Latest / All The Right Movies / Mary Poppins (1964) | Ep. 53 - Part 1

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Mary Poppins (1964) | Ep. 53 - Part 1 · All The Right Movies

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All the movies. Mary Poppins spread the word.
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The big word supercalifragilistic.
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It's Julie Andrews and Dick Van Dyke with the year's last and
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biggest word in motion picture entertainment, Mary Poppins.
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Walt Disney's finest and most unique achievement in magical,
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whimsical musical screen entertainment.
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Watch for Mary Poppins acclaimed by everyone as Walt Disney's
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greatest achievement, Mary Poppins was released in 1964 and
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became an instant classic. Disney's timeless tale of a
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musical magical nanny and Edwardy London.
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The film is an exploration of childhood wonder, family bonds
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and finding jog in life simple moments.
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My name is John and the dancing chimney sweeps with me are
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Westie. Close your mouth please,
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Michael. We are not a codfish.
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And Matt? It's all me pals.
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Step in time, step in time. From Cherry Tree Lane to the
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London rooftops, all the right movies are talking imagination,
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animation and Julie Andrews. So grab your umbrella, we're
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heading up to the highest height.
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Hello and welcome to All the Right Movies.
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Practically perfect in every way is something we're not, but we
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are practically a podcast on classic and hit films.
1:40
I was going to say that's absolutely correct.
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But yeah, Carrier. Practically a podcast.
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Not quite there. Yeah, this episode, it's bound
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to bring the magic, isn't it? Of course.
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I'd have thought so. Yeah, Walt Disney and Julie
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Andrews, Hollywood royalty, as we step in time with the Disney
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classic that is Mary Poppins. Before we float up to the
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ceiling, though, should we plug our practically perfect patron
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offering? Now you're talking.
2:06
Let's do. Yeah, that is perfect.
2:08
So if you're a regular listener to our ATRM Classic podcasts,
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2:50
Easy as that, yes? Helps the medicine go down, if
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nothing else, it. Certainly does.
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It's certainly a big spoonful of sugar, that one.
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How many of these come a crowbar in?
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Lord, Mark, back in this episode and we are talking Mary Poppins.
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You put this one up, Matt. Did I?
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Obviously, Obviously. So why are we talking about it?
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It's the very definition of a timeless film for me.
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We've grown up with it, generations before us grew up
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with it, generations afterwards have grown up with it.
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And it doesn't matter how old your kids are, if you have kids,
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doesn't matter if they've been brought up in all the latest CGI
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animations. You put this on for them and
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they'll sit entrance through the whole thing.
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Now, am I sitting here as a 45 year old Manty and I watch this
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on a regular basis? No liar.
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Maybe you got away with that. Maybe you got away.
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With that, you see me time in there, just left it.
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But it is one of those classic films where if I'm going through
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the channels and it's on, then it's staying on whatever point
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it's at. So and then just from our
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perspective, it's great that, you know, we're kind of pushing
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the boundaries a bit. We're talking about a film from
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the the classic Disney era. We're talking the classic style
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of animation for the first time and our first ever proper
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musical. So we can finally take that box
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as well. Right.
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OK. Yeah, nice.
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Taking all the boxes. Not all of them, John, Not all
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of. Them, some of them, some of the
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boxes. I mean, like a lot of people,
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maybe most people, I've got vivid memories of watching Mary
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Poppins as a child. It seemed to be on every
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Christmas in the Uki think it still is.
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So it does have a kind of magical Christmas feel to me
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sometimes when I say it and still get that from it.
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Obviously as I got a bit older it went off the radar bit.
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I mean, imagine going to a school in South Shields in the
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90s, buying one about Chim Chim Cherie.
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I wouldn't be here now. I did it once.
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Yeah, once was enough. Swiftly regretted this.
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Yeah. And one of the most mind blowing
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experiences of my life was when I was about 16 and found out
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that bird from Mary Poppins was the guy of diagnosis murder
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right mental. Yes, right.
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Yeah, yeah. But now older again.
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I watched Mary Poppins totally differently.
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The creativity on the show is kind of astonishing.
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I think the ambition and the scale I still find impressive.
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It's placed in Hollywood history and Disney history.
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It's about was iconic as films get.
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I mean, when one of Hollywood's biggest stars, like Tom Hanks is
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starring in a movie about how another film was made, like
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Saving Mr. Banks, yeah, you know, it must be a significant
5:07
film. Yeah, that's the sequel to
5:08
Saving Private Ryan, isn't it? What?
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You and that making of story is a fascinating 1 groundbreaking
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work. Problems, fallouts, funny
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stories, it's kind of got the lot.
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Obviously we'll be talking about all that and huge opinions as
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well, and I can't imagine this won't be a write or laugh.
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Yeah, sure it will. And we do love to laugh, so
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yeah. Let's go for it, OK?
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And Westie, don't slouch. Ah, Mary Poppins for you if.
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Any Austria are going to slouch to be a cynical person about
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this. I'm trying not to swear because
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it's Mary Poppins, so I'm trying to be.
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Feels wrong. I do love this film.
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I've always loved this film. It's got such a charm and it's
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got such a warmth and it's so inviting and every time you're
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in it, you just think, I want to finish this and then watch it
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again. It's just got the real sense of
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just adventure. And like you said, John, it just
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has this magic. I don't know, it just has this
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real warmth. Oh yeah, it's set my house on
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fire when I watched it did it. No, it's not that warm.
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But yeah, it's wonderful. It is wonderful.
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I'm looking forward to diving into it because there's a lot of
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behind the scenes things that I didn't realize that I wasn't
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really aware of because I don't think of it necessarily as a
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film. I just think of it as a memory.
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It's just feeling. And when I start going, well,
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this is actually a film and it has adop and it has
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screenwriters and it has people who've written this like, you
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know what I mean? It doesn't make that kind of
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sense. So for me, yeah, it's a real
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magical film. It does stand the test of time.
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Like Matt said, my kids loved it.
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I loved it when I was a kid. And however, I sure do, it's
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impossible not to really fall in love with it.
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So yeah, it's a great, great film.
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So Mary Poppins was produced by Walt Disney Productions,
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distributed by Buena Vista Distribution and released on
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August the 27th, 1964. Filmed entirely at the Walt
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Disney Studios in Burbank, CA, the film was directed by Robert
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Stevenson, written by Bill Walsh and Don Degrade, based on PL.
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Trevor's series of children's books, and stars Julie Andrews
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as Mary Poppins, Dick Van Dyke as Bird, David Tomlinson as Mr.
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Banks, and Clintons Johns as Missus Banks, Sister Suffragette
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indeed. That's it.
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Let's get ourselves to 17 Cherry Tree Lane then, should we?
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Let's do it. Let's go storm a Brune.
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It's London 1910, as we talked, the beginning of Mary Poppins.
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Mary Poppins carries us through the streets of London for almost
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2 1/2 hours, but we're starting with the opening.
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The entrance of the titular nanny is coming, but we're
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beginning with some of that key character introductions.
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We are so the rooftops of London.
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Then Cherry Tree Lanes, where we begin.
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We meet Bert, sweeping and singing his way through the city
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like a mad mad. Then the Banks family in a state
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of chaos. Their nannies just quit, their
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children are missing, and a strange wind is blowing in from
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the east. What do you make of Suffragette
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City, Matt? I mean, I love Suffragette City,
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absolutely. Not the song.
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When I was a kid, I actually never really liked the song and
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I never understood the same because I just want Mary Poppins
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to turn up and I don't know why I'm watching the mother sing a
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song. But as an adult, it just makes a
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lot more sense because I think it is important to realize that
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these kids, they don't need, and I need because they've been
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abandoned or neglected. It's just the parents have
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prioritized other things and they've taken their eye off the
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ball. But those things are still
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important. Or certainly Missus Banks's
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causes, that line in the song. Our daughters.
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Daughters will adore us. Yeah, they will actually.
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Because obviously, decades down the line, women's rights are
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absolutely worth fighting for. So I think it works well in
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contrast with what Mr. Banks is prioritizing in his life, which
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we'll see in a bit, which is nowhere near as important.
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And one thing that I think has always been great, and I think
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she gets overshadowed a little bit in the cast, Glindis
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Johnson's Mrs. Banks, I think she's really excellent in this.
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She's really funny when she lifts a dress up mid song and
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that surfing the shrieks in horror, that's really funny.
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So yeah, it's a scene that as an adult I understand I enjoyed a
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lot more than I did as a kid. Yeah, everyone's blaming the
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kids, Jane and Michael, but it's adults who need to have a word
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with themselves. Exactly.
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Katie Nana is way out of our depth.
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Good riddance to her. And then Ellen, the maid trying
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to tell Mrs. Banks to her kids have gone missing, and she's
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just prancing about belting out sister.
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So forget. But something I love is the
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opening credits. I mean, always like a classic
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Hollywood opening credits sequence.
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And this one's great. The matte paintings of the
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London skyline by Peter Allen Shaw.
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They still look stunning. The font over the top is perfect
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for the subject matter. Yellow, too.
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So you like them West? Yeah, just.
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About to say take that one off. And then we end up Mary sitting
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in the clouds. Is that where she lives?
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Yeah, for now. How long should be there?
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It's fine. But then into the film and
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there's a lot to talk about. Like straight away.
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I love Bert shuffling about in his one man band here.
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Yeah, great. Admiral Boom.
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What's going on with Admiral Boom?
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Who is he? Doesn't matter, does it?
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Or random. Nothing in this film makes.
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Sense Who's the guy with? Where does he live?
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Who created this ship deck rooftop that they've got?
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It's insane. Master and commander.
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Blonde ponytail. It's been a weird.
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And why is everyone fine with the randomly firing is coming
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across London? It's insane.
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I do a little later on with his first mate though, when they're
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washing his windows and they're sitting in like a lifeboat.
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Yeah. Yeah, fantastic.
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And as character indros go, it's also well done with the Banks
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family and Bird especially. And he's likeable straight.
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Away. Oh, amazing.
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Yeah. Breaking the 4th wall first
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thing he does that's really ballsy as well.
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Say straight in oh, it's you. Yeah.
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That he knows who I am. Like when I was a kid, I'm like
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Bird knows who I am. It's amazing.
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Yeah, yeah, it's great. And in this introduction of Bird
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playing as the one man band, there's some references to the
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books in there as well. So the woman with the two tall
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daughters is called Missus Corey, and in the book she runs
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the local sweet shop. Right.
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Right. Yeah, Edwardian suites break
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your teeth on those things. Exactly right.
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Yeah, We've been introduced to Missus Banks.
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Let's meet Mr. Banks. I mean, let's he's a bit
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entitled, isn't he? Just a touch.
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Let's be honest. Sherry at six O 2, Bennett six O
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3 for the kids season. For one minute a day.
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I was like, this is just poetry. This is a what a blueprint this
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is. How do I get involved in this?
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This is absolutely fantastic. This sense of entitlement, his
11:33
sense of what's important, like Matt said, where he is the
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master of this domain. And you know, when you slippers
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and pipe and Sherry, it's all going to be ready for us.
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And I'm the kids are going to be ready for bed and I'm going to
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have it's outrageous. It is.
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This whole wealth is his identity, his class is his
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identity, and it really comes across that he is quite
11:54
despicable and a really terrible parent.
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It's set up straight away because yeah, I don't think
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you're supposed to hate the guy. I think you're supposed to hate
12:02
his outlook and hate his position and you're immediately
12:05
on that when you're introduced to him.
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So I just think it's a fantastic introduction to this character
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and the way that he deals with situations that his kids have
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gone missing. And then he says do not cloud
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the issue with facts. I just love that because that's
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exactly what you need to do to get the problem solved.
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The police are at his beck and call.
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They're at the door. What great service.
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Thank you very much. Find a player or something very
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entitled, very good though, because you kind of like the guy
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but you wanted to change his mind immediately.
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Yeah, you're right. I mean, I think Mr. and Mrs.
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Banks might be the worst parents in movies.
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They're an absolute disgrace. They are up there.
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Mr. Banks comes in, you find out his kids are missing and just
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instantly calls the police copy a little fun of themselves.
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Where could the be? Doesn't know where the hang out?
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Nothing exactly. It's like Home Alone in 1964.
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And then Jane comes in with a little letter that she's written
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about finding a new nanny. She sings it, for God sakes, and
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Mr. Banks takes an offer, rips it up, goes that's enough of
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that nonsense. The man's a monster.
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Is. Absolute monster.
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It's actually quite refreshing, I think, watching a big
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mainstream film that isn't moving like 1,000,000 miles an
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hour. Yeah.
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Allows the story to unfold with a plot around Jane and Michael
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going missing and the fact this whole thing was shot in doors,
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which we'll talk about. That's crazy because the scale
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of it is huge from the start. It's.
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Great how he questions valuables as well because the police says
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just some valuables. He's like valuables.
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Yeah. It's like your kids are
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valuable, you know, like we are worth something.
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And he's just, oh, that's not valuable.
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The bank's valuable men is valuable.
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He's called Mr. Banks for a reason.
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Exactly. Yeah, and I mentioned Glenda
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Strands, who plays Missus Banks. Walt Disney had wanted a cast of
13:41
From the Off, and one of the composers, Richard Sherman, said
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Johns initially thought she was up for the part of Mary at
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first. So when she found out it wasn't
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and it was Missus Banks, she said she would still do it, but
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with the condition should get a song to sing.
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So Disney told her they were right.
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When she left, he turned to Sherman and said, Yep, you have
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to write a song now. So I had written a song called
14:00
Practically Perfect But the distance named A Sister
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Suffragette. Right.
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Lovely. Yeah.
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Career went back to the 1930s. Glynis Johns.
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She'd be in films and on Broadway.
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So she kind of had the chops for this.
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Yeah. And I like Mrs. Banks.
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She's off her head. Yeah.
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She's a. Great mother, but doesn't know
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how to be one. Yeah, like all her feelings are
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there, but she doesn't know how to move forward.
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She just needs permission from people.
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And I think that's a whole point.
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It's like she's doing what she's doing so she doesn't have to ask
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for permission anymore. Yeah, it's a really good
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supporting performance, I think from Glynis Johns.
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And Jane is played by Karen Daughtrus, who was hired after
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starring in Disney film called The Three Lives of Thomasina,
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about a magical cat. Matthew Garber was in that film
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too when Disney thought he had a chemistry with Karen Daughtry,
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so he was cast as Michael. Yeah, they're good in the film,
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I think the kids. They are good.
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I think Karen Daughtrus especially is good.
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Yeah, I think you get just enough of them because they've
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got that slightly stage skill to poor Trackton, which I think it
14:55
could be a bit great. And if you get too much, but
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they're very sugary of these performances.
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But I've certainly seen a lot worse than this in the film.
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Do also think the best approach is always make sure they're
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sharing scenes with the adults who can carry them a little bit.
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But yeah, I do like them in this.
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I do as well, yeah. Katie Nana.
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Katie Nana. I always find that weird.
15:13
Katie, Nana. It's a weird.
15:14
It's a weird. Yeah, the nanny who leaves at
15:17
the start was played by an outrage called Elsa Lanchester.
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She's been nominated for two Oscars before this, and her most
15:22
famous role was in 1935 when she played The Bride of
15:25
Frankenstein. Yeah.
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Which I can see because she is a bit dull, isn't she?
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She's hot as a Brady Frankenstein.
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Oh, you should. Or maybe that's just me and.
15:37
The whole film was filmed indoors on sound stages at the
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Walt Disney Studio lot in California.
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Cherry Tree Lane and the park filled an entire sound stage by
15:45
themselves, and it was surrounded by a 360° cyclorama
15:50
so the camera could be turned in any direction without ever
15:52
breaking the illusion. Right.
15:54
Nice. Really cool.
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Yeah. The art directors were called
15:57
Carla Clark and William Tunke, and what they did was they built
16:00
the houses on Cherry Tree Lane in diminishing scale, which
16:02
makes the street look a lot longer than it actually is.
16:05
Old fashioned movie magic. Yeah, which I can't get enough
16:08
of. And whenever I say that kind of
16:09
Crescent shaped St. in real life, it always reminds me of
16:12
Mary Poppins and Cherry Tree Lane.
16:14
There's one in time mouth. There is exactly.
16:16
Yeah, same. I know exactly which one you.
16:18
Mean yeah and that's our opening character intros Chaos at #17
16:22
and a family in need of help. We've met the banks and birds.
16:25
Time to meet our magical nanny, I think.
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Oh yeah, The ad for a nanny goes up the chim chimney in pieces
16:33
the monster. But it gets a swift response.
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A floating Mary Poppins arrives at #17 tells Mr. Banks she's the
16:41
new nanny. And then amazes Jane and Michael
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by turning nursery clean up into a game of sing songs and
16:45
snapping fingers. Yeah, what will your height say
16:49
on that tape measure, do you think?
16:50
Oh, loves Roger Dickens. Yeah, fine, fine.
16:58
Well, how does Mary's intro go, do you think?
17:00
It goes well. I mean, there's better something
17:02
or other taking the place than the board bow, isn't there?
17:04
So I mean, it looks great. This is wonderful.
17:07
This moment. It's got real Wizard of Oz vibes
17:09
for me. It's the whole fly in a way.
17:11
It was great when I was a kid. I was just thinking, I would
17:14
love this to happen. I love the way they set it up.
17:16
So dour. All of these other nannies, they
17:18
all look terrifying and just like, oh God, I hope it's not
17:21
her. It's not her.
17:22
It's all about the kids and their view of it.
17:24
It's their point of view and we're seeing it from their point
17:26
of view. And again, it's like, is this
17:28
really happening or are they just imagining this as they're
17:31
watching it? Is this in their heads?
17:32
It's the whole films like that. So if you don't like this, but
17:35
if you don't like people just floating away for no reason,
17:38
don't watch Mary Poppins then, because this is the tone of the
17:41
film throughout. It's beautifully set up.
17:43
It's absolutely magic. It's great when it happens and I
17:45
would have loved personally, I would love to see Andrew get the
17:47
gig. Every second Tuesday off.
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That's it. That's that Popper, didn't you?
17:54
Probably. And he said every Tuesday, yes.
17:58
And Julie Andrew's delivery, when she reads out James Harden,
18:00
she's like, she was just position.
18:02
I am never cross. That is just perfect.
18:04
I love it. I love that close up as well.
18:05
You see, it's been torn up and it's been put back together.
18:07
Yeah, at the end of battle feature and they've totally
18:09
ripped that off. Yeah, but there's some really
18:12
good practical effects work. I mean, the nanny's being blown
18:14
down the street is great. Ruthless Poppins to get rid of
18:17
them. Yeah.
18:18
And then maybe gliding into the bank's front yard.
18:20
That looks really good. And my favorite of the lot when
18:22
she slides open the banister. Yeah, I still wish I could do
18:25
that. It's fantastic.
18:27
It's the way the said with that witches have brooms issue, which
18:30
where she from? What's with all this magic?
18:32
Yeah, it's great. I know a lot of those other
18:33
nannies were played by men dressed as women, which you can
18:36
totally tell when we get that shot of them all standing there.
18:38
But yeah, that shot of Mary floating into the street is just
18:41
iconic movie history. Yeah.
18:43
So to achieve the effect of Mary Float and Julie Andrews was
18:46
attached to wires which have been darkened so the studio
18:48
lights wouldn't reflect them. On one occasion there was a
18:51
problem when the stage hands lowered her too quickly and she
18:53
said I plummeted to the stage and left fly with a few
18:56
Anglo-Saxon four letter words. I have to admit Judy Andrews
19:01
would say that way. Potty mouth, Andrews.
19:04
No shock you'd be. Yeah, right now.
19:06
Yeah, I have to admit. But here in the Queen called
19:09
Prince Philip, I say Bob. It's like you're a maths way to
19:13
be honest. It's always new, it's always
19:15
shocking. And then you go from this to her
19:17
first musical sequence, which is where the character really takes
19:20
off. And This is why kids love her.
19:22
You know, one of the worst chores ever tied in your room,
19:25
and she's making it fun. She gets everything sorted by
19:27
clicking her fingers. She literally charms the birds
19:30
out of the trees on command. I mean, how cool is this
19:32
character? She's amazing.
19:34
And Andrew, I mean, her singing voice is just Immaculate.
19:37
That mirror trick with the reflection where it has a life
19:40
of its own that's so cleverly done just now.
19:43
One quick edit and it's absolutely seamless and it's
19:46
really funny when the reflection just hits that high note which
19:48
Mary's very unimpressed by. Cheeky.
19:50
Cheeky, yeah. Brilliant.
19:53
But then that's a thing with all that's going on by the end of
19:55
this scene. Drawers open and close and by
19:57
themselves a mirror reflection with a life of its own, a
20:00
wardrobe that's come to life and trapped together.
20:02
Just think, Sam Raimi must have loved this scene, because all
20:04
the needs is a new said cackling away.
20:06
And you've got Evil Dead too, right here.
20:08
Yeah, just under expose it by like 4 stops you've got Evil
20:11
Dead. Yeah, yeah.
20:13
When I was a kid I remember being muscly jealous that I
20:15
couldn't just snap my fingers and make me room tidy itself up
20:18
as well. How many times did we try
20:20
though? Nobody there.
20:21
I'll give this just in case, yeah.
20:23
Just in case I don't like how Mary's throws loads of shade of
20:26
the kids for being scruffy. Little Trump so.
20:30
Stepping over everything. Yeah, yeah.
