Cole Porter's "Aladdin" (1958) - a review by Robert Steven Mack

Having a four-day weekend is always tough on us hard-working students. We have to know how to spend those days without a schedule: how do we start, and how do we finish it? I was strangely adamant about what I wanted to do, however. It was Friday, and I was glad I didn't have to wake up at the usual hour and endure the usual morning procedure. Not that I don't like it, you understand; for if you were to assume that, it would be entirely incorrect. It's just that I wasn't feeling up to it that day - as I also hadn't the day before that to be sure. It has been particularly trying that day as I would have normally been in school. So you can imagine how relieved I felt to be freely walking down Beverly Drive that day with my mother, at one time fishing through her bag for any one of her daily accessories.

Simply put, I was going to the William S. Paley Center formerly known as The Museum of Broadcasting or the Museum of Television and Radio. It is a place dedicated to preserving and acknowledging a medium of our society which has, since the twentieth century been so culturally significant to us. I like to go there whenever I can to view something extraordinary from its vast collection. Having just completed another Debbie Reynold's auction in December and currently getting ready for a Warner Bros. Television exhibit, the place would hardly fit the definition of busy. Apart from that everything in their television collection is in the process is being digitalized but we could still access what we wanted. Playing the Genie in an Aladdin musical, I wanted something to watch a TV show on that. That's where the fun began. The attendant helping us said they had a Cole Porter television play from 1958 taking place in China. I decided it would be interesting to view and asked for it.

Indeed, the Cole Porter version of Aladdin was a very different version than the well-known Disney film, yet very enjoyable and extremely well told. Between station breaks of the 90 minute musical I saw commercials from DuPont Chemicals -the play was a DuPont-sponsored Show of the Month. It's so refreshing to see the national pride and care people took in presenting television advertisements in those days. I noticed that DuPont did not treat the audience as the public, but as a customer.

The Porter version of the Aladdin musical showed a more mystic genie, an impetuous love-sick Aladdin, an uncle who wasn't his uncle at all but a cunning villain playing purely for power, and a loving mother constantly at worry...along with other fun, well played characters. Being the last musical Cole Porter would work on, the numbers are crisp, catchy, and wonderfully appropriate for the story telling its own version of Aladdin. In the cast is Cyril Ritchard, Dennis King, Basil Rathbone, Anna Maria Alberhetti, Geoffrey Holder (the Genie), Howard Morris, and Sal Mineo as Aladdin -plus the housekeeper from the original Parent Trap film playing Aladdin's mother. It is interesting to note that in those days they would use American and British actors to play most of the Chinese parts. It worked out well so I won't make needless discussions on that topic.

Though performed on stage once in the late fifties and released as an album a few times, this particular Aladdin show has never been released on home video or DVD. Luckily, it is available at the two Paley Media Centers in tourist-attracting cities , both New York City and Beverly Hills, CA. That my friends is a break for society! A final parting word of fact: After the show was finished, an advertisement came up announcing that the next DuPont Show of the Month would be on Charles Dicken's A Tale of Two Cites , also with distinguished actors and director and that Leave It to Beaver would not be playing that night due to the airing of this special. Now that's television at its best!

Copyright 2012 by Robert Steven Mack (all rights reserved!)

The Red Pyramid - a book review by Robert Steven Mack

When seeing that Rick Riordan came out with another book after his success with the Percy Jackson series, one might only sigh and mutter flatly to oneself:"Another one?" And indeed, it looks all to much like the kind of book you've seen in the store a thousand times, especially since Harry Potter came out and started the trend in 1997 more than a decade ago: sarcastic "ordinary" boy teams with strong-minded girl, add possible wimp-on-the-outside-but-strong-on-the-inside boy. The three friends go on a big adventure and eventually learn to live with each other. The difference with this book: it was structured a different way. While I'll go further into detail later, I just want to say that the new approach carried the characters, plot and ideas into new and exciting levels.

