Film Review - Dumbo (PG)

You've seen a horse-fly... You've seen a dragonfly...

We're going to be bombarded this year by live(-ish) action remakes of classic Disney animations, of which Dumbo is but the first. This can be viewed in one of two ways - the cynical milking of a cash-cow (cash-pachyderm in this case?) or the creative re-imagining of great cinematic stories that deserve to be brought to a new generation of youngsters. Being a glass-half-full kind of blog Filmic Forays will opt for the latter stance, which means it's all about the quality of Dumbo 2019 and whether it has anything new to offer. And while the film isn't proving an elephantine success at the box-office, it certainly took flight for me. (A pun embargo will hereon be enforced.)

The 1941 version of Helen Aberson's children's book is a relatively slight affair (it comes in at 64 minutes), so this Tim Burton retelling beefs things up substantially. The events of the original film serve as the first of two acts, with Medici Bros circus-elephant Mrs Jumbo giving birth to the humungous-eared baby who comes to be known as 'Dumbo'. Ridiculed by audiences for his physical abnormality, he nevertheless has a secret that will amaze them - the ability to fly courtesy of those same enormous lugs. So far, so familiar. The almost entirely new second act involves impresario V. A. Vandervere (Michael Keaton) and what befalls both Dumbo and the Medici troupe when this charismatic newcomer introduces them to the big-time.

The expansion of the Dumbo tale gives much room for writer Ehren Kruger and Burton to craft a distinctive vision, one stripped of talking-animal whimsy and with a much more human feel. This take on the little elephant with big dreams is darker for sure, set as it is in 1919, post-war and post-flu pandemic. Both have taken their toll on the circus's horse-riding Farrier family, with dad Hope (Colin Farrell at his most sympathetic) returning from the battle front to pick up the pieces for kids Milly and Joe. The entire troupe is a community of lovable misfits, the circus a frayed and paint-peeling shadow of former glories, presided over by its increasingly desperate owner Max Medici (Danny Devito visibly loving the chance to work with Burton a fourth time). It's into this boisterous environment that Dumbo is born, a vision of advanced CGI cuteness.

 

It's a brash and lively opening, one that speeds through the well-known stuff, before embracing the new part of the tale - Medici's Faustian bargain with Keaton's flamboyant but shady futurist. Here Burton's mastery of filmic setting asserts itself, as the rustic colours of the humble travelling-show are replaced by the mega-circus's garish splendour. Keaton meanwhile sneers like few others can, clearly enjoying his reunion with the Batman director as much as Devito. It's Eva Green, however, who adds the most glamour and mystique to the Vandervere scenes as trapeze artist Collette Marchant. 

If I have one issue with the new Dumbo, it's that the bolstered human element undermines suspension of disbelief (for adults at least), crucially on that issue of whether or not an elephant can truly fly. Frankly you end up thinking too much about the aerodynamics of the situation. It also means that whatever else you're feeling, and however detailed the CGI, there's not quite the emotional connection with the title character that you might hope. That said, someone behind me was snuffling a lot when Dumbo's relationship with his mother was jeopardised, so maybe that's just me.

Ultimately this is a visually magnificent film, boosted by a solidly crafted story and eased along by an evocative period score from Burton's regular musical collaborator Danny Elfman. Along with the core story of an outsider triumphing in the face of derision are broader themes of family, community, capitalist greed, self-discovery and - naturally - animal rights. None of it feels crowbarred in either, just a natural extension of the classic Dumbo story. A good addition to the Tim Burton canon then, and a Disney remake that's nicely justified its place in the world.

Gut Reaction: No tears, but fully engaged and entertained, while undergoing eyeball ravishment throughout.

Memorable Moment: Mess with Mummy Jumbo at your peril.

Ed's Verdict: 7.5/10. A fully realised Burtonian world, with plenty of enjoyable nods to the original. Family entertainment with a trunkful of charm. (Pun embargo lifted.)