20:32
I mean, it's not the first musical number in the film, and
20:34
we've heard bits of Chim Chim Cherie, but this is the first
20:36
time we hear one of the big iconic songs and all its glory
20:39
and spoonful of sugar. Yeah, and it's massive
20:41
automatically, I think it seems to represent the whole film
20:43
finding the good in things, in this case, finding the fun in
20:46
the chore of cleaning up. I think the choreography is
20:48
really good. The practical effects were to
20:50
make the toys put themselves away or the beds make
20:52
themselves. Has aged probably, but it's the
20:54
sick 60s and I still enjoy watching it.
20:56
What hasn't the age though, and I doubt ever will, is Julie
20:59
Andrews voice. It's like pitch perfect.
21:02
Yeah. It's Crystal.
21:03
It's. Clear as a bell, what a talent
21:06
she is, and watching it now I find the whole thing pretty
21:08
uplifting to be honest. Oh, absolutely.
21:10
You've been talking about it, just reminiscent about it, not
21:13
actually watching. It's still a wonderful scene,
21:14
yeah. It is.
21:16
And the Sherman brothers, who were the composers, they'd
21:18
originally wrote a song called Through the Eyes of Love, which
21:21
was going to be Mary's signature song, but apparently Julie
21:23
Andrews just didn't think it was good enough.
21:24
So it was taken out. But then Richard Sherman's son,
21:27
he came home from school one day and he'd been given the polio
21:30
vaccine and he said to him, or they gave it to him on the sugar
21:33
cube to make it easy to swallow. And that's where the title is
21:35
Spoonful of Sugar came from. Nice.
21:38
Wow, when I got my PCG at school I didn't get no spoonful of
21:41
sugar, just a massive needle. Yeah, and then punched off
21:44
everyone in the army. But Richard Sherman said his
21:48
favorite moment in all the time that he worked on the film came
21:51
the first time you heard Julie Andrews sing a spoonful of.
21:53
Sugar, I'm not surprised. Right.
21:54
Yeah, it would be, wouldn't it? Yeah, he said.
21:56
He started to cry, because it was good, presumably.
21:58
So if you could sing anything and it'll be amazing as long as
22:01
you've written it like she's singing my song.
22:03
Yeah, exactly. Yeah.
22:04
And the Robin that whistles along when Mary sings was a real
22:07
Robin now? Kidding, that was the Julie
22:13
Andrews had wires running up a sleeve and a team of puppeteers
22:15
had a stick that they would move to make the Robin move in same
22:18
time. So amazing.
22:19
Right. Yeah, like an early animatronic
22:22
and the Robins whistling. That was Julie Andrews
22:24
whistling. I mean, she's got some pipes on
22:25
her, Andrew, doesn't she? Yeah.
22:27
Brass band, Yeah. And Robert Stevenson, the
22:29
director, he wanted to get genuine reactions from the
22:32
children, so we didn't always tell Current or Trace and
22:34
Matthew Garber what was going to happen in one of these moments
22:37
is Mary giving the children medicine and it comes out in two
22:40
different colours. So when Jane screams, that was
22:43
Current Teresa's real reaction. And then when Mary pulls item
22:46
after item out of the bag, the children weren't told that was
22:49
going to happen. So their reactions in the film
22:50
are how they reacted on set at the time.
22:53
Yeah, it's still great. The bad moment when she pulls
22:56
the hot stand out. Brilliant.
22:58
And Michael goes under the table.
22:59
I love that reaction. He's like, what the?
23:03
Originally there was going to be a scene where Mary makes the
23:05
children's toys all come to life to teach the kids a lesson about
23:08
playing nicely together. It was inspired by a chapter in
23:11
the books were taken out with the film because I thought was
23:13
just far too scary for the kids. It does sound scary.
23:16
Sounds like the end of Toy Story when Sid freaks out.
23:19
Like child's play or something? Chucky in there.
23:24
That scene was brought back for the Broadway musical version of
23:27
Mary Poppins, apparently. OK.
23:29
And the toys that we do see move in the film when they jump into
23:31
the toy box. That was all done through stop
23:33
motion animation, which you can tell, Yeah.
23:35
Yeah, and there was another musical sequence planned for
23:38
early in the film at one point called The Magic Compass, and he
23:41
and Mary would take the children on a trip around the world and
23:43
they'd sing 4 different songs. The Sherman Brothers worked on
23:46
it for months but it was taken out probably because it just
23:48
took away from the main plot. Yeah, I mean, it's already 2
23:51
hours and 23 minutes long, throwing most of it there.
23:54
There were four. Songs.
23:56
Yeah, well, those four songs, one of them apparently became
23:59
the beautiful briny in bed knobs and broomsticks.
24:01
OK. OK.
24:02
Yes, and another became Trust in Me, the song that castings to
24:05
Mowgli in The Jungle Book. Oh.
24:07
Yeah, yeah, yeah. Yeah, it should be in every
24:09
Disney film car. Oh.
24:10
You're great, yeah. To take us to the end of this
24:13
section, we have our first ATRM patron question.
24:16
The benefits to becoming an ATRM patron keep coming.
24:19
We are pulling from Mary Poppins bag and we have our first
24:22
question now from Adam. Hello, Adam.
24:24
Hello Adam. So Adam asks.
24:26
This movie has one of the greatest character arrival
24:29
introduction scenes. It is fantastical and wondrous
24:31
while also telling us a lot about Mary and her personality.
24:35
With this in mind, I have a challenge for you.
24:37
What is the most successful and succinct character introduction
24:40
of all time? What do you think, Westy?
24:43
A man just love 1. As many as you want.
24:46
Well, I've got 4. One that immediately sprung the
24:50
mind in a very similar vein to this is Willy Wonka.
24:53
Brilliant in CC factory. I think that's beautifully done.
24:57
Gene Wilder wouldn't have done that without that introduction.
25:00
Totally sums it up. James Bond in Skyfall, right?
25:04
I absolutely love that we just walked into that sliver of
25:07
light. Oh, yeah.
25:08
Yeah, yeah, yeah. It does say on the tape measure,
25:10
I love Roger Duton, so that's why that's in the Hannibal
25:13
Lecter do when he's just stood his decision as well.
25:16
I think that's an incredible introduction to that character.
25:18
But my absolute favorite, it's always going to win.
25:20
It's Indiana Jones and Raiders just that walk into the light,
25:23
that snap of the whip every single time for me.
25:25
It is superb. I knew that one was coming from
25:27
your estate. Yeah, yeah.
25:29
I mean, Mary entrance, yeah is iconic, like we said, parodies
25:31
many times in history. But for others, I think Sid
25:35
Cherise knew how to make an entrance into a film.
25:37
The Bandwagon, Singing in the Rain are both great appearances.
25:40
Right. Singing in the rain, Yeah.
25:41
Aragon in the Lord of the Rings. Nice fellowship with the ring
25:44
brooding in the corner of an inn smoking a massive pipe.
25:46
Yeah, that's. Amazing.
25:47
That's why I want to be introduced to people just in
25:49
life. Yeah, he.
25:50
Does one of every film like he's in rowing 2 Towers when he walks
25:53
through the doors. Yeah, you're right.
25:55
I'm beautiful. But as the one, I'd probably
25:58
have to go with video. Corleone and the Godfather in
26:00
the opening scene. Connie's wedding.
26:02
It's about what, 3 minutes maybe?
26:04
And we learn everything we need to about them.
26:06
Sitting there in the dark, deciding who does and who
26:08
doesn't get justice. I mean, the lighting is
26:11
outrageous. Stroking a cat.
26:13
It's just a great visual image. Obviously, Brando, the day of my
26:16
daughter's wedding. It's still brilliant.
26:18
You ask me for a favor. Always will be brilliant,
26:21
surely? Absolutely.
26:23
Yeah, couple from me that are just in terms of the visuals,
26:27
Darth Vader obviously just striking through that door after
26:30
it's been blown up and just looking around and just not
26:32
caring whatsoever about all the dead bodies.
26:34
He's just. Rogue One, not better rogue.
26:37
One is great, it is just when that Saber comes on zoom.
26:40
Yeah, it's just in the dark. It's Yeah, fantastic.
26:43
Amazing. The other one Harry line in the
26:45
Third man, just when that window gets turned on in its Orson
26:48
Welles, just that smirk on his face.
26:50
He's been playing every all along, but the one I really
26:53
wanted to go for was De Niro as Al Capone right in The
26:56
Untouchables, because that introduction to him tells you
26:58
everything you need to know about him.
27:00
Just that top shot, that top shot, the.
27:02
Decadence, the charm, the way that all those reporters are
27:05
just hanging on his every word. You can see people field and
27:07
think, no, he's actually, you know, he's a good guy.
27:09
This guy can't be a threat until the Barber, just Nixon.
27:12
And you can see that temper in his eyes nearly explodes.
27:16
So you totally understand him by the end of that scene.
27:19
That silver Armani suit as well. Disgusting.
27:21
Yeah. It is great.
27:23
I'll thought you're going to say Deniro and Mean Streets where
27:25
he's got two women on his arm jumping.
27:26
Jack Flash. Yeah, Yeah.
27:27
Brilliant. I.
27:27
Think he's a Deniro and casino just getting blown up flying
27:30
across the Grove. And that is the beginning of the
27:34
film. We've met Mary Poppins and
27:36
almost every supporting character.
27:38
Should we talk about the guy tasked with getting the magic
27:40
onto the screen? Let's do it.
27:42
Let's do it. The director.
27:50
The director of Mary Poppins was Robert Stephenson.
27:53
This was his 19th feature film and at the time he was one of
27:56
Disney's most trusted film makers, having directed musical
27:59
fantasies. Old Yeller, Darby O'gill and The
28:01
Little People and The Absent Minded Professor.
28:04
Right? Yes.
28:04
He did all the yellow, did he? All right, that explains a lot.
28:07
The perfect guy that held Mary Poppins it seems.
28:09
Then Matt, how did they work out with Robert Stephenson?
28:12
Well, worked out really well, didn't it?
28:13
I mean, you can tell this guy is a veteran for Disney.
28:15
This isn't a film where you look and you go.
28:18
This is driven by the vision of the director.
28:20
You know, he was a studio employee.
28:22
Disney had a very clearview of what he wanted his films to be,
28:25
especially this one. And he hires men who will give
28:28
him that. He doesn't hire men who will try
28:30
and give their opinion and try to change the vision.
28:32
But having said that, that doesn't mean we should dismiss
28:34
what Stevenson does because he's got a lot of plates to spend
28:38
here. He's working with an actress
28:40
making her film debut in the lead role.
28:42
He's working with child actors, he's working with a veteran
28:44
actors, and he's got to get them all on the same page.
28:47
He's got to blend live action with animation.
28:49
He's got musical numbers. He's got dance sequences.
28:51
And then underneath it all, there's still the story beats.
28:54
He's got a hit and including the big emotional one right at the
28:56
end. So I can't sit here and pretend,
28:59
you know, this is the work of an author or anything like that or
29:01
someone who would shape cinema with this.
29:04
But for all that he he's got a handle, I think it would just
29:07
seem churlish to deny him a lot of credit for creating something
29:10
that is ultimately incredibly enduring.
29:14
Absolutely. I mean, I think it's quite a
29:15
unique role directing a Disney film, especially at this time,
29:18
because usually on a film, the director is the person in
29:20
charge, creatively anyway. They're the ones with the vision
29:23
and everyone else is there to collaborate, obviously, but help
29:26
them achieve that vision. But on a Disney film in 1964,
29:29
that wasn't the case. Walt Disney is the one with
29:32
division, and everybody's there to achieve that, including the
29:35
director. So Robert Stevenson's there to
29:36
handle the day-to-day details, the shoots, margin, the cast,
29:39
the schedules, working with the crew, and going by the end
29:42
result of what we see on the screen.
29:44
He did that pretty brilliantly. I mean, it's not just a straight
29:47
children's story, not in Disney's hands anywhere, but
29:49
it's on classic books, obviously.
29:51
But to just describe this as an adaptation I think might do it a
29:54
disservice. It's cinematic as hell, this
29:57
insane blend of animation, special effects, live action,
30:00
huge musical sequences. I mean, the technical
30:03
achievements with the animation for the time were crazy.
30:06
The songs are still massive, the performances are like legendary.
30:10
To say they knew how to use Julie Andrews in the film and
30:12
nobody else ever had is an understatement.
30:14
And I mean, it is one hell of a cast and crew doing all that,
30:17
but Stevenson's the guy pulling it all together.
30:19
He clearly understood the brief from Disney inside out.
30:22
He knows exactly what it needs to be massively ambitious.
30:26
It's essentially aiming to be the best family musical ever
30:28
made. And it kind of pulls it off.
30:30
I got very close. Yeah.
30:32
And visually, it's still bounces off the screen.
30:34
Emotionally, it's still all there.
30:36
It seems that might not have had that vision, but he played a
30:38
massive part in delivering it. Given what he was tasked to do,
30:41
I think it's pretty faultless work from the director.
30:44
Yeah, absolutely. Is the captain of this ship.
30:46
I mean, it's quite a ship. It's it's quite a size.
30:50
And you have to explain where you're going in the middle of
30:52
the ocean and not a lot of people are going to understand
30:54
where you're going with this film.
30:56
There's nothing like it since, and there wasn't much like it
30:58
before, let's be honest. Very original in its tone, very
31:02
original in what it's trying to pull off.
31:04
And at the same time, it needs to cement the fact that it's a
31:06
Disney film. He needs to have a Disney stamp
31:09
on it and needs to have a Disney identity to it.
31:12
And I think that's what Stevenson does.
31:14
He brings that. So he does an absolutely
31:17
wonderful job. Not only does he maintain the
31:19
tone of the film all the way through, not only does he pull
31:22
everybody together, but he also sets the tone for every Disney
31:25
film that comes after this. Yeah.
31:27
Yeah. It's the blueprint.
31:29
It's the benchmark. Bed and Broomsticks was 71,
31:32
right? How many films have just seen
31:33
this? And just I will take that bit
31:35
from every bottoms and make that into a whole film.
31:37
You know, it's it's happened so many times.
31:39
He addresses so many tones in this.
31:41
There's so many different lighting setups for a start,
31:44
that it just boggles the mind. Like the bank set up compared to
31:48
the bank's house compared to the, you know, Cherry Tree Lane
31:51
exterior is 3 completely different vibes all over the
31:56
place. And it's hard like, and he's
31:58
shooting on film and he needs to make sure everyone knows that it
32:01
makes sense and needs to get really confident performances
32:04
from every single person in front of the camera.
32:06
And he does that. I think it's an incredible,
32:08
incredible piece of work from a director solo point of view.
32:12
He really sets the tone and does Walt Disney a huge, huge favor.
32:17
Oh, absolutely. Yeah.
32:18
Yeah. So Robert Stevenson had already
32:20
worked on Disney films before this, which got him the gig.
32:22
Trusted pair of hands, But he also had a background in
32:25
studying mechanical sciences at Cambridge University, I guess.
32:28
Must have held him wrapping his head around the more technical
32:30
aspects of the film. That seems to show, I think.
32:32
Anyway, doesn't. It gives him a bit more
32:34
patience, more than I would have anyway.
32:36
Yeah, but the story of how Disney brought Poppins to the
32:38
big screen does start way before Robert Stevenson was involved.
32:42
I think you're keen to tell that story, Matt.
32:44
Oh, you wouldn't believe how keen I am.
32:48
I've got to believe it. Look at his face.
32:52
Yeah, Disney first became aware of Mary Poppins in 1938.
32:55
That's because his children Diane and Sharon there told him
32:58
about it after reading the books, right?
33:00
And there were only two published at the time.
33:02
So Disney wrote to the author Pamela Lydon Travers to enquire
33:06
about the rights, but she wasn't keen on giving away creative
33:08
control. Yeah, as far back as that.
33:11
I wonder as well how much that had to do with The Wizard of Oz.
33:13
Yeah, that would have been in production in 1938, and Disney
33:17
would definitely have known about it.
33:18
And I wonder if you thought I wouldn't mind a bit of that.
33:20
Yeah, and she turned him down. Like what with Walt Disney
33:23
wasn't the most subtle of man. He's probably just written good.
33:25
I'm having this. Yeah, he gets.
33:27
What he wants doesn't. He Yeah, of course he does.
33:29
And then what's his hands? Then in 1944 Travis moved to New
33:34
York from London to avoid the Blitz and then waltz brother Roy
33:38
Disney who Co founded the studio with them when they see you
33:41
again. And she told him Mary Poppins is
33:43
not a cartoon. There's a line in Saving Mr.
33:47
Banks where PL. Travel says to Walt Disney, I
33:49
won't have her turned into one of your silly cartoons.
33:52
That line was apparently inspired by this meeting with
33:54
Roy Disney. Right.
33:55
Yeah, he's crushed when she says it in the film as well.
34:00
But there had been a USTV adaptation in 1949 when the
34:04
anthology series Studio 1 aired an episode called Mary Poppins,
34:08
and in that she was played by Mary Wicks, and that got
34:11
Hollywood interested again. Right.
34:13
Mary Wicks. You might know her as Sister
34:16
Mary Lazarus from Sister Act and Sister Act 2.
34:18
Back in garbage. Oh, OK.
34:19
Yes, yes. Right.
34:21
No magic in those smashers on the soundtrack, you know.
34:24
Oh yeah, yeah, I disagree. They are both magic.
34:30
So then after the TV version, Sam Goldman bought the movie
34:33
rights and apparently he was considering custom Katherine
34:35
Hepburn to Blair Poppins, right? But production stalled and then
34:38
the rights expired. Yeah, apparently more.
34:41
You know horror spoke to Disney about playing Mary as well,
34:44
right? Wow.
34:45
Even with big stars it are pretty hard to imagine anybody
34:47
else doing it now I think. Yeah, and then Disney found out
34:50
that the rights were available again in 1959 and went himself
34:53
to Travis Home in London for tea.
34:55
By this point, the book sales were beginning to decline and
34:58
travelers agreed to sell Disney the rights with the condition
35:01
she was given final script. Approval.
35:04
Yeah, apparently when they've been discussing it in the 40s,
35:06
Travelers asked for $10,000 for the rights, but then in 1959 she
35:10
wanted $750,000 plus some of the back end and Disney just agreed
35:15
to it. But even then, PL.
35:18
Travelers involvement didn't end there.
35:20
There's a few of that good stories about her to come, which
35:22
we'll get into as well. Yeah, for his work on Mary
35:26
Poppins, Robert Stephenson was nominated for Best Director at
35:28
the Oscars, and the film was nominated for Best Picture.
35:32
Lost out to the same film for both.
35:33
Do you know what it was? I think it was it was My Fair
35:38
Lady, because there's the whole thing about Julie Andrews didn't
35:41
get that role, she got Poppins instead.
35:43
It was My Fair Lady best picture.
35:45
Get in. And George Q Core Best director.
35:48
Go on, Matt. That isn't the last time I
35:50
mentioned My Fair Lady, either. No.
35:52
So missed out on the big directing prize?
35:54
Maybe, but Robert Stevenson's work on Mary Poppins helped
35:57
create what will become one of Disney's biggest classics.
35:59
I think it's probably the biggest, to be honest.
36:02
It's up there. It's up there.
36:03
Yeah, the cast. Robert Stevenson was a trusted
36:12
Disney figure at the time of Mary Poppins then, but the same
36:15
isn't necessarily true of his actors.
36:17
It's time for our three central players in the cast.
36:19
That's Dick Van Dyke as Chimney Sweet Bird and David Tomlinson
36:22
as the uptight George Banks. Where should we start though, do
36:25
you think? But where do you think?
36:28
So Julie Andrews plays Mary Poppins, a magical nanny who
36:32
blows in the Cherry Tree lane on the east wind.
36:34
The story follows Mary through her arrival at the Banks
36:37
household, who had ventures with the children and birds, then
36:39
departing after bringing the family closer together.
36:43
She's practically perfect in every way.
36:45
Apparently. Westie self prayers.
36:47
No prayers, But how was Julie Andrews playing Mary Poppins?
36:51
I mean, I've done very well up to now.
36:53
We're a little bit into the podcast, right?
36:55
And I haven't got into it, but Oh my God, she is perfect in
36:58
every way, isn't she? She's fantastic.
37:01
She's just an absolute dream. She's just a vision on the
37:04
screen. No matter what outfit she's in,
37:07
it works. No matter what she's singing, no
37:09
matter what a dialogue is, she's just wonderful.
37:12
She's absolute magic on the screen.
37:14
She's one of the best characters realized by Julie Andrews.
37:17
I'm confused about where Julie Andrews starts and Mary Poppins
37:21
starts and where she ends and I've no idea.
37:23
I literally have no idea. She's personified this character
37:26
to a Daniel Day Lewis standard to a point where she's just
37:30
disappeared into this character. She just owns it.
37:34
Absolutely owns the character. It's believable jumping into
37:37
which all painting is believable.
37:39
The cheese in that world don't fall over and break the
37:41
painting. I believe that I buy the entire
37:47
universe. I buy it when she's got an
37:49
animatronic Robin on her finger. I buy it when she's talking to a
37:53
parrot that's at the end of an umbrella and she's hitting its
37:55
little nose. It's no, that should not work.
37:59
That should transport you somewhere else.
38:01
But what she does, she just wraps her arms around you, pulls
38:05
you into this universe, and it's just a hug from her and it's a
38:09
safe place. She's extraordinary in this
38:13
film. It's one of the best character
38:15
players I think I've ever seen from anybody.
38:17
And she'll always be remembered in this role.
38:19
And she is, like you said, without certain cliche, but it
38:22
is probably perfect in every single way.