One might start off with saying that the Kane Chronicles (starting with The Red Pyramid) is simply a reincarnation of Rick Riordan's previous series, Percy Jackson, just this time with Egyptian gods. One could say that, except it's not that simple. Indeed, one can feel the influence of the Percy Jackson series flowing through the book's reins, and a small scent of the Harry Potter trend released now, a surprising 15 years ago. It's even surprising for many of us, I'm sure, that even Percy Jackson is now relatively only a thing of the past and that Rick Riordan has moved on to a sequel series called the Heroes of Olympias and now the Kane Chronicles in which the first book was published in 2010. And indeed, that's the wonderful thing of human creativity; it's always on to the next thing. For the impeccable record, Rick Riordan has displayed that in his book The Red Pyramid with a brilliant beauty.

Not wanting to give the book away and certainly not wanting to spoil the effect it has to offer you, the plot goes something like this. For eight years ever since his mother died for a cause never revealed to him, fourteen year old Carter Kane has been travelling with his eccentric Egyptologist father for six years now, never knowing the sweet content or even the meaning of the word "home". His twelve year old sister ,however, got the other half of the bargain, living with her grandparents, Mr. and Mrs. Faust (no relation), in a London flat and hears constantly about how her father caused the mysterious death of her mother and is an outcast in her own way, seeing her father only two days a year (that includes her brother Carter whom she couldn't care less about). On Christmas Eve one day during their visit to London, Carter and Sadie (did I mention Carter's sister was named Sadie?) tag along with their father Julius to the British Museum where Julius blows up the Rosetta Stone among other priceless Egyptian artifacts (don't ask, just read the bloody book!) Did I mention that Julius in doing this, Julius released several Egyptian gods encased in the Rosetta Stone (which was used to decipher old Egyptian writing, hieroglyphics) some of which make themselves at home in Carter and Sadie's bodies with their father trapped in a sarcophagus by the evil god Set. he's not the kind of guy you'd want to invite to a birthday party! See wikipedia if you want to spoil the fun (no offence to Wikipedia) but truthfully, it'll all make sense in the book. Pretty soon Carter and Sadie find themselves at the heart of Egyptian mythology, scrambling to save the world, literally, from Set's disastrous plan.

Having just studied Ancient Egypt in school, this book was a great review for me as it's simply littered with Egyptian facts and legends as Carter and Sadie struggle to complete their quest. Peculiarly, this book was narrated by Sadie and Carter as they take turns telling the story through a recording. The narration on both sides is witty and well told displaying, as the siblings display their different personalities and as well as strengths and weaknesses the two share throughout the story. A fascinating display of story telling mechanics, having it told from the two different sides of our two heroes, their emotions and development play a key asset in the success in this story. Not many books do that.

I have to admit that in the beginning it was hard to get really into the story. The plot seemed rushed and a little too pretentious. Then after two chapters Sadie took over narration, and I can say that any reader will be charmed by this character's charm and fire-ball wit, in addition to the depth and intelligence suddenly being displayed on the pages in your hands. Then Carter took over again and suddenly he too seemed to be real, as real as can be: intelligent, confused, humorous in a different way. As already mentioned, the two characters bounce off each other and that drives a lot of the book. Although some similarities with Percy Jackson and faint connections with a distant Harry Potter did cross my mind as I was reading the book, the novel relatively stood on its own two feet. Distinct enough to give itself its own unique air and tone and to go places only it could go, I applaud Rick Riordan, who, I believe has topped his fantastic and entertaining Percy Jackson series. Something else though, that I couldn't help noticing is that Carter kept referring to himself as an African-American or black boy or man as if obsessed with his race. I'm not saying this was constant but noticeably frequent. Then again...who cares... its a great book!

I literally devoured this book (516 pages) over the past weekend. At times, this book was so addicting and so vivid I would scream my nervous wits out if someone entered the room. Then again there were numerous times when I laughed so hard that I could barely control myself. And that is an understatement! One can only wonder why the author intends this to be strictly told in three books, he may have a glorious series; I'm sure there is a reason. Topping his previous series and sincerely creating something that is strictly its own, The Red Pyramid is filled with epic battles, vivid and colourful characters as real as yourselves, and fantastic storytelling; the first installment of the Kane series is an amusing epic tale of heroism, choices, benevolence and character.

