writers_reign
I stumbled on this quite by chance in a Charity Shop and on the strength of the cast and technical credits I snapped it up for a peppercorn £2. Even as early as 1933 Mank had several screenplays under his belt and he allegedly made a point of adhering scrupulously to the Dodson text albeit he did combine Wonderland with Through The Looking Glass. Similarly the original Tenniel illustrations have been replicated as closely as possible. In twentieth century England there were several disparaging terms for homosexual men, one of which was brown hatter and I wondered if the term might have been known to the casting director who tapped Edward Everett Horton for the role of the Mad Hatter though it is, of course, probably pure coincidence. Charlotte Henry is clearly too old - she was 19/20 when the film was shot - for Alice and invites comparison with Judy Garland in The Wizard of Oz but like Garland she is excellent in the part. The score marked the debut of Dimitri Tiomkin albeit not terribly distinguished. In most cases - just like The List of Adrian Messenger - it could be anyone under all that slap, for instance only the distinctive voice tells us that it is Cary Grant lurking inside the shell of the Mock Turtle, just as we recognize Humpty Dumpty via the unmistakable tones of Bill Fields. In a nice touch the segment covering The Walrus and the Carpenter is a self-contained animation sequence and none the worse for it. On the whole this is a delight for both survivors of its generation and younger film buffs who will know, if only by reputation, at least half the cast.shot in pure anima
Michael_Elliott
Alice in Wonderland (1933) ** (out of 4)This Paramount adaptation was considered a complete dud when it was first released even though it featured an all-star cast that includes W.C. Field, Gary Cooper and Cary Grant. The film features Charlotte Henry playing the young Alice who goes through the looking glass and finds herself in Wonderland where she encounters all sorts of strange creatures. You know, this is a film that's either going to work on you or its not. For me, the picture simply didn't work for a number of reasons. After watching this movie I looked around to see what others were saying. Many think this film bombed because the all-star cast are pretty much hidden in their costumes and a lot of times you can't make out who is playing what. Others will say the film works because the actors are never put in front of the characters and this here helps stay faithful to the story. Well, normally I'd agree that the story should remain higher up than actors but it's a tad bit different when a studio tries to sell a film on its star power. The star power here actually turns out to be pretty weak because you can't tell who is playing what unless you keep a copy of the cast of characters with you while you watch the picture or you happen to remember the three-minute opening credits where we see the character and the actor playing it. I will say that I thought Henry was pretty good in the role as Alice and managed to make you believe the character. I thought she had the perfect look for Alice and also brought that sense of wonder needed for the material. The special effects for the most part hold up extremely well when viewed today and there's no question that the sets and costumes are impressive. ALICE IN WONDERLAND is a mixed bag for me but the thing is certainly weird enough to where it works as a curio but nothing else.
johnstonjames
When i was a kid and would watch this i always thought it was weird and disturbing. when i was really little i remember being sort of afraid of it. now i think it's a hoot.I've always liked black and white films and feel they achieve stark images with lots of contrast. it's even weirder when the film is a fantasy and features a variety of effects and gimmicks, then it really brings out the dream-like qualities of the black and white.I've never thought this film was as fun or delightful as 'The Wizard of Oz' movie, but i've changed my opinion of it and have found a new respect for the film. it isn't as sweet as 'Oz', but it's a lot weirder and freaky. even though i have always really liked Charlotte Henry(little Bo Peep from 'Wooden Soldiers') her performance doesn't have the touching depth of Judy Garland's Dorothy.the only thing here that i found i was still afraid of was W.C. Field's Humpty Dumpty. i just can't get used to it. it's just plain horrifying.the decades of time have softened the shadows and edges of this movie and taken away a lot of it's nightmarish effect. instead of nightmarish, it now seems quaint and kooky.
MARIO GAUCI
To begin with, this is another title I'd always read about but, frankly, had little hope of ever catching; though its reputation stands more on imposing credentials rather than actual artistic merit, I have to say that I was generally impressed with the results (special mention goes to the beautiful sets). That said, even at a mere 76 minutes (actually reduced from the 90-minute original), the film slightly overstays its welcome following Gary Cooper's belated appearance as the quixotic White Knight. At this stage, I ought to catalogue the other versions I've watched of the Lewis Carroll perennial: 1903 Silent short, 1951 animated Disney feature, 1966 all-star British TV-movie, 1972 musical (with another fine cast) and, soon after the film under review, Jan Svankmajer's celebrated 1988 surreal reworking (review coming up).Charlotte Henry is O.K. in the title role – incidentally, she'd follow this adaptation of a children's classic with the heroine role in another popular fantasy, the Laurel & Hardy version of BABES IN TOYLAND (1934). Here, too, the array of weird characters Alice meets in her dreamworld are played by a roster of Paramount stars from the early Talkie era, a few of whom are forgotten today – most are, in any case, largely obscured by masks. The most notable, of course, are Cary Grant (who even gets to sing and bawl a lot!) – positively weird as the heartbroken Mock Turtle (really a cow in a tortoise shell!), W.C. Fields – grandiose and pompous as ever, thus making for a great Humpty-Dumpty, and Gary Cooper – his trademark handsome features and heroic persona are hidden behind an ageing, balding make-up and an amusingly gawky countenance. Other stars include: Richard Arlen as The Cheshire Cat(!), Sterling Holloway – interestingly, he played The Frog here while providing the voice for The Cheshire Cat itself in the subsequent Disney adaptation, Edward Everett Horton – an ideal Mad Hatter, Roscoe Karns and Jack Oakie as Tweedledee and Tweedledum, May Robson as The Queen Of Hearts, Charlie Ruggles as The March Hare, and Alison Skipworth as The Duchess. It's worth noting that, along with director McLeod and co-scriptwriter Joseph L. Mankiewicz, the film has some nine cast and crew members in common with the famous (and equally rare) compendium IF I HAD A MILLION (1932) and which I actually watched a day previously! Curiously enough, this version of Carroll's children's classic also proved distinguished production designer and occasional director William Cameron Menzies' sole screen writing credit; actually, it combines elements from both "Alice In Wonderland" and "Through The Looking-Glass": for instance, the appearance of the White Rabbit (which introduces the fantasy element in most versions of the tale is moved forward into the narrative here, preferring to use a mirror as passageway into the dreamworld – this change may well have been influenced by Jean Cocteau's THE BLOOD OF A POET [1930]); similarly, the climactic trial is replaced by a wacky banquet scene. By the way, the cartoon story-within-a-story which appears during the Tweedledee and Tweedledum scenes were reportedly made by the Fleischer studio; equally nice are the effects by which Alice is made to shrink (and then grow back) in size in order to get through a very small door – even if the follow-up scene, set inside one of the houses in Wonderland, involving such a device is missing from this particular version. The DivX copy I acquired regrettably suffered from lip-synch problems, so that I had to rewind the film every so often to get it back on track (despite the sheer amount of rare stuff I'm getting via this format, the frustration that goes with it is so great that I'm seriously contemplating giving it up for good…especially since I've still got heaps of these titles to check out).