38:26
Yeah, I think in the way that she's written, Mary's very much
38:29
static. She doesn't have an arc.
38:30
She changes everybody else around her.
38:32
It's like the classic Christ like archetype and shortly the
38:35
big JC himself. I'm not sure there's a more
38:37
famous version of that than Mary Poppins and Julie Andrews
38:41
playing her. It is one of the most famous
38:43
character actor relationships we've ever seen, I think.
38:46
I mean, not an easy thing to pull off, being both stern
38:49
governess and charming songstress at the same time, but
38:52
Andrews does it without breaking a sweat.
38:54
She manages to be both strict and a delight at the the same
38:57
time, somehow. Obviously our voice is stunning,
38:59
but you can act as well. There's one or two moments where
39:02
Mary's math does slip slightly, like at the end, you're seeing
39:04
Westy when she's talking to a parrot umbrella pal about the
39:07
children, and you can see the emotion without actually doing
39:10
all that much. It's amazing.
39:11
And what's insane is that she was a Broadway star, Julie
39:14
Andrews, but she'd never been in a movie before.
39:17
This was her first role in a film.
39:19
Outrageous. If we could be abused, this has
39:21
got to be it, right? Yeah, yeah, surely.
39:23
It's got to be it. It's ridiculous.
39:26
Leading a Mass, it's a Disney production and she basically
39:28
turns up fully formed as if she's been doing it for years.
39:30
And. Eclipses everybody on the
39:32
production. Eclipses everybody.
39:34
Yeah, to say she carries the film.
39:35
She floats off with it in a bag of.
39:36
Course she does with ease. An enormous talent.
39:39
She is Hollywood royalty basically nowadays, and that's
39:42
mostly because of two legendary performances, The Sound of Music
39:45
and Mary Poppins. Yeah.
39:47
It's just hard to say something about Julie Andrews in this that
39:50
hasn't been said before, but I think it's actually really easy
39:54
to underestimate what a massive challenge this was for her.
39:57
As we've said, it's a debut performance.
39:59
She's the lead in this massive production.
40:01
The film had huge expectations and if this fails, that's going
40:04
to hang around her neck for the rest of her career.
40:06
Rightly or wrongly, she loves Me or Julie Andrews couldn't put it
40:09
on screen, but she is just not perfect in this and as soon as
40:13
you see you just think. This is iconic.
40:15
This character's iconic straight away.
40:17
That costume, the way she holds herself, you don't think for one
40:20
minute this is someone who's never, never set foot before
40:23
film camera before. Like it sounds strange to
40:26
describe it this way, but this performance is just fearless.
40:29
It is, yeah. No worries from her at all.
40:32
She has the feel of a veteran and she's only about 29, I think
40:36
when she makes this. 28 I think she might have.
40:39
Been right, 2829 I mean. What were you doing with the 29?
40:42
Nothing. Exactly not Mary Bobbins.
40:48
But she just has the aura of someone much older, much more
40:52
experience, and that makes it perfect for the role.
40:54
I mean, you talk about perfect custom choices and we always say
40:57
our Harrison Ford is Han Solo are Indy, this Julie Andrews has
41:02
been at the top of the list. She can sing, she can dance.
41:05
She was really funny as well. It's just watching the birth of
41:08
a star. And hot as toast.
41:10
Let's not skip around it. I mean, yeah.
41:12
Exactly trying to keep the tone. Yeah, of course she is.
41:16
I mean, it is not an impossible to imagine anyone else playing
41:19
her now, but Walt Disney considered many names to play
41:21
Mary Poppins before Julie Andrews came along, right?
41:24
Would you like to hear some? That's cool for it, yeah.
41:27
So Mary Martin was one of the biggest Broadway stars at the
41:29
time. She was in talks at one point.
41:31
OK, Also, fasten your seatbelts. Betty Davis was dismissed.
41:36
Terrifying. Mary Davis as.
41:40
Well, as more Hollywood royalty, Elizabeth Taylor, Right, Right.
41:44
OK, yeah. And apparently, Angela Lansbury.
41:48
Wow, okay. Solving murders.
41:50
That was a broomstick, so yeah. Yeah, yeah.
41:53
She works broomsticks. I can see how that works.
41:55
Yeah. Yeah, fair enough, maybe, she
41:56
wrote. Yeah.
41:59
But Julie Andrews, she had been performing on stage since she
42:02
was 13 and was a big name on Broadway already.
42:05
So at this time, she was appearing alongside Richard
42:07
Burton in Kamlot, and they appeared on The Ed Sullivan Show
42:10
performing some of the songs. Richard Sherman saw that
42:13
performance and said he called his brother Robert immediately
42:16
and said, are you watching The Ed Sullivan Show?
42:18
And Robert replied, yes, she's perfect.
42:22
Yeah. Apparently they went to see Walt
42:24
Disney and his assistant Tommy Will accepted them.
42:27
If you go in there saying this, Julie Andrews is perfect.
42:29
You won't like her. That's how he is.
42:31
You need to make him think that it's his idea, right?
42:33
So they arranged for Disney to go and see Camelot.
42:36
He met Julie Andrews backstage and basically offered her the
42:38
part there and then, apparently. All right, like talking to Luke
42:41
in it. Yeah, got absolutely played
42:46
Disney. But after all that, Julie
42:49
Andrews wasn't keen on accepting the part at first.
42:51
At the time she was pregnant but Disney said that's OK, we'll
42:54
wait. And also she knew that Warner
42:56
Brothers were in pre production on My Fair Lady.
42:58
She won a Tony Award for playing Elisa Doolittle and one of the
43:01
player in the film. And Jack Warner thought she
43:03
wasn't a big enough star and cast Audrey Hepburn obviously.
43:06
So Andrews accepted Disney's offer.
43:08
Yeah, 100 and Disney begging covers for the rights, begging
43:12
Andrews to be in the film. Yeah, but then apparently when
43:15
Julie Andrews won a Golden Globe for Mary Poppins, she thanked
43:17
Jack Warner in her acceptance. Oh, Nathan.
43:20
That cheeky? Yeah, do that.
43:23
You pipe and smoke it, Jack. In the Sweet and the Deal even
43:26
more, Disney hired her husband, Tony Walton to work on the film
43:30
his costume designer and set designer.
43:32
So he designed all of Mary's costumes, as well as the stripe
43:35
jacket that Bird wears in the animated sequences and the set
43:38
for Cherry Treat Lid. Great jacket that bird wears.
43:49
And apparently Disney also gave Julie Andrews and Tony Walton a
43:52
personal tour of Disneyland and told the animators on 101
43:56
Dalmatians, which was in production at the time.
43:58
They say designs of Anita on Julie Andrews, right?
44:01
There's a definite resemblance. There is, absolutely.
44:04
Wiley old fox Disney, wasn't it? Yeah.
44:06
He knew how to do it. Yeah.
44:08
There was one more person that had to convince After she gave
44:11
birth to her daughter, Emma Andrews took a phone call from a
44:14
hospital bed from PL. Travers and Abdul was exhausted
44:17
and Trevor said, well come on girl, talk to me.
44:20
The smoke and Trevor's ended by saying you're far too pretty, of
44:22
course, but you do have the nose for it.
44:24
Imagine that you have the nose for it.
44:27
That's what you're in, yeah. PL. travels.
44:29
Probably thought that was a nice thing to say.
44:33
You in production. The cast and crew was so blown
44:35
away by Andrews that stories about a performance started to
44:38
circulate in Hollywood and the director Robert Weiss visited
44:41
the set to see her and then after watching just a few
44:44
minutes of footage he offered her the lead role in the film.
44:46
He was in pre production on The Sound of Music.
44:50
Right. Pop was in the Sound of Music,
44:52
back-to-back, boom boom. I always.
44:54
Thought Sound of Music was before this.
44:56
Yeah, the year after. Yeah, she just looks younger in
44:58
that. Yeah, I bet Jack Warner was
45:00
kicking himself a bit at that point if he wanted to.
45:01
Star Wars. And Julie Andrew said she was a
45:05
bit of a perfectionist on the film, and when she recorded Stay
45:08
Awake, she did nearly 50 takes before she was happy with it.
45:12
She later said it was too many. Dick did some of his songs in
45:15
one take. 1 Van Dyke. Of course he did.
45:17
I mean, yes. Yeah, I know.
45:20
We're not comparing apples apples here.
45:22
That's not you. Come on, Andrews, Van Dyke
45:25
smashes out in one take. He's got a base from on his
45:29
back, I'm sure he can manage. Performance as Mary Julie
45:33
Andrews won the Oscar for best actress on her film debut,
45:36
beating out Audrey Hepburn in My Fair Lady.
45:39
A bit of poetic justice there, maybe.
45:40
Yeah, there's a parallel universe where them rules are
45:43
swapped though. Yeah, I can see it.
45:44
I can totally see it. Definitely.
45:46
Yeah, yeah. So yes, a well deserved Oscar.
45:49
And by sounds of it, we think Julie Andrews is not practically
45:52
absolutely perfect as Mary Poppins.
45:54
Absolutely perfect. 100%, yeah. The lead male actor in the film
46:00
is Dick Van Dyke, who plays Bert, a cheerful chimney sweep
46:04
and St. artist and one man band. We follow Bert as he joins
46:07
Mary's adventurers, jumping in the paintings and dancing across
46:10
rooftops, all while providing a musical narration to the
46:13
transformation of the Banks family.
46:16
A slightly controversial accent Matt.
46:18
But how was DVD as Bert? He's sensational.
46:23
I mean, there's no other performance in cinema like this.
46:26
Not screw it up, but it is like. Sensation.
46:31
I like one of the. Fundamental aspects of any role.
46:35
The accent is so disastrously blad, but it doesn't matter.
46:38
It doesn't matter. It's so bad.
46:39
It's become part of the reason we love the character and the
46:42
performance so much. I mean, with AI these days, that
46:45
could easily go back into just that accent, I'm sure, but
46:48
there'd be rides in the street if that happened.
46:50
And I think with Fan Dyke, you've got someone who had just
46:54
done it all by this point. He'd done radio, he'd done TV,
46:57
he'd done vaudeville and Broadway, and then he just makes
46:59
this step in the film effortlessly.
47:01
In fact, I think as an actor he's probably really underrated
47:04
because of the nature of the films he's chosen.
47:06
And he doesn't get enough respect for what he could do
47:09
because he's just an absolute notable showman and everyone
47:13
loves him. And you watch him this and you
47:14
we realized why he's so funny. He's so lovable.
47:17
He's so full of enthusiasm for the material.
47:20
He nails the songs, he nails the dancers, he nails the jokes.
47:23
Love the guy. And I just would not change that
47:25
accent whatsoever. Yeah, where to start?
47:28
We're digging Van Dyke. It's an outrageous performance
47:31
in many ways. First off, I know it's a
47:33
fantasy, but no Edwardian chimney sweep ever had teeth
47:36
that white. Surely gleaming gnashes for Van
47:40
Dyke. Unless their face was covered
47:43
with soot and it looked like I might be that.
47:47
And yes, the cottony accent we know.
47:49
Everyone knows it's not good. This is what you more call a
47:52
fortune. Vicious circumstance and his
47:55
dance moves running on the spot every time.
47:57
That's it. But how great is he though?
48:01
But. He's great.
48:02
He's kind of the audience window into the world, the one that
48:05
would relate to the most, probably.
48:06
So we need to like him. And to say that the audience
48:08
likes Dick Van Dyke and Mary Poppins is an understatement.
48:11
Everyone loves him. How can you know?
48:13
He's so warm, so enthusiastic about everything, always got a
48:18
mischievous twinkle in his eye without ever being annoying
48:21
about. Was like with a screen presence
48:22
as he could get. I mean, in terms of musical
48:25
talent, Van Dyke should get blown away.
48:27
Like those nannies sharing the screen with Andrews.
48:29
I don't think he does just charm.
48:31
No. Yeah.
48:32
A charming fella, a charming performance.
48:34
And I'm the same man. I wouldn't change the accent for
48:36
anything now. It's all part of it.
48:38
Yes. Yeah.
48:39
I mean, I totally agree. If you don't love Dick Van Dyke
48:43
in general, don't matter with you.
48:45
Yeah. Why are you so fucking
48:47
miserable? Just just alright, Don't worry
48:49
about it. He's so wonderful in this and so
48:52
warm and the bit that always gets me, you know, when they run
48:54
away from the bank and they run into him.
48:57
Oh, yeah, And the whole world's dark and horrible and cold and
49:00
nasty and the run into birth. I always feel like I could just
49:03
cry because I'm just, this guy's going to take care of you.
49:06
But he knows everything. He's got this wisdom about the
49:10
life. He's not ignorant.
49:12
He's not stupid. There's a real depth to this
49:15
character, like he's been through it.
49:16
You feel like he's been through things and he's just trying to
49:19
make ends meet. But he knows who Mary Poppins
49:21
is. There's one bit just before the
49:24
whole color fragilistic outburst and she says there is one word
49:29
and she turns to Burt and he goes tell them what it is and he
49:31
gives out the floor. Just that moment.
49:34
That is the character. He's just the best guy in the
49:37
world and if you're going to be, anybody would need to just make
49:42
T-shirts. It just says be more Bert and
49:44
we'll just sell. Them out because let's do it.
49:46
It's still timeless, it's still there, it's still relevant.
49:49
Just be a good person and just look out for other people.
49:53
He's just a wonderful, wonderful, selfless, lovable
49:56
character. And I mean, the accent, I don't
49:59
care. He's invented a new one.
50:01
So why? There it is.
50:05
Be like Bert. Be more Bert and we'll get them
50:07
on team show. Yeah, there were loads of other
50:10
acting names up for the part of Bert.
50:12
As you might imagine, Walt Disney apparently considered
50:14
Danny Kay, Fred Astaire, and Cory Grant.
50:17
Right. And Cory Grant.
50:19
Yeah, and PL. Travels wanted an all British
50:21
cast and she suggested Richard Burton, Alec Guinness, Laurence
50:24
Olivier, Peter O'Toole and Peter Sellers.
50:28
All. The Hillary is on set.
50:31
I. Know anyone but Van Dyke?
50:34
I'd rather. Well, Van Dyke himself, he said
50:38
many times he had no idea why he got the part and said actually
50:41
Jim Deal or Ron Moody would have been better cast than him.
50:44
But apparently Walt Disney had read an interview of that Van
50:47
Dyke had done in the early 60s where he said his dream job was
50:50
to work on a Disney film. And that gave me the idea of
50:53
customers, Burt. Right.
50:55
Yeah, I know that he started. That was a mime, Dick Van Dyke.
50:58
But film wise, he'd only been in Bye Bye Birdie and what a way to
51:01
go at the time. But he was well known from TV.
51:03
He had the Dick Van Dyke show at the time, Yeah.
51:06
And he performed on Broadway as well.
51:07
So to be fair, he was a pretty safe bet.
51:10
Yeah, yeah. Definitely not 2 accents maybe.
51:12
Maybe not, but as a support and actor in this role, he's
51:15
perfect. Son and Dad's man He's a.
51:17
Brilliant support. A brilliant support.
51:19
Superb as well as good as you can get, I think.
51:20
Yeah, definitely. Yeah.
51:22
So here we go. The elephant in the room, right.
51:24
Van Dyke's accent in the film is the most talked about accent in
51:27
films. In 2003, it is.
51:29
In 2003, Empire magazine for it is the second worst movie accent
51:33
ever after sorry, Matt Sean Connery's Irish accent in The
51:37
Untouchables. You believe that?
51:41
How do you feel now? Better or worse?
51:45
So Van Dyke has apologised for it but said his Vogel coach J
51:48
Pat O'Malley had even worse Cockney accent.
51:54
O'Malley thrown right under the bus.
51:55
Right under the bus, right under the number 4, the King's Cross.
52:01
I actually thought this is what people in London sounded like,
52:03
if I'm honest. And then I went to London sound
52:06
nothing like this. So it's good.
52:07
If you grew up in the north of England, this is a perfect
52:10
accent. Yeah, anyway, Except London,
52:12
probably. Love it.
52:13
Yeah, it's great. You just view the voices in the
52:16
animated sequence. Pat or Murray, like the Master
52:18
of Hounds and one of the pearly band members that we'll talk
52:20
about in a bit. All right, OK.
52:22
Yeah. But after he was cast as Bird,
52:24
Van Dyke also became interested in playing the part of Mr. Dor
52:27
Senior, the boss of Mr. Banks at the bank.
52:30
Disney wasn't keen on that idea, so Van Dyke said he'd do it for
52:34
free. Disney still didn't want them,
52:36
and said if Van Dyke made a $4000 donation to Cal Art,
52:39
Disney's art school, he could play the part.
52:42
And that works out at about $30,000 in today's money.
52:47
Give us some money to be in the film.
52:48
He's already in there. Desperate to play him.
52:53
We'll talk a bit about Van Dyke is Mr. Doors in a bit, but it's
52:55
quite cool in the end credits where it says Mr. Doors seniors
52:58
played by NAV Kid Keed and then the letters on scramble to say
53:01
Dick Van Dyke. Yeah, I like that.
53:02
Yeah. Dick Van Dyke wasn't nominated
53:05
for any Oscars for his dual role as Bert and Mr. Dawes.
53:07
Senior winner of best supporting actor that year was Peter
53:10
Ustinov for Tob. Carper right Heist movie.
53:13
I love Lisinov. OK, yeah, but despite the
53:16
accent, we think Dick Van Dyke's pretty special as Bert.
53:19
So he's wonderful. Wonderful, wonderful.
53:22
And when he was asked decades later how he wanted to be
53:24
remembered, Dick Van Dyke said easy for Mary Poppins.
53:27
Nice, of course. Yeah, why wouldn't?
53:30
You. Yeah, I'd pay foreground to be
53:31
in it as well. The 3rd and final cast member
53:35
we're talking about is David Tomlinson, who plays George
53:38
Banks, a stuffy banker who runs his household like a well oiled
53:42
machine. We follow Mr. Banks through his
53:43
journey from rigid taskmaster to loving father as Mary helps him
53:47
discover what truly matters in life.
53:49
Flying a kite? Yes, yes, he loves that kite,
53:52
Matt. He does.
53:53
Loves the tuppings. I was David Tomlinson as Mr.
53:57
Banks. I really like him and this, he
53:59
gets a lot of laughs from just the facial expressions whenever
54:02
he returns home to be faced with whatever chaos is going on in
54:05
the house now. And I think he pushes the
54:07
character just enough. He doesn't make him like an
54:10
irredeemable asshole, he just makes my daddy's lost
54:13
perspective and it's just forgotten what's important in
54:15
life. But I also think this was just
54:17
very personal for Tomlinson as well.
54:19
He was pretty much the opposite to Mr. Banks.
54:21
Off the screen. He was very famously a devoted
54:24
father because one of the sons was autistic and Tomlinson was
54:27
very much an early advocate for understanding the condition.
54:30
All right. Well, I did not know that.
54:32
Yeah. Yeah, which consider you you
54:34
talk in the 50s and 60s like I should have to think how people
54:37
with autism were labeled back. Then that's a really hard push,
54:40
isn't it? It is a really hard push, but he
54:42
stood up and he pushed for better treatment and I think
54:44
that notion, if therefore playing a father, he was away
54:47
from his children and the guilt he would feel off that, I think
54:50
that really feeds in the performance.
54:53
It does. I mean acting names most people
54:55
think of when you say Mary Poppins, or probably Julie
54:57
Andrews and Dick Van Dyke, and not much beyond that.
55:00
But I think Mr. Banks has to be discussed as well because he's
55:03
kind of the heart of the film, or rather his arc is start as a
55:06
timers money banker who hates his kids.
55:09
Absolute monster at the start and then by the end he's like
55:12
best dad in the world. If anything, he's gone too far
55:14
away. Well, I think one of the things
55:19
of the film is about striking the work life balance it touched
55:21
on with a spoonful of sugar, like we talked about, and then
55:24
really explore with Mr. Banks. That's the thing that he learns
55:26
how to do. Yeah, basically.
55:28
And I think Tomlinson plays all really well.
55:30
He nails the stuffiness at the start without ever making Mr.
55:33
Banks unlikeable. And he portrays the arc quite
55:36
subtly, I think. Little moments of confusion with
55:38
Mary, little flashes of vulnerability here and there
55:41
that he basically has, like, a nervous breakdown in the end.
55:44
And when he starts to laugh at the wooden leg joke and it's
55:46
like he's kind of rediscovering his humanity a bit, he doesn't
55:50
get huge recognition for it. Maybe.
55:51
But I think David Tomlinson does a great job portraying all that
55:54
in the film, and that's a key part of it's heart.
55:56
So he's essential to it, yeah. Yeah.
55:58
I mean, like I said at the start, when with these opening
56:01
sequence, I think he creates a character that is very
56:04
misunderstood. And we understand that he's
56:07
misunderstood. And that's very hard to pull
56:09
off, to be obnoxious, entitled and lovable at the same time.
56:14
And I think that's what Tomlinson brings to this.
56:16
And I love that. I love that about him, and I
56:18
love that he's prepared to do that.
56:20
And there's this innocence he always brings to his characters.
56:23
And this is real depth he always brings and a real vulnerability
56:27
that he brings to his characters because he knows he's playing
56:29
something that's going to be judged immediately because of
56:34
his outlook. But you get to change that.
56:36
You get to love this guy at the end of it.
56:37
And that's a really hard arc. I think he's got the hardest arc
56:39
in the film. He definitely has.
56:41
It's his fault that all of this is happening and you've got Mrs.