Copyright 2012 by Robert Steven Mack (all rights reserved!!)

"The Adventures of Ichabod and Mr. Toad" - a classic Disney movie review by Robert Steven Mack

There are, indeed, so many films out there made and ultimately forgotten. Throughout the twentieth century, films were a primary medium that audiences would appreciate time and time again. Going to the movies was a pleasurable past time people would enjoy for whatever reason or occasion with only one motive in mind: to be entertained.

Hollywood was astounding back then, perhaps even more than it is now. A legend of glamour and big names, stars socializing in the nearest cafe, directors shouting furious directions to create their newest masterpiece; producers working hard in their expensive offices, on packaging their newest blockbuster. Parties were being thrown night after night in celebration of completed films, stars returning from vacation and such. Writers busily typing on their type writers surrounded by sheets of paper that would soon become the biggest epic of the year, film noire, western or whatever other classic genres were being produced. Not that any of this had any relation whatsoever with reality. But it's still nice to reminisce...

In the 1940's, Disney was commissioned to make a variety of rather not so extravagantly budgeted "package films." They consisted of several short stories compiled into one 75 minute film. The last of these was a film produced in 1949 and told the stories of Kenneth Graham's "The Wind in the Willows" and Washington Irving's "The Legend of Sleepy Hollow," narrated by Basil Rathbone and Bing Crosby, respectively, and among the voice cast classic character actor Eric Blore to voice Mr. Toad. That film was called "The Legend of Ichabod and Mr. Toad." With Basil Rathbone (Sherlock Holmes) as narrator and a lively, well-portrayed voice cast, this feature beautifully portrays the classic tale of a wealthy and free-spirited Toad whose mischievous acts and carelessness eventually get the best of him, with only his best friends to help him sort out the trouble and chaos he managed to conjure up.

Telling the story with fun, wit and charm, as well as the devises that give it a dash of the rather "large scale picture" as you might call it. The events that occur in the story are placed precisely in a manner that every moment counts, such as when Toad finally feels he has gone too far, and when McBager shows up on Christmas Eve with news that no such crime was ever committed by Toad and that they must take the real law breakers to justice in order to prove Toad's innocence. Dynamically told with all the proper ingredients, it is apparent that this film had the right minds working on it. If there was ever a film to watch based on the "Wind and the Willows," then believe me when I say: this is it!

In classic Disney fashion and ingenuity, the story of Ichabod Crane was brought to viewers in America. It was told and sung purely by Bing Crosby. The animation is timeless, the music is fitting and pure, and Bing Crosby was perfect to tell the story. A story with humour, love, and trickery this film reveals from when Ichabod Crane, a strange but good-natured fellow, first comes to town to when the town bully stories catch up to Ichabod when riding through the woods on an eerie Halloween night and chased by the Headless Horseman. That scene in particular is engagingly told and displays what all lead up to that moment in Ichadbod Crane's life: the foolishness and the superstition in one combined together in a most frightening manner. The infamous chase and the rest of this story is beautifully animated and vividly told.

A film for all ages, but one perhaps a viewer could only fully understand at the right age, yet it still something for the youngens. Moreover, it bridges English stories with American fables and legend having Basil Rathbone telling the Wind in the Willows with all the English dignity and intellect and easy-going Bing Crosby sing and tell The Legend of Sleepy Hollow or Ichabod Crane. It is one of the most dignified, fresh, and ingenuitive films by Disney I have ever seen! A rare treasure among the world of animation, this is some of the best story- telling I have ever come across.

Copyright 2012 by Robert Steven Mack (all rights reserved!)

Hugo - a contemporary film review by Robert Steven Mack

It is always a pleasure to go to a movie theater and see a movie that brings pleasure to the viewer and therefore not end up bitterly disappointed. And it is of particular pleasure to perhaps both of us to go to such a theater and for the first time see a masterpiece of such magnificent extreme proportion that you are ranting endlessly about it the next day.

