«Dumbo»: you've given me back my childhood soul

Les mercredis du cinéma - Kelly Lambiel

«You, the crippled cowboy, have given me back my childhood soul.»

The word of V.A. Vandevere (Michael Keaton), when he discovers that the baby elephant he's just bought can fly. This is the villain that, as is often the case with Disney, we love to hate. Just as well, we'd almost take the words out of his mouth. Almost? Indeed, with this new film, Tim Burton was eagerly awaited. His last films had been poorly received by the critics. So, thanks to Dumbo, is the eponymous re-adaptation of the famous 1940s cartoon (yes, I'm telling you!) a return to grace, or does it confirm the opinions of those who claim that the golden age of his career is now over? 

It was an ambitious task. It must be acknowledged that tackling one of the masterpieces of a franchise that is beloved by virtually all children and parents, across all generations, is a challenge in and of itself. It’s a risky venture, especially given the mixed success that Disney-branded films have often enjoyed. Prince of Persia, the latest Pirates of the Caribbeanor even Han Solo: A Star Wars Story These are all examples whose cinematic success has, quite rightly, been called into question time and again.

From remakes

As for the remakesWhen it comes to animated films set in the universe of the mouse with white gloves, the reality remains, unfortunately, the same—whether or not they were produced by the studios that created the character. It seems as though the cartoons that shaped our childhoods and watched us grow up are untouchable and destined to remain so. So, after the bitter failure that was Alice in Wonderland, even though we really loved it The Nightmare Before Christmas, we wonder about the Burton-Disney pairing and hesitate one last time before finally daring to step into the theater. 

The film opens with the sign for the Medici Brothers’ Circus, and aboard a train whose cars bear the names of the performers riding in them, we are taken on a journey through 1920s America, from Florida to Missouri. Just like in any good freak show (We’re somewhat reassured—we expected nothing less from Tim Burton.) They’re all there, from the strongman to the mermaid, including the contortionists, the snake charmer, and the magician.

In Joplin, we are introduced to the main characters: the circus director, Max Medici (Danny DeVito), Holt Farrier (Colin Farrell) and his two children, Joe (Finley Hobbins) and Milly (Nico Parker), whose striking features, large eyes, and inscrutable expressions—despite their youth—are reminiscent of muses Burtonian with its unique charm. Right from the start, it’s clear that the plot won’t be the one we’re familiar with. 

This story is about the return of Captain Farrier—a former horse trainer who came home from the war somewhat diminished—to his children. He quickly realizes that the circus is facing a financial crisis and that, in an effort to attract new audiences, they’ve pinned their hopes on the elephants—Madame Jumbo, in particular. She is pregnant and soon gives birth to the circus’s new star: an adorable baby elephant… with ears that are disproportionately large. 

However, they need to recoup the expense he caused, so they entrust his training to the newest arrival, Holt. Of course, things don’t go as planned; they make fun of the newborn, humiliate him, and—following Mrs. Jumbo’s strong reaction—separate him from his mother. That’s when Milly and Joe, who have also lost their mothers, grow fond of Dumbo and discover that he can fly. The news spreads across America and reaches Vandevere, who wants to include him in the act of his star performer, the acrobat Colette Marchant (Eva Green).

From Upheavals to Twists and Turns

It’s easy to imagine how the story unfolds from there. With one upheaval after another and one twist after another, it must be said that the plot isn’t particularly original. The list of this film’s flaws is extensive; you can no doubt find it in the many reviews dedicated to the subject. However, Dumbo It’s not a movie to be watched through the eyes of an intellectual or analyzed; it’s to be experienced and discovered with a child’s heart. It’s one of those works that make you put down your pen and forget to take notes. 

Yes, I knew exactly what was going to happen. Yes, I thought the graphics weren’t realistic—especially in *Dumbo*. Yes, I noticed a number of clichés and characters that were often caricatures. Yes, the acting wasn’t anything to write home about, and no one is going to win an Oscar. And yes, finally, the self-righteous and moralizing messages about animal rights and the pitfalls of greed just didn’t resonate with me. 

But most of all—and above all else—I found myself getting scared, with my hand over my mouth, when the little elephant was hanging in midair and looked like he was about to fall. I laughed every time he stumbled over his big ears, which made him look so clumsy and cute. I stifled «oohs» of admiration when he let out little high-pitched trumpets. I loved silently threatening Michael Keaton, the heartless dandy, or looking at him with disgust and clenching my fist every time he picked on Dumbo or his mom. 

My eyes widened as he spread his ears and fluttered through the air. I enjoyed seeing certain scenes from the original movie recreated exactly as they were, capturing the same intensity, and spotting the many references subtly scattered throughout. I smiled when Danny DeVito told unfunny jokes or when Colin Farrell furrowed his brow in often forced facial expressions. Finally, I wiped away a few tears (okay, I admit, a lot) during the taunts, humiliations, and abuse inflicted on this defenseless little creature.

However, if you’re the type who prefers to engage your left brain, note that the film also boasts many formal qualities that will help you reconnect with its world Burtonian. The soundtrack is vibrant and effective; the cinematography and lighting are breathtaking, especially in the wide shots and group shots; the sets and costumes transport us right back into the atmosphere of some of the director’s greatest films, such as Big Fish or Charlie and the Chocolate Factory. A triumphant return, then, and a successful collaboration born of the fusion of two worlds capable of appealing to both adults and the child within us.

Write to the author: lambielkelly@hotmail.com

Photo credit: © The Walt Disney Company Switzerland