| Distributor: Walt Disney Studios |
| Year: 2014 |
| MPAA: PG |
| Content: AC, V |
| Genres: FAN/FAM/DRA |
| Technical: 2.40:1 (HD) |
| Runtime: 97 mins. |
| Country: USA |
| Language: English |
| Budget: $180M |
CAST
Angelina Jolie, Elle Fanning, Sharlto Copley, Lesley Manville, Imelda Staunton, Juno Temple, Sam Riley, Brenton Thwaites, Kenneth Cranham & Hannah New
CREDITS
Director: Robert Stromberg; Screenwriter: Linda Woolverton; Producer: Joe Roth; Director Of Photography: Dean Semler; Production Designers: Gary Freeman & Dylan Cole; Editors: Chris Lebenzon & Richard Pearson; Costume Designer: Anna B. Sheppard; Music Composer: James Newton Howard
BRIEF SYNOPSIS
Maleficent is a young faerie who lives in the magical forest realm known as The Moors. She falls in love with human boy Stefan, but their respective kingdoms are at war. Years later, Maleficent (Jolie) defeats the forces of King Henry (Cranham)—to which he decrees that any man who can destroy Maleficent will earn his kingdom as prize. Ambitious and cunning, the grown Stefan (Copley) rendezvous with Maleficent under the pretense of courtship and drugs her. He steals her magical wings (without killing her) as proof of her death and eventually becomes King.
Enraged, Maleficent magically reworks the Moors into a kingdom of Darkness and converts a human man, Diaval (Riley), into a raven for nefarious purposes. The bird informs her that King Stefan has married Henry’s daughter Leila (New) and that they now have a daughter, Princess Aurora. At the christening, Maleficent appears and curses the child to everlasting sleep on her 16th birthday by cutting herself on a spinning wheel. Only a kiss from Aurora’s true love will set her free. To protect his child, Stefan sends her into the woods with three pixies—pink Knotgrass (Stauntion), green Thistlewit (Temple) & blue Fittle (Mannville)—until the Princess turns 16.
Despite early distaste for the baby Aurora, Maleficent becomes quite fond of her as the years pass. Now almost 16, Aurora (Fanning) is a beautiful and vibrant young woman who thinks of Maleficent as her faerie godmother. She meets the strapping young Prince Phillip (Thwaites) and becomes smitten. Maleficent wants to revoke her curse—but cannot, as Destiny has a way of playing things out for the Princess, Maleficent and Stefan.
THE (mini) REVIEW
Directly based on the classic villainess of Disney’s Sleeping Beauty (1959), Maleficent is a big-budget, handsomely-produced endeavor that stumbles though a clunky narrative, some bad casting (Ms. Jolie aside) and dull direction courtesy of first time helmer and Oscar®-winning VFX maven Robert Stromberg (back-to-back winner for James Cameron’s Avatar [2009] and Tim Buton’s Alice In Wonderland [2010]. I was expecting a spectacle of fantasy on par with the recent (and superior) Snow White & The Huntsman (2012)—directed with more panache by Rupert Sanders. Instead, we get what is essentially a rape drama cloaked in Disney brand melancholia. WTF? Did Lars von Trier kidnap the entire production?
Part of the blame lies in the ambivalent screenplay written by Disney veteran scribe Linda Woolverston (Beauty And The Beast, The Lion King, Alice In Wonderland)—which she adapted not only from the ’59 Disney classic, but also from Franco-Anglo “Sleeping Beauty” stories dating back to the 1600s. What is the point of building up Maleficent as a nasty character if you’re merely going to turn her character arc in a complete 180º turn towards syrupy benevolence? And the aforementioned rape drama (young Maleficent’s wings are clipped after she’s been roofied by her supposed love, Stefan) inserted into the story? Not very appropriate for a Disney family flick, wouldn’t you say?
The other part of the blame falls on director Robert Stromberg’s head. No offense, but VFX folks don’t always make good directors (though editors usually do)—and Maleficent is treated as one big VFX & marketing bonanza instead of a potentially terrifying and fulfilling fairy tale that seems to lurk just below the story’s surface. As I understand it, Stromberg received uncredited help from veteran director John Lee Hancock (2002’s The Rookie, 2004’s The Alamo, Saving Mr. Banks) and probably learned how to direct a big-budget movie in the process.
Regarding the cast, the lovely Angelina Jolie steals the movie as Maleficent—decked out in hot black leather and slinking her way through the role she was born to play. Yummy. The only thing missing was a black leather whip to complete the wicked ensemble…but then again, this is a Disney picture, right? The rest of the cast—with the exception of young Thwaites (vapid) and Copley (miscast)—turn in good performances, with Riley earning props as the half-man/half-raven lackey character with a conscious.
Production values for this $180 million (boxofficemojo.com) epic are top-shelf across the board—and really the movie’s saving grace. The entire production was shot at the famed Pinewood Studios near London, England—with exterior forest sequences lensed in the bucolic region of Buckinghamshire. Kudos must go to first-time production designers Gary Freeman (Art Director for Sunshine, Sweeney Todd: The Demon Barber Of Fleet Street, 47 Ronin) & Dylan Cole (Concept Artist for Alice In Wonderland, TRON: Legacy, Oz The Great And Powerful) for creating the gorgeous sets (40 in all) and bringing the faerie kingdom The Moors to life.
Veteran Aussie cinematographer Dean Semler (Oscar®-winner for Dances With Wolves; also lensed The Road Warrior, Waterworld, Apocalypto, 2012) furnishes the movie with a handsome HD-widescreen palette of deep blacks, earthy greens and the occasional candlelight orange—courtesy of the ARRI® Alexa Plus camera system fitted with PANAVISION® Primo® lenses (giving the imagery a robust look). However, given the accolades I’ve just heaped on the cinematography, I am still disappointed that Semler and his director opted for the HD package instead of the tried-and-true 35mm film option. By shooting Maleficent on film, they would have captured the surreal/otherworldly schema of fairy tale movies—such as Alex Thomson’s masterful lensing of Excalibur (1981; dir: John Boorman) and Legend (1985; dir: Ridley Scott). But, as it stands with the HD process, at least those Primo lenses spiff up the proceedings in this movie.
I though that master make-up artist Rick Baker’s design of Maleficent’s features are terrific—and it should be, considering he’s won 7 Oscars® (http://www.imdb.com/name/nm0000711/awards?ref_=nm_awd) over the years. The make-up complements Maleficent’s aforementioned hot leather visage courtesy of veteran costume designer Anna B. Sheppard (Schindler’s List, Inglorious Basterds, Captain America: The First Avenger), along with the other visual tropes of medieval/fantasy costumery.
Smooth editing by veteran cutters Chris Lebenzon (Top Gun, Batman Returns, Alice In Wonderland, Dark Shadows) & Richard Pearson (Bowfinger, Men In Black II, The Bourne Supremacy, Quantum Of Solace) compliment a robust score by prolific composer James Newton Howard (Pretty Woman, Waterworld, I Am Legend, The Hunger Games Saga).
It is apparent that the technical aspects of Maleficent far outweigh its narrative virtues—which is a darn shame. This movie could have become a modern masterpiece of fairy tale storytelling—dark, decisive and encapsulated with its own intrinsic grandeur. Instead, we are given a dark story that Disney and the filmmakers water down for mass consumption. I’m pretty sure that Maleficent herself would whip me for saying so (bedazzled in that hot black leather ensemble, of course). Yep, I can only hope…
IMDB: http://www.imdb.com/title/tt1587310/
Wikipedia: http://en.wikipedia.org/wiki/Maleficent_(film)
Official Site: http://movies.disney.com/maleficent
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