You never know quite what to expect when going to your local theater to see a film; at least I don't. And what do you go for? To be entertained. Sometimes your hopes are high for the film you are about to see, for whatever particular reason, and sometimes they may be not that at all. Perhaps, there have been time for you when, throughout the whole popcorn-buying session prior to the films start when you on-goingly think nervously to yourself, "maybe this isn't such a good idea." I do that often!

Some films you know, deep down - by instinct, that they are good; but which is of course counter-acted by the nervousness of experiencing the unknown. And I had plenty of reasons to be worried about when I was about to see Hugo after a long and forbidding wait. First of all, I had never seen a film by the great Martin Scorcease and I hoped dearly that he wasn't another one of those "visionary" directors. Second, I am definitely the type to doubt a lot of good things; and third, I know what modern movies can be like. But to accurately describe what the experience of watching the movie was like, I must translate to you these three words: I was captured!

The film Hugo, is based on a very interesting book by David Selznick he published on January 30, 2007. The book, encompassing the experience of that of both, a silent motion picture-goer, and a fascinated reader using a great story, pictures, and somehow a little something for anyone. The book,taking place in the roaring twenties, is about a boy named Hugo, who secretly lives as an orphan in train station in France taking care of the clocks. In his vast pastime, he steals the mechanic pieces of toys from a nearby toy shop at the station to use to put fix a mysterious Automatrom, the only thing he has of his beloved dead father. An elder toy maker, an adventure hungry girl, and Hugo's beloved Automatrom lead him, and those around him to discover something fantastic about the early twentieth century filmmaker, George Melies.

The film, enjoyable from the start, was faithful and close to the book in most respects and had an absolutely enchanting pace to it. One of the characters was missing - but good riddens 'cause he would have slowed down the film considerably anyways. In addition, there are few other minor things switched and tweaked, but all for the better. Otherwise, the film did a fine poetic job of capturing the essence of the book on screen.

Although I am not familiar with much of the cast of Hugo, they each delivered a meaningful performance and captured their characters to make up the large scale story being told. Asa Butterfield is moving in his role as Hugo, the boy who secretly lives within the walls and clocks of a train station in Paris. Chloe Grace Moretz also did a fine job in playing Issabelle, the girl who befriends him on his journey. Also taking part in this pleasing epic are Sir Ben Kingsley as Georges Melies, the great pioneering filmmaker, Helen McCrory as his wife and actress, Sacha Baron Cohen as the station inspector, Jude Law as his father, as well as Emily Mortimer, Michael Stuhlbarg, Ray Winstone, Richard Griffiths, and Christopher Lee. A marvelous British cast that will make the experience so very magical for those who attend.

The music contained about the most charming score I've seen for a movie since that of High Noon and and the illustrious Ben-Hur. A definite sub- cross between the two. The visual effects and cinematography are to die for, but completely unpretentious. They are splendid! Martin Scorsese beautiful poetry on film is probably the most moving and gratifying film experience you can find within recent years. It is perhaps so above the normal mediocre twenty-first century film that it may even be able to stand in the crowd of the past cinematic splendors of yester-year as its own unique film experience. The movie is filled with sub-plots and gives deep character insights not offered in the book. In this way, one may argue that it is similar, cinematically to that of Alfred Hitchcock's Rear Window. Hugo clandestinely watches life in the train station from his view within the walls and the sub-plots and nooks and crannies the film offers grow to the point in which it actually becomes a central part of the story.

The dream sequence might be a bit scary (nothing too bad-just a bid startling) and children at younger ages really shouldn't see it; you need to understand it to appreciate the film. Otherwise it's a lovely film. After all,the dream sequence is to add emphasis on certain story elements which one should respect.

If the Oscar Award for Best Picture were up to me I'd award it to this film basically because it, in my mind, deserves it, along with many more Oscars. Martin Scorsese has produced a work that is that of a a modern Hitchcock (forgive the reference) and a true classic; a treasured product of our time.

Martin Scorsese has brought to us an intriguing, visually and emotionally satisfying drama about an adventure inside a train station with an occasional soothing comic flair. A truly powerful movie.

Copyright 2011 by Robert Steven Mack (all rights reserved!)

"The Pirate" - A film review of a Christmas present by Robert Steven Mack

I just want to say a few things about The Pirate...

