Stop And Smell The Roses With 'Poppins'

Based on the popular children's books by P. L. Travers, 'Mary Poppins' has been hailed as Disney's greatest film achievement for its unique and careful blend of animation with live action, stunning visual effects, exuberant choreography, melodic and memorable songs, and - last but not least - the impressive screen debut of Julie Andrews in the title role.

Appreciated by adults and children of all ages, Mary Poppins concerns itself with the Banks family who lives at 17 Cherry Tree Lane in Edwardian London. The children, Jane (Karen Dotrice) and Michael (Matthew Garber), have just had another nanny quit. The latest one, Katie Nanna (Elsa Lancaster) is adamant that the children are unruly because they have seemingly run away. She is making her final, blustery exit when the movie begins.

Father (David Tomlinson) and Mother (Glynnis Johns) are surprised at yet another nanny’s departure and resolve to hire a nanny which will 'mold' the children with proper British manners to be a real source of family pride.

The Winds Of Change

Ah but something ELSE is brewing! Enter Mary Poppins (Julie Andrews). The harbinger wind has changed and the Banks family will never be the same again. Floating down from the sky, her signature parrot-handled umbrella firmly grasped, her flowered hat securely placed, her pink and white crocheted scarf gently blowing in the breeze, what better screen entrance can a pretty actress ask for? (Not since Mary Martin (as Peter Pan) blew into another London bedroom looking for her lost shadow has there been an entrance so deeply etched into children’s memories!)

Unusual Adventures

Once Mary Poppins enters the scene unusually wonderful things happen. First she earns the children’s trust by making a game of tidying up their nursery. Then the kids, with the help of jack-of-all-trades Bert (Dick Van Dyke), jump into a sidewalk chalk drawing to have tea, ride a carousal, and win a steeplechase race. Then they have an afternoon tea party at Uncle Albert’s (Ed Wynn) home while floating in mid-air and dancing on the ceiling. The movie's visual highpoint comes in the one-two wallop combination of 'Chim Chim Cheree/Step In Time' stunning rooftop dance sequence about which, at the time, noted film critic Pauline Kael wrote, "this is what going to the movies is all about".

A Hearty Resolution

The emotional climax, and the heart of the film, belongs to the resolution of the relationship of the children with their father. At the end of the film, the stern British dad is brought to a new understanding of his family and his role as their leader. His change of heart and newfound perspective is as refreshing as the change in the weather.

And speaking of changes, her job completed, Mary Poppins takes her cue and flies back into the clouds, satisfied because at least with regard to the Banks family, all is "as it should be".

Visually Resplendent and Thematically Rich

When 'Mary Poppins' was initially released, there were no complex computerized digitized visual effects. Stop motion photography and live action bluescreen visuals were pretty much the purvue of visual effects pioneers like Willis O'Brien and Ray Harryhausen . When Disney put together Mary Poppins, he gathered all of the studio's formidable creative resources and guided them to produce what would become the most critically acclaimed and financially rewarded live-action (combined with special effects animation) film to date.

Bearing that in mind, this movie is a remarkable achievement. With the notable exception of when Mary Poppins (obviously an inanimate puppet) is seen at a distance floating down towards London, and the matte lined effects of the 'Spoonful of Sugar' nursery clean-up scene (both occur early in the film) the rest is visually impressive.

The rooftop sequence is a masterwork in design. Its stunning visuals owe a tremendous debt to Peter Ellenshaw who created the matte paintings for the film. His work is exquisite. When Poppins, Bert and the kids look out into the evening sky at the cityscape seen first in twilight, then turning to being enchantingly lit at night, the effect is moving. The intensity of the magic of this moment envelops the senses with what this movie demands you do: look outside the seriousness of yourself and notice the beauty that exists all around you just under your nose, whether it's in a scenic landscape, in a snowglobe, or in your family.

This is the thematic strength of 'Mary Poppins' and easily sets it apart from other films.

Outstanding sequences include not only the rooftop adventure, but the activities in the 'chalk pavement picture' as well. The foursome (Poppins, Bert, Jane, Michael) jump into the drawing which results in an appropriate puff of multicolored chalk dust. When they land, the scene is bright and cheery in direct contrast to the movie's typical London day. The scenic possibilities are explored and is most fun when the live action characters defy gravity, and when they interact with the animated penguins, barnyard animals and human characters. It's the interaction that makes this fantasy believably come to life.

In fact, this gravity-defying special effect is seen throughout the film and eventually comes to visually symbolize the act of accepting the child within each of us. Firstly, anti-gravity is Mary Poppins', who we come to know as inwardly kooky, main mode of transport. Throughout, when the film's characters have the most fun, up in the air they go! And eventually, when the seriously stern head of the bank accepts the humor of a simple joke and finds himself laughing uncontrollably – his change of heart sends him airborne!

It is curious to note that Mr. Banks is similarly altered but he never flies or floats. At the end, though, the symbolism accomodates the plot when he encourages his family to fly a kite with him.

Sophisticated

The unexpectedly developed mature nature of the themes in this movie are what the most successful Disney films do well. Life and death (or the threat of such) are components to great adventures. Without the threat of death and stagnation, rebirth and survival cannot occur. 'Snow White', 'Pinocchio', 'Bambi', and later 'Beauty and the Beast' and, most notably, 'The Lion King' incorporate death, and even resurrection, into their thematic framework. Though not in a literal sense, 'Mary Poppins' takes emotionally 'dead' characters and encourages them to come alive and join the rest of the living.

For proof, really listen closely to the lyrics as Mr. Banks sings "A Man Has Dreams" to Bert after 'Step In Time' ends and you'll get a sense of the father's conflict and 'rebirth' as Bert sings 'Spoonful of Sugar' to him, embueing the seemingly silly song with real meaning and exposing some sound advice. In fact, it leads to the father's catharsis.

Good Performances

'Mary Poppins' was nominated for Best Picture (competitor 'My Fair Lady' won that year) as well as achievements in visual effects, art direction, and music. Julie Andrews won the Academy Award for Best Actress. Her performance is stern on the outside and a little wild on the inside. Kind of subtly sassy. Her musical voice is superb. Dick Van Dyke as Bert capitalizes on his energy and dance ability but his Cockney accent is a little bit too cockeyed at times. Still, he is fun to watch, and charming. Matthew Garber plays the appropriately confused and awkward Michael (he has no rhythm - check him out as he sings 'Chim Chim Cheree' - yikes!), and Karen Dotrice is winning as his older sister, Jane. Glynnis Johns as Mrs. Banks gets the thankless job of infusing life into a virtually unchanging character, while David Tomlinson's George Banks experiences the difficult task of being the film's heavy AND it's most changed character. He does so with aplomb.

Brief comedy is brought by the talents of Rita Shaw and Hermoine Baddley as the film’s domestics. Ed Wynn (Uncle Albert) in his last screen performance is appropriately silly and Jane Darwell (Bird Woman) is quietly dignified, also in her last screen role.

'Mary Poppins' is a treat. The fact that through this film, viewers are encouraged to look beyond themselves at the obvious things and people around them to enrich themselves and others is a redemptive message we can never exhaust.