The 40th Anniversary of Mary Poppins is coming up and for the occasion Disney wil be showing a digitally remastered version on TV. In today’s new York Times there is a write-up about the movie but I have not yet been able to figure out what i sth epoint of it.
According to the Times Mary Poppins is not a nanny but a hippie who ignores her charges, meddles with the family, hangs out with her boyfriend during work, and then disappars without a trace, leaving behind a mess of lives. Somehow it seems that the film’s ’60s flair makes it further offensive, as it is “really” supposed to be set in 1910.
A sample:
Mary’s first shortcoming as a nanny, in fact, is that she ignores the lady of the house, Mrs. Winifred Banks (Glynis Johns), with whom she never shares a significant scene. She evidently doesn’t take Mrs. Banks’s political activism seriously. Mrs. Banks is a saucer-eyed, doll-faced “suffragette,” copiously satirized, whose opening number is about the silly thrill of feminine civil disobedience. “She was carried off to prison!” she trills, of a friend. “Singing and scattering pamphlets the whole way!”
The movie does dramatize the unavoidable proximity of middle-class children to the kind of demimonde types - hippies, hobos, loners - who disproportionately get involved in children’s entertainment. But the makeshift populist politics of the movie, in which the working-class figures enlighten the others and then discreetly vanish, come in second to its hallucinatory aesthetic: the combination of live action, music-hall numbers, animation, stop-action, stop-motion, wirework, Disney’s elaborate audio-animatronics, and set design that combined images from Monet and Broadway’s candy colors.
I have never read a move review (if that wat it was intended to be) that so thoroughly removes the imagination and whimsy from the moviegoing experience only to replaces it with analytical trash psychology.