Weekly Movie Review: Dumbo

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    By Ben Pivoz

    Photos courtesy Ben Pivoz

    Between the MCU, Star Wars, Pixar and their own back catalog, Disney is on a quest for world domination without actually having to come up with any new ideas. In 2019, the studio will be releasing three live-action adaptations of their previous animated hits. First up is a reimagining of Dumbo. The story of a big-eared baby elephant separated from his mother and forced to perform in a circus, this is one of Disney’s classic tearjerkers. Yet this version fails to truly connect on an emotional level. It is a visually pretty production, but the characters and story never engage.

    Dumbo’s mom is sold by the circus promoter after she inadvertently wreaks havoc during a show. With the help of some humans, he must continue working until the circus has enough money to get her back. It is a weak plot made weaker because the title character has so little agency. There is an attempt to anthropomorphize him, but the movie mainly ends up being about the Farrier family. The father has just returned from WWI and is missing an arm. The mother passed away the year prior. So that means young Milly and Joe have basically been taking care of themselves. Their story is intended to parallel Dumbo’s. It overtakes it instead.

    Dumbo has been directed by Tim Burton, a filmmaker known for his command of visuals. He does a good job once again with sets, as well as his usage of the moon to illuminate the backgrounds. Both the circus and the amusement park that becomes significant later on are fully realized locations that feel like self-contained worlds. The circus is a community of people with nowhere else to go. It looks open, inviting, with everyone living close to each other. Conversely, the amusement park is a monstrosity with eye-catching attractions around every corner. It is designed to be a business, not a family. There is a real sense of place with each of them, though not much is done with either.

    The least impressive visual element is one of the most vital aspects of this tale: Dumbo’s flying. Every time he takes flight it is meant to be a breathtaking sight. Unfortunately, it just ends up looking phony. During those sequences, he does not seem to exist in the same reality as the people and objects surrounding him. The computer technology is far too obvious, thus hurting the impact of a huge moment. It is really the only aesthetic miss, but an extremely important one.

    The 1941 Dumbo was 64 minutes long. This version is much longer. It is padded out by an increased focus on the human characters. Colin Farrell is bland as the physically and emotionally damaged war veteran. Danny DeVito has fun as the owner of the circus, before being pushed aside in the second half. Michael Keaton is boring as a business owner with an interest in Dumbo. Jewish actress Eva Green shows the most complexity as a high-flying acrobat. Jewish actor Alan Arkin is totally wasted as a not-easily-impressed banker. Then there is Nico Parker and Finley Hobbins as the Farrier children. Hobbins’ Joe is a run of the mill “cute movie kid, but Parker capably carries the emotions on her shoulders. She is very good.

    I know movies are a product. Even so, it is too bad when that is all they appear to be. Dumbo is technically fine, but dull and forgettable. The original is one of the more emotional Disney movies. Somehow, Burton lost what matters in this story, leaving a lot of spectacle and not enough heart.

    2¼ out of 5

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    Read Ben’s last review on Gloria Bell.