Practicality Perfectionism

Disclaimer: I shan't be shading Jack L. Warner, Julie already shaded him.

In this month's 2nd blog post, I'm spieling about a favourite movie. It was the basis for a theatrical iteration (I was the propman and a costume assistant for an especial production of it). It's another Julie Andrews film, too--Mary Poppins, Uncle Walt's magnum opus. The motion picture is my definition of laudable. May's a month of veritability to write about it 'cause Julie's affiliated with a May-topiced song.

This picture has production values of valuability. The instrumentals and Irwin Kostal's contributions are enriching. The Sherman Brother's compositions are peerlessness. Dee Dee Wood and Marc Breaux's choreography is exhilarating. Peter Ellenshaw's matte paintings beguile. There is gobsmacking cinematography. The London, 1910 scenery and Tony Walton's costumes are sumptuousness.

There's an efficiently executed cluster of story-fowarding special effects. They had innovation. There's flabbergasting wirework and technical illusions. There was revolutionizing usage of Ub Iwerk's Sodium Vapor Process. The combining of live-action and animation is mesmeric (Frank Thomas actually participated in the animating).

Robert Stevenson was an astonishing director. Robert's directing efforts and the editing assist with the film's lucid pacing. Robert, a people-person, could direct performers effectually. Because of Stevenson, the film is scopeful! It engages viewers, too.

The cast is compleat. The sweeps are energized hoofers. The voice-acting has adeptness. Cyril Delavanti, Doris Lloyd, Queenie Leonard and Betty Lou Gerson cameoed. Elsa Lanchester's enjoyably prudish in her bit role. Ed Wynn's ebullient joyousness as Uncle Albert. Jane Darwell has an immensely special appearance as The Bird Woman. There's supporting work of grandeur from Arthur Treacher, Reginald Owen and Arthur Malet. Hermione Baddeley and Reta Shaw diverted as a duo of domestics. Karen Dotrice and Matthew Garber had loads of endearability as Jane and Michael Banks.

Glynis Johns and David Tomlinson, prior collaborators, were thankfully reunited for this film. Glynis was effervescently vivacious as Mrs. Banks--She was riveting. Johns was a performer of uniqueness and distinction. Tomlinson, a film-carrier, had fantasticality as Mr. Banks. David conveyed the character's developmental advancement. Julie Andrews and Dick Van Dyke had reactive chemistry. As Bert, Dick's jovial, charismicatic and agile (Dick was led astray, though inauthentic, I find the accent unironically genial). Van Dyke's Mr. Dawes, Sr. is a comically-timed, convincing investment. Julie's Mary Poppins is a totally staggering, transfixing, instinctive theatrical film debut! Andrews was immensely enigmatic. Julie delivered a multifacetable, palatable performance.

With P.L. Travers' books as a template, Don DaGradi and Bill Walsh constructed a story of cohesity. It mixes simpleness and complexities. It has an abundance of iconical moments. Its dialogue is sterlingly written and the characters posses memorability. Songs are woven into the plot seamlessly. The animated sequence had vitailty. The film perpetuates morals of validity. It is an experience for the viewer.

The film's seminal. Extremely qualified people partook in it. It's relieving that the film eventually obtained a release. Thank you to Diane, Walt's daughter, for the movie's existence. The film's an endurable classic. Incidentally, I dedicate this post to an unbelievably phenomenal, amiable person. He's kindly-natured and adroit, too.