During the 1940's and 50's Metro-Goldwyn-Mayer (MGM) was known as the most glamorous studio in Hollywood. This was mostly because of their track-record in showmanship of musical comedy romances, in addition to the stars, directors, writers, and producers such as Fred Astaire, Gene Kelly, Mario Lanza, Kathryn Grayson, Cyd Charrise, Vincent Minnelli, Arthur Freed, et cetera... The original idea of a film based on a 1942 play by S. N. Behrman went back to when MGM bought the rights to The Pirate in the early 40's.

The studio had high hopes for the prospect of doing a film version of The Pirate. Despite this, the film had a difficult production and went through several drafts from different writers before Frances Goodrich and Albert Hackett came aboard. Like the play, the film would be about a travelling entertainer pretending to be a pirate. In one of the early drafts, however, the writer changed the concept completely and had a pirate pretending to be a travelling entertainer. It’s an interesting concept when you think about it, but not quite what they had it mind.

Arthur Freed, a renowned producer of Hollywood's biggest musicals of the time, (Singing in the Rain, On the Town, etc.) was set to produce with Vincent Minnelli as director. Minnelli's wife at the time, Judy Garland, was envisioned to be star in it along with Gene Kelly. This was not the first time the two were to be together on screen as they were the leads in Kelly's first movie, For Me and My Gal in 1942. Minnelli wanted the film to be as stylized as possible; something the movie would be criticized for later. In addition to Freed, Kelly, Minnelli, and Judy, we have a good supporting cast that includes Walter Slezack, Gladys Cooper, Reginald Owen, and George Zucco and songs by Cole Porter including the legendary "Be a Clown." As I said, production did have quite a bit of trouble. Both Kelly and Judy were taking drugs, but it was Judy who would really suffer from it. In addition to the other turmoil, Judy Garland's marriage to director Vincent Minnelli was falling apart leave a cold atmosphere to enter the set from time to time. As I have already related to you, The Pirate is about a travelling entertainer pretending to be Judy Garland's childhood hero, the legendary pirate "Macoco".I received this film in the "Classic Musicals from the Dream Factory" collection (along with Words and Music, The Belle of New York and so on) as a Christmas present and watched this movie in early morning hours, awaiting a film I had long heard about in documentaries and such. And frankly, I was stunned!

The Pirate is a story of cunning, romance, adventure, and screwball comedy. Each number, though they weren't as many as in many other musicals, were special and memorable: Numbers like the exciting "Mac the Black," the haunting "Love of My Life," a mesmerizing "You Can Do No Wrong," as well "Nina", and the classic and stunning "Be a Clown". Cole Porter's score and songs are memorable, exiting, and a treat for any film goer who loves a and appritaites dancing, music, and so on. For those who really appreciate dancing, Kelly (and Garland, too) is amazing in several numbers of such magnificent proportions, yet each with a different feel, telling parts of the story. Kelly and Garland really shine in this one! Garland's singing is wonderful and Kelly's dance is terrific. They are great together and their acting is also very good a joy to watch in this stylish, big musical extravaganza of romance, wit, and adventure.

Unfortunately, the film was not a success upon release, being too "stylish" or "ahead of its time" - which is a shame because it really is a wonderful musical and is perhaps not appreciated enough. Along with a fine supporting cast, the superb Nicholas Brothers, terrific tunes by Cole Porter, stylish dance routines and direction by Vincent Minnelli, and of course Gene Kelly and Judy Garland, this one is a real winner!

Copyright 2011 by Robert Steven Mack (all rights reserved!)

Home Alone 2 - The Perfect Sequel: A Holiday film review by Robert Steven Mack

I hope you won't think me too corny when I talk about time. Time is a very interesting and fickle rascal that you have got to deal with, whether you like it or not. When I was about five I looked upon the nineties as a next door neighbor. But time moved on, and at this point it is no longer that next door neighbor I looked upon with such fondness.

The nineties was, in a sense, a time of reinvention for film studios in Hollywood. After an unhappy slump in the eighties Disney pulled out and in to what is today known as the Disney Renaissance in which they produced such successful and wildly recognised films as The Little Mermaid, The Lion King, Aladdin, and others.