56:45
Bank, so you kind of go, well, at least her priorities are for
56:48
trying to do something good. He's just stuck doing the job
56:51
his dad did. He's making his son throw his
56:54
tuppence in the bank when he wants to feed the birds.
56:56
He should hate this guy but Tomlinson absolutely delivers
56:59
for me. Just his face and just that.
57:02
Tash reminds me of being a kid. Just.
57:06
Something. About it.
57:07
A nostalgic face. He's got a really nostalgic,
57:10
wonderful, beautiful face and I think it would just be more
57:13
Tomlinson and just get his big face on AT shirt with loads of
57:16
T-shirts off this. Be more Andrews, be more
57:19
Tomlinson, be more. But I mean, everything works.
57:21
It just works, doesn't it? I mean, everybody knows the
57:24
roles and everybody plays it, but nobody better than Julianus,
57:27
which we spoke about. Nobody's second better than Dick
57:29
Van Dyke, which was spoken about, but it coming up our
57:32
third, he just just nearly pips it.
57:35
And Tomlinson definitely delivers exactly what he needs
57:37
to. It's just an incredible
57:39
performance. I agree he's excellent.
57:41
Yeah, and Tomlinson's craze started in the 1940s, and at the
57:45
time of Mary Poppins, he'd already been in over 50 films,
57:48
almost all of them British. And one of the writers, Bill
57:51
Walsh, had seen him in films and screened some of them to Disney.
57:54
Disney then saw him at the Savoy Theatre in London in a stage
57:57
beer called Ring of Truth and often the part of Mr. Banks.
58:01
Nice. Yeah, some big names for concert
58:03
to play in first. James Mason and Richard Harris,
58:05
apparently right. More hell raises.
58:07
Yep, yeah, yeah, more hell raises, but Tomlinson a very
58:11
solid choice, I think. Oh.
58:12
Definitely 100%. So Tomlinson was nervous about
58:15
not being good enough for the part of Mr. Banks at first, as
58:18
he'd never sung in a movie before.
58:20
I mean, that's going to be a big one.
58:21
Yeah. And the character was largely
58:23
based on PL. Travis, Father Travis Robert
58:25
Gough. And that's.
58:26
That's big shoes to fill as well.
58:28
Like, yeah. It is.
58:29
Yeah, it is. I'm sorry your dad's an asshole.
58:33
I'll try. It'd be nice, yeah.
58:35
I think his voice is fine in the.
58:36
Yeah, it is great. Yeah, yeah, yeah.
58:38
I love the little talkie bets he puts in the middle.
58:40
Thank you. It just.
58:41
Yeah, just in the middle. Yeah, it's fantastic.
58:43
And yeah, travels. Robert Goff is a big part in
58:45
saving Mr. Banks. Colin Farrell plays him.
58:48
Yeah, big drink. So maybe Richard Harris could
58:50
have been in there. Maybe.
58:51
Yeah, maybe. Again, no Academy recognition
58:54
for David Tomlinson, but a very good performance for US.
58:57
Career defining and a little underappreciated maybe?
59:00
I think so, but I mean he's under the shadow of them two
59:03
guys that what you're going to do.
59:05
Yeah, what can you do? He.
59:06
Does as much as he can. It works for me.
59:09
So that is the main cast. We've talked about Julie Andrews
59:12
and Mary Poppins and our two leading men in Dick Van Dyke and
59:14
David Tomlinson and three performances that have
59:18
captivated the audiences for generations.
59:20
What do you say? Certainly have.
59:22
Definitely us, yeah. All the right movies will be
59:31
back shortly. Thank you for supporting us by
59:34
listening to this episode. Sponsors.
59:38
Thanks for listening to our sponsors.
59:40
Now back to the show. The middle.
59:49
We're floating into the middle of Mary Poppins now, where the
59:51
magic really starts. We're heading to a tea party
59:54
with Uncle Albert, which is a right barrel of laughs.
59:57
First, all birds Sidewalk arts brings into life.
1:00:01
Yes it does. So, having already proved she's
1:00:03
practically perfect, Mary Poppins starts to really show
1:00:06
off. She transports herself, Bird and
1:00:09
the children into one of Bird's chalk drawings, into an animated
1:00:12
world of dancing Penguins and escaped carousel horses.
1:00:16
It's always a jolly holiday with you, Matt.
1:00:18
Oh, thanks. Is that how it works out with
1:00:20
Mary? It absolutely does.
1:00:22
I mean there's so much to love here.
1:00:24
That sarcastic clap Mary does it birds antics before they jump
1:00:28
in. I mean that's the go to gift
1:00:30
now. If you search for sarcastic
1:00:31
reaction, that's what comes up, and it's always the best one to
1:00:34
use. Once they're in there, though,
1:00:36
Bert, that absolutely outrageous clobber he's got on the blazer
1:00:40
and border combo, Yeah, only Van Dyke could pull that off.
1:00:44
Yeah. And then when he says Mary
1:00:45
Poppins, you look beautiful. I mean, he was going to
1:00:49
disagree. Yeah.
1:00:51
Julie Andrews here, just the epitome of elegance.
1:00:54
She looks amazing. And then just these pencil
1:00:57
animations. I think it's just such a lost
1:00:59
star to take when you watch Wallace and Gromit and you can
1:01:02
just see the effort and the love that has gone into this art form
1:01:05
because it was such a painstaking process and the love
1:01:08
of the art form is so tangible. So yeah, for something just done
1:01:11
in pencils, it still looks incredible.
1:01:14
It does, yeah. I mean, you're right.
1:01:16
Mary Poppins. You look be beautiful is
1:01:19
outrageous. She chose that outfit for him,
1:01:23
you know, didn't she? Of course she did.
1:01:25
Her imagination. Let's jump into the page.
1:01:27
Right. So that's how I want you to
1:01:28
look. It's, you know, when couples
1:01:30
dress up in the same outfit for Christmas.
1:01:32
Yeah. I'm wearing this.
1:01:34
Really. OK.
1:01:36
Yeah. It's amazing.
1:01:38
Yeah, this whole sequence, I mean, starting in the real world
1:01:40
and transitioning into animation, that was seriously
1:01:43
ambitious for 1964. Yeah.
1:01:45
I mean, actors interacting with illustrations had been done way
1:01:48
before this, as far back as like 1900.
1:01:50
But this was a massive leap forward in the way the
1:01:52
characters engage with the surroundings.
1:01:54
Right. And the pull off, I think it
1:01:55
still holds up. Yeah.
1:01:56
Visually. Oh, it does, yeah.
1:01:58
I mean, dancing Penguins are never going to be a bad idea, to
1:02:00
be fair of. Course not.
1:02:01
Those Penguins are bad dressed in me bow ties well.
1:02:05
Yeah, and the way the duck where the leg goes over, it's genius.
1:02:10
Yeah, yeah, it's just genius. Not the Best Song in the film
1:02:14
Jolly Holiday, but incredible visuals like classic Disney
1:02:17
magic. Yeah, PL.
1:02:18
Travis hated the animations in the film.
1:02:20
This is taken it down a Notch. Stormed off the set when she
1:02:23
found out they were being used. She demanded that Disney remove
1:02:26
all the animation, but he refused.
1:02:29
She never fully came around but came to accept the idea when
1:02:33
Disney toilet was just one sequence.
1:02:36
The actors will be live action. She was like, oh, that should be
1:02:38
OK, but come on, Disney, what are you doing?
1:02:41
I mean, I had five of the 9 year old men working on this for the
1:02:44
legendary Disney animation team. I get it, losing creative
1:02:47
control over the thing you've made is terrible, but there's
1:02:50
exceptions and Walt Disney coming.
1:02:52
You're saying we're getting the guys who did Snow White,
1:02:55
Pinocchio, Dumbo, all the classics.
1:02:57
We're getting them in. We're getting the Sherman
1:02:59
Brothers in to write the music. One of the biggest stars in
1:03:01
Broadway in the lead. I mean, sympathy kind of runs
1:03:04
out. PL. travels like no I want it to
1:03:07
be miserable. I want to be like 7.
1:03:10
Yeah, I don't want any of that. I mean, I get along with PL.
1:03:13
travels absolutely fine. Yeah, I'm going to go for the
1:03:17
pitch just after this and they come off the carousel and just
1:03:21
the most adorable cartoon character in the history of film
1:03:24
for me. This fox, this guy, he's
1:03:27
amazing. He's just like a view to Lou,
1:03:30
what's going on? He's just having a great time.
1:03:32
He's having a great day. And this is always reinforced.
1:03:35
I mean, I'm not ever going to advocate what they're doing, Fox
1:03:38
Hunt, and I'm not going to get into anything political on the
1:03:40
podcast. But to me, it's still abhorrent
1:03:44
then. And if your heroes are saving
1:03:46
them, and that's what you're always going to look at, you're
1:03:48
always going to look at these guys.
1:03:49
And that's the right thing to do.
1:03:51
It's just a great, great moment where Bert, just like, Nah,
1:03:53
let's go and give my hand. We can do anything.
1:03:55
It's a fantasy world. I love the idea that let's not
1:03:59
make it a fantasy world. Nothing makes me happier than
1:04:02
seeing that fox sitting there with a toffee owl and he's just
1:04:05
having a great time. Love the sequence, love this
1:04:08
bit. I love everything building up to
1:04:10
it. I love the whole Chopin bit, to
1:04:11
be honest. It's just absolute magic.
1:04:14
It is. It's always a treat seeing the
1:04:16
classic hand drawn Disney animation style.
1:04:18
I mean, yeah, I doubt Disney will be animating a fox on
1:04:20
nowadays, but at least the fox gets away, starts chilling the
1:04:23
dogs. Come on, I love you.
1:04:27
Yeah, Andrew looks good in keeping her, like, perfect
1:04:30
posture while the carousel horses jumping over hedges.
1:04:33
Yeah. But I do think it taps into the
1:04:34
themes of the film as well. We've got these like stuffy
1:04:37
English countryside types on horseback being outrun by bird
1:04:41
on the carousel horse. Yeah, a bit of a poor getting
1:04:43
one over on the rich thing, which I'm all for.
1:04:45
Yeah, of course. Yeah, I love the detail in the
1:04:47
animation, like when Bird grinds his carousel horse, which is a
1:04:50
real prop to a halt, and it skids along the cartoon grass,
1:04:53
like, rips the turf up as it goes.
1:04:55
Yeah, Does. Yeah, Whole thing is just a joy.
1:04:57
It's when they jump over and then the kids horses jump over
1:04:59
and then extends the whole thing in the ground.
1:05:02
It's yeah, it's fantastic. It's really good.
1:05:04
Always great seeing Disney do what they do best.
1:05:06
Basically, yeah. And then you go from this to
1:05:09
just one of the absolute most iconic songs in the film.
1:05:13
But before it starts, like Julie Andrews is so good and that she
1:05:15
even asked chemistry with those animated reporters talking when
1:05:19
one of them points out her extreme good looks and she just
1:05:22
gets all bashful. So Oh well, you wouldn't say
1:05:24
that, would you? And then all those reporters,
1:05:27
that little like, shit of paper in the House, like I've never
1:05:29
known what that shit of paper is, but I know you can't be a
1:05:32
journalist without one. I think it was the old fashioned
1:05:35
press pass. It was the only way that you
1:05:36
could see it was putting it into the bind of your pat.
1:05:39
Right, OK. But then it's such an iconic
1:05:43
song, not just from this film, but from any musical.
1:05:45
And you know, this is going to be an absolute banger because
1:05:47
the build up when she says there is a word to describe her
1:05:50
feelings. Am I right, Bert?
1:05:51
Tell them what it is. Yeah, I love that.
1:05:53
And then when she just goes, it's.
1:05:56
Supercalifragilisticexpialidocious, even though the sound of it is
1:06:01
something quite atrocious if you say it loud.
1:06:11
And how Andrews just delivers that word.
1:06:13
Florida State forwards and then backwards.
1:06:16
I've no idea how she does that. Yeah.
1:06:18
And then Bert joints in the routine with the umbrellas.
1:06:20
I mean, it's just pure joy. And I think the reason you love
1:06:22
this as a kid, you're watching adults being silly.
1:06:25
You're watching adults being big kids.
1:06:27
And it's just so infectious to watch.
1:06:30
Yeah. Of course it is.
1:06:31
Can you see a backward Matt like Mary?
1:06:33
Absolutely not a chance. But imagine being off your lips
1:06:37
watching this. It would blow your head off.
1:06:42
Finally the campus of the film and just to catch up with Bert
1:06:45
and it's insane. I'm a big fan of the pearly
1:06:47
band, especially the guy talking about his wife and he's like
1:06:50
lovely thing she is too when she definitely is not no, but
1:06:54
anything a crazy word to just invent for a film.
1:06:57
Although somehow everyone now knows it as well.
1:07:00
And I like it when they get back to the Banks house and
1:07:02
everyone's in there, Jane and my Nicholas singing in with Ellen
1:07:04
and the kook, and it starts to send Mr. Banks over the edge.
1:07:07
He's like, stop. Yeah, Sick of Mary shit.
1:07:11
But maybe the most famous sequence in one of the most
1:07:13
famous films. I mean, it's legendary.
1:07:16
Yeah, yeah. I mean, it's just it's a great,
1:07:18
great part of the film for me. This whole moment.
1:07:20
It's what this is, what it's building up to.
1:07:21
It's Mary becoming who she is. Bert heard this before.
1:07:25
I don't know how, but it's never questioned.
1:07:28
We'll never go. What is their back story
1:07:30
actually? Like where?
1:07:31
How do you guys, these guys know each other?
1:07:33
But he knows, I have no idea. He knows quite a lot about what
1:07:36
she's going to do, when she's going to do it.
1:07:38
The great theory is that when he was younger, it was his nanny
1:07:42
and that kind of then moved on and all that kind of thing.
1:07:45
I'd love to buy into that. Obviously, that's not the case
1:07:48
because I don't think they're going to go that deep with this
1:07:50
film. I think all they want to do is
1:07:53
just make something that's really entertaining and it
1:07:55
really crosses the line. And this part of the film
1:07:58
especially really does. I think like you said, Matt, see
1:08:01
in the backwards Ludacris. Why is that?
1:08:03
Even in the she would have read that going, I've got to do this
1:08:05
tomorrow. How am I going to do this?
1:08:08
Have you read it like written down?
1:08:09
It's impossible to say, but she says it just so beautifully, so
1:08:13
fluently. And Van Dyke's best moves for me
1:08:16
here. The hilarious.
1:08:18
Brilliant. You're saying one of them on the
1:08:19
spot. This isn't one of them.
1:08:20
This is amazing. And again, watching it from a
1:08:23
completely technical point of view and taking yourself out of
1:08:26
it, Look how much fun they're having with each other.
1:08:29
This is really Broadway. This is really theatre.
1:08:31
This is really stage performance.
1:08:33
I'm having a great time. We're all having a great time.
1:08:36
It's that part of the film where you think, what else are they
1:08:38
going to come up with? Because they I'm just having
1:08:40
such a good time. I don't even care about the
1:08:42
narrative anymore. It doesn't, it doesn't matter.
1:08:44
It's great. Wonderful.
1:08:45
When the Sherman brothers, he used to go to summer camp as
1:08:48
children, they used to have a word that none of the adults
1:08:50
understood. And the one at the banks?
1:08:52
Children. I have one too, which is where
1:08:54
supercalifragilistic came from. Yeah, but that was in summer
1:08:58
camp, everyone off the box. So they invented that at summer
1:09:03
camp I. Think it was a different word,
1:09:06
right? OK.
1:09:07
But they used the concept. Yeah, right.
1:09:08
Really bored. It would have been shorter for
1:09:11
me. Yeah.
1:09:13
The word wasn't created for the film, though.
1:09:15
In 1949, Gloria Parker and Barney Young released a song
1:09:18
called Supercalifragilisticexpialidocious,
1:09:21
and when Mary Poppins came out, they then sued Disney for
1:09:24
plagiarism. Wow yeah the melody of lyrics of
1:09:27
their song were totally different, but they took Disney
1:09:29
to code for stealing the word. Oh, really?
1:09:32
Well. Yeah.
1:09:33
The case was dismissed, though, when Disney lawyers found a 1931
1:09:36
article in the Syracuse University College newspaper
1:09:40
that was written by a student called Helen Herman where she
1:09:43
used the word. Yeah, Helen Herman said that it
1:09:46
means grand, great, glorious, splendid, superb and wonderful.
1:09:50
Yeah, right. Just say that then.
1:09:51
It's quick. Yeah, it.
1:09:53
Is there are five members of the pearly band and they were voiced
1:09:57
by cast and crew members on the film.
1:09:59
Julie Andrews is in there, Richard Sherman, Robert Sherman,
1:10:02
David Tomlinson's in there and Dick Van Dyke's vocal coach Jay
1:10:06
Pat O'Malley. Was that that was the five.
1:10:08
Wonderful. Five stop.
1:10:09
I've seen that band every single Sunday in any local boozer
1:10:13
around here is so familiar. Classic Disney, the humor, the
1:10:18
little touches, the drop in with the animations, it's just
1:10:20
fantastic. Hit Lee's head with a
1:10:22
tambourine. It's just a full.
1:10:23
Full is just great. Yeah.
1:10:25
Yeah, only the guy playing the spoons and then that guy, he's
1:10:28
playing like a banjo with a symbol on top.
1:10:30
What's that thing? That doesn't matter it.
1:10:35
Is brilliant, yeah. But during the musical sequence,
1:10:37
the Banks children, we can see them eating toffee apples and
1:10:40
current A tree said they did so many retakes across two weeks
1:10:43
that she and Matthew Garber just got sick for meeting them.
1:10:46
Oh, really? Yeah, told them with toffee
1:10:48
apples. God knows what was in them if
1:10:49
they were seeing stuff like this.
1:10:50
Pure sugar. And Disney wanted the blend of
1:10:54
live action and animation to be done to a level never seen
1:10:56
before. So he brought in Petrus Flahos,
1:10:59
who had been the special effects supervisor on The Parent Trap,
1:11:03
because in that film Hayley Mills played twins who had AP1
1:11:06
screen together. So Flahos developed the sodium
1:11:08
vapor process, which was like an early form of blue screen and he
1:11:12
used that he as well. Right.
1:11:14
Yeah, that was quite ground breaking when Hayley Mills was
1:11:16
on the screen twice in the same frame.
1:11:20
And he worked closely with O by Works, who'd been one of the
1:11:22
Disney's go to visual effects guy since the 40s and another
1:11:25
effects guy called Wadsworth Paul.
1:11:26
And the three of them won an Oscar for Mary Poppins, right?
1:11:29
Flahos won five in total his career.
1:11:31
Wow. Wow.
1:11:31
OK. The actor shot the scenes
1:11:33
against a white background. It was known as yellow screen
1:11:37
and Karen Doctor said there was a lot of unfit men chewing
1:11:40
cigars running around the set with cardboard cutouts of
1:11:43
Penguins and she thought this is going to be absolutely rubbish.
1:11:48
Well, you would think that. Yeah.
1:11:49
Yeah, Frank Thomas animated the Penguins.
1:11:51
He was one of the 9 old men, and he also did the dwarves in Snow
1:11:54
White years earlier. Yeah, pretty legendary animation
1:11:57
figure it wasn't. Some crossover with that and
1:11:59
some of the Disney films where they have the same kind of
1:12:02
movements or something. Yeah, they'll use the same kind
1:12:04
of original cells to save time. Yeah, like Blue the bear used
1:12:07
for Robin Hood wasn't. It.
1:12:09
That's right. Yeah.
1:12:10
Yeah. Before we end on the painting
1:12:12
sequence, we have our second ATR and Patreon question, this time
1:12:15
from Francis Burrell. Hello, Francis.
1:12:18
And Francis, keeping it simple, wants to know if you could dance
1:12:21
with any cartoon character, who would that be?
1:12:25
Thoughts on that, Matt? My first thought film I've just
1:12:29
mentioned but made Marion from Disney's Robin Hood.
1:12:33
Oh, she's a fox. She's a fox.
1:12:34
Well, that's it. We would obviously do the
1:12:36
foxtrot as well, so give it. Obviously dancing cartoons.
1:12:44
I can't not mention Blue from The Jungle Book.
1:12:46
The scene at King Louise Palace where he's like, oh man, what a
1:12:49
beat. I'm gone.
1:12:51
Yeah. Absolute legend.
1:12:53
Yeah, but who would dance with? I'll keep it short. 3 answers.
1:12:56
Jessica Rabbit. Yeah.
1:12:57
Daphne off scooby-doo, the caramel Bunny.
1:13:00
Right. All right, I've got 3 as well,
1:13:03
and maybe a crossover Jessica Rabbit, Betty Boop, and Valma
1:13:06
from Scooby-doo. Really.
1:13:08
Yeah, short as I'm going to make it.
1:13:14
So a magical ROM through a painted Wonderland there.
1:13:16
Both spectacular and super color fried.
1:13:19
Whatever the infernal thing is, yeah.
1:13:21
It would backwards. Very good.
1:13:25
The implications of Mary's magic ripple through everyone's lives.
1:13:29
Mary leaves Jane and Michael to Uncle Alba's for a topsy turvy
1:13:32
tea party, while Mr. Banks takes them to his workplace.
1:13:35
The doors Tombs, Bousely Groves, Fidelity Fiduciary Bank.
1:13:39
Wow. 1 ends in uncontrollable laughter, the other
1:13:42
uncontrollable chaos. Yeah, Mark, you love to laugh.
1:13:46
Certainly do. How would you like these scenes?
