, find what they need.
The animation recalls the greater days of Disney animation. It is wonderfully fluid and beautifully done. The beauty here is in the details; this is perhaps the most detailed and pain stakingly drawn film in Disney’s proud history. The classic and history scenery of New Orleans is drawn perfectly, and characters take on a life of their own. The voice acting is also spectacular; the lines come across spot on and you can feel the emotion in the voices of the actors off screen. Kudos to all involved.
I am not particularly a fan of musical films. I respect them, but they are just usually not my cup of tea. However, the music of The Princess and the Frog is perhaps what makes the movie as spectacular as it is. It is deep set in the Jazz tradition, and really gets your toe tapping. Its done in the style of Broadway musicals, much like the classics of Disney’s past; the story rolls along and occasionally the character will break into song about what is going on around them or what they are thinking about. And of course the characters standing around join in, and well as the animals and whatever else they can find. Witch Doctor masks, for example, sing some songs, too. The upbeat style and thrill of Jazz music bring this film up a notch; it fits, its natural, and it makes for a really good time.
Disney tackles some tough subject matter in this film. Not only is Princess Tiana the first African American Disney Princess, but the whole idea of race is handled skillfully throughout the film. Not once did you feel apart of the story going too far, or any character becoming a stereotype; it could be said some of the phrasing and accents could be viewed as racist, but not for the area in which they set the story. Its a story about the people of New Orleans, black and white, and there was not a thing insulting or demeaning about it. The most uncomfortable part of the film for me is not the issue of race, but the issue of voodoo magic. Sure, Disney has done dragons, genies, and even demons before; but the parents that won’t let their children watch Harry Potter because of the witch influences surely won’t let their kids watch this either. There’s nothing that goes too far; its just that some demographics won’t approve. But I guess that comes with the territory.
All in all, Disney has triumphantly returned to the medium that we all came to love it for. Congratulations, Disney Corp, on the first new addition to your memorable and classic collection of masterpieces. Its original, stylistic, and a perfect capture of a part of our nation’s culture. Now, just keep them coming. Don’t make us wait another five years for something this good! Young and old a like will enjoy The Princess and the Frog. It will be a proud addition to every family’s Disney animated classic collection, and it’ll make you feel like a child again. Oh, by the way, look for the references to Little Mermaid, Beauty and the Beast, and Aladdin. I caught them; do you think you can too?
Disney’s Voodoo Magic Kingdom
When the fire fly starts to speak Creole, you knows its going to be a good time.
The Princess and the Frog
starring Anika Noni Rose, Bruno Campos, Keith David, Jennifer Lewis, Oprah Winfrey, Terrence Howard, John Goodman
directed by Ron Clements and John Musker
With Disney focusing on the Pixar powerhouse and Hannah Montana, it had appeared that the age of the hand drawn Disney classic had come to a close. The last attempt was Home on the Range, the flop of 2004. But let’s face it; even before that, the Disney multiple generations had grown up watching was fading. The computer animation of Pixar has stolen the heart of the nation, and that is what young people have grown up watching as ‘Disney classics.’ Pixar deserves its place in the spot light, sure, but let us not forget what made the Disney corporation famous. We grew up on their animated films; our parents grew up on those same films, and some of their parents, too. I honestly thought that the viewing public would never see another 2-D hand drawn Disney flick. Gladly, they proved me wrong.
The animation recalls the greater days of Disney animation. It is wonderfully fluid and beautifully done. The beauty here is in the details; this is perhaps the most detailed and pain stakingly drawn film in Disney’s proud history. The classic and history scenery of New Orleans is drawn perfectly, and characters take on a life of their own. The voice acting is also spectacular; the lines come across spot on and you can feel the emotion in the voices of the actors off screen. Kudos to all involved.
Disney tackles some tough subject matter in this film. Not only is Princess Tiana the first African American Disney Princess, but the whole idea of race is handled skillfully throughout the film. Not once did you feel apart of the story going too far, or any character becoming a stereotype; it could be said some of the phrasing and accents could be viewed as racist, but not for the area in which they set the story. Its a story about the people of New Orleans, black and white, and there was not a thing insulting or demeaning about it. The most uncomfortable part of the film for me is not the issue of race, but the issue of voodoo magic. Sure, Disney has done dragons, genies, and even demons before; but the parents that won’t let their children watch Harry Potter because of the witch influences surely won’t let their kids watch this either. There’s nothing that goes too far; its just that some demographics won’t approve. But I guess that comes with the territory.