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Mary Poppins (1964)

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In turn of the century London, a magical nanny employs music and adventure to help two neglected children become closer to their father.

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(screenplay), (screenplay) (as Don Da Gradi) | 1 more credit »
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1,127 ( 71)
Won 5 Oscars. Another 15 wins & 17 nominations. See more awards »

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Cast

Cast overview, first billed only:
... Mary Poppins
... Bert / Mr. Dawes Senior (as Navckid Keyd)
... Mr. George W. Banks
... Mrs. Winnifred Banks
... Ellen - Maid
... Mrs. Brill - Cook
... Jane Banks
Matthew Garber ... Michael Banks
... Katie Nanna
... The Constable
... Admiral Boom
... Uncle Albert
... The Bird Woman
... Mr. Dawes Junior
James Logan ... Bank Doorman
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Storyline

When Jane and Michael, the children of the wealthy and uptight Banks family, are faced with the prospect of a new nanny, they are pleasantly surprised by the arrival of the magical Mary Poppins. Embarking on a series of fantastical adventures with Mary and her Cockney performer friend, Bert, the siblings try to pass on some of their nanny's sunny attitude to their preoccupied parents. Written by Jwelch5742

Plot Summary | Plot Synopsis

Taglines:

See It Again and Again with that Supercalifragilistic Music! [re-release Australia 1976] See more »


Certificate:

G | See all certifications »

Parents Guide:

 »
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Details

Official Sites:

Official Facebook

Country:

Language:

Release Date:

11 September 1964 (Brazil)  »

Also Known As:

Meri Popins  »

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Box Office

Budget:

$6,000,000 (estimated)

Gross USA:

$102,272,727

Cumulative Worldwide Gross:

$115,272,727
See more on IMDbPro »

Company Credits

Production Co:

 »
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Technical Specs

Runtime:

Sound Mix:

(RCA Sound Recording)

Color:

(Technicolor)

Aspect Ratio:

1.66 : 1
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Did You Know?

Trivia

The last feature in which Disney legend Ward Kimball worked as an animator. He designed and drew The Pearly Band for the "Supercalifragilisticexpialidocious" sequence, and the big, evil-eyed woman beating a tambourine against her little husband's head was typical of his humor. Walt Disney had promoted Kimball to director for his TV shows in 1954 but demoted him back to animator after the two had a falling out in 1961. With the huge success of "Mary Poppins" Disney had a change of heart and restored Kimball to a director's position, which he kept until his retirement in 1973. See more »

Goofs

When Bert traces Mary's shadow on the sidewalk, the sunlight obviously comes from behind Mary. However, when Bert stands up to greet Mary, the sun shines frontally into her face. See more »

Quotes

[first lines]
Bert: All right, ladies an' gents! Comical poem! Suitable for the occasion, extemporized and thought up before your very eyes! All right, 'ere we go!
[sings]
Bert: Room 'ere for everyone. Gather around.
[speaks]
Bert: The constable - responstable! Now 'ow does that sound?
[no response]
Bert: Hm.
[dashes over to Miss Lark, sings]
Bert: 'Ello, Miss Lark, I've got one for you.
[...]
See more »

Crazy Credits

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 »


Soundtracks

Let's Go Fly a Kite
(uncredited)
Music and Lyrics by Richard M. Sherman and Robert B. Sherman
Sung by Glynis Johns, David Tomlinson, Karen Dotrice, Matthew Garber, and Dick Van Dyke
See more »

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User Reviews

 
I urge people to try it again.
14 December 1999 | by See all my reviews

`Tart', `not nearly so sentimental as ‘The Sound of Music', `Disney's finest achievement' ... I'd read critics' comments like these with puzzlement. Had they seen the same film I had?

Of course they had: it's just that someone had got it wrong; and as it turned out, it was me. I still think that anyone who calls `Mary Poppins' Disney's finest is being silly - Disney's finest hour was clearly the one that saw `Pinocchio', `Fantasia', `Dumbo' and `Bambi' - but what we have here is a fine, clever film, NOT overly sweet.

What won me over was the ending. David Tomlinson changes from a mechanical banker to a human being with surprising fluency. It's not any one scene: it's the entire extended sequence, from the run on the bank to the end credits. And it's not just Tomlinson's acting, either, but the long, lingering shots of him standing and walking in darkness, and a use of music that's far more sophisticated than I'd first supposed it to be, the general intelligence of the script. The last lines given to Mary Poppins I'd missed the point of the first time round. She's a riddle throughout the film which the film's conclusion partially, but only partially, unravels.

Considered as a musical `Mary Poppins' lacks something. WHAT it lacks is revealed when we hear the Jane and Michael tramping around the house singing `Supercalifragilisticexpialidocious' (a great song, by the way) - and they GET THE TUNE WRONG. They get it wrong in exactly the irritating way that children WOULD get it wrong. This may be an inspired touch of realism, but it surely violates the ethos of musicals, as do the deeply pedestrian songs `Stay Awake', `Sister Suffragette' and `A Spoonful of Sugar'. This was the side of `Mary Poppins' I'd remembered. I'd forgotten the haunting quality of `Feed the Birds' and `Let's Go Fly a Kite', and the punch of the score as a whole.

So anyway, I'm now a convert. I can't find anything to seriously object to except Dick Van Dyke's ludicrous accent, which makes him sound almost, but not quite, like Bugs Bunny.


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