1:13:49
I mean, if you tell me I'm going to be watching the scene with a
1:13:51
character called Uncle Albert and he's not some old sea dog
1:13:54
with a pushy wide be going. To ruin the war.
1:13:57
During the war. During the war.
1:13:59
I'm going to be very disappointed.
1:14:00
I have to be honest. This thing like if I have an
1:14:02
issue with the film, it is way over long to be honest.
1:14:05
Like no kids film should be pushing on well over two hours.
1:14:08
So do we need the scene? Not really.
1:14:11
The laughing and the joke sets up Mr. Banks at the end with his
1:14:14
boss, but I'm sure they could have written around that
1:14:16
somehow. So in that sense it is an
1:14:18
essential and if it was lost you wouldn't lose much.
1:14:21
But haven't said that I can watch this scene just on its own
1:14:23
and still have great fun of it. Because they haven't great fun.
1:14:26
I think Dick Van Dyke deserves a lot of credit for this scene in
1:14:29
particular. Making those jokes seem funny
1:14:30
when they straight off a Christmas cracker.
1:14:33
But I really feel for Mary in the scene because that moment
1:14:36
when you're trying to be serious and tell people off, but you
1:14:38
want to laugh at the same time, which is what's happening with
1:14:40
Mary here. She sells upbringingly.
1:14:43
So overall, I mean, the thing the visual nature was acting.
1:14:45
All the fun stuff works really well and the film could live
1:14:48
without it, I think, from the narrative, but it's fun all the
1:14:50
same. It is.
1:14:52
I mean, why is Bird there? Is there any pie in London?
1:14:55
He hasn't got his fingers in what he could do.
1:14:59
I came over as soon as I heard, but how did he hear?
1:15:02
Why? Listen to the chimney.
1:15:06
But Van Dyke, the Cockney accent and being suspended on an anti
1:15:09
gravity rig, he's putting in a heck of a shift, Yeah.
1:15:11
Yes. I do think Edwin's uncle Albert
1:15:14
kind of steals the show in this scene.
1:15:15
He is good, he does. Surely Albert's on something.
1:15:18
He's been on the dubies, surely. Yeah, waiting for him to get the
1:15:21
Jaffa Cakes out. I mean, it's basically like a
1:15:25
musical number about the dangers of positive thinking being taken
1:15:28
too far. And I think it's quite clever
1:15:30
way of doing it. Oh, but it's definitely a my
1:15:32
depressive laughing his head off, then bawling his eyes out
1:15:35
one minute to the next. And is the wooden leg joke
1:15:38
funny? Van Dyke makes it funny.
1:15:42
Yeah, Van Dyke doesn't make it funny.
1:15:44
I think how are you were catching mice is the funniest
1:15:45
joke in this whole sequence. Oh yeah.
1:15:48
But I want to replace your cat. How are you catching mice?
1:15:49
That's that's. I mean, it's not one of the best
1:15:53
songs in the film either, I don't think, but I do like it
1:15:55
when they pull the T sideways and a nice break away from the
1:15:58
core narrative, which I think is kind of the point.
1:16:00
Yeah, yeah, Edwin, who agreed as wonderful, was a stage and radio
1:16:05
comedian and already had a connection with Disney.
1:16:07
He'd voice the Mad Hatter and Alice in Wonderland, which you
1:16:10
can totally tell he's wonderful in that, and played The Toy
1:16:13
Maker and Babes in Toyland. And he was the only person Walt
1:16:16
Disney ever wanted as part of Albert and Robert Stevenson.
1:16:19
Give him free rein, just improvise to whatever he wanted.
1:16:23
Yeah, I think you can tell he improvises quite a bit.
1:16:25
Yeah, I think you can tell from Van Dyke's reactions.
1:16:28
Doesn't quite know what's coming next.
1:16:31
Well, yeah, I imagine Van Dyke's a pretty good improviser as
1:16:33
well. Yeah, exactly.
1:16:34
I think they would have had a wheel of a time.
1:16:35
There must be some outtakes when you say there must be something.
1:16:39
Yeah, I need to see them to be amazing.
1:16:40
Well, Uncle Albert's in the first Mary Poppins book, so this
1:16:43
is pretty much taken straight from that, right?
1:16:45
Apparently the Uncle Albert was written in the script as having
1:16:47
a Viennese accent, but when wind turned up on the set, he didn't
1:16:50
even attempt it, and nobody ever mentioned it.
1:16:54
Yeah, it was only specific. Yeah.
1:16:57
And. To treat the floating effect, as
1:16:59
well as having the actors suspended on wires, they're also
1:17:01
built four different sets of Uncle Albert's home.
1:17:04
There's the normal set, then a replica of that set turned on
1:17:08
its side, another one that was upside down, and then another
1:17:11
that was truncated where the floor was closer to the ceiling.
1:17:14
And that was overseen by the previously mentioned Tony
1:17:16
Walton, Julie Andrews husband. Right.
1:17:19
Yeah, I think it's pretty clever how they shoot it as well.
1:17:21
Whenever we have a wide shot where the castles are suspended
1:17:23
on wires, we always cut to a close up of them around the
1:17:26
table as the next shot. And those shots are filmed on
1:17:28
the ground on a like a gimbal, so the table moved so we never
1:17:31
see too much of the effects for too long, which is quite clever.
1:17:33
Yeah. And Matthew Garber had a fever
1:17:36
Heights and he didn't like shooting the moment when they're
1:17:38
suspended on the ceiling. So a crew member paid him $0.10
1:17:41
every time they did a take away. He was suspended from the wires.
1:17:45
He knew what he was doing right little diva, I'm.
1:17:48
Really. Scared of this?
1:17:49
Yeah, Mariah Carey. Mariah Scary.
1:17:54
And then after this, you get this really melancholic moment
1:17:57
that balances out the sugar a little bit with feed the birds.
1:18:00
And it doesn't go OTT. But I think it's just a little
1:18:02
lesson for the kids. You know, there's people out
1:18:04
there who do struggle and they don't have what you have.
1:18:06
So just. Bear that mind and show a bit of
1:18:08
kindness and generosity to anyone.
1:18:11
And also lyrically, I've always felt it just feels very Paul
1:18:13
McCartney to me. It's very Penny Lane.
1:18:16
It's got observation in nature lyrics.
1:18:18
And we all know Macka Love's vaudeville song.
1:18:20
So it wouldn't surprise me if he loved this as well.
1:18:23
Oh, not at all. Yeah.
1:18:24
She was played by Jane Darwell, the bird lady.
1:18:27
She'd won an Oscar for The Grapes of Wrath in 1940.
1:18:30
That's right. Yeah.
1:18:30
And Disney visited her home personally to get her out of
1:18:33
semi retirement to play the part harassing everyone.
1:18:36
Yeah, What do I have to do, Walt?
1:18:38
Nothing really. And surely the inspiration for
1:18:43
the Bird Lady in Home Alone Two, Yeah.
1:18:45
Definitely, definitely. 100% character.
1:18:48
Yeah. Piers Morgan.
1:18:49
Piers Morgan and Feed the Birds was apparently Walt Disney's
1:18:54
favorite song. Robert Sherman said that on a
1:18:57
Friday afternoon, sometimes get a call from Disney accent would
1:18:59
go to his office and play him the song and when he was
1:19:02
finished, they always say that'll do.
1:19:04
And sometimes he'd cry. Yeah, in 2001, on what would
1:19:09
have been Walt Disney's 100th birthday, I guess there was a
1:19:12
celebration at Disneyland. Yeah.
1:19:13
And Robert Sherman played. I've seen that, yeah.
1:19:17
Yeah, it is a nice song, to be fair.
1:19:19
Yeah. Yeah, yeah, it's about four
1:19:20
octaves lower. Yeah, at least, Yeah, he's a bit
1:19:24
older at that point. In the snow globe that Mary
1:19:27
Holtz when she sings the song that was thought lost after
1:19:30
filming. But in 1970, a Disney archivist
1:19:33
called Dave Smith founded in a janitor's closet in the Disney
1:19:36
studio. Wow.
1:19:37
He asked the head janitor, Roy Geiser, where he got it and he
1:19:40
said he just found it in the trash but liked it and didn't
1:19:42
want to throw it out. A lightly story Poppins
1:19:46
artifacts I'm having that just found it in the trash.
1:19:50
Exactly. And I'm going to go into I
1:19:53
really dislike the sequence. In the bank.
1:19:56
Obvious reasons. It shows George Banks for who he
1:19:59
really is and he's very, very weak when he takes the kids to
1:20:03
his job. It should be really over the
1:20:06
moon with this. It should be showing off and
1:20:08
everyone should be fussing the children, but it's not about
1:20:10
them. It's about this piece of money
1:20:12
that Michael's got and where's that going to go?
1:20:15
He wants to feed the birds, He wants to do something
1:20:17
charitable, he wants to do something good.
1:20:18
And when you get fat birds, that's their view on it, you
1:20:21
know, and it paints a beautiful picture and a really somber
1:20:25
picture and one that unfortunately, I mean, this is
1:20:28
1964, right? This is still relevant right
1:20:30
now. This is still going on right
1:20:33
now. If you go into this kind of
1:20:35
establishment, they're going to say, do this, invest in this,
1:20:38
and you'll get this and you'll get that.
1:20:39
And that's important. And that's important.
1:20:41
And it really highlights what's important to banks and what's
1:20:44
important to kids. And kids bring this real
1:20:47
innocence to life and the make you realize that what's
1:20:50
important isn't what's in your hand.
1:20:52
It's what you're holding in your hand.
1:20:54
It's your choice of what you hold in your hand.
1:20:56
And I think grabbing your kids hand is far more important than
1:20:58
grabbing a coin. And I think that's what this
1:21:00
film is saying in this sequence. And it's beautifully played by
1:21:04
Van Dyke playing the older guy. It comes out stumbling around.
1:21:07
It should be funny. It's got a Norman Wisdom kind of
1:21:10
vibe. Do it it.
1:21:11
Definitely has. Honestly, when I was a kid, I
1:21:13
don't know about you guys. When I was a kid, I did not have
1:21:14
a clue that it was Dick Van Dyke, even when I saw the end
1:21:18
credits and it went, oh, it's the same guy.
1:21:19
No, it's not beautifully played, beautifully lit.
1:21:24
This is sombre and it's a sombre tone and the music matches and
1:21:29
it matches the visuals and everything works.
1:21:31
It's a beautifully directed sequence, beautifully outed
1:21:33
sequence, and one that you need to put in this part of the film.
1:21:38
If you lost this, the film loses all of its depth because you
1:21:41
really need this to pull you down and then pick you up again.
1:21:44
I agree with you, Matt. I think you know that sequence
1:21:47
could be lost, but this definitely couldn't.
1:21:50
You need this to bring you down. It doesn't bring you down for
1:21:52
too long, just enough to make you realize what Banks has to do
1:21:56
to get out of it. I agree.
1:21:58
Yeah, it is essential. This one, Mr. Banks marching.
1:22:00
The poor came through the bank like a drill Sergeant.
1:22:02
He's still a monster. Yeah, this point.
1:22:04
It's a full metal jacket, isn't? It exactly.
1:22:06
Yeah. And the bank has, like, a pack
1:22:08
of wolves around Michael over his toppings.
1:22:10
Outrageous. The girl pinned up against the
1:22:11
wall. Yeah.
1:22:12
But, I mean, that's the idea, isn't it?
1:22:14
Choose money over like, yeah, joy de vivre and end up like
1:22:17
these guys. It would probably be a bit
1:22:19
scarier if it wasn't for Van Dyke as Mr. Doors.
1:22:22
Exactly. The accent issues seem to vanish
1:22:24
when he's playing the old fella. Yeah.
1:22:26
You still funny, though, when he's starting on that step for
1:22:28
ages, looking down at. It's like it's 20 feet high.
1:22:31
That's great. Yeah.
1:22:32
Yeah. And when he sings, when for the
1:22:34
banks of England, England falls and just keels over.
1:22:36
Yeah, great. And kind of unnerving how much
1:22:39
he looks like Dick Van Dyke did when he got older.
1:22:42
It's kind of uncanny. Yeah.
1:22:44
Again, much like Biff. Yeah, another about the future
1:22:47
reference. Yeah, how much is about the
1:22:49
future RIP off Mary Poppins? So we're getting into.
1:22:53
And that moment where Mr. Dawes has trouble getting down the
1:22:55
step wasn't actually in the script.
1:22:57
Apparently when Van Dyke was doing a makeup test, he was
1:23:00
entertained in the crew just by doing some of his old my
1:23:02
routines, one of which was getting down from his step.
1:23:05
This he saw this footage and then asked him to put that in
1:23:08
the film. Yeah, climbing through a window.
1:23:11
You should have got that. Getting dropped in the phone
1:23:13
box. And again, the children were
1:23:18
kept in the dark. They weren't told it was Dick
1:23:20
Van Dyke under the makeup, right?
1:23:22
Because Karen George has said that he thought he was just some
1:23:24
horrible old man who turned up one day.
1:23:26
Oh, really? He would do, yeah.
1:23:29
And we're through the second act, a gravity defying tea party
1:23:33
and tumultuous trip to the bank. Very different, but very Disney.
1:23:37
Very Disney. Yeah, Pinnacle Disney.
1:23:43
The crew. Mary Poppins is a magical movie,
1:23:49
as we've been talking about, and there was some team working
1:23:51
behind the scenes to make it all possible.
1:23:54
We're going to be talking to the Sherman Brothers, who composed
1:23:56
the music, and Edward Coleman is director of photography.
1:23:59
But first, let's talk about the writing.
1:24:01
Should we? Let's do it.
1:24:03
So the folks who brought PL. Travelers books to the screen
1:24:06
were Bill Walsh and Don Degrade. Walsh was one of Walt's score 2
1:24:09
writers, having penned 5 Disney films including The Absent
1:24:12
Minded Professor and Degrade, had been with Disney since the
1:24:15
1940s and had writing credits on Lady and the Trump and Sleeping
1:24:19
Beauty. Right, right.
1:24:21
A pretty unenviable task, Westie, adopting beloved novels
1:24:24
from page to screen. But how did Bill Walsh and Don
1:24:27
Degrade do? Yeah.
1:24:28
I mean, I think they did wonderful.
1:24:30
I mean, I've not read the books. I don't know a lot about the
1:24:32
source material, but I think what they did was make it very
1:24:36
dignified. I mean, the part of a crew, the
1:24:39
part of a team, and Walt Disney's like, turn this into a
1:24:42
Disney film. And they definitely do that.
1:24:44
And I mean, there must have been some moments where they're
1:24:46
sitting going, shall we put this in?
1:24:50
Yeah. Does this make any sense
1:24:52
whatsoever? And they think they would have
1:24:54
had a lot more fun than they would have had any more kind of
1:24:57
worries about this script. There's a lot to play with here,
1:25:01
and they do play with a lot. Like we've said, there's very
1:25:03
relevant themes and it's always going to be Evergreen.
1:25:06
I think what they're trying to talk about, you know, family
1:25:08
values, the the importance of children and having an
1:25:12
imagination and having magic and having something that's not
1:25:15
rooted in reality and that escapism.
1:25:18
And they do capture all that in the script.
1:25:19
I think it's all explored without punching you in the
1:25:23
face. You know, it's got a very light
1:25:25
touch, a very light tone. Oh yeah.
1:25:28
And it is there. If you read this, you would have
1:25:30
been very very very excited about the screenplay.
1:25:34
Yeah, writing wise, I mean, it's a great concept and world, I
1:25:36
think, created by PL. Travers and the character of
1:25:39
Mary Poppins, a magical nanny who floats in, improves
1:25:42
everyone's lives and floats away.
1:25:44
It's a great idea for a children's story, and that's
1:25:47
really what I realized on the screen.
1:25:49
I would say that's based largely on the songs, the cast,
1:25:52
animations, the production design, Disney's vision.
1:25:55
I'm not sure what put Bill Walsh in undergrad.
1:25:57
He's writing up there with all of that, but it does exactly
1:26:00
what it needs to. Yeah, it's a platform for it,
1:26:03
isn't it? It's a great platform.
1:26:04
Yeah, it is narrative, really. It's fairly thin in places.
1:26:07
I think some of the scenes are vignette rather than essential
1:26:09
to the plot, like Uncle Albert that we just talked about.
1:26:12
The books are that way too, from what I know.
1:26:14
They've taken that from there, I think.
1:26:15
But where I think the screen writing is impressive is in the
1:26:18
kind of messages and the themes it explores, themes of family,
1:26:23
of childhood, adulthood, capitalism.
1:26:26
But I think the real message it tells us is that for a happy,
1:26:29
healthy life, it's essential to find the right balance, however
1:26:32
that might look for you. The person who learns that in
1:26:34
the film is Mr. Banks. In his case, he finds the right
1:26:37
work life balance. But that works for all of us,
1:26:39
whatever the things are that we need to balance in our lives.
1:26:41
It's easy to prioritize what we see as a serious issues like
1:26:44
work as being more important than fun or joy, but they're not
1:26:49
necessarily so. A pretty big and timeless
1:26:51
message. And to present that as this
1:26:53
huge, spectacular piece of family entertainment, I think
1:26:56
that is really well done. From Walsh into grade.
1:26:58
Definitely. Yeah, I think it's fair to say
1:27:01
we're not looking at the most narratively concise film.
1:27:04
In terms of writing, it is. It's definitely fair to say.
1:27:07
I mean, it's very light on plot. It is essentially a series of
1:27:11
sketches held together by the characters.
1:27:12
But if you look at those individual sketches, whether
1:27:15
it's the songs, whether it's the animation, whether it's the
1:27:18
dancers or the jokes that all work individually, every single
1:27:21
scene does deliver. And This is why you can stick
1:27:24
this film on at any point and just go with it.
1:27:26
You won't have missed anything from the plot if you have to go
1:27:29
stick the you don't want for 10 minutes, you can just pick the
1:27:31
plot strands back up very easily.
1:27:33
And there's something every 5 minutes that's either really
1:27:35
funny or really entertaining or song that's really catchy.
1:27:39
So every scene has been worked out to its full potential, but
1:27:42
it still sneaks just underneath enough content in there.
1:27:45
You know there is support for the suffragettes, there's
1:27:48
criticism of living your life obsessed with money, the
1:27:50
character of the Mr. Banks house.
1:27:52
So in one sense it is pretty thin, but in another sense
1:27:55
you've got to remember it's a kids film and on that level
1:27:57
there's not one scene that doesn't work or makes sense.
1:28:00
Yeah, it's very universal, isn't?
1:28:01
It Oh, massively, yeah. You can put this on for anybody
1:28:04
and we'll get it. At any time, I think, yeah,
1:28:06
absolutely, yeah. So as you'd expect, a lot of
1:28:09
changes from the books. So Bert is in the books, but he
1:28:12
plays a much smaller role than he does in the film.
1:28:15
And in the books, there are four children in the Banks family.
1:28:18
There's Jane and Michael, but there's also two twins called
1:28:20
John and Barbara who were removed for the adaptation,
1:28:23
Right? Yeah, they can't even handle two
1:28:26
kids. Georgian.
1:28:26
Winnifred. Imagine four of them running
1:28:28
amok. Teenagers in this.
1:28:33
Definitely not. And then in the books Winnifred
1:28:35
Banks is only ever known as Missus Banks, so we don't know
1:28:38
her name and she isn't a suffragette.
1:28:39
That was added as a reason to explain why she's neglectful of
1:28:42
the children. Right.
1:28:44
Right. It's a nice addition, I think.
1:28:46
I mean, otherwise she would have no character at all.
1:28:50
Something else for Travis to be annoyed about.
1:28:53
Yeah. And the books were set when they
1:28:57
were written, which was the 1930s, but the change the set
1:29:00
into the 1910s for the film and that was suggested by the
1:29:03
Sherman Brothers as they thought the vaudevillian music of the
1:29:05
time would work better for the songs.
1:29:07
Right. Also, Payout Travels owned the
1:29:10
rights to her books but not the illustrations that were in them.
1:29:13
So by changing the setting it was just the risk of getting
1:29:16
sued because it moved the visuals further away.
1:29:18
The ones that already existed right?
1:29:19
OK. That's pretty under handle,
1:29:21
isn't it? Really.
1:29:23
There were elements of the story taken from PL.
1:29:24
Travis own life. A mother was neglectful and
1:29:27
tried to commit suicide when Travis was a child.
1:29:29
A father worked as a bank manager and when he died she
1:29:32
went to live with her Aunt Morehead, who was stern and
1:29:35
would tell her off by making up rhymes and songs and always
1:29:38
carried a large carpet bag. Yeah, sounds familiar.
1:29:41
Yeah, it does, yeah. Did you have a huge hat stand in
1:29:43
there? How big is that carpet bag for
1:29:47
Curry cup it's no made of? And Trevor said that she had a
1:29:52
book as a child that on one of the fly leaves, somebody had
1:29:55
written M Poppins. Like in handwriting, right?
1:29:58
That always stuck with her. And that's where the name came
1:30:00
from. But you can see why she's so
1:30:01
protective of this. Material.
1:30:03
It's so personal. Yeah.
1:30:05
It is personal, yeah. Try and change it around it's.
1:30:07
It's going to annoy you, obviously.
1:30:08
And we rather often are very protective on the of the
1:30:11
material. Of course, yeah.
1:30:12
So we've already mentioned Travis didn't like the animation
1:30:15
in the movie and she was not a fan of the right neither.
1:30:17
She didn't like the changes to the characters, exactly.
1:30:21
She said Mary was too kind because in the books she's stern
1:30:24
in vain. And she didn't like how Mr.
