Buff sailor man Popeye arrives in an awkward seaside town called Sweethaven. There he meets Wimpy, a hamburger-loving man; Olive Oyl, the soon-to-be love of his life; and Bluto, a huge, mean pirate who is out to make Sweethaven pay for no good reason. Popeye also discovers his long-lost Pappy in the middle of it all, so with a band of his new friends, Popeye heads off to stop Bluto, and he's got the power of spinach, which Popeye detests, to bust Bluto right in the mush. Watch as Popeye mops the floor with punks in a burger joint, stops a greedy taxman, takes down a champion boxer, and even finds abandoned baby Swee'pea. He's strong to the finish 'cause he eats his spinach.Written by
Dylan Self <firstname.lastname@example.org>
During Popeye's fight in the boxing ring, the large banner at times has mirror writing revealing the shot has been flipped. See more »
That's a neat trick. Ha! Ha! Me infix is a psychic, a prophix. If I'd seen it with me own eye, I wouldn't believe it.
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The film opens and ends with the Sailor's Hornpipe, a famous nautical song. This song is heard as part of Popeye's theme song in the opening, then is heard in its full form at the film's ending. See more »
A recent television version is altered in at least one way. Bluto's song "I'm Mean" is eliminated from the soundtrack as he trashes the Oyls' family home waiting for Olive Oyl. See more »
It is very nice to see a revival of interest in this quirky little film. The art direction of this film is simply amazing, and deserved to win an Oscar for being able to completely capture the homely innocence of the story's setting, in rich detail.
Many have derided the story as unfocused, but there is an epic sweep to the storyline, which requires an episodic approach. This film requires paying attention on multiple levels, and rewards viewers who do so, as few other epic films have.
There are some detractors who can't handle the fact that the film is part Musical, but this is definitely in keeping with original cartoons, which frequently featured music in their storylines. In any event, the half-dozen or so songs come at appropriate intervals, and in some cases are Broadway quality set-piece showstoppers, like the scene in the Rough House Diner, and Pappy's diskgruntlement about Kids!
I will leave it to others to comment on the all-round fine ensemble acting, but I would like to finish by saying, that this is truly a film where the whole is greater than its parts. From the rich tapestry of Elzie Segar's original imaginings, to the lush production values brought to this vision by Robert Altman and company, this is a film that fails on some levels but succeeds on many more.
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