Review: Bedknobs and Broomsticks

It’s the Blitz in London during WWII, and three young orphans (Roy Snart, Ian Weighill, and Cindy O’Callaghan) are put in the reluctant (and temporary) care of single, middle-aged eccentric Eglantine Price (Angela Lansbury). Prim and proper but somewhat daffy, Miss Price is something of an apprentice witch, having been taking a course in witchcraft by correspondence (As a way to help in the war effort, of course). So far she’s managed to get pretty good at turning people into rabbits. So that’s, er…something. She hadn’t had any interest in finding a man (something the locals in her town seem to find strange), let alone having children in her plans. Now all of a sudden, for the foreseeable future Miss Price has three young charges in her care, as they go on a journey in search of the missing piece of a magical incantation from a spell book. Their mode of transport for this expedition? A flying bed, with a magical navigational bedknob, of course. First they go in search of the rather shoddy head of the magic correspondence program, that has unfortunately now been cancelled. The supposedly esteemed Prof. Emelius Browne (David Tomlinson) turns out to be a well-meaning charlatan who sadly does not have the missing page to the spell book. Still, he agrees to assist Miss Price in any way he can. They soon have a run-in with Bookman (Sam Jaffe) and his blade-sporting cohort (Bruce Forsyth), who are also very interested in the spell book. Meanwhile, the Nazis are advancing further into British territory.

 

Usually chalked up to a mediocre “Mary Poppins” rip-off, this 1971 blend of live-action and Disney animated magic from director Robert Stevenson (“Old Yeller”, “Kidnapped”, “Mary Poppins”) is a childhood favourite of mine. Perhaps that’s why I’ve refused to watch “Mary Poppins” all these years. Or perhaps I just loathe Julie Andrews (I didn’t see “The Sound of Music” until well into my 30s). I have memories of watching this pre-“Harry Potter” magical fantasy at my grandmother’s house, whilst in bed no less, which is quite apt for this film. Based on a couple of novels by Mary Norton (“The Borrowers”), and scripted by Don Da Gradi (“Mary Poppins”, “The Love Bug”) and Bill Walsh (“The Shaggy Dog”, “Mary Poppins”, “The Love Bug”), I still love practically every frame of it as a 40 year-old man. Yes, it’s too long, but I don’t think there’s much of anything here I could do without. Sure, there’s really only a couple of truly memorable songs (‘Portobello Road’ and the infectious ‘The Beautiful Briny’ were my favourites), though the music score by an uncredited Irwin Kostal (also strangely uncredited for his work on “The Sound of Music” and “Mary Poppins” among others) is terrific.

 

Angela Lansbury is perfect as the eccentric, not especially proficient ‘good’ witch who hadn’t planned on taking in a trio of young orphans during WWII. For all the “Mary Poppins” comparisons, the bookish Miss Price most certainly is no Mary Poppins. She perfectly balances the quirky, somewhat loner-ish side to the character whilst also showing that - although she hadn’t planned on taking care of these kids - they’re ultimately in good hands with her. As her new wards – at least temporarily – Roy Snart, Ian Weighill, and Cindy O’Callaghan are not exactly master thespians, but they show a lot more personality than the Von Trapp kids in “The Sound of Music”, who seemed like rather creepy marionette puppet props to me. That said, they’re also allowed to be a little rougher around the edges, and less prim and proper being cockney-accented orphans. The supporting cast has some interesting names and faces, with the amusing David Tomlinson (who was also in “Mary Poppins”) the standout. Playing essentially the magical equivalent of a snake oil salesman when we first encounter him, he nonetheless imbues the character with innate likeability and almost low-rent vaudevillian charm. Tomlinson’s Prof. Emelius Browne is a well-meaning sort at the end of the day, he’s just a fairly inept magician and down on his luck currently. He’s the perfect mismatch for the prim and proper Miss Price, and the film really gets going once he shows up. Also, whilst Tomlinson isn’t much of a singer (no one here is), he’s involved in all of the film’s best songs, especially ‘Portobello Road’. It’s a very long sequence, especially in the longer cut of the film, but a terrific scene. As much as the pacing is an issue, I really do think it’s best to go with the longer cut of the film. Oh, and the worst song? The absolutely dreadful ‘Substitutiary Locomotion’. In addition to ‘Substitutiary’ being a non-word, it’s the most Sherman Brothers-sounding thing ever, and not one of their good efforts. You can just picture the duo nutting it out on the piano. Corny as hell. Getting back to the cast, the always enjoyable Roddy McDowall is here in a tiny or very tiny role depending on which version of the film you see. Either way, he deserved a bigger role than playing an annoying local vicar, but he nonetheless is very funny for a few moments on screen. That’s UK showbiz legend Bruce Forsyth as the knife-wielding associate of Bookman (Sam Jaffe). American character actor Jaffe is unforgettable in one of his best parts, and Forsyth is hilariously sleazy. I’m not sure I entirely bought the casting of American character actor John Ericson as a Nazi officer at the end, that was a bit WTF, though he tries his best.

 

The entire segment on the island of Naboombu is a classic bit of Disney magic, blending cell animation with live action. It’s the part of the film everyone seems to remember best, as Prof. Browne serves as referee for a soccer match between two different sets of animals. It’s great fun, even if the technology has obviously dated quite a bit. The other set-piece worthy of praise is the climax, as Miss Price finally gets to do her bit for the war effort (not that this is a propaganda film or anything), by warding off Nazi soldiers with some magic and an army of…well, empty suits of armour come magically to life. Along with the soccer match, it’ll be every young boy’s favourite scene in the film. It’s not easy to blend a story intended to please children with a WWII backdrop, but this one manages to do it quite seamlessly (And certainly more enjoyably than “The Sound of Music”). I hate musicals and even I love this blend of “Mary Poppins”, “The Sound of Music” and child-friendly witchcraft. That should tell you something, though I’ll admit that this is a rare occasion where my childhood connection to a film could conceivably be playing a part in my appraisal here. It’s hardly a flawless film, I know that, but I bloody well got misty-eyed watching this one again (Even though the version I grew up with was actually the shorter cut).

 

Often regarded as second or third-string Disney, this is magical family entertainment and even some of the songs are terrific. Angela Lansbury is perfect, David Tomlinson is charming and funny, and the kids are alright too. The film may not be perfect, but I absolutely adore it nonetheless. Terrific cinematography by Frank Phillips (“Escape to Witch Mountain”, “The Black Hole”), as well.

 

Rating: A-