1:30:26
Banks was painted as a bad father, apparently because she'd
1:30:30
based on on her own father. Yeah.
1:30:32
Right, that's fair enough, but I mean, it's a musical about the
1:30:34
joy of life. Would it work if Mary was a
1:30:36
misery guts in this? I'm not sure.
1:30:39
She's very stern in certain places.
1:30:41
Like I would be like, yeah, OK, I'm sorry.
1:30:43
Yeah, She's got boundaries. Yeah, yeah.
1:30:46
Definitely in the nursery where she'd like when you're quite
1:30:48
finished. Exactly, I'm finished now,
1:30:51
sorry. And she didn't like that they
1:30:54
changed the time period to the 1910s and said that the banks
1:30:57
were supposed to live in a humble abort, not a mansion, and
1:31:00
also thought that the bank servants were too vulgar.
1:31:03
All right. Vulgar.
1:31:05
She'd have had an effing and jeffing.
1:31:06
Just a rubber head. Imagine that.
1:31:10
I love them guys anyway, they're fantastic.
1:31:12
Yeah, they are good, Yeah. They're the most cartoonish, I
1:31:14
think of anything I've seen in the Disney film outside of a
1:31:17
cartoon Disney film. Yeah, there could be a cartoon,
1:31:19
usually. Like 101 dalmatians or
1:31:21
something. Also, surprisingly, or maybe not
1:31:23
so, she hated Van Dyke as Bird as well.
1:31:26
And after, yeah, apparently somehow only person who does.
1:31:30
And then after the film came out, she vowed never to work
1:31:33
with Disney again. Right.
1:31:35
I mean, if you thought the seventh of all, God knows what
1:31:37
you thought it'd be. All right.
1:31:42
For their work in adapting Mary Poppins for the big screen, Bill
1:31:45
Walsh and Don Degrade were nominated for Best Adapted
1:31:47
Screenplay at the Oscars. They lost out to Edward and
1:31:50
Holt, who wrote Beckett, the historical drama.
1:31:53
Right, OK. No Oscar for Walsh and Degrade
1:31:56
then, but they helped create something pretty timeless,
1:31:59
didn't they? I mean, so yeah, what would you
1:32:01
prefer? I'm quite happy with what I've
1:32:03
got, yeah. The music in Mary Poppins comes
1:32:08
from Richard and Robert Sherman, songwriting brothers who were
1:32:10
already Disney's go to musical team.
1:32:13
Having written hits for films like The Parent Trap and The
1:32:16
Sword in the Stone, they were tasked with creating the
1:32:18
soundtrack for Mary Poppins. The brothers Sherman, How did
1:32:22
they do? Matt I.
1:32:23
Mean they've done pretty well here, haven't they?
1:32:25
I mean for the genre, got to be one of the most iconic
1:32:28
soundtracks ever. It is like the definitive Disney
1:32:31
song book in the tune Speak for Themselves.
1:32:33
Everyone knows how ridiculously catchy they are.
1:32:36
But what's impressive is the Ranger songs in here.
1:32:38
Ones that are a ridiculous word play like supercalifragilistic
1:32:42
all the way to the more poignant ones like Feed the Birds.
1:32:45
But what stands out to me is just how well horned they are.
1:32:48
Like if you look at the soundtrack on Spotify, so many
1:32:51
of these songs are just two or three minutes long.
1:32:53
There's not a wasted second to any of them.
1:32:55
Means some are a bit longer, but being so short to sell,
1:32:58
instantly memorable. You'll be homing them for days
1:33:00
afterwards. And the lyrics are really good.
1:33:02
Again, it runs the gamut from funny to sad.
1:33:04
And I just think that's a bit of a lost art.
1:33:06
Like as a comparison now I've not seen Wicked, so maybe the
1:33:10
the work in the context of the film, but I looked at the songs
1:33:13
on the Wicked soundtrack and they're all like 5 or 6 minutes
1:33:15
long. And that kind of knack of just
1:33:18
writing a really short, sharp 2 minutes song that's really
1:33:21
memorable just seems to be like a lost art these days.
1:33:25
And here I think the approach not like the writing songs from
1:33:27
year school, but like the writing pop songs and just
1:33:30
everyone's a banger. It's not the first time anyone's
1:33:33
described the movie popping soundtrack was bangers.
1:33:36
No other way to describe them. You were bangers.
1:33:38
Love it. Love it.
1:33:40
It's hit after hit. Yeah, I know that.
1:33:42
The partnership was basically that Richard wrote the music and
1:33:45
Robert wrote the lyrics, mostly. And the music is obviously loads
1:33:48
of hooks. Catchy as hell.
1:33:50
Never made a spoonful of sugar. The Sherman's poured the whole
1:33:52
bag in. Yeah, yeah, yeah.
1:33:54
You can drive your car off a bridge.
1:33:55
Goodbye, cruel world. And these guys would write a
1:33:57
journey. Little number about it.
1:33:59
It's like classic after classic. We've talked about most of them,
1:34:02
but the lyrics are fantastic as well.
1:34:04
Clever word play, great use of metaphor.
1:34:06
And feed the birds as that line all around the cathedrals, the
1:34:09
Saints and apostles look down as she sells her wares.
1:34:12
It's like poetry. The influences as well are
1:34:14
pretty obvious, I think. Very vaudeville, a Music Hall,
1:34:17
like you said, Mass and London Fork music, which reflects the
1:34:20
time. I think you can hear Gilbert and
1:34:22
Sullivan in there. Supercalifragilistic has AI am
1:34:25
the very model of a model, Major General vibe to it.
1:34:28
And what makes them timeless, I think, is that the song is a
1:34:31
great pieces of storytelling in their own right.
1:34:34
We talked about a spoonful of sugar having deeper meaning than
1:34:36
it might seem, and Feed the Bird is the same.
1:34:38
It's about empathy and compassion.
1:34:40
I mean, the songs might not give you a historically accurate
1:34:43
picture of 1910 London, but they're not meant to.
1:34:46
They capture that sense of wonder, childhood wonder, that
1:34:49
the film's about magical music from the Shermans for me.
1:34:52
Yeah, it's just the soundscape is just as important as what
1:34:56
you're looking at. I mean, you can hear the opening
1:34:59
notes of this and you're immediately transported to this
1:35:02
world. To me, it feels like, you know,
1:35:04
Elton John and Bernie Torbin, you've got somebody writing the
1:35:07
music, you've got someone writing the lyrics.
1:35:08
And having that separation I think really works.
1:35:11
And it really has somebody concentrating on what that means
1:35:14
lyrically and what that means musically.
1:35:16
And the thing I get from this soundtrack is it's memorable,
1:35:18
but it's not annoying. Like, you'll remember these
1:35:21
songs and you'll be feel happy about them.
1:35:23
Like, if I remember Feed the Birds, it doesn't just, like,
1:35:25
play in me head as like, an ear worm.
1:35:27
And I go, oh, God, not that song.
1:35:28
I go squat. Yeah, that's a beautiful thing.
1:35:31
I love that. It's great.
1:35:32
And when they break into song, you're not removed from the
1:35:34
film. You're taken further into it.
1:35:37
To me, I think this is might be the only film where I think the
1:35:39
soundtrack's more important than the screenplay because the song
1:35:43
say more than than the dialogue does.
1:35:46
When they really want to nail something home, the sing it.
1:35:49
Yeah, yeah, yeah. And it's not annoying, and no
1:35:51
one's ever been able to touch that since They did it a bit in
1:35:54
bed, Nobles and broomsticks, but I don't think they've touched
1:35:56
the magic the created with this film, from the visuals to
1:36:00
everything else. And if somebody wants to say
1:36:02
something, get the point across, it's sung.
1:36:04
That should be for me personally, that's Oh my God,
1:36:08
that's terrible and it really works here and these guys had
1:36:12
such a task. To me, the soundtrack is just so
1:36:15
honest. They just wanted it to be right
1:36:18
and it's so good because it's all right and it fits the film
1:36:21
and they just nailed it and it's absolutely works.
1:36:24
It's just as important as the visuals for me.
1:36:26
I think the soundtrack of this is just it's next level top
1:36:29
five. So the Sherman brothers were
1:36:34
sons of a 10 LB Ali songwriter called Al Sherman.
1:36:36
So took after their dad, right? Their break came when they wrote
1:36:39
a hit called Tall Paul for Annette Funicello.
1:36:42
She was one of the Mouseketeers from the Mickey Mouse Club in
1:36:44
the 1950s, and that brought them to the attention to Disney, and
1:36:48
they wrote music for them before being given Mary Poppins.
1:36:51
They also wrote Do You know You're 16 by Johnny Burnett.
1:36:55
Yes, you're 16. You're beautiful in your mind.
1:36:57
All right. Yeah, Yeah.
1:36:58
That was them, Yeah. Ringo Starr covered that when he
1:37:00
was about 30. Of course he did.
1:37:03
Yeah, and the Shermans were one of the first people to work on
1:37:06
the film and it took 2 1/2 years.
1:37:08
Tried all the songs. Wow.
1:37:10
And because there's no final script that had to write songs
1:37:12
and just hope they would fit in somewhere.
1:37:15
And Richard said there were 34 songs, almost half of which
1:37:18
didn't make it in the film. Yeah, somewhere he was on late
1:37:21
at Disney films like you mentioned.
1:37:22
The Shermans must have been all over that first draft of the
1:37:25
script though. Give me a look like front of me
1:37:27
writing all the lyrics to match. Yeah, yeah, I'm going to swoop
1:37:30
them with Trevor's Loving the music someone's got new now.
1:37:34
She was the only music in the film to be a period pieces like
1:37:37
Greensleeves. Very different vibe.
1:37:41
Yeah, very much. What did you want?
1:37:44
Did you want me to make this? I was.
1:37:47
I think we're on the same page. So after the songs were
1:37:49
finished, Disney had Travis flown at the studio so the
1:37:51
Sherman brothers could play other songs.
1:37:53
She didn't like them and let them know, Richard Sherman said.
1:37:57
She didn't care about our feelings at all and she
1:38:00
completely chopped us apart. Yeah, the audio was recorded
1:38:04
from those sessions and they formed the basis of the script
1:38:06
from Saving Mr. Banks. Yeah, right.
1:38:08
It's basically PL. Trevor telling the Sherman's off
1:38:10
for things like saying nighty instead of nightgown in the
1:38:13
lyrics. I mean, come on.
1:38:15
Yeah, so there is one nice moment though, where the player
1:38:19
feed the birds and she starts singing along.
1:38:21
So it wasn't all about. Once the script was finished,
1:38:24
Don de Gradi sat in sessions with the Sherman Brothers as
1:38:27
well. He started at Disney as an
1:38:29
illustrator and drew a sketch of an Edwardian chimney sweep as
1:38:32
inspiration for the Shermans to use, and based on that sketch
1:38:36
they then wrote Chim Chim Tree. Yeah, it's great.
1:38:39
You can see that sketch online as well, and there's some of
1:38:42
that ones done to grade Drew as well of Trevor sitting there
1:38:44
looking absolutely furious in the room with the Shermans.
1:38:48
That's hard to draw that. Surely no.
1:38:52
For their work on Mary Poppins, the Sherman Brothers won Academy
1:38:54
Award for both Best Original Score and Best Original song for
1:38:58
Chim Chim Cherie. Pretty hard to argue.
1:39:01
I think that they fulfilled the brief.
1:39:03
Oh yeah. And then some, yeah.
1:39:07
Let's talk about the man directly behind the camera on
1:39:10
Mary Poppins then in director of photography Edward Coleman.
1:39:13
This wasn't his first Disney Rodeo having short films like
1:39:16
The Parent Trap and The Absent Minded Professor.
1:39:19
Everyone worked on that one it seems.
1:39:21
Yeah, Mary Poppins is always deep.
1:39:23
How would they do what Coleman do?
1:39:24
I'll tell you what, Albert, Albert Coleman is not an
1:39:27
absolute professor. He's very much involved in
1:39:30
what's going on and he's he nails it later on.
1:39:33
Only later did the mask slip and I've realized that this is all
1:39:37
shot indoors, which will get on you.
1:39:39
It's all shot on the sound stage.
1:39:40
But when I was a kid, man, this was just huge.
1:39:44
The colour palette, everything. It had this real romance to it,
1:39:48
this warmth to it, this elegance to it.
1:39:50
It has a real elegance to the film.
1:39:52
I mean, but costume design and set design and production design
1:39:56
is all incredible. He just beautifully done,
1:39:59
beautifully rendered and shot on film.
1:40:02
Sound stages, direct lights. It's going to be hot.
1:40:05
There's no soft light in this whatsoever.
1:40:07
But everyone still looks amazing.
1:40:09
I mean, again, one of them films that I watch and I go.
1:40:12
I can't fathom how this was done, nor do I even want to
1:40:16
think about it because it gives us a headache.
1:40:19
It was just Walt Disney going. I want this to look cartoonish,
1:40:22
but at the same time real life. And there's no such thing as
1:40:26
CGI. You can't fall back on anything.
1:40:29
There's no safety net here whatsoever.
1:40:31
He has to nail this 100%. If you see a wire, this film
1:40:34
finishes done and there's so much pressure put on him and he
1:40:38
absolutely nails it. He knows what he's doing.
1:40:40
And again, he's just part of a huge machine to deliver the the
1:40:44
whole Disney message and he does it with a plum, I think,
1:40:47
amazing. Yeah, I think there's a few
1:40:50
unsung heroes worked on Mary Poppins like we've been talking
1:40:52
about. And Edward Coleman's one of
1:40:54
those names. Yeah.
1:40:55
I'm not sure that he gets the credit he deserves necessarily.
1:40:58
I mean, this isn't the gritty, grimy documentary about nannying
1:41:01
and Edwardian London, obviously, although I'd watch that as well.
1:41:03
Yeah, that's what Travis wanted. And I think Coleman could have
1:41:07
done it, to be honest. I mean, it's a fantastical
1:41:10
Disney musical. And in delivering that, Coleman
1:41:12
does a faultless job. Yeah.
1:41:13
Visuals leap off the screen. They're so vibrant still.
1:41:17
And that's not all down to Edward Coleman, but he's the one
1:41:19
responsible for shooting it. I mean, we're pushing technical
1:41:22
effects bound. We, like we've talked about with
1:41:23
the live action and animation. He has to deal with that
1:41:26
shooting an early form of green screen where nobody really knows
1:41:29
exactly what the final result will look like.
1:41:31
Yeah. And he knocks it all out the
1:41:32
park. He's working with animations,
1:41:35
animatronics, the matte paintings, huge sets and the
1:41:38
visuals still hold up today. It's a classic film and I think
1:41:41
it still looks like 1. Yeah, it's got this romance to
1:41:44
it that even when it looks a little bit rubbish, it's better
1:41:47
for it. Yeah.
1:41:48
Yeah. He's just fearless.
1:41:50
Watching this in 64, you would have been like, what on earth is
1:41:54
this? Yeah.
1:41:56
It's the list of challenges. I think he has to forgot me.
1:41:59
That's the impressive thing for me, to shoot and light the film
1:42:01
entirely on the sound stage. And obviously, he can make it
1:42:05
look as realistic as he can, but he can't quite get there.
1:42:07
But at the same time, he's got to make sure it therefore
1:42:10
doesn't look cheap, and it never does.
1:42:12
It looks so lavish, inexpensive, elegant, elegant and just high
1:42:16
quality and classy throughout. And then fall into the mix.
1:42:19
Things like shooting scenes with extensive matte pins in the
1:42:22
background, that's another challenge.
1:42:24
And just some of the visuals really pop in this.
1:42:26
I mean, those chimney sweeps and silhouettes jumping up and down,
1:42:29
that just looks amazing. Yeah.
1:42:31
So, you know, like Stevenson, he's got a checklist of things
1:42:34
to do, but like, Stevenson just executes it really, really
1:42:37
effectively. Yeah, and like we said, the film
1:42:39
was shot entirely indoors at the Walt Disney Studios in Burbank,
1:42:42
CA, and this meant Coleman had to work closely with Peter
1:42:45
Ellenshaw on the Matt paintings and Tony Walton on the
1:42:48
production design to ensure it all looked as realistic as
1:42:51
possible. And it looks, I mean, it's
1:42:52
fantastic. I do love Olympics way, like
1:42:55
birds walking down the street and you know that he can't walk
1:42:58
much further. Yeah, because he's going to hit
1:43:01
a bit. Maybe.
1:43:02
But I do love. I just love that it's got this
1:43:03
romance to it. I love it.
1:43:05
Yeah, I know that on the Mac painting of London using the
1:43:07
opening Peter Allen show, poked little holes in it and the lit
1:43:10
from behind to make it away. The lights in the city are
1:43:12
coming on one by one. Love that.
1:43:14
Really a good idea. Yeah, great.
1:43:17
For those visuals, Mary Poppins was nominated for the Academy
1:43:19
Award for Best Cinematography and won for Best Visual Effects,
1:43:22
which was a special category at the time.
1:43:24
Right. I mean with the ground breaking
1:43:26
work and blending live action with animation.
1:43:28
Pretty well deserved I think. Nothing like this in 64 surely?
1:43:31
So Walt Disney and Robert Stevenson may have been the
1:43:33
conductors, but they had some artists playing alongside them.
1:43:36
And with Bill Walsh and Don Degrade crafting the story, the
1:43:39
Sherman Brothers creating the melodies, and Edward Coleman's
1:43:42
DP a pretty spectacular collaboration all round on Mary
1:43:45
Poppins, Yeah. I think everyone's, everyone's
1:43:47
killing it, aren't they? Yeah, definitely the end.
1:43:56
The final act of Mary Poppins as Disney, pulling out all the
1:43:58
emotional stops, giving us some of the most touching moments.
1:44:01
We'll be talking the final scenes where Mr. Banks finally
1:44:04
learned what matters most. Before that, though, it's up to
1:44:07
the London rooftops it is. It's only pals.
1:44:14
So having taught the children and us non-stop lessons about
1:44:17
joy and imagination, Mary Poppins leads them up to the
1:44:19
roof where Burt and his fellow chimney sweeps launch into the
1:44:22
most outrageous dance number of this.
1:44:25
Maybe any film. Yeah.
1:44:27
Step in time, Matt. Yeah.
1:44:28
What do you make of the Chimney Top Show?
1:44:31
Well, I mean, my opening quote came from this bit and it is
1:44:34
just my absolute highlight, favorite bit of the film.
1:44:37
The pace of this song is the key to its success because it
1:44:40
absolutely barrels along and it's just impossible to not get
1:44:45
caught up with it. The choreography is incredible.
1:44:48
Running up and down those roofs. That chimney sweep you need, he
1:44:52
goes flying off the roof. But the swinging background just
1:44:54
in time, that's great. But like with pretty much
1:44:57
everything else, it's the performances from Julie Andrews
1:44:59
and Dick Van Dyke that'll just can't take me eyes off of you.
1:45:02
Like his legs are like the made of elastic, just bending all
1:45:06
over the place. And then what I love about Mary
1:45:10
Poppins in this scene is that it's true shows the different
1:45:13
side of her personality because yes, she's prim and proper, but
1:45:16
she'll also just get stuck in and have a laugh when it's
1:45:19
called for. Like she's not disgusted that
1:45:21
she's covered in. So it's when she flings herself
1:45:23
into the dancing, she's just not out of place whatsoever.
1:45:26
That moment where she pauses mid dance and she's got like one leg
1:45:29
in midair and then holds the pause before springing back in,
1:45:33
that's incredible. So this whole sequence, like all
1:45:35
8 minutes of it, it just pulses with energy.
1:45:38
It's brilliant. Yeah, yeah, it's great, isn't
1:45:41
it? Step in time, step in.
1:45:43
Time. Insane I.
1:45:45
Could have done without that. Let's get the chimney.
1:45:48
Sweeps in. It turns the West Side Story
1:45:50
people doing backflip. Really.
1:45:51
West Side Story. I love it.
1:45:53
Yeah, I. Like it when Bird starts dancing
1:45:54
with Mary and we hear one of the sweep shows.
1:45:56
Look at how Bert in the background.
1:45:58
Yeah, great. But the choreography is
1:46:00
incredible. Van Dyke is brilliant.
1:46:02
Huge variety of running on the spot techniques.
1:46:04
Yeah, I love the set as well. You see the whole thing when
1:46:07
they're running around the rooftops.
1:46:08
It's like a wide Mac painting in the back background.
1:46:10
And that white shot I think you mentioned in Markham, see 8
1:46:12
sweeps prancing on their own chimney.
1:46:14
It's all silhouettes with a blue background.
1:46:16
That's the best shot in the film.
1:46:17
I think it is, yeah. But you've posted it enough in
1:46:20
the group. Time we talk about Poppins.
1:46:26
Again though, Admiral Boom, this guy's a menace.
1:46:29
Starts taking pot shots and all the sweeps.
1:46:31
Yeah, they will not mention his outrageous racism either.
1:46:34
Now let's leave that. Yeah, then they just take over,
1:46:37
bangs out and again, step in time.
1:46:39
It's absolutely ludicrous. Bosses back step in time.
1:46:44
Yeah, it ends with them all just running off into the night.
1:46:46
Yeah, absolutely awesome. We might say that.
1:46:52
Brilliant. I mean, this is the most Matt
1:46:55
Bartley sequence after knowing him for 2020 plus years.
1:47:01
Every time I watch this, I just think of Matt just sitting and
1:47:03
smiling at it. It's just, but I do, I just
1:47:07
think he's just going to love this so much.