The eighties having been such a dramatic outcome of decades that lead up to that change, the nineties was a modern reincarnation of the 50's. Part 3 of the Back to the Future trilogy was far less the eighties movie than the first in 1985 five years earlier. And perhaps not even of the fifties but at least an attempt to get back on the right track (especially after a long string of ultra violent movies coming out in the summer of 1990). Home Alone when I first saw it, was kind of a recent movie from about a little over ten years ago. By now it is a classic.

In the most recent of years films and technology have progressed that Home Alone (1990) could not possibly have been produced in these years. From the camera work and direction, to the comedy and actors, and the credit sequences and music this film is indeed a product of its time and an excellent film at that. Chris Columbus's direction is done with care and precision, the performances go from brash to innocent and the music truly makes it memorable.

Unfortunately I find that its sequel Home Alone 2: Lost in New York (1992) is largely overlooked having received negative reviews upon its theatrical release. It still remains within Home Alone's shadow of enduring success. It takes place about one or two years after the events of the previous film and doesn't rely too much on its predecessor. And I suppose those who saw the first Home Alone film will get a bigger kick out of the whole story. Basically, Kevin gets lost in an unholy rush to their flight in the airport. Well, at least he made it to the van this time around! Instead of going to the ever so blissful and "sunny" Miami with the rest of his enormous family (including good old uncle Frank's clan of tacktless monsters) he accidentally hops on a flight to New York. Using his father's credit card he decides he might as well enjoy himself and checks into the grandest hotel he can get to. The Wet Bandits (Daniel Stern and Joe Pesci) join the fun, having recently escaped from jail with plans to rob a charitable toy store.

Macaulay Culkin returns as Kevin in this hilarious and innovative sequel to the original Holiday favorite. It's almost a remake but not quite. They put together a similar story but with an added basaise, even more fun. Everything's bumped up a level and done with such care. Chris Columbus' direction is a again pure, crisp, and every moment in the film counts. The transition into a second round of turmoil and violent craze was powerful and heartfelt enough for them to get away with it. In further evaluation, the sequence in which Kevin once again battles his two nemeses takes us away from the content reality and cleverness of the last film. At times it is now pure cartoon violence. At times so crazy, it becomes almost unwatchable and you know that our poor villains could not have survived it. Some friends and family members, I watched it with this Christmas said that it was perhaps better than the first sequel except for that one sequence of cartoon violence and that it looked like they had just thrown a bunch of gags together to beat the last sequence. I don't know if all that is true or not. I think that Home Alone 2 is fresh and original and deserves recognition. I don't know if it gets with this new generation -born 2005 plus. But the sequel is a great addition to the series as well and should also be looked upon as the great film it is. The sequence is very violent, but there are moments of cleverness and funny moments in it and the sequence wraps itself up very nicely.

The film should be seen by ages 8 and up, but I think that with the predecessor you can go a little earlier. It is a great film!

With a terrific cast of Macaulay Culkin, Joe Pesci, Daniel Stern, Catherine O' Hara, John Heard, Tim Curry, and the returning cast of "McAlisters".

If you are a fan of the original, I suggest you take a chance with this film; I don't think you'll regret it.

"R"

Copyright 2011 by Robert Steven Mack (all rights reserved!)

The Littlest Angel - A Tele-film review by Robert Steven Mack

Fred Gwynne became known, even to this day, as the actor who originally played Herman Munster, a lovable, childish "monster" on the television series, The Munsters (1964-1966). When the series failed to renew itself in a crowd-pleasing way however, it was cancelled and Fred Gwynne ended up looking for a job. As any actor getting out of a highly successful television series, Fred Gwynne was to suffer cruel, indignant type-casting. But to get to the point, Gwynne was cast in a role that though probably largely unknown today, shows that he was more than a Munster.

