Al's Omniflick: Peabody and Sherman

Tuesday, March 4, 2014

Peabody and Sherman

Dir. Rob Minkoff. Voices: Ty Burrell, Max Charles, Ariel Winter. **Spoiler alert**

I was a little leery of the idea of a screen adaptation of a cartoon I enjoyed as a child; after all, how many kids today have heard of Peabody and Sherman? Could the irreverence and loopiness that characterized the original animated T.V. series make the transition to the big screen and maybe more importantly, enchant 21st century children?

After a crash course on the nature of the original show, my 8 year old and I sat in a local theater for a special advanced 3-D screening. I have to admit I expected little; feeling the movie little more than a baby-boomer executive's lazy attempt to market a product appealing directly to a middle-age demographic rather than something to titillate kids. I'm pleased to say my reservations evaporated in the next 90 minutes. Not that Peabody and Sherman is stunning children's fare, but it doesn't displease and it often pleases, which isn't exactly a ringing endorsement. It's fun, and that's enough.

I was hoping the one quality of the original series would remain: the smart-alecky, anachronistic behaviour of historical figures Mr. Peabody and Sherman meet. After Sherman foolishly mentions Mr. Peabody's Way-Back machine to an obnoxious school-yard nemesis named Penny Peterson, dog and boy are forced to travel to the past to rescue her. In doing so, they find themselves face to face with historic notables like King Tut, DaVinci, and Marie Antoinette as well as an encounter with mythical Greek warrior Agamemnon.

The movie, I'm pleased to say, does retain the spirit of the original, mixing irreverence and humor while maintaining an adventurous spirit. My favorite character was Agamemnon, who sounds more like a tough, surfer-dude than the fearsome Greek soldier of myth.

I was relieved to find my daughter enjoyed it, which is good news for the filmmakers, who I'm sure are salivating with a franchise agenda. It remains to be seen how other young movie-goers will receive the flick but as I said before, it's fun and it pleased my daughter, so I can't complain.

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On DVD

Fury (1936)

Director: Fritz Lang

Though we might normally think of the films M and Metropolis when director Fritz Lang becomes the topic of conversation, less known is the legendary director's work in Hollywood. Having fled the ever-growing menace of Nazi Germany for America in the early 1930s', Lang eventually found himself under contract for MGM.

Though his work in Hollywood is very uneven, one standout is Fury, from 1936. Starring Spencer Tracy and Sylvia Sydney, the film's condemnation of mob justice seems spectacularly daring now, considering lynching was still a reality in Depression-era America. We don't see one black person in the film entire but we know precisely for whom Lang film is sympathetic.

Spencer Tracy plays Joe Wilson, who is arrested in a small town while en route to meet his fiance, Katherine (Sylvia Sydney). Suspected of being part of a kidnapping of a little girl, Wilson is arrested on the flimsiest evidence. While he sits in cell; angry and indignant, Katherine is puzzled as to why her fiance hasn't arrived at their prearranged meeting place.

But Wilson's fortunes take a darker and more dangerous turn when a mob--already on edge--is roused to anger. Egging one another on, the mob moves on the jailhouse where Wilson is being held. As the angry gathering becomes a mass, drawing citizens of the town into their swelling numbers, a lynch-mob begins to form. The sheriff, determined to see due process take its course, refuses their forceful demands. Becoming angrier and angrier and bolder and bolder, the crowd storms the jail, overwhelming the sheriff and his deputies. Unable to unlock the cell doors to reach Wilson, the mob sets the jailhouse ablaze as an alternate method of lynching.

Katherine, having arrived on the scene, faints when she sees flames engulf the cell where her fiance is held.

In spite of the mob acting as a faceless entity, its principle members are brought to trial though the town and the defendants maintain a conspiracy of silence, hoping to escape convictions and censure.

A sure acquittal seems imminent until damning evidence assures their guilt. When the majority of the members receive death sentences, Wilson turns up at his brothers, having survived the fire. Knowing the public is unaware of his survival, he vows to stay in hiding to ensure the mob conspirators are executed.

The scene where Katherine, nearly insane from grief, comes face to face with Joe is a powerful moment in the film. As she slowly recovers from her state, she realizes Joe's vindictive determination to see the mob hang is in itself a great injustice.

The story climaxes during a stirring courtroom scene that brings the fascinating story to a close.

I would have never expected Hollywood to make a statement as powerful as Fury made in 1936. Given the fact that lynchings in America at the time went unpunished, the movie railed bravely, in spite of the main character being white rather than black, against what was then the status quo. The Oxbow Incident would make a similar and commensurately powerful statement seven years later.

The film's willingness to peer into the darker side of American life could be partly attributed to Lang, who co-wrote the story and who was no stranger to exploring the darker side of humanity. Having seen evil flower in his home country, it makes sense Lang would choose to tell this story.

Spencer Tracy and Sylvia Sydney give wonderful, emotionally layered performances. Katherine's near descent into madness is depicted touchingly by Sydney. To see Tracy's mild-mannered Wilson become angry and vengeful is heartbreaking.

Even watching Lang's film on a small screen does little to diminish its power. Weeks after the viewing, I still can't shake its indelible images or its angry indictment of one of America's great crimes. One couldn't devise a better title than one it was given eighty years ago. Fury indeed.