1:47:09
And it's just it has that vibe to it.
1:47:10
It's just everybody on the same page and you haven't even been
1:47:15
introduced to these guys. This should not make sense.
1:47:18
Like we have all these guys come from, but you trust Bert, you
1:47:22
know him and everyone else is Berts friend and you then trust
1:47:25
them. And Mary's just integrated into
1:47:28
this. She knows them.
1:47:30
This is huge back story. Like how does she know these
1:47:33
guys? How does she know what the dance
1:47:34
is like? It's just any other film it
1:47:38
would just be an absolute mind fog of like what on earth is
1:47:42
going on here? It just works so well.
1:47:44
The music works so well, the choreography is incredible.
1:47:47
It's so Broadway, it's so theatre.
1:47:50
It's a show for them and it's a show for us.
1:47:52
It's I almost feel like I'm watching something that was
1:47:56
they're sure for the kids and I'm eavesdropping on it a little
1:47:59
bit. And there's very few films that
1:48:00
do that, especially your musical set piece, because I mean, I
1:48:04
forget that this is at the end of the film.
1:48:06
Step in Time comes in, he's like, yes, this is now a Disney
1:48:10
film. This is exactly what I want.
1:48:12
We don't know any of these guys the popping their heads out from
1:48:14
different pipes and that shouldn't make sense.
1:48:17
They're not going to fit anyway and they're jumping down and
1:48:20
they're making an absolute mess of the house and they're just
1:48:22
taking the piss out of Mr. Banks.
1:48:24
The birds brought this for him. And then he gives that wonderful
1:48:26
speech about I know how hard it is for you, but you need to
1:48:31
reassess your whole life. It's wonderful.
1:48:33
It's just beautifully played out.
1:48:35
What a sequence. And if everything reminds me of
1:48:38
Matt, then I'm a happy man. And the Sherman with us a plan
1:48:43
for Chim Chim Tree to be the song used in the sequence.
1:48:46
But then special effects supervisor Peter Ellen Shaw
1:48:49
introduced them to Knees of Mother Brown, and they're
1:48:51
inspired by that right step in time instead.
1:48:54
Yeah, I think step in time is basically knees of Mother Brown.
1:48:57
They've just changed the words I.
1:48:58
Think it's exactly the same. No Mary Poppins.
1:49:02
No Chasm Dave, either. Sure.
1:49:03
No status quo, no music, no contemporary music, no Beatles,
1:49:09
nothing. But it actually had to be filmed
1:49:13
twice because there was a scratch on the film at the first
1:49:16
take and the whole sequence was originally meant to be just two
1:49:19
minutes long, but ended up 14 minutes instead.
1:49:23
Couldn't get rid of the chimney sweeps that wouldn't leave
1:49:25
probably, but they're behind the scenes for them, filming some
1:49:29
scenes like Step in Time. And it's kind of surreal seeing
1:49:31
Julie Andrews and Dick Van Dyke, like laughing and messing about.
1:49:34
And these scenes are like, so stitched into popular culture,
1:49:37
it's really weird. And then after this, there's a
1:49:40
very small scene, but it's very important because it's more
1:49:43
insight into Mr. Banks when he's talking to birds.
1:49:46
And it's just that realization of how he's got his priorities
1:49:49
wrong. And what I love about Bird here
1:49:50
is he's not judgmental. Like when Banks complaints that
1:49:54
Mary tricked him into taking the kids to the bank, tricked you
1:49:57
into taking the kids in and out in outrageous, he like, doesn't
1:50:02
give him a needle about it. He just holds up a mirror and
1:50:04
says this is what you are and it's up to you to change your
1:50:07
ways. Yeah.
1:50:09
Yeah, I just can't believe Mr. Banks doesn't have a problem
1:50:11
with Bird wandering around his house in his chimney sweep.
1:50:13
Yeah. These shoes on on his carpet.
1:50:16
Taking a mess of everything. Crazy.
1:50:18
So quite a spectacular rooftop celebration there.
1:50:21
Shall we see how all these chimney sweep are next?
1:50:23
Land back at 17 Cherry Tree Lane.
1:50:26
See how it goes. Let's do it.
1:50:30
The finale of Mary Poppins is where everything changes.
1:50:33
Mr. Banks faces the board of directors at the bank in what
1:50:35
seems like doom for his career, but it's the opposite from his
1:50:38
personality, turning him into a hysterical, kite loving father
1:50:42
of the year figure. So what do you think of our
1:50:45
ending, Westie? I mean, I think PL.
1:50:49
Travers would have been happy with this scene.
1:50:52
You know, Banks is fired. It's really Leslie Miserables.
1:50:56
He's it's a joke snapper. Yeah, great.
1:51:00
But it's the realization from this, and what I've got watching
1:51:03
it again is you're going to come in at 9:00 at night.
1:51:06
No, I know it's crazy. I don't care what I do.
1:51:09
There's no job room you take. Can you come in from meeting at
1:51:11
9:00? And no, not even a zoom meeting
1:51:14
No, I can barely do this at 9:00 at night.
1:51:16
You know, let's let's be honest, it's.
1:51:19
Just. Wonderfully done because it's so
1:51:21
dark. And if you notice when he walks
1:51:23
into that room, it's so Stanley Kubrick.
1:51:26
Oh my suddenly, eyes wide. Short, isn't it?
1:51:27
That is, I was like, that's eyes wide, short, and then I'm
1:51:29
looking at again going this is the Godfather.
1:51:31
Yeah, yeah. It's the same top light, they've
1:51:34
got the same pandorized, don't care where the shadows are.
1:51:37
Everything's really for boarding.
1:51:39
That red colour scheme with the black colour scheme.
1:51:42
This is every phone that I know that I'm like, wow, this has got
1:51:45
depth and wait. It's like it's Apocalypse now,
1:51:47
it's the Godfather, it's now hold on, it's 1964, it's Mary
1:51:50
Poppins. What am I watching?
1:51:52
It's absolutely insanely well done and it's a great speech.
1:51:56
And Banks here then starts to buy into the magic and there's
1:52:00
that great line. You know what?
1:52:02
There's no such thing as? There's no such thing as you
1:52:05
because you don't believe in yourself.
1:52:07
You believe in something else that is going to transcend you,
1:52:10
that's going to live further than you are.
1:52:12
And what Mr. Banks needs to become, what George needs to
1:52:14
become as George, the person, the person for his kids, the
1:52:18
person that he's supposed to be. It's just a wonderful scene.
1:52:22
It's brilliantly realized and the wooden egg named Smith not
1:52:25
the funniest joke, but lands when it's repeated.
1:52:28
That realization when you know if you get a joke, you sit by
1:52:31
yourself. A wooden leg names.
1:52:34
To me, it was just really astonishing.
1:52:37
I mean, the kids will watch this and we'll put it on, but I've
1:52:40
never really sat and went right. I'm just going to talk about
1:52:43
this scene and I've looked at that scene.
1:52:45
I've just gone wow that is like so intense but beautifully done.
1:52:51
Yeah, like the way they build all the tension on that long
1:52:53
walk through London to the bank. It's like he's walking the plank
1:52:56
or something. Yeah.
1:52:57
And I think David Tomlinson pretty much nails it.
1:52:59
Start all proper and stiff up a lip about it.
1:53:02
But we've seen the cracks forming the last few scenes.
1:53:04
Yeah. And then he just breaks down.
1:53:06
But not in tears, in laughter. Yeah.
1:53:08
I mean, I'm wondering if we just be on the doobies with Uncle
1:53:11
Albert. I would hope so.
1:53:12
But it is a great character moment.
1:53:15
Someone punching a hole in your hat and taking your flower off
1:53:18
and it's disgusting the way he's trashed and like, of course
1:53:21
you're just going to laugh at that and you're going to go,
1:53:22
this is ridiculous, but that's the world.
1:53:24
I've never seen anyone so pleased to get fired, but even
1:53:27
better when Mr. Doors senior starts laughing at the end.
1:53:29
Yeah, that horse chesty laugh. Yeah.
1:53:32
It's great, yeah. And you think another redemptive
1:53:34
arc, but next scene doors Junior is like no no, he's dead.
1:53:38
Locked himself to death. Absolutely brutal.
1:53:40
Best I've ever seen him. Thanks for that.
1:53:44
But if Mr. Banks is the heart and emotion of the film, like
1:53:47
we've been seeing, this is probably his key moment.
1:53:49
Yeah. Definitely.
1:53:50
And then for me, you get to the end and and it does end pretty
1:53:53
perfectly because up till now it's been very light, very
1:53:56
frothy, but it absolutely sticks the London in terms of the
1:53:59
message in the emotion, weirdly, it's similar to our last episode
1:54:04
we did on The Last Crusade because we talked there about
1:54:06
Henry thinking India is dead and all he needed was 5 minutes to
1:54:09
tell him something. Yeah.
1:54:10
And it's the exact same realization for Mr. Banks.
1:54:13
And it's a message every parent needs N the door already, you
1:54:16
know. Yes, it's great to have money to
1:54:18
lavish on your kids, but if you don't, that's fine.
1:54:20
Just give them some of your time instead.
1:54:22
They don't care about money, they care about time.
1:54:24
Kids will appreciate 30 minutes of your time dedicated entirely
1:54:28
to them. Over £30.
1:54:30
Over £30 and they'll remember that.
1:54:33
They won't remember £30 on a pair of trainers.
1:54:35
You got them once in the end, and Mary Poppins understands
1:54:38
that. Tomlinson gets out in his
1:54:40
performance and it's just summed up so beautifully in that last
1:54:44
song. Let's go fire, OK?
1:54:45
Where he goes. Niagara Falls, every time.
1:55:18
Yeah, Really. Wow.
1:55:19
It's such a beautiful song and it's such a beautiful sentiment.
1:55:21
It's wonderful ending. What do you mean?
1:55:23
Wow? Of course it's the most
1:55:24
emotional man I've ever met. Me life.
1:55:27
Come on, I can't be surprised. Yeah, Mr. Banks hasn't just
1:55:31
changed, he's gone kind of mad and have no idea why Mr. Doors
1:55:34
suddenly asked He wants to become a partner in the bank
1:55:36
again. Just fired him like 5 minutes
1:55:38
ago. But as joyous endings go, this
1:55:41
is right up there. Yeah.
1:55:43
It's Mary's pizza. I know.
1:55:44
It's the most nowadays. She gives a look out the window,
1:55:46
watching the banks or behaving like a family, like my work here
1:55:49
is done. Yeah.
1:55:50
And I think it's quite sad when she leaves and they don't get to
1:55:52
say goodbye to each other. A little bit sly on Mary's part.
1:55:55
Jane and Michael will be devastated when the financial
1:55:58
just done one. Yeah.
1:55:59
May on every night out the. Vanishing act.
1:56:04
League of Shadows. But that soggy little powered
1:56:08
umbrella fella who talks to Mary?
1:56:10
I love that guy. He was voiced by David
1:56:12
Tomlinson, actually. Oh, was he all right?
1:56:15
OK, I never knew that. I mean, is there a better ending
1:56:18
to a film? I just love it.
1:56:20
I mean, the idea for Let's Go Fly OK came from Sherman and
1:56:23
their father, Al Sherman. When Sherman's were kids.
1:56:26
I would make that, make kites, and they'd go and fly them
1:56:28
together as a family. Have you ever tried doing that?
1:56:30
It's an absolute nightmare these days.
1:56:33
It really is. So when the new the story ended
1:56:35
with the Banks family reunite and they came up with the title,
1:56:37
immediately, it was like, it's just, it's just wonderful.
1:56:41
A banger, isn't it, Matt? Well.
1:56:42
That's a massive banger for my. Absolute banger world bangers.
1:56:45
Are you talking about? Yeah, I mean, it's absolute
1:56:47
perfection storytelling wise, and not a coincidence that this
1:56:50
song powers maybe the most powerful scene here, and for me,
1:56:53
definitely the best scene in saving Mr. Banks as well.
1:56:56
Yes. Right, but.
1:56:57
I think there's some nice symbology in there as well.
1:56:59
Mr. Banks tapes the four pieces of the kite back together.
1:57:02
Yeah. Reunites the four members of the
1:57:03
family. And Missus Banks gives up her
1:57:05
suffragette ribbon to be the tale of the Kite.
1:57:07
Yeah, it's all quite nicely, don't I think?
1:57:09
And he uses. The tuppence to buy the stuff to
1:57:11
replace it, yeah, it's great. But the ending for the film is
1:57:14
different to how the book finishes.
1:57:16
In the book, Mary leaves really suddenly when the wind changes
1:57:20
direction and she just suddenly flies away.
1:57:22
The children do say yeah leave though, and the family are all
1:57:25
upset that she's gone, especially Mrs. Banks.
1:57:27
But that's because that means she now has to raise the
1:57:29
children. I bet Travelers was boiling with
1:57:33
rage at that change. Did you ever not spoil with Rage
1:57:37
A? Bit to birth.
1:57:39
Constantly boiling with rage. And with that we get Mary
1:57:43
Poppins floating away on the wind as the Banks family go fly
1:57:46
a kite. So turned out well for everyone
1:57:48
involved and in terms of us, a pretty satisfying ending.
1:57:52
Wonderful. Perfect ending.
1:57:56
Reception and awards. So that is the end of Mary
1:58:01
Poppins for now, and the film landed in theaters in August
1:58:04
1964. Not via umbrella, but how did
1:58:08
audiences respond to it? Well, someone's got to add up
1:58:10
all those tuppences. And that, man is Matt, is.
1:58:14
So give us the numbers please, Matt.
1:58:16
OK. So from a final production
1:58:18
budget of about 5 to $6 million, Mary Poppins scores $103 million
1:58:24
worldwide. So a huge hit.
1:58:26
And then at the Oscars all together, nominated for 13,
1:58:29
winning 5, Best actress for Julie Andrews, best editing for
1:58:32
Cotton Warburton, best visual effects for Pete and Ellen Shaw.
1:58:36
Used to slice it. And Hamilton Lusk and the
1:58:38
Sherman brothers, as we've said, won two.
1:58:41
Best score, Best Song for Chim Chim Cherry?
1:58:44
The most successful Disney film at the Oscars ever.
1:58:47
Mary Poppins, Right, Right. Yeah.
1:58:49
And it was the only one of his films that Walt Disney saw get
1:58:51
nominated for best Picture. Really.
1:58:53
Wow. I think up and Toy Story 3 have
1:58:56
been since. Yeah.
1:58:57
OK, yeah, the premiere who plays at Graham's Chinese Theatre in
1:59:01
LA? And it was the first premiere
1:59:02
Walt Disney had been in since Snow White in 1937.
1:59:05
Wow, check this out. PL.
1:59:07
Travis wasn't happy though, obviously.
1:59:11
Shocker. She apparently cried all the way
1:59:14
through the screening. Like Matt.
1:59:16
Different reason to Matt though. Totally different reason.
1:59:20
And she said at the end, she said to Disney, like the first
1:59:23
thing that has to go is the animated sequence.
1:59:26
What animated sequence? Which one?
1:59:30
Yeah, apparently, Disney said to her.
1:59:31
Pamela, that shape has sailed. Pamela like.
1:59:37
You've just watched the premiere.
1:59:38
Everyone loves it except for you.
1:59:40
It's just a bit of change at that point.
1:59:42
No, we will take stuff out. This is the point of negotiation
1:59:45
right now in the premiere, yeah. On to the critics then.
1:59:48
And Roger Ebert didn't write his first film review until 1967, so
1:59:52
we don't have any comments from him for once.
1:59:54
Oh, just missed it. We do, though, have Bosley
1:59:57
Crowther's of the New York Times thoughts.
1:59:59
So next best thing? OK.
2:00:01
Bosley called Mary Poppins a most wonderful cheering movie
2:00:05
for the enchantments of a beautiful production, some
2:00:07
deliciously animated sequences, some exciting and nimble dancing
2:00:11
and a spinning musical score. They make it the nicest
2:00:14
entertainment that has opened at the Music Hall this year.
2:00:17
OK, lovely, nice entertainment. It definitely is that, James
2:00:22
Powers of The Hollywood Reporter said.
2:00:24
Mary Poppins is a picture that is more than most a triumph of
2:00:27
many individual contributions, and it's special triumph is a
2:00:31
seems to be the work of a single cohesive intelligence.
2:00:34
Yeah, it is. Yeah.
2:00:35
Kind of what we've been saying, I think Walt Disney's vision
2:00:37
achieved by a big, talented team.
2:00:39
It's under the massive umbrella with a parrot at the end of it.
2:00:45
And in a retrospective of you, Empire magazine gave Mary
2:00:48
Poppins 4 stars out of five really.
2:00:50
Which I can't quite believe and said get this, watch it on DVD
2:00:55
and make judicious use of the skip button.
2:00:57
And with a little home editing you can edge this movie up to
2:00:59
the five star rating it could so easily have earned.
2:01:02
What? Just skip off of it?
2:01:04
Rubbish. That's it.
2:01:08
That's the only thing I can think of.
2:01:10
Absolutely crazy. That is mental.
2:01:12
Today on Rotten Tomatoes, Mary Poppins has a very big 86%
2:01:16
audience approval rating, under huge 97% from critics, and then
2:01:21
on IMDb the score of 7.8 out of 10 all.
2:01:25
Right. Huge scores.
2:01:27
Still can't quite believe Empire though.
2:01:28
No, just Fast forward it. Yeah.
2:01:30
I'm just skipping the rich you don't like.
2:01:32
Those highlights so Mary Poppins was pretty much an instant
2:01:35
Disney classic massive box office success triumphant the
2:01:39
Academy Awards critics fell in love with it and still
2:01:41
enchanting audiences today yeah not quite practically perfect
2:01:45
for some like PL. Travers and Empire but it's an
2:01:48
OK for itself it. Really.
2:01:50
I mean you can skip any film and make it a five star.
2:01:52
Yeah sure. Sequels and influence.
2:02:02
PL. Travers wrote 8 Mary Poppins
2:02:04
books in total, so there were plenty of stories for Disney to
2:02:06
explore, but she wouldn't let them.
2:02:09
Hollywood did eventually return a cherry trail in though in 2018
2:02:12
when we got the Rob Marshall directed and Emily Blunt
2:02:15
starring sequel Mary Poppins Returns.
2:02:18
How do I find the long-awaited sequel?
2:02:20
It's very enjoyable. It is like a lot of sequels or
2:02:23
reboots these days in the sense that the plot beats are
2:02:26
essentially the same. Doesn't really tread any new
2:02:29
ground. It doesn't have that emotional
2:02:31
resonance of Mr. Banks realizing what's important in life.
2:02:34
But some great songs, some really good dance sequences.
2:02:38
I think Lin Manuel Miranda does a decent job of filling in for
2:02:41
Dick Van Dyke. But it has to be said Emily
2:02:43
Blunt is brilliant in the title role to follow in Julie Andrews
2:02:47
steps here. It's no mean feat, but she
2:02:49
absolutely makes that character pretty much her own.
2:02:53
Yeah, I agree. I mean, it's 50 years after the
2:02:55
original, which is some gap between a film and a sequel
2:02:57
where they keep the same kind of continuity.
2:02:59
I think Emily Blunt is really good as Mary.
2:03:01
The narrative is good. I don't think it's just a copy
2:03:03
paste job in terms of the story. Could have got a stronger
2:03:05
narrative, I think maybe Returns than what the first one has.
2:03:09
And the big set pieces are great, spectacular.
2:03:11
There are some great animations in there.
2:03:14
The problem it's got as it's following the original.
2:03:16
One of the most famous musicals ever and the songs are fine but
2:03:19
the nowhere close to the Sherman lads other.
2:03:23
Also, I find the writing of Mary a little odd in the sequel.
2:03:26
I think she's quite passive. She doesn't really drive the
2:03:29
narrative. She kind of follows the banks
2:03:31
around as they have their adventure.
2:03:32
Yeah. Yeah.
2:03:33
Which, yeah, I found a bit strange.
2:03:34
Liam. Well, Miranda is really good as
2:03:36
Jack the Lamplighter. He's loving it to Miranda, isn't
2:03:39
he? He can't believe his luck.
2:03:40
Yeah. And Dick Van Dyke has a cameo.
2:03:42
Great to see him, Obviously. But he plays Mr. Doors.
2:03:45
Why isn't he Burt? He would have been awesome.
2:03:49
Hello. Moiry at the end.
2:03:50
It would have been incredible. So yeah, it is enjoyable enough.
2:03:54
Easily better than it could have been.
2:03:55
Yeah, but not really a Disney classic.
2:03:57
I wouldn't say no. Right.
2:03:58
And Disney want to make sequels after the first phone came out.
2:04:01
But guess what? Pale Travers didn't allow it if
2:04:05
she was so angry with how the phone came out.
2:04:07
In the 1990s, a producer called Cameron Macintosh approached
2:04:10
Travers about making a stage musical version and said as long
2:04:14
as he didn't use any of Sherman songs.
2:04:17
Wow. That's absolutely fine.
2:04:19
Don't use any of the song. Don't use anything that's been
2:04:21
done past the books, basically. But Travis passed away in 1996
2:04:24
and when the musical debuted in 2004.
2:04:26
Include all the Disney songs. Of course it did of.
2:04:29
Course it did. I'm sorry Pamela, but the reason
2:04:31
they want to make a stage version is down to the film more
2:04:34
than the books. Course it is somebody sitting
2:04:37
there reading them out. Well, back to the original film
2:04:42
then. What has its legacy and
2:04:43
influence been since 1964, do we think?
