An eccentric millionaire and his grandchildren are embroiled in the plights of some forest gnomes who are searching for the rest of their tribe. While helping them, the millionaire is ... See full summary »
A classic Disney fairytale collides with modern-day New York City in a story about a fairytale princess who is sent to our world by an evil queen. Soon after her arrival, Princess Giselle begins to change her views on life and love after meeting a handsome lawyer. Can a storybook view of romance survive in the real world?
The movie combines songs, color and sequences of live action blended with the movements of animated figures. Mary Poppins is a kind of Super-nanny who flies in with her umbrella in response to the request of the Banks children and proceeds to put things right with the aid of her rather extraordinary magical powers. Written by
P.L. Travers never forgave Walt Disney for what she saw as vulgar and disrespectful adaptation of her "Mary Poppins" novels. Forty years after the release of the film, stage producer Cameron Mackintosh approached Travers about a musical theatre version of her work. The author initially refused, citing the film as a reason why she would never again allow an adaptation of her "Mary Poppins" series. After several meetings, the author relented, though when Mackintosh suggested using the songs from the Disney film in the production, Travers again balked. After much more pleading, Mackintosh convinced Travers to allow a stage production with the songs from the film on the strict proviso that no Americans participate in the development, and further that no one involved with the film version--including original film composers the Sherman Brothers, both of whom were still alive and working at the time--could participate. Mackintosh proceeded with development of the stage adaptation for several years without any involvement from Disney, per Travers' wishes, though after the author's death in 1996, the Walt Disney Company was allowed some degree of creative involvement and went on to co-produce the musical with Mackintosh. See more »
Bert places his hat inside the chalk drawing under a banner that reads, "Contributions Welcome" but after the rainstorm, his hat is underneath the drawing. See more »
All right, ladies an' gents! Comical poem! Suitable for the occasion, extemporized and thought up before your very eyes! All right, 'ere we go!
Room 'ere for everyone. Gather around.
The constable - responstable! Now 'ow does that sound?
[dashes over to Miss Lark, sings]
'Ello, Miss Lark, I've got one for you.
[...] See more »
The opening credits stop for a brief moment to show Mary Poppins seated on a cloud and applying makeup to her face, then the camera pans away and the credits resume. See more »
It's hard for me to explain the connection I feel with this film ... I was 7 when it came out, saw it twice in the theaters at the time, and of course have seen it over and over since then. I'm going to get the 40th anniversary DVD soon. You can argue about Dick Van Dyke playing an Englishman, about Julie Andrews being too sweet and young compared to the character in literature, about the fact that the whole thing was obviously shot on a soundstage. But just imagine being 7 or 8 or 9 or 10 or anywhere near there, and not getting out of your small town in the rust belt of the U.S. except maybe a few times a year on holidays, and you can imagine what seeing this magical, albeit Disneyfied, look at another world must have been like. Every time I see it, I think back to the beautiful old movie theater in which I saw it (a block away from the Catholic school I then attended, no less), to getting my mother to buy a certain box of cereal so I could get the Mary Poppins prize inside, to gathering on weekends with cousins to listen to the soundtrack and try to dance like Bert. I've been to London many times since then, but funny enough, as much as the great city has to offer, I've never been able to find that magical place I saw 40 years ago.
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