The Return of Mary Poppins, Rob Marshall's | Review


Published on Dec 14, 2018


It is a Mary Poppins more melancholy that designed by Rob Marshall for The Return of Mary Poppins, sequel supercalifragilistichespiralidoso of the Disney classic of 1964, Robert Stevenson: the beautiful Emily Blunt slips in his coat, hat, and above all under the umbrella that they were of Julie Andrews in rejecting the makeup anti-aging (digital and not), and exposing the wrinkles under the eyes: it's been more than fifty years on from the original film, and about thirty by the events narrated, the little Michael and Jane have become adults and now have faces, respectively, of Ben Whishaw and Emily Mortimer (but the old banker, Mr. Dawes is still played by Dick Van Dyke, over the years it has aged exactly as predicted, the makeup of the film of Stevenson) and London has fallen into the Great Depression.

And, in fact, is a film very depressed, and depressing, that imagined by Marshall, grigissimo in the first act, full of fog and wind: the wife of Michael died a year before the beginning of the film, leaving him alone to raise their three children: Annabelle, John, and George) and to tend to the house of the family; Michael is a painter and failed, which is remedied banker to be able to bring bread on the table for his children, but the new job may not be enough, given that because of an outstanding debt with the same bank for which he works – and where his father George was a senior partner – his house is about to be foreclosed.

So many tears, songs poignant, sad moments and a few hopes, settled only and exclusively by the ubiquitous sparks Jack (Lin-Manuel Miranda): and then comes the Mary Poppins of Emily Blunt and everything changes, the sun finally starts to shine on this London disconsolate and above all, the magic awakens in the home Banks.

Marshall follows the screenplay of the original film, forgetting, however, to overlook the faults: the duration over 130 minutes, it's really exaggerated, the plot is rather schematic and repetitive in its nature almost episodic all based on the fall musical, and the third act is infinitely long and a little punchy, all clashes that characterized the films of the ’64 and that here they return exactly as the nanny, the protagonist. Unlike the movie with the Andrews then the songs lack the punch, there are the hits like A Spoonful of Sugar, Supercalifragilisticexpialidocious, and of course, Chim Chim Cher-ee, and at least to the first vision it will be difficult that a single track manages to remain in the mind (and the fault is not attributable to the Italian dubbing, however good: the songs of the first movie, the rest were perfect even in our native language).

Where, instead, this sequel is exalted is in the technical aspects, pretty much perfect: choreography, interludes, special effects, editing and direction are excellent, with the Marshall always resourceful when it comes to devising new visual ideas and the Blunt and Miranda wonderfully in the part. The sequence that mixes live-action with 2d animation, will delight children and adults alike, inspiring the same wonder that the first film broke at the time, and alone is worth the entire price of the ticket. Also for two.

Rob Marshall has created the fairy tale perfect for the new generations, always exciting in spite of the small defects, which, however, it will be easy to make the case: in the press screening there were so many tears that it seemed to be a preview of Aquaman, then you're warned!

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