Part of the reason Gwynne's portrayal of Herman Munster in the television series was so incredibly successful and memorable was because his character, along with many other characters in the series, was so tempting and "easy" to imitate. Yet, it takes a good actor to play a character as silly, innocent, and childish as the great Herman Munster; and as the case with most great character actors, they don't get one darn bit of credit. If you have seen Fred Gwynne in The Munsters by the time you see him in The Littlest Angel, his performance is so pleasing you will be utterly shocked.

The Littlest Angel is a 1969 TV film produced as a part of the Hallmark Hall of Fame anthology series. It follows the giddy adventures of a playful, outgoing, and mischievous eight-year old shepherd named Michael. Michael is living in the country side with his parents near Bethlehem but dies when he accidently falls off a cliff when chasing a dove. Michael then journeys to Heaven were he learns from a host of other both welcoming and all-business-like angels that he too is to be an angel. A typical boy who knows what he wants, Michael insists he is a shepherd and only wants to go back to his life on earth. Convinced he's not wanted, he seeks a way to fit in to life in Heaven. With a little help from Patience, his guardian angel, Michael truly does find himself when Jesus is to be born one night and all of Heaven are to prepare gifts for the holy child; Michael must decide what to give. A truly classic story!

Johnny Whitaker (TV’s Family Affair, Tom Sawyer) plays Michael and Fred Gwynne plays Patience. Please note that this is not about a little boy dying but rather a charming coming of age story about a little boy ultimately finding himself.
This 90-minute musical television film is more like a play aka musical than anything; or perhaps you could say a television play which is what it really is. The special effects are often flawed and the sets are often simple but blend in perfectly allowing you to focus more on the actors. This only adds to the charm of this wondrous family delight and would not do any other way.
You can almost imagine the curtain coming up to the opening number, the set change. The end of act one and the beginning of act two –which, I suppose, could vary as our imaginations do, but probably right after Michaels first flying lesson. Right from the start I couldn't help thinking "this is very well done".

The songs are uplifting but vary from humorous to heartfelt and emotionally satisfying. The numbers are big and done with care. Furthermore, this film has one of the best casts ensemble I have ever seen. This includes, of course, Johnny Whitaker, Fred Gwynne, John McGiver, E. G. Marshall, Tony Randall, Connie Stevens, James Coco, George Rose, Cab Calloway, George Blackwell, and Evelyn Russell. The cast ensemble together creates such a performance and such entertainment that would please perhaps even the darkest and coldest of souls, warming you up to such a pleasurable content.

John McGiver played the Patience’s "boss" with such great skill, James Coco is memorable as the father as Evelyn Russel is the mother, George Blackwell will be fondly remembered as the driver, and Cab Calloway brings a divine charismatic air to his own supporting role as Gabriel as George Rose does with his rather brief but steady appearance. E. G. Marshall was perfect for the role of god and Tony Randall gave one of the funniest, cleverest cameos I have ever seen. He played Democratis, also a new comer to Heaven who crosses paths with Michael. His character is definitely one of the most memorable and his song is a comic delight. Connie Stevens also gave a great performance as the flying instructor aka wing maker and her number was just dandy. I couldn't go about not mentioning Johnny Whitaker because his performance really drove the whole thing while everyone else made up the rest of the truly delicious cake. His performance as Michael is really the kind that you can take with you. His acting was excellent and his singing really superb.

Fred Gwynne was never really given a chance to show off his charisma when doing the Munsters. But after seeing this I can only conclude that he was a truly superb actor. In the Littlest Angel he brings both a touching and comic appeal to his role as Patience, the Guardian Angel. He sings and/or joins a number of songs quiet well - all with Michael. In one he tries to account for Heaven's loss of blue and green, in another he tries to cheer a saddened Michael up and in perhaps the most memorable he sings of what life was like when he was on Earth. He certainly had a lot of charisma.
While each one of the actors must have had some stage experience or other, the camera and editing were that of a live production but photographed the actors well.

If I were to make out a list of ten or twenty greatest musicals then this would definitely be on it. The Littlest Angel is my Number One Holiday Film Of the Year. With vivid friendly characters, a clever story, a good steady script, a marvelous cast, uplifting songs and numbers this is a holiday winner!

Copyright 2011 by Robert Steven Mack (all rights reserved!)