2:04:47
I mean, for Legacy, I think it's as huge as any film you can
2:04:50
mention really, because it's such a bluff family classic.
2:04:53
There's not many films where you can think, let's make a film
2:04:56
about the making of because that's going to be really
2:04:58
interesting. You know, it's kind of in a
2:05:00
genre of its own in that sense. The fact that it's one that
2:05:03
broadcasters will turn to year after year after year to put on
2:05:06
over Christmas, despite how old it is now, that tells you how
2:05:09
much it is a generational film. There's a lot of family films
2:05:13
that were not as popular but pretty much nearly as popular
2:05:17
back then that just happens to the test of time like this one
2:05:20
has. And then that's its legacy and
2:05:22
its influence. I think it's just as big.
2:05:24
I think any family film with song and dance numbers lives in
2:05:26
the shadow of this one. And the blending of live action
2:05:29
animation. When you said it, John wasn't
2:05:30
the 1st to do it, but it elevated it in a way that hadn't
2:05:33
been seen before. And if you didn't have this,
2:05:35
would you have the likes of Hoofy and Roger Rabbit or Looney
2:05:38
Tunes back in action? I think you could argue probably
2:05:40
not. Definitely not.
2:05:42
Yeah, in terms of impacts, Mary Poppins has been massive
2:05:45
revolutionized like you're saying, how live action
2:05:47
animation could plan together and LED there, the classics.
2:05:50
Pete's Dragon wasn't long after this, I don't think.
2:05:52
Yeah. Roger Rabbit, Space Jam, loads
2:05:55
of others launch Julie Andrews into Hollywood stardom without
2:05:59
the directly in her being cast as Maria von Trapp.
2:06:01
Like we talked about Dick Van Dyke, Like despite something
2:06:04
like a company having a midlife crisis, became a beloved figure
2:06:07
surely casting Chitty Chitty Bang Bang because of Mary
2:06:10
Poppins. Yeah.
2:06:10
Of course. And its cultural impacts massive
2:06:13
too. I mean, supercalifragilistic and
2:06:15
a spoonful of sugar have ended the kind of cultural lexicon
2:06:19
everybody knows those phrases. And the Sherman set a new
2:06:22
standard for musical storytelling.
2:06:23
I think the ball was raised after Mary Poppins.
2:06:25
Yeah. Even the day we'll still see the
2:06:27
idea of a magical nanny in the films.
2:06:29
Nanny McPhee misses Doubtfire. There's an influence there, I
2:06:32
think. Yeah, yeah, yeah.
2:06:33
And the message about recognizing the importance of
2:06:35
family and finding the joy in life that still resonates,
2:06:38
probably always will. And I can't imagine it'll ever
2:06:40
be a time when Mary Poppins isn't being shown to children.
2:06:43
Yeah. There shouldn't be any way, I
2:06:44
don't think. Yeah, I feel exactly the same as
2:06:48
you guys. I think it's more about the feel
2:06:51
of this whole film. I don't know if you guys, but
2:06:54
I've beaten Disney World, right? You walk through and you see
2:06:57
someone dressed up as Mary Poppins.
2:06:58
Everyone goes, there's Mary Poppins and you're like, oh,
2:07:02
this dress was Bert. Oh, there's Bert.
2:07:05
And like you said, John, I think it's more of a cultural
2:07:07
influence than it is on anything cinematic because Walt Disney
2:07:12
owned this. From that, it created Disney
2:07:16
into what it is today. I think without Mary Poppins,
2:07:18
you wouldn't have that element of it's Mary Poppins.
2:07:21
Of course it is. And it's the safest film I think
2:07:24
it's ever been made. I think you can just put it on
2:07:27
at any time for anybody and if they don't like it, it's a real
2:07:32
red flag. You can put over anyone at any
2:07:35
time. It's Sunday, a few drinks or
2:07:38
whatever. I had Mary Poppins on and
2:07:39
everyone is just as a piece of entertainment, as something that
2:07:43
has something to say as the benchmark for Disney.
2:07:47
If you love that, it is what it is.
2:07:49
It's it's a huge film and it it made such an impact and I think
2:07:53
everyone is trying to do what that did and it's impossible.
2:07:56
It's just lightning and a bottle and it works so well.
2:08:00
Well, as we're talking about Disney, this seems like a good
2:08:02
place for our 3rd and finally ATRM patron question.
2:08:05
OK. It's about Disney Studios and
2:08:07
comes from Andrew Shaw. OK.
2:08:10
Hello, Andrew. Hello Andrew.
2:08:11
So Andrew was asked, what are your general thoughts on Disney
2:08:14
entertainment over the years and if you're a fan, why are you a
2:08:17
fan? If not, why not?
2:08:20
No. What?
2:08:21
What do you say to? That go on my first.
2:08:24
I mean, I mean general thoughts as to where they are now.
2:08:26
I don't think we should be naive and thinking Disney from day one
2:08:30
wasn't interested in profits, in being hugely successful.
2:08:33
Of course he was, you know, of course, yeah.
2:08:35
They never made art house. They weren't fund and Inmar
2:08:38
Bergman back in the day. It's.
2:08:39
Not a 24, is it? No, it's not.
2:08:41
It's definitely not, but I think my overall feeling is that
2:08:45
classic Disney, if that's what we can call it, they had that
2:08:47
perfect combination where they had the commercial instincts but
2:08:51
genuine care for the output. And I feel that's just
2:08:53
increasingly lost with Disney these days.
2:08:55
Like Disney these days, it feels like they actually need to watch
2:08:58
this film and realize what the point is.
2:09:00
Because it feels like it's a company run by accountants these
2:09:04
days. And if you have genuine artistic
2:09:07
antiquity, you're going to struggle to keep that.
2:09:10
And I think everyone can point to various examples of that.
2:09:12
Endless sequels, prequels, reboots, streaming spin offs,
2:09:15
whatever. But the one that particularly
2:09:17
irritates me is this endless obsession of remake and classic
2:09:21
animations as live action. Yeah, I mean, the example I'm
2:09:24
going to say it isn't live action as such, but that photo
2:09:27
realistic version of The Lion King.
2:09:30
What was the point of that? Who wants that?
2:09:33
I'm not saying like I'll watch the original Snow White as a 45
2:09:36
year old man if I did. It's miles better, but it wasn't
2:09:40
like The Lion King reboot, like one of the greatest box office
2:09:43
successes of all time. Massive, yeah.
2:09:45
Yeah, they all are. So there's obviously an audience
2:09:47
for them. But like I say, if I did watch
2:09:49
the original So White, I would sit there and go, you know what?
2:09:52
I can see the creativity there, right?
2:09:53
I can see the love in that form of animation.
2:09:56
And to me, that's what Disney has lost.
2:09:57
They just feel increasingly mercenary about their output.
2:10:01
Nice. Yeah, I mean, for me to start
2:10:03
with, I would say yes, I'm definitely a fine at Disney.
2:10:06
I think if people aren't generally certainly classic
2:10:08
Disney, that's absolutely fine. But their loss for me, to be
2:10:11
honest, what makes them so great?
2:10:13
I mean a lot, but a couple of things always stand out for me.
2:10:17
They've been master storytellers for a long time.
2:10:20
The amount of moments of Disney films that resonate with people.
2:10:22
Bambi's mother being killed, Bing Bong and Inside Out don't
2:10:26
Bore. Being rocked to sleep by his
2:10:27
mother. When we see Coco again at the
2:10:29
end of Coco, Don't. Start.
2:10:30
I'm going. To go.
2:10:31
There's dozens more, but these are moments that people see as
2:10:33
children and then they remember for their whole lives.
2:10:36
And then secondly, Disney's been around since 1923 / 100 years,
2:10:40
and ever since then has been at the forefront of animation.
2:10:43
Snow White was groundbreaking in 1937.
2:10:45
Mary Poppins was in 64, don't do that as much now, but they have
2:10:49
carried on since at some point, like Toy Story, all those live
2:10:52
action CGI things they're doing now, which are a bit mercenary,
2:10:56
I would agree. I would say at times they can
2:10:58
maybe rely too heavily on existing IPS, certainly
2:11:01
nowadays, rather than taking risks from original stories that
2:11:04
they used to do. And sometimes they need to
2:11:06
appeal to everyone, kind of lead to playing it slightly safer
2:11:09
times when maybe they never used to.
2:11:11
Pinocchio was scared to shout at me when I was a kid.
2:11:13
Yeah, but don't go for that kind of thing anymore, that kind of
2:11:15
darkness, which is quite a shame, I think.
2:11:17
Yeah. But at their best, Disney are a
2:11:20
joy. They bring people together.
2:11:21
They've told stories that are part of our shared cultural
2:11:24
language for years and years and years.
2:11:27
You can't reasonably ask for more from them than what they've
2:11:29
done. And I'm a fan, and I still am
2:11:31
always interested to see what they're doing next.
2:11:33
Yeah. And Westie.
2:11:34
The opposite of that, John, to be honest.
2:11:37
I mean, no, no, in it like a negative way.
2:11:39
I just, I know what Disney is. And to me, it's a little bit too
2:11:43
predictable and it's a little bit too safe, and it's a little
2:11:46
bit too escapist, and it's a little bit too like live, laugh,
2:11:50
love. For me.
2:11:51
I think it's what you've both said.
2:11:52
I think the criticism that we've got is that it's not pioneering.
2:11:56
It's not moving forward with any kind of new ideas.
2:11:59
I think it's using a lot of what it's done in the past, like when
2:12:03
Walt Disney died. That's it.
2:12:05
We're not making anything new. We've got an iPhone, we've got a
2:12:08
MacBook. That's all we're doing and we're
2:12:09
just going to rehash that. Disney feels like we're just
2:12:11
going to rehash what we've done. It don't feel like Disney are
2:12:14
pioneers anymore. They're hanging on to something
2:12:16
that they've done previously. There's the castle, there's the
2:12:20
princesses, there's the Princess, and it's just a little
2:12:23
bit too old fashioned. I know that Disney's safe.
2:12:26
I know that Disney's happy, and that's a place that I can always
2:12:30
refer to people who like, want to be in a safe and happy
2:12:33
environment. Not that's the best I can give
2:12:35
for Disney, really. Disney slammed.
2:12:39
Well, not I'm not. Slamming and I'm like, I watched
2:12:43
pretty much everything up. To date because.
2:12:45
I've got two children and I'm watching big.
2:12:46
Hero 6, and I thought that was absolutely fantastic.
2:12:49
But again, it just hit. It seems like there's boundaries
2:12:51
on it. It seems like it needs to be
2:12:52
this with Pixar. Yeah, Pixar, yeah, they are
2:12:56
pioneering at that point, but I would rather someone was.
2:12:58
Pioneering. In a different way.
2:13:01
Fair enough. I like all that.
2:13:02
Takes risks. Yeah.
2:13:04
So while they took 54 years for Mary.
2:13:06
Poppins to return. The Cherry Tree laying in a
2:13:07
proper sequel. Me might think it was quite
2:13:10
good. Yeah.
2:13:11
And As for the original, its influence on musicals,
2:13:13
animations, family films, how we all perceive the general magic
2:13:16
of Disney. Difficult to overstate its
2:13:18
influence. Oh, absolutely.
2:13:20
Yeah. Oh yeah, very much.
2:13:25
All the right. Movies Ranking.
2:13:29
And that just about wraps up the adventure.
2:13:31
All that's left is to decide just how many spoonfuls of sugar
2:13:33
Mary. Poppins deserves out of 10.
2:13:35
All right, so Matt, your choice. So what do you think?
2:13:38
Your summary and score for Mary Poppins, please.
2:13:42
I think it's really easy to be cynical about this as a film.
2:13:46
Yes, parts of it are quite ramshackle and yes, it's a kids
2:13:49
film so it is, no pun intended, quite sugary at times.
2:13:52
And, you know, we did see some people morning about this
2:13:54
choice, but ultimately, we've always been about as a podcast
2:13:58
celebrating every genre that we can.
2:14:00
And this is a genre we needed to cover.
2:14:02
And this film is so worth celebrating.
2:14:04
It's beloved for a very good reason.
2:14:07
And if you reported as an adult with the right frame of mind,
2:14:10
you'll totally get it. You'll laugh with the jokes,
2:14:13
You'll hum along with the songs. You'll be charmed by the
2:14:15
animation. And if nothing else, you've got
2:14:18
Julie Andrews and Dick Van Dyke. And they're both simply
2:14:21
wonderful. And they definitely bring the
2:14:23
magic because they believe in the magic in this material.
2:14:26
So is it an absolute all time favorite of mine?
2:14:29
It's not. And it's certainly not a perfect
2:14:31
film. It is baggy at times.
2:14:32
It is over long. But ultimately it's a film that
2:14:35
generations now always come back to.
2:14:37
And it's a film that generations to come will discover for the
2:14:40
first time and they will love it.
2:14:42
And I think that's something to be cherished, particularly for a
2:14:45
film from 1964. So it's a nine for me, big score
2:14:50
and it's a big film obviously over there with the biggest
2:14:53
films. Ever made, I think when you talk
2:14:54
cultural impact, yeah. And I think Disney magic its
2:14:58
finest, a timeless classic, like we've been saying.
2:15:01
And creatively, I think it's off the scale.
2:15:03
I mean, the advancements in effects technology we used to
2:15:05
get a live action and animation where they never been done
2:15:08
before. Julie Andrews delivers one of
2:15:10
the great debut film performances.
2:15:12
I think Van Dyke might have a bad accent, but come on, he's
2:15:16
brilliant. Yeah, come on.
2:15:17
That's by the by. And the music from the Sherman
2:15:20
Brothers can't be spoken about highly enough.
2:15:22
I don't think so. Some of the most.
2:15:23
Memorable songs. In Hollywood history, yeah.
2:15:25
I mean, that's not hyperbole over exaggeration.
2:15:27
That that's kind of. What they did, yeah, that's
2:15:29
fact. Yeah, yeah, yeah.
2:15:30
And does it all by telling a story with some genuine
2:15:32
emotional depth. Mr. Banks learning the value
2:15:35
with family over. Money basically will have struck
2:15:37
a chord with so many kids over the decades, I think you
2:15:39
probably can't even imagine. And to be honest, and this might
2:15:42
be hyperbole, but see, the world's a slightly better place
2:15:45
for Mary Poppins being in it. That's quite a special thing.
2:15:48
Not now, no favorite of mine, personally.
2:15:50
But I'm very glad that it exists.
2:15:52
And it will outlive all of us, I think, by a long, long way.
2:15:55
So I'm also going 9 hours in. Nice and Westie to finish
2:15:59
yourself your summary in school for Mary Poppins place.
2:16:02
Yeah, I mean it's. Just such a wonderful.
2:16:04
Thing it's just a wonderful creation I.
2:16:07
Think from everyone involved. It's not.
2:16:10
You can't just go. Is that a great film?
2:16:11
It's not. It's just it's a great
2:16:12
experience and because love it, I love it.
2:16:15
I loved it when I was a kid and I've got the same vibe from
2:16:18
them. If they have kids, they're going
2:16:20
to get the same vibe from it. That's really important.
2:16:23
And create something that has an experience, that has music the
2:16:27
way it does, that doesn't annoy you.
2:16:28
Once you see this film, once you were changed, that's it done.
2:16:33
And that in itself is an incredible feat.
2:16:36
Not a massive fan of Disney, as I've said, but this film, the
2:16:40
way that this is done, the way that this is delivered, the way
2:16:42
that this is acted, the way that it's just so safe and so warm
2:16:47
and so inviting and so wonderful.
2:16:50
It's just a little bit too long. I think Albert's scene maybe
2:16:55
could have take that out and just trim some of the fat off
2:16:58
it. And they just wanted to have too
2:16:59
much of a good thing. So I'm exactly the same as you
2:17:01
guys. I'm going to convert a nine out
2:17:02
of 10. And it's a wonderful thing to
2:17:04
have in the world. Like you said, John, I'm just so
2:17:06
pleased that it exists. Well, we also flawed this one
2:17:09
out there to our followers on Twitter or X to see what they
2:17:12
think about Mary. Poppins.
2:17:14
What Mary Poppins make of X is maybe a better question.
2:17:17
Yeah. Just probably leave them easily,
2:17:19
yeah. Bet Travers would love it, yeah.
2:17:23
But let's see what kind of comments drifted.
2:17:24
Down Peter G Murphy. At Silly Scotsman.
2:17:27
Said. Well, there was only one answer
2:17:29
and screenshot of Mary's tape measure.
2:17:31
Practically perfect in everywhere.
2:17:33
Nice. Somebody had to.
2:17:35
That'll do it, one of our patrons, Ian Joyner said.
2:17:38
One of only a handful of films and multiple.
2:17:40
Generations of. My family all know and love for
2:17:42
different reasons. Let's go fly a kite is the best
2:17:45
life advice in any situation. Taste and mechanical Robins
2:17:49
aside, it can only be A10. OK, well, it is a true family
2:17:53
classic, I think. Because it is.
2:17:55
He's absolutely right there, Yeah.
2:17:57
And another of our. Patrons, Kim Jackson said. 10
2:18:00
pure magic made. Me believe I could do anything
2:18:03
and that anything could happen on any given day.
2:18:05
And sang along with every song. Yeah, wonderful.
2:18:08
What's there for? Kim didn't provide a recording
2:18:10
of her actually singing a log, which is a shame, that is.
2:18:12
A shame. Not till late though, Kim.
2:18:14
Send that one in. Send that in, we'll pay your tip
2:18:16
in to bag. So positive leaning generally
2:18:20
from. Our followers and patrons and.
2:18:22
All together they read the film as what do you think?
2:18:25
It sounds really high. This sounds like 95.
2:18:28
I'll go nine. It was 9.
2:18:31
Out of 10/9. OK, so yeah, high score.
2:18:34
In total, like is Mary. Poppins 36 out of 40.
2:18:37
OK. I'm not just done on Mary
2:18:39
Poppins. There you are.
2:18:40
Hopefully hasn't made you want to jump off any.
2:18:42
Rooftops. Take your umbrella if you do.
2:18:44
Yeah. Or a chimney sweep.
2:18:45
Yeah, unless you pay all travels, which you've already
2:18:47
done it. Next time out, get.
2:18:51
Your oxygen mask ready, Luke W Your Mart are diving into the
2:18:55
strange. And since the world of David
2:18:56
Lynch as they explore Blue Velvet, yeah, now it's dark.
2:19:01
But I mean, it's quite a shift, isn't it?
2:19:06
Yeah, going to take a day off for start thinking about it.
2:19:08
I'll be. Yeah, I'm sure it'll be fine.
2:19:09
First Lynch film we've covered. Which is crazy.
2:19:11
It is, yeah. It should have probably start.
2:19:13
With something a bit later I. Mean I don't know what, I don't
2:19:16
know what it is ahead. But I've.
2:19:17
Got a double feature coming up as well later on if you want to
2:19:20
send it to Patreon and. You'll have access to that.
2:19:22
So love Lynch, absolute legend. So we'll see how it goes.
2:19:26
Well, in the meantime, to find out more about becoming a
2:19:28
patron, supporting what we do and accessing our archive.
2:19:31
And bonus episodes, please visit patreon.com/all the Right Movies
2:19:36
or click the subscribe link on Apple Podcasts or Spotify.
2:19:39
Yes, please. Please do be great for us
2:19:42
socially and keep up with all the right movies on.
2:19:44
Twitter or X where we. Are at right.
2:19:46
Movies we post threads. On there that tell the stories
2:19:49
behind classic films where everything we post has been said
2:19:51
by someone involved in the production.
2:19:53
All come from three separate sources.
2:19:54
The same as how it works on our podcast.
2:19:56
So you should check that out. You can find us on YouTube at
2:20:00
youtube.com/all the Right Movies on Instagram.
2:20:03
And threads. We are at all the under score
2:20:05
right movies on Blue Sky. We also post those threads and
2:20:08
we are at all the right movies.com.
2:20:11
Yep, on TikTok, we are at all the right movies.
2:20:14
There's a movie group on Facebook as well, full of lots
2:20:16
of great people, lots of our listeners and lots of great film
2:20:19
charts. So you should join that.
2:20:20
Yep, all our pals and definitely get a review in there if you
2:20:23
want to five stars, I think that's probably.
2:20:26
All we're allowed. Five stars.
2:20:28
Just five stars. Anything lower than that, Yeah.
2:20:30
Doesn't work. Yeah, It doesn't go through.
2:20:32
Yeah. And our website full of great
2:20:35
features at All the Right Movies.
2:20:36
Dot com it is. We're all off now to have a
2:20:38
cockney. Knees up on Wesley's roof.
2:20:40
Oh yeah. Which will be be beautiful.
2:20:43
Yeah. Falls straight through it.
2:20:46
Living Jeremy, come back a Blue Velvet.
2:20:50
And as always, thanks for listening.
2:20:52
Thank you, guys. Take care.
2:20:54
Thanks guys. It's oxymoron.
2:21:19
The nanny who leaves at the start was played by Atras.
2:21:22
Called Elsa Lancaster Lanchester The nanny who leaves at the
2:21:26
start was played by Atras. Called Elsa Lancaster Lanchester
2:21:30
Katie Nano the nanny who leaves at the start was played by an
2:21:32
Atras called Elsa Lancaster Lanchester Lancher.
2:21:36
Fucking hell, why can't I see this right?
2:21:38
Katie Nana, the nanny who leaves at.
2:21:40
The start was played by. An actress called Ella.
2:21:42
Lanchester, Elsa. Lanchester.
2:21:44
Fucking hell, get